ウィークエンドサンシャイン
ブロードキャスター、ピーター・バラカンのナビゲートで送るウィークエンド・ミュージックマガジン。独特の嗅覚とこだわりの哲学でセレクトしたグッド・サウンドと、ワールドワイドな音楽情報を伝える。
http://www4.nhk.or.jp/sunshine/
放送日： 2015年10月17日（土）
放送時間： 午前7:20〜午前9:00（100分）
ピーター・バラカン
THIS WEEK'S PLAYLIST
http://www4.nhk.or.jp/sunshine/66/
（曲名 / アーティスト名 // アルバム名）
01. The Last DJ / Tom Petty // The Last DJ
02. Altogether Alone / Hirth Martinez // Hirth From Earth
03. ろっかばいまいべいびい / Hirth Martinez With Van Dyke Parks// 細野晴臣 STRANGE SONG BOOK -Tribute To Haruomi Hosono
04. Let The Groove Ride / Boukou Groove
05. Roochoo Gumbo~Hoodoo Chunko / 久保田麻琴と夕焼け楽団 // Second Line
06. Sailing On / The Derek Trucks Band // Songlines Live Sampler
07. El Ruso / Dayme Arocena // Nueva Era
08. Crossing Muddy Waters / I’m With Her
09. Brokedown Palace / Watkins Family Hour // Watkins Family Hour
10. Face Of Appalachia / John Sebastian // Tarzana Kid
11. What Do You Want The Girl To Do / Lowell George // The Last Tour
12. Pancho & Lefty / Townes Van Zandt // Anthology 1968-1979
13. Goodnight Irene / Keith Richards // Crosseyed Heart
14. I’ll Fly Away / The Word // The Word
15. Rescue Me / Amy Helm // Didn’t It Rain
16. Oh Well / Fleetwood Mac // Then Play On
世界の快適音楽セレクション
"快適音楽"を求めるギターデュオのゴンチチによる、ノンジャンル・ミュージック番組。
http://www4.nhk.or.jp/kaiteki/
放送日： 2015年10月17日（土）
放送時間： 午前9:00〜午前11:00（120分）
ゴンチチ
藤川パパQ
− アレとソレとコレの音楽 −
楽曲
「風の国」
ゴンチチ
（4分08秒）
＜IN THE GARDEN XNHL-15002／B＞
「ザ・ジターバグ・ワルツ」
ミシェル・ルグラン
（5分17秒）
＜UNIVERSAL 830074.2＞
「ウィ・ニード・アワー・ニーズ」
ディス・イズ・ザ・キット
（2分37秒）
＜エンジェルズ・エッグ DDCA-5037＞
「ザット・サンデイ、ザット・サマー」
ナタリー・コール
（3分31秒）
＜WEA MUSIC WMC5-400＞
「イズ・ディス・ラヴ（ホーンズ・ミックス）」
ボブ・マーリー
（3分52秒）
＜ISLAND REC. CD3 314 512 283-2＞
「コレサオ」
カシアーノ＆ジャヴァン
（3分35秒）
＜CULUMBIA 464194＞
「ドゥーイン・イット・トゥー・デス」
フレッド・ウェズリー＆JBズ
（4分58秒）
＜POLYDOR POOP-20263＞
「ディス・イズ・ノット・アメリカ」
デヴィッド・ボウイ
（3分42秒）
＜東芝EMI TOCP-8879,8880＞
「それは私の恋人です」
（カウンターテナー）ドミニク・ヴィス
（ピアノ）フランソワ・クトゥリエ
（2分23秒）
＜キング・インターナショナル KKCC3006＞
「アイ・ライク・イット・ライク・ザット（エクステンディド・クラブ・ミックス）」
ティト・ニエベス
（6分56秒）
＜RMM REC.＆VIDEO CORP. MVCK-24004＞
「アローン・トゥギャザー」
ソニー・スティット
（4分54秒）
＜VERVE REC. MGV-8219＞
「レット・イット・ビー」
ロバータ・フラック
（4分12秒）
＜SONY ATV MUSIC FTN17852＞
「ディス・ガイズ・イン・ラヴ・ウィズ・ユー」
カルロス・リラ
（3分41秒）
＜AVEX IO IOCD-20249＞
「アイ・ドント・ウォント・トゥー・トーク・アバウト・イット」
ロッド・スチュワート
（4分50秒）
＜WARNER BROS 9362-46460-2＞
「ディス・イズ・イット（オーケストラ・ヴァージョン）」
マイケル・ジャクソン
（4分55秒）
＜SONY MUSIC JAPAN EICP1301＞
「ハイそれまでヨ」
植木等
（3分22秒）
＜EMI MUSIC JAPAN TOCT-268671＞
「タイニー・リップス」
ゴンチチ
（3分35秒）
＜IN THE GARDEN XNHL-15002／B＞
「マイ・ウェイ」
ジプシー・キングス
（2分50秒）
＜SONY MUSIC JAPAN MHCP827＞
「マイ・ウェイ」
フランク・シナトラ
（テノール）ルチアーノ・パヴァロッティ
（3分29秒）
＜DECCA 4758180＞
「あなたに夢中」
エリーダ・アルメイダ
（3分57秒）
＜リスペクトレコード RES-269＞
「行きゅんにゃ加那」
盛島貴男
（3分39秒）
＜ウサトリーヌ・レコード UTCD0011＞
Another Country with Ricky Ross
Ricky Ross enters the landscape of Americana and alternative country. Expect to hear both classic and future classics, with Ricky taking a close look at the stories behind the songs
http://www.bbc.co.uk/programmes/b00hh26l
Nathaniel Rateliff & The Night Sweats
Tue 13 Oct 2015
21:00
BBC Radio Scotland
http://www.bbc.co.uk/programmes/b06gwqtj
Ricky Ross has a session and interview from Denver singer-songwriter Nathaniel Rateliff and his band, the Night Sweats.
Music Played
01. Cumberland
Josh Ritter
Sermon On The Rocks
Pytheas Recordings, Tr.7
02. Ripple
Grateful Dead
American Beauty
Rhino, Tr.6
03. Only Fifteen
Lewis & Leigh
Hidden Truths EP
ALM/ Sight Manner, Tr.2
04. Trouble My Heart
The Orphan Brigade
Soundtrack To A Ghost Story
Orphan Brigade, Tr.1
05. Tell It Like It Is
Lindi Ortega
Faded Gloryville
Last Gang, Tr.1
06. I've Been Failing
Nathaniel Rateliff
Recorded in session
- アーティスト: NATHANIEL & THE RATELIFF
- 出版社/メーカー: CAROL
- 発売日: 2015/08/21
- メディア: CD
- この商品を含むブログ (1件) を見る
Nathaniel Rateliff
Nathaniel Rateliff & The Night Sweats
Stax, Tr.5
08. Here Comes My Baby Back Again
Dottie West
The Best of Dottie West
RCA Victor, Tr.1
09. Evil Companion
Charlie Parr
Stumpjumper
Red House Records, Tr.1
10. Hurricane (Johnnie's Theme)
Lord Huron
Strange Tails
PIAS, Tr.1
11. Pretty Pimpin'
Kurt Vile
B’lieve I’m Goin Down...
Matador Records
12. Believe Me Baby (I Lied)
Trisha Yearwood
Everybody Knows
MCA Nashville, Tr.1
13. Look It Here
Nathaniel Rateliff
Recorded in session
14. The Shape I'm In
Nathaniel Rateliff
Recorded in session
15. The Weary Kind
Ryan Bingham
Crazy Heart Soundtrack
New West Records, Tr.16
16. Blue Eyes Crying In The Rain
Willie Nelson
Legend: The Best Of Willie Nelson
Sony/ BMG, Tr.5
17. Dime Store Cowgirl
Kacey Musgraves
Pageant Material
Mercury Nashville/ Nashville, Tr.2
18. I'm Walkin' Here
Rab Noakes
I'm Walkin' Here
Neon, Tr.3
19. Elk City
Samantha Crain
Under Branch and Thorn and Tree
Ramseur Records, Tr.3
20. When I Watch You Sleeping
Neil Young
Storytone
Reprise, Tr.9
21. If I've Only One Time Askin'
Daniel Romano
If I've Only One Time Askin'
New West Records, Tr.5
22. Elysium
Bear's Den
Islands
Communion Records, Tr.9
23. Inkblot
Holly Lerski
The Wooden House
Laundry Label, Tr.1
Jazz Record Requests
Jazz records from across the genre, played in special sequences to highlight the wonders of jazz history. All pieces have been specifically requested by Radio 3 listeners
http://www.bbc.co.uk/programmes/b006tnn9
Sat 17 Oct 2015
16:00
BBC Radio 3
http://www.bbc.co.uk/programmes/b06h8lqy
This week there's another selection of listeners' nominations for the ten essential jazz records, plus Alyn Shipton's selection from the postbag includes music by the contrasting tenor saxophonists Dexter Gordon and Branford Marsalis.
Music Played
01. The Sea Horse
Leroy Jones
Performer: Craig Klein. Performer: Paul Longstreth. Performer: Mitchell Player. Performer: Gerald French. Performer: Leroy Jones
New Orleans Jazz Ascona 2003
KHE Productions, Tr.1
02. I Guess I'll Hang My Tears Out To Dry
Dexter Gordon
Performer: Sonny Clark. Performer: Butch Warren. Performer: Billy Higgins. Performer: Dexter Gordon. Performer: Sonny Clark. Performer: Billy Higgins
Go!
Blue Note, Tr.2
03. E's Flat Ah's Flat Too
Charles Mingus
Performer: Mal Waldron. Performer: Booker Ervin. Performer: Jackie McLean. Performer: John Handy. Performer: Pepper Adams. Performer: Jimmy Knepper. Performer: Dannie Richmond. Performer: Charles Mingus
Blues and Roots
Atlantic Masters, Tr.6
04. Gloria's Step (Take 2)
Bill Evans Trio
Performer: Scott LaFaro, Paul Motian, Bill Evans
Sunday at the Village Vanguard
Riverside, Tr.1
05. La Pasionara
Michel Legrand
Performer: Phil Woods. Performer: Gerry Mulligan. Performer: Jon Faddis. Performer: Gloria Agostini. Performer: Errol Crusher Bennett. Performer: John Clark. Performer: Burt Collins. Performer: John Gatchell. Performer: Don Elliott. Performer: Harry Leahey. Performer: Bernie Leighton. Performer: James Madison. Performer: Tom Pierson. Performer: Portinho. Performer: Tony Price. Performer: Albert Richmond. Performer: Joe Shepley. Performer: Grady Tate. Performer: Brooks Tillotson. Performer: Michel Legrand
Le Grand Jazz
Gryphon, Tr.1
06. How Deep Is The Ocean
Phil Woods & Gordon Beck
Live at the Wigmore Hall
Disques JMS, Tr.6
07. High Clouds
Phil Woods
Performer: Harry Leahey. Performer: Mike Melillo. Performer: Steve Gilmore. Performer: Bill Goodwin. Performer: Phil Woods
Live at the Showboat
RCA, Tr.3
08. I Remember Bird
Phil Woods with the Oliver Nelson Big Band
Leonard Feather Encylopedia of Jazz in the Sixties Volume One
VERVE, Tr.2
09. Summertime
Jeanne Lee
erformer: Jeanne Lee, Ran Blake
Newest Sound Around
RCA, Tr.6
Words and Music
A sequence of music interspersed with well-loved and less familiar poems and prose read by leading actors
http://www.bbc.co.uk/programmes/b006x35f
Like Father, Like Son?
Sun 18 Oct 2015
17:30
BBC Radio 3
http://www.bbc.co.uk/programmes/b06h8z8c
Marking the centenary of Arthur Miller's birth - a playwright noted for his fascination with fathers and sons - an exploration of the many facets of this complex relationship, featuring a selection of poetry and prose read by Nicholas Farrell and Sam Troughton and music by Rossini, Stravinsky, David Axelrod and others.
Producer's Notes
The conflict between fathers and sons finds its way into much of Arthur Miller’s writing. Miller himself said “In writing of the father-son relationship and of the son’s search for his relatedness there was a fullness of feeling I had never known before; a crescendo was struck with a force I could almost touch.” Miller described the way that he and his own father interacted as being like “two searchlights on different islands.” To celebrate the centenary of the playwright’s birth, this is a reflection on how other writers and composers have distilled the father-son relationship in their work and, in some cases, turned that relationship into a creative partnership.
We begin, appropriately at dawn. ‘Jam lucis orto sidere’ is a hymn to be sung at first light and here it appears in a setting by Benjamin Britten from The Prodigal Son – the third of his Church Parables. The Prodigal Son may have a (largely) happy ending, but it also hints at some of the disruptions, departures and disappointments that we shall encounter during the course of the programme.
To A Child by Henry Wadsworth Longfellow sees the poet – who had two sons and three daughters – looking into the infant’s future: vast, unknowable and freighted with possibility.
Day One was written by Hans Zimmer and is part of his score for Christopher Nolan’s science fiction film Interstellar. Before Nolan told Zimmer what the film was going to be, he gave him a one page story outline about a father saying goodbye to his young son and asked him to use it as the inspiration for a composition - this is the piece that Zimmer wrote. Nolan had been struck by something that Zimmer said when he was talking about his own son – “once your children are born, you can never look at yourself through your eyes any more, you always look at yourself through their eyes”.
Wilfred Owen may be best known for his war poetry, but his poem To A Child takes a father’s point of view of his new-born child (although Owen himself had no children). The father is entranced by the atavistic wildness of the infant, but ruefully acknowledges that this will be erased as soon as the child grows and learns to abide by society’s conventions.
So far we have seen fathers speculating on their sons’ futures. Will they grow up to enjoy as harmonious a relationship as Vladimir Ashkenazy and his son Dimitri? Here are the duo performing Robert Schumann’s Fantasy Piece for Clarinet and Piano.
Dimitri Ashkenazy followed in his father’s footsteps and became a professional musician. Is it the wish of all fathers that their sons will grow up to be like them? In Homer’s Iliad, when Hector bids farewell to his baby son, prior to launching another attack on the besieging Greek army, he makes it very clear that he wants Astyanax to become an even greater warrior than his father. Zeus didn’t grant Hector’s wish – the child was thrown from the walls of Troy when Agamemnon’s forces sacked the city.
In Robert Burns’ ballad “My Father Was A Farmer”, the son tries to better himself, but ultimately falls back on the skills that he has learnt from his father and scrapes a living through humble toil. But because of the values that his father instilled in him, he is still happy with his lot.
Seamus Heaney’s father was a farmer and in “Follower” the young poet is literally following in his father’s footsteps as Heaney senior ploughs a field. The young boy wants so much to be like his father, but is painfully aware that he is more of a hindrance than a help. Years later, the roles are reversed and it is his elderly father who trails behind him, getting in his way.
The child’s perspective is key in Theodore Roethke’s poem “My Papa’s Waltz”. While the young boy’s mother sees her drunken husband reeling around the kitchen, trying to dance with his son, for the boy himself it’s a giddy, exciting moment when he has his father’s full attention. The man may reek of booze, he may need a bath, he may have just been in a fight and he may be being too rough with his son, but the two of them are having fun together.
Charles Ives may not have waltzed around the kitchen with his father, George, but he credited him as his main musical influence. George’s role as a band-leader inspired Charles’s love of marches, which he often quoted in his work. Here in “Three Places in New England” Charles recreates the sound of two bands playing two different tunes, something he would have first heard in his father’s musical experiments with marching bands.
We’ve seen fathers expressing their affection in a rough, boisterous way, but in “The Gift” by Li- Young Lee a moment of care and tenderness is captured, as a father delicately removes a metal splinter from his son’s hand, distracting him with a story.
In Rossini’s opera William Tell, a young boy is also at risk of injury from a sharp piece of metal, but this time it’s a crossbow bolt fired by his father. Tell is understandably shaken by Gessler’s command that he shoot an apple resting on his son Jemmy’s head, but once Jemmy has assured him that he trusts his father to pull off the feat, Tell’s courage returns and the bolt ends up embedded in the fruit rather than his son’s cranium.
Tell’s instruction to Jemmy is to stay still – ‘resta immobile’ - which, if terse, is undoubtedly a good piece of fatherly advice. Carl Sandburg is rather more expansive in his poem “A Father To His Son” and offers plenty of precepts for leading a fulfilling life, but whether they will fall on receptive ears is another matter.
The fact is that when sons reach adulthood, their relationships with their fathers can turn sour. Old wounds and resentments can become the source of feuds. Rufus Wainwright was three when his parents split up and the absence of his father – Loudon Wainwright III – is a theme which surfaces in some his songs. Dinner At Eight recalls a bitter altercation between father and son during what began as a pleasant meal in a restaurant, following a successful Rolling Stone photo-shoot.
Matters become equally toxic between Mitya Karamazov and his father in Dostoyevsky’s novel The Brothers Karamazov, due to a misunderstanding about the property Mitya stands to inherit. Sadly, the relationship deteriorates even further when father and son find themselves vying for the affection of the same woman.
Fortunately there doesn’t seem to have been the same degree of discord between father and son in another Russian family - the Stravinskys. In 1938 Igor Stravinsky and his son Soulima went into a studio in Paris and recorded Igor’s Concerto for two solo pianos. The recording may be crackly, but no matter how closely I listen, I can’t hear any muttered recriminations about what Soulima is due to inherit.
However, intergenerational conflict erupts again between the remarkable Father William and his impertinent, unnamed son who plagues him with a series of questions until the old man can take no more. Lewis Carroll’s poem is a parody of Robert Southey’s “The Old Man’s comforts and how he gained them” and has deservedly eclipsed the sententious stanzas of the original.
In Verdi’s opera I Vespri Siciliani, the governor of Sicily, Guido di Montforte, discovers that Arrigo, a young rebel opposing the French occupation, is his son, born to a Sicilian woman who he abducted and then abandoned. Montforte shares this revelation with Arrigo who angrily insults him, holding him responsible for his mother’s death. In this duet between the two men, Montforte begs Arrigo to recognise him as his father, while the young man resists, saying that his love for his dead mother makes it impossible.
While Montforte makes his feelings for his son abundantly clear, a common stereotype of the father, particularly in previous generations, is of a man who is distant and emotionally inaccessible. The father in “Those Winter Sundays” by Robert Hayden is such a man and it is only years later that his son recognises that the thankless, mundane tasks which he performed around the house were inarticulate expressions of his love.
Fortunately there’s nothing faltering or inarticulate about the communication between jazz pianist Stan Tracey and his drummer son Clark as they play together at London’s Queen Elizabeth Hall in 1993.
It is the natural course of events that a son should face the death of his father, but a harder blow if it happens when he is still a child. War makes many sons fatherless and Walt MacDonald in his poem “My Father On His Shield” has only an old photograph of a soldier and some childhood memories of a sled. None of it can bring his father back.
Heat by David Bowie is a strangely allusive song. The mood is dark and foreboding and it is unclear whether the insistent refrain “My father ran the prison” is literal or metaphorical. But there is no doubt that the singer is desperate to distance himself from his father’s malign influence and warped idea of love.
If a father can be a hugely influential presence, he can also be a powerful absence for a son who grows up without ever knowing his father. The poet Stanley Kunitz was born six weeks after his father had killed himself. His mother removed all traces of him from the house and, as we hear in ‘The Portrait’, when Kunitz found a picture of a stranger in the attic, she reacted swiftly and decisively.
Returning to Arthur Miller - the inspiration for this programme – the suicide of a father is a motif which occurs in more than one of his plays, most famously that of Willy Loman at the end of Death of a Salesman. Here is Alex North’s haunting piece for solo flute which was composed for the original Broadway production of the play. The flute evokes Willy’s connection to his own father who was a flute-maker and salesman and its sound is heard at key moments through the play.
“Do not go gentle into that good night” is probably Dylan Thomas’s best known poem. It was actually written five years before the death of Thomas’s own father in 1952, but it remains a heartfelt plea from a son for his father to muster all of his dying energies to try to postpone the inevitable.
There is little information on how Wolfgang Amadeus Mozart received the news of his father Leopold’s death – there had been quarrels and a partial estrangement in the preceding years and Wolfgang was unable to return to Salzburg for the funeral. Although he is best known today as Wolfgang’s father and teacher, Leopold was a talented violinist and composer in his own right. Emerging briefly from his son’s shadow, this the 2nd movement from his Concerto in E flat Major for two horns and strings.
Mervyn Morris is Poet Laureate of Jamaica and his poem “The Day My Father Died” speaks of death’s finality and the birth of grief. The son’s own sense of loss will come, but his mother’s distress takes immediate precedence.
The fourth and last of our father-son musical collaborations spans three generations. Dimitri Shostakovich wrote his Piano Concerto No. 2 in 1957 for his son Maxim’s 19th birthday. Maxim premiered the piece at the Moscow Conservatory. In this recording from 1986, Maxim moves from the piano stool to the conductor’s rostrum and his own son – another Dimitri – is the soloist.
The loss of a father is one thing, undeniably painful and life-changing, but congruent with the natural course of things. The death of a son before his father leaves a rawer wound, immune to the mitigating comforts which may soften other bereavements. When Shelley’s son William died at the age of three, these are the lines that the poet composed. They express an anguish over where the animating spark that gave his child life has gone and a wish to believe that it has been absorbed into the soft beauty of the natural world.
Finally, Lou Rawls sings Loved Boy by the producer and composer David Axelrod. The lyrics are adapted from Ben Jonson’s poem On My First Sonne, written in 1603 after the death of his seven year old boy Benjamin. Rawls was with Axelrod when the composer was told over the phone that his seventeen year old son Scott had died. This is the father’s tribute to his ‘loved boy’.
Producer: Torquil MacLeod
Music Played
00:00
Benjamin Britten
Jam lucis orto sidere
Performer: English Opera Group.
London 4257132, Tr.1.
Henry Wadsworth Longfellow
To A Child, read by Nicholas Farrell
00:04
Hans Zimmer
Day One
Performer: Hans Zimmer.
Sony Classical 88875048122, Tr.4.
Wilfred Owen
To A Child, read by Sam Troughton
00:08
Robert Schumann
Fantasy Pieces for Clarinet and Piano op. 73 - Rasch und mit Feuer
Performer: Vladimir Ashkenazy (piano), Dimitri Ashkenazy (clarinet).
Paladino Music PMR0030, Tr.14.
Homer
The Iliad, read by Sam Troughton
00:13
Steve Byrne, Robert Burns
My Father Was a Farmer
Performer: Steve Byrne.
LINN CKD200, CD1, Tr.12.
Seamus Heaney
Follower, read by Nicholas Farrell
Theodore Roethke
My Father’s Waltz, read by Sam Troughton
00:16
Charles Ives
Three Places in New England – Putnam's Camp, Redding, Connecticut
Performer: Orchestra New England, James Sinclair (Conductor).
Koch 370252, Tr.14.
Li-Young Lee
The Gift, read by Sam Troughton
00:24
Gioachino Rossini
"Corri alla madre"
Performer: Sherrill Milnes, Della Jones, Ferruccio Mazzoli.
DECCA 417 154-2, CD3, Tr.8.
00:26
Gioachino Rossini
"Resta immobile"
Performer: Sherrill Milnes.
DECCA 417 154-2, CD3, Tr.9.
Carl Sandburg
A Father To His Son, read by Nicholas Farrell
00:31
Rufus Wainwright
Dinner At Eight
Performer: Rufus Wainwright.
Polydor ? 450 5041, Tr.14.
Fyodor Dostoyevsky
The Brothers Karamazov, read by Nicholas Farrell
00:37
Igor Stravinsky
Concerto for two solo pianos – Notturno (Adagietto)
Performer: Igor Stravinsky, Soulima Stravinsky.
EMI CDS7546072, CD2, Tr.21.
Lewis Carroll
You Are Old, Father William, read by Sam Troughton & Nicholas Farrell
00:43
Giuseppe Verdi
Ombra diletta, che in ciel riposi
Performer: Placido Domingo, Sherrill Milnes.
RCA RD80370, CD2, Tr.10.
Robert Hayden
Those Winter Sundays, read by Sam Troughton
00:45
Stan Tracey
Devil’s Acre
Performer: Stan Tracey.
Blue Note International ? 7243 8 31139 2 7, Tr.5.
Walt McDonald
My Father On His Shield, read by Sam Troughton
00:51
David Bowie
Heat
Performer: David Bowie.
Columbia ? 88883787812, Tr.14.
Stanley Jasspon Kunitz
The Portrait, read by Nicholas Farrell
00:56
Alex North
Death of a Salesman
Performer: Alex North.
Kritzerland (limited edition 1000). Tr17.
Dylan Thomas
Do not go gentle into that good night, read by Sam Troughton
00:58
Leopold Mozart
Concerto in E-flat Major for two horns and strings - Andante
Performer: Herman Jeurissen, Michael Holtzel, Concerto Rotterdam.
MD&G L3085, Tr.2.
Mervyn Morris
The Day My Father Died, read by Nicholas Farrell
01:04
Dmitri Shostakovich
Piano Concerto No.2 in F Major Op.102 - Andante
Performer: Dmitri Shostakovich, I Musici de Montreal, Maxim Shostakovich.
CHANDOS CHAN8443, Tr.2.
Percy Bysshe Shelley
To William Shelley, read by Nicholas Farrell
01:11
David Axelrod
Loved Boy
Performer: David Axelrod, Lou Rawls.
EMI 3388452, Tr.1
