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： 2017年 5月20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. Stoned Soul Picnic / Roy Ayers // Stoned Soul Picnic
02. Black Magic Woman / Fleetwood Mac // The Pious Bird Of Good Omen
03. Gypsy Queen / Gabor Szabo // Spellbinder
04. Oye Como Va / Tito Puente // The Essential Tito Puente
05. Five Drunken Landlady’s / Ushers Island // Ushers Island
06. Heart in Hand / Ushers Island // Ushers Island
07. Johnny Doherty’s / Ushers Island // Ushers Island
08. Pressed For Time / We Banjo 3 // Gather The Good
09. Little Liza Jane / We Banjo 3 // String Theory
10. Waveland / Noam Pikelny // Universal Favorite
11. Old Banjo / Noam Pikelny // Universal Favorite
12. Texas Girl at The Funeral of Her Father / Nic Jones // In Search Of Nic Jones
13. What Can a Song Do for You / The Unthanks // Diversions Vol. 4 - The Songs and Poems of Molly Drake
14. Woods In May / Molly Drake // Molly Drake
15. Saturday Sun / Nick Drake // Five Leaves Left
16. Double Roses / Karen Elson // Double Roses
17. Wolf / Karen Elson // Double Roses
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： 2017年 5月20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
− 万国チャールズ祭 −
楽曲
「眉毛を描かれた犬」
チチ松村
（4分42秒）
＜IN THE GARDEN XNHL-12001＞
「チャールズ・イン・フル・アクション」
ブシェミ
（6分37秒）
＜SSR／CRAMMED SSR207＞
「グローリア」
チャールズ・ブラウン
（2分52秒）
＜CLASSICS REC. CLASSICS1088＞
「クラップ・ハンズ・ヒア・カムズ・チャーリー！」
エラ・フィッツジェラルド
（2分43秒）
＜REAL GONE REC. RGJCD315＞
「チャールズ一世」
大貫妙子
（0分27秒）
＜東芝EMI TOCT-9286＞
「ヒア・カムズ・チャーリー」
チャールズ・アーランド
（6分40秒）
＜CONCORD MUSIC 0888072300828＞
「カリビアン・クルーズ」
ドン・ヴォーゲリ
（3分11秒）
＜UNIVERSITY OF WISCONSIN EXTENSION NO NUMBER＞
「シャルロット・フォー・エヴァー」
シャルロット＆セルジュ・ゲンズブール
（3分57秒）
＜日本フォノグラム PHCA-72＞
「ファゴット・ソナタ 作品71から第1楽章」
（作曲）
（ファゴット）クリストファー・ミラード
（ピアノ）ケネス・ブロードウェイ
（2分56秒）
＜SUMMIT REC. DCD128＞
「松の木陰で」
チャーリー・パルミエリ
（3分52秒）
＜ALPHA ENTERPRISE BLD-106＞
「ブルー・イン・グリーン」
チャーリー・ヘイデン＆リベレーション・ミュージック・オーケストラ
（7分35秒）
＜IMPULSE！ 0602547984807＞
「ソフト・アズ・スプリング（ザ・ファイヴ）」
ビル・パーキンス
（2分56秒）
＜AVID JAZZ AMSC1121＞
「たそがれのオルガニート」
カルロス・ディサルリ楽団
（2分47秒）
＜BMG VICTOR BVCP-8715＞
「キャロラインのはなし」
ルー・リード
（4分02秒）
＜BMG JAPAN BVCM-38049＞
「カンタータ第29番から シンフォニア（バッハ作曲）」
ウェンディ・カーロス
（3分23秒）
＜ESD PRO BOX ESD81422＞
「コルコバード（クワイエット・ナイト）」
アントニオ・カルロス・ジョビン
（2分23秒）
＜POLYDOR POCJ-2459＞
「ラ・メール」
シャルル・トレネ
（3分20秒）
＜EMI ODEON EOS-40058＞
「動物達集まる―HILO―」
ゴンチチ
（2分40秒）
＜ポニーキャニオン PCCA-01960＞
「エピストロフィー」
マルク・ミラルタ
（5分35秒）
＜NUEVES MEDIOS S.A. NM15774CD＞
「エピストロフィー」
ジョン・ビーズリー
（6分19秒）
＜MACK AVENUE REC. MAC1113＞
「オセアネス」
クララ・ペーヤ
（4分52秒）
＜ビーンズレコード BNSCD8937＞
Private Passions
Guests from all walks of life discuss their musical loves and hates.
http://www.bbc.co.uk/programmes/b006tnv3
Bettany Hughes
Sun 21 May 2017
12:00
BBC Radio 3
http://www.bbc.co.uk/programmes/b08qtd87
Bettany Hughes talks to Michael Berkeley about the music that's shaped her family life, and the music she's come to love during her travels as a historian.
Bettany has more than 50 radio and television documentaries to her name, many about ancient history and she's also a prolific writer, a Research Fellow at King's College London and has been honoured with numerous awards including the Norton Medlicott Medal for History and the Fem 21 International Journalism Award for her 'exceptional contribution to the international coverage of the place of women in societies past and present'.
She's the author of three bestselling books, the latest of which is 'Istanbul', a decade in the making and over 800 pages long, which brings to life 3000 years of action-packed history in that great city.
She talks to Michael about the importance of visiting the places she writes about and the joy of discovering music such as shepherds' calls in Greece and gypsy music in Istanbul. Bettany's interest in women's history is reflected in music by a 9th-century female Byzantine composer, and Purcell's Dido and Aeneas. And she tells a touching musical story which shaped the history of her own family.
Producer: Jane Greenwood
A Loftus production for BBC Radio 3
Music Played
00:05
Trad.
Bu Yil Bekar Kalahm
Performer: Kemani Cemal
Performer: Bigah Ahmet
00:13
William Lloyd Webber
Nocturne
Performer: Julian Lloyd Webber
Performer: Skaila Kanga
00:21
Flanders and Swann
The Hippopotamus Song
Singer: Ian Wallace
Performer: Donald Swann
00:28
Henry Purcell
When I am Laid in Earth (Dido and Aeneas)
Singer: Dame Janet Baker
Orchestra: English Chamber Orchestra
00:37
Kassiano
Troparion for Holy Wednesday
Choir: Cappella Romana
Conductor: alexander lingas
00:46
Dmitri Shostakovich
Symphony No.5 (1st mvt: Moderato)
Orchestra: Boston Symphony Orchestra
Conductor: Andris Nelsons
00:56
Trad.
Skaros (Shepherd's Song of Epiros)
Performer: Elias Litos
Performer: Lazaros Rouvas
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
Circles, Curves and Contours
Sun 21 May 2017
17:30
BBC Radio 3
http://www.bbc.co.uk/programmes/b08qtdtv
Circles, Curves and Contours are explored as Words and Music strays from the straight and narrow. With literary selections from Shakespeare, Tennyson, Emily Dickinson and Tony Harrison and music from Miles Davis and The Beatles to Bach and Bax. The readers are Deborah Findlay and Hugh Fraser.
Producer's Note
Circles, curves and contours have informed the work of musicians and writers as much as that of visual artists, all eager to explore a natural world of relatively few straight lines and angles. They have taken inspiration from the arcs and circles of geometry, the curves of natural forms including the human body and the contours and undulations of the landscape.
By way of a foreword to the arc of this sequence Shakespeare’s Prologue in Henry V speculates on how much of the external world can be encompassed within a circle, in this case the ‘wooden O’ of the Elizabethan theatre: the encircling walls are not boundaries if one’s imagination is given free rein.
Bach used circular forms of music for much of his work, exemplified in this case by the Goldberg Variation No 3. Using the device of a round, or more accurately a canon, the themes are started, picked up and repeated and return to the beginning in a spiral of melody. There are two versions of the same variation here, both by the same pianist, Glenn Gould. He recorded the first in 1955 - a performance that made him famous and then, unusually for him, returned to the same pieces re-recording them 25 years later in a radical re-interpretation, a variation on the variation, completing the cycle.
An 1895 poem ‘Orbits’ by the British poet Richard Le Gallienne uses the metaphor of the heavenly movements to describe the passing nature of human encounters. And a hundred years previously James Hook, the organist at Vauxhall Gardens which famously featured a spectacular Rotunda, composed his March, Andantino and Rondo the last part of which is heard here – a rondo being a musical form in which a refrain is stated, left and returned to in a series of overlapping musical circles. This Rondo is played on a trio of the most winding of wind instruments: the serpent.
The curves of the instrument are of course designed to compress greater length into a shorter space but it is this aspect of a winding road that makes it longer and more difficult to travel. Christina Rossetti, in ‘Up-hill’, and Paul McCartney in ‘The Long and Winding Road’ both hope the twisting path will eventually lead to fulfillment. The Beatles came to the end of their long and winding road with the recording of this song, their last single as quartet. Paul McCartney objected to the adding of strings to the recording prompting him to leave the band. This is the version without the orchestra.
John Clare on the other hand sees the meandering of the stream in his ‘Flow on Winding River’ as not so much demanding as restful. The river bends in ‘Moon River’, taken from the soundtrack of Breakfast at Tiffany’s, and the anonymous ‘The River’, are seen as hiding something promising, the great curve of a rainbow in Audrey Hepburn’s case. ‘The River’ is sometimes attributed to, of all people, Enoch Powell, but it seems he just quoted it once at friend’s funeral.
Rivers are sinuous because of the contours of the landscapes they course through and down from the heights, expressed in ‘Elevazione’ by the baroque composer and Jesuit missionary Domenico Zipoli, to the deep, dark valley which Edward Thomas writes about in ‘The Combe’ including an early expression of horror at the still controversial killing of badgers. Arnold Bax’s tone poem evokes the rocky contours of Tintagel on the Cornish coast. He wrote that he aimed to create ‘a tonal impression of the castle–crowned cliff of (now sadly degenerate) Tintagel’. He wanted to include the ‘thoughts of many passionate and tragic incidents in the tales of King Arthur’. Alfred Tennyson had the same notion in his retelling in verse of Sir Thomas Mallory’s ‘Morte d’Arthur’, this extract referring to the dissolution of the Round Table.
The contrasting contours of hills and valleys also features in Rudyard Kipling’s poem ‘The Floods’, presumably Indian, while Hamish MacCunn’s 1886 work ‘Land of the Mountain and the Flood’, written when he was only eighteen, evokes the Scottish equivalent.
Terry Riley’s ‘A Rainbow in Curved Air’ from 1969 used electronics to describe the arch of the spectrum whilst William Wordsworth’s poem ‘My Heart Leaps Up’, sometimes called ‘The Rainbow’, is similarly minimalist in approach if not in style.
Stanton Drew in Somerset is the home of a stone circle, the setting for U. A. Fanthorpe’s verse of the same name, provoking reflections on the timelessness of the landscape surrounding the prehistoric menhirs.
Erik Satie coined the term “gnossiennes” for his short experimental piano pieces that often lacked time signatures and conventional chord structures. They and the Gymnopédies have inspired many dancers. Russell Maliphant based his interpretation of the first three gnossiennes, of which we hear No 1, on choreographic drawings made by Nijinsky depicting curves and circles. Sir Frederick Ashton wrote of the pieces as “a series of interrupted and overlapping recapitulations which causes the piece to fold in on itself as it were... and even succeeds in abolishing our time sense”.
It provides a background for Emily Dickinson’s enigmatic two poems which both use imagery of arcs and curves; ‘I Make his Crescent Fill or Lack’ is about what? The moon, the earth, the sun? And ‘She Staked Her Feathers’ on the surface at least concerns the arc of a bird’s flight.
‘Timer’ by Tony Harrison alludes to the curves of an egg-timer (as Shakespeare refers to an hour-glass in the Prologue earlier) and also the eternal nature of a circle in the form of a wedding ring. Like Harrison’s poem, Carol Ann Duffy’s ‘Valentine’ is intensely personal, comparing onion rings to a wedding band. Their domestic settings contrast with the intervening grandiose aspirations of Richard Wagner’s epic Ring Cycle in which a ring can grant world domination. This orchestral passage from Götterdämmerung is Siegfried’s Journey on the Rhine, another winding river following the contours from Switzerland, through Germany to the Netherlands.
Another rondo as Mozart goes to town on the form in his celebrated ‘Rondo alla Turca’, interpreted here by the trumpet virtuosa Alison Balsom.
The curves of the female human body have inspired artists for millennia and Ovid, translated in the seventeenth century by the poet John Dryden, tells the legend of Pygmalion creating a sculpture of a female form so perfect he falls in love with it whereupon it is brought to life by a goddess. And it is the curvaceous statue of a goddess’s body that is the muse for Gerry Mulligan’s composition ‘Venus de Milo’ played by trumpeter of a very different ilk, Miles Davis. The curve of a young lady’s nose prompts L. P. Hartley’s musings on beauty in an extract from ‘The Go-between’ as he also notices the distracting orbit of other women. And in a different kind of social circle Jake Thackray observes women more buxom in his mischievous ‘The Castleford Ladies’ Magic Circle’ - although even they couldn’t compete with Humpy Dumpty’s self-satisfaction with the ovoid form in this extract from ‘Alice Through the Looking Glass’.
Benjamin Britten utilises the musical device of a round for his chorus ‘Old Joe Has Gone Fishing’ from ‘Peter Grimes’ to defuse a potentially unpleasant situation in the pub with a bit of social cohesion.
Ostensibly light and humorous ‘Soliloquy in Circles’ by Ogden Nash actually deals with the rather grander theme of the cycle of life - a father’s thoughts on the birth and raising of offspring whilst Pops Staples, with his children, reflects on the other side of the coin, the death of a mother in The Staple Singers’ ‘Will the Circle be Unbroken?’.
David Saul wrote his verse about π, the constant that expresses the relationship of the circumference to the diameter of a circle, as kind of mnemonic. Each word in it contains the number of letters that corresponds to the digits of 3 plus the first thirty-four decimal places in order (‘It’s a fact a ratio immutable…’ = 3.14159 etc. - except for the word ‘nothing’ which represents zero). In printed form the words are arranged to form a circle.
‘The Circle Game’, Joni Mitchell explained in 1968, is ‘about people and growing old and growing young and carousels and painted ponies and the weather and the Buffalo Springfield.’ More specifically she wrote it for Neil Young. Some hear in it a mother’s words to her son. The poet Judith Fitzgerald, like Joni Mitchell, a Canadian, died at the end of last year. She wrote ‘Que Besa Sus Pies, Que Besa Sus Manos’ a few years previously but it was published in the month of her death. The title is a Spanish greeting, often abbreviated to qbsp, qbsm, meaning something like ‘kissing his feet, kissing his hands’. Her circular imagery includes clocks, circuses, the sun and the moon and, again, the continuity between parent and child; father, son and Holy Ghost.
At the end of this roundabout sequence we come full circle: Glenn Gould again plays two takes of Bach’s Goldberg Variations, No 24 this time, the later one first and then, with the earlier version, back to the beginning.
Producer: Harry Parker
Music Played
William Shakespeare
Prologue to Henry V read by Deborah Findlay
00:02
Johann Sebastian Bach
Goldberg Variations, BWV 988 - Variation 3 (1955)
Performer: Glenn Gould
CBS MYK 44868 Tr.4
00:02
Johann Sebastian Bach
Goldberg Variations, BWV 988 – Variation 3 (1980)
Performer: Glenn Gould
CBS CD37779 Tr.1
Richard Le Gallienne
Orbits read by Hugh Fraser
00:05
James Hook
Rondo, op.83, c.1796
Performer: The London Serpent Trio
Titanic Records TI 100 CD1 Tr.6
Christina Rossetti
Up-hill read by Deborah Findlay
00:07
John Lennon/ Paul McCartney
The Long and Winding Road
Performer: The Beatles
Parlophone 5957132 CD1 Tr.4
John Clare
Flow on Winding River read by Hugh Fraser
00:12
Henry Mancini/ Johnny Mercer
Moon River
Performer: Audrey Hepburn
Warner WB245032 Tr.11
Anon
The River read by Hugh Fraser
00:14
Domenico Zipoli
Elevazione for Cello and Oboe
Performer: Consort of London, Robert Haydon Clark (Conductor)
Classic FM CFMCD34 CD1 Tr.10
Edward Thomas
The Combe read by Deborah Findlay
Alfred Lord Tennyson
from Morte d’Arthur read by Hugh Fraser
00:18
Arnold Bax
Tintagel (Tone Poem)
Performer: Royal Scottish National Orchestra, David Lloyd-Jones (Conductor)
Naxos 8557145 Tr.1
Rudyard Kipling
The Floods read by Hugh Fraser
00:24
Hamish MacCunn
Land of the Mountain and the Flood
Performer: BBC Scottish Symphony Orchestra, Martyn Brabbins (Conductor)
Hyperion CDA66815 Tr.1
00:30
Terry Riley
A Rainbow in Curved Air
Performer: Terry Riley
Columbia 4778492 Tr.1
William Wordsworth
My Heart Leaps Up read by Hugh Fraser
U. A. Fanthorpe
Stanton Drew read by Deborah Findlay
00:35
Erik Satie
les 6 Gnossiennes - No.1
Performer: Chantal de Buchy (Piano)
PG PCD7657 Tr.10
Emily Dickinson
I Make His Crescent Fill or Lack read by Deborah Findlay
Emily Dickinson
She Staked Her Feathers read by Deborah Findlay
Tony Harrison
Timer read by Hugh Fraser
00:39
Richard Wagner
Siegfried’s Journey on the Rhine
Performer: Staatskapelle Dresden, Marek Janowski (conductor)
EURODISC GD 69007 (1) CD1 Tr.7
Carol Ann Duffy
Valentine read by Deborah Findlay
00:44
Wolfgang Amadeus Mozart
Rondo alla Turca
Performer: Alison Balsom (trumpet), Gothenburg Symphony Orchestra, Edward Gardner (Conductor)
EMI Classics EMI3532552 Tr.1
Ovid, John Dryden (Translator)
The Story of Pygmalion and the Statue read by Deborah Findlay
00:49
Gerry Mulligan
Venus de Milo
Performer: Miles Davis (trumpet)
Capitol CDP7928622CAP Tr.4
L. P. Hartley
From The Go-between read by Hugh Fraser
00:53
Jake Thackray
The Castleford Ladies’ Magic Circle
Performer: Jake Thackray
EMI CDP7962712 Tr.12
Lewis Carroll
From Alice Through the Looking Glass read by Deborah Findlay
00:58
Benjamin Britten
Old Joe Has Gone Fishing
Performer: Geraint Evans (Singer), Orchestra and Chorus Royal Opera House Covent Garden, Douglas Robinson (Chorus Master)
Decca 4145772 CD1 Tr.18
Ogden Nash
Soliloquy in Circles read by Hugh Fraser
01:01
Roebuck Staples (Traditional arrangement)
Will The Circle be Unbroken?
Performer: The Staple Singers
New Cross CDCHARLY98 Tr.14
David Saul
Pi read by Deborah Findlay
01:04
Joni Mitchell
The Circle Game
Performer: Joni Mitchell
Reprise 7599-27450-2 Tr.12
Judith Fitzgerald
Que Besa Sus Pies, Que Besa Sus Manos read by Hugh Fraser
01:11
Johann Sebastian Bach
Goldberg Variations, BWV. 988 – Variation 24 (1980)
Performer: Glenn Gould
CBS CD37779 Tr.1
01:12
Johann Sebastian Bach
Goldberg Variations, BWV. 988 – Variation 24 (1955)
Performer: Glenn Gould
CBS MYK 44868 Tr.4
