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 9月 2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. In America / Defunkt // In America
02. Schoolyard Blues / Garland Jeffreys // 14 Steps to Harlem
03. Help / Garland Jeffreys // 14 Steps to Harlem
04. Here Come The Girls / Stanton Moore Feat. Cyril Neville & Trombone Shorty // With You In Mind
05. 優雅的女士 / Ilid Kaolo (以莉.高露) // A Beautiful Moment (美好時刻)
06. Close To You / Eri Liao Trio / 紅い木のうた
07. Afro Begue / Afro Begue // Santat
08. Mocambique / Nadja // People Of Mozambique - Spirits Of Makonde Tribe
09. Swampy Old Man / EnTRANS // Be Our Guest!!!
10. Almodovar / RaknesBrunborg // Backcountry
11. Weather In My Head / Donald Fagen // Sunken Condos
12. By The Time I Get To Phoenix / Glen Campbell // By The Time I Get To Phoenix
13. Transformation / Van Morrison // Roll With The Punches
14. Gypsy Woman / Isley Brothers & Santana // Power Of Peace
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 9月 2日（土）
放送時間： 午前9:00〜午前11:00（120分）
ゴンチチ
渡辺亨
− 善と悪の音楽 −
楽曲
「幸せな日々」
ゴンチチ
（2分09秒）
＜EPIC／SONY ESCB-1061＞
「善と悪（オ・ベム・エ・オ・マル）」
ドゥドゥ・ファルカォン
（3分13秒）
＜SOMLIVRE 1519-2＞
「リスペクタブル」
ネリー・マッカイ
（4分06秒）
＜SONY MUSIC ENT. SICP637,638＞
「ユーヴ・ガッタ・テル・ハー」
フェイス・ホープ＆チャリティー
（3分53秒）
＜RCA APL1-1827＞
「イーヴィル」
ハウリン・ウルフ
（2分54秒）
＜MCA CHD-5908＞
「ファンアーレ・シークエンス・メロディック・ライン」
ドン・ヴォーゲリ
（1分28秒）
＜UNIVERSITY OF WISCONSIN EXTENSION NO NUMBER＞
「くやしいけど幸せよ」
奥村チヨ
（3分16秒）
＜SONY SRCL-4071＞
「クリミナル」
フィオナ・アップル
（5分44秒）
＜SONY SRCS8102＞
「ヒーローズ・ウェルカム」
ラーセン・フェイトン・バンド
（4分30秒）
＜WOUNDED BIRD REC. WOU3468＞
「ア・バンカ・ド・ヂスチント（お高くとまっている人たち）」
ドリス・モンテイロ
（2分26秒）
＜東芝EMI TOCP-66054＞
「ア・スーツ・フォー・フォギー・デイ（イン・ロンドン・タウン）」
デヴィッド・ボウイ、アンジェロ・バダラメンティ
（5分25秒）
＜POLYGRAM PHCR-1648＞
「負犬の唄`ブルース'」
川谷拓三
（4分03秒）
＜SONY MUSIC MHCL289,290＞
「コンポジション NO.40」
アンソニー・ブラクストン・クァルテット
（6分30秒）
＜HATOLOGY HATOLOGY557＞
「ドゥ・ザ・ロング・シング」
ラウンジ・リザーズ
（2分45秒）
＜E.G.REC. EGS108＞
「ベッドで煙草はよくないわ」
ニーナ・シモン
（3分12秒）
＜日本コロムビア CY-3780＞
「ウォー・ソング」
ジョン・ルシアン
（3分13秒）
＜BMG BVCM35232＞
「ナイチンゲール」
ミルダー・PS
（5分11秒）
＜APART REC. APCD011＞
「ザ・ヴィーナス・オブ・スープ・キッチン」
プリファブ・スプラウト
（4分29秒）
＜EPIC／SONY 32-8P-5010＞
「予感」
ゴンチチ
（1分41秒）
＜ポニーキャニオン PCCA-04105＞
「バイヨン・ド・サンバ・セン・メザ」
ト・ブランヂリオーニ
（2分47秒）
＜PRODUZIDO NO POLPINDUSTRIAL NH-6063＞
「オレンジ・クレイト・アート」
エリン・ボーディー
（4分00秒）
＜コアポート PROZ-10033＞
「カーサ・プロンタ」
マルー・マガリャンイス
（3分19秒）
＜SONY MUSIC 88985373862＞
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 2 Sep 2017
17:30
BBC Radio 3
http://www.bbc.co.uk/programmes/b093m0kb
In this week's selection from listeners' emails and letters, Alyn Shipton includes music from the great singer Dinah Washington.
Music Played
01. Boogie Stop Shuffle
Charles Mingus & Handy
Boogie Stop Shuffle
Mingus Ah Um. Sony. 3.
Add "Charles Mingus - Boogie Stop Shuffle" to My Music
Add
"Charles Mingus || Boogie Stop Shuffle"
to My Music
00:06
George Shearing
There With You
Jazz Concert. Capitol. 2.
Add "George Shearing - There With You" to My Music
Add
"George Shearing || There With You"
to My Music
00:12
Count Basie
Midgets
Four Classic Albums. AVID. 8.
Add "Count Basie - Midgets" to My Music
Add
"Count Basie || Midgets"
to My Music
00:15
Dinah Washington
Our Love Is Here To Stay
In the Land of Hifi. Emarcy. 1.
Add "Dinah Washington - Our Love Is Here To Stay" to My Music
Add
"Dinah Washington || Our Love Is Here To Stay"
to My Music
00:18
Gateway Jazz Band
Eccentric
British Traditional Jazz at a Tangent Vol 4. Lake. 3.
Add "Gateway Jazz Band - Eccentric" to My Music
Add
"Gateway Jazz Band || Eccentric"
to My Music
00:22
Chris Barber
Lord You've Surely Been Good To Me
Vintage Chris Barber 1954-6. Lake. 9.
Add "Chris Barber - Lord Youve Surely Been Good To Me" to My Music
Add
"Chris Barber || Lord Youve Surely Been Good To Me"
to My Music
00:25
Lu Watters
Annie St Rock
Complete Good Time Jazz Recordings. Good Time Jazz. 1.
Add "Lu Watters - Annie St Rock" to My Music
Add
"Lu Watters || Annie St Rock"
to My Music
00:29
Miles Davis
Bluing
Dig. Prestige. 1.
Add "Miles Davis - Bluing" to My Music
Add
"Miles Davis || Bluing"
to My Music
00:40
Derek Smith Trio & Derek Smith
Misty
Dark Eyes. Prestige. 2.
Add "Derek Smith Trio - Misty" to My Music
Add
"Derek Smith Trio || Misty"
to My Music
00:47
Louis Armstrong
Body And Soul
Complete Okeh, RCA recordings. Sony.
Add "Louis Armstrong - Body And Soul" to My Music
Add
"Louis Armstrong || Body And Soul"
to My Music
00:51
World'S Greatest Jazz Band
A Hundred Years From Today
In Concert at Carnegie Hall Vol 1. Jazzology. 4.
Add "WorldS Greatest Jazz Band - A Hundred Years From Today" to My Music
Add
"WorldS Greatest Jazz Band || A Hundred Years From Today"
to My Music
00:54
Flip Philips & Flip Phillips
Maria Elena
Flip Phillips Celebrates His 80th Birthday. Arbors. 8
Private Passions
Guests from all walks of life discuss their musical loves and hates.
http://www.bbc.co.uk/programmes/b006tnv3
Gwyneth Glyn
Sun 3 Sep 2017
12:00
BBC Radio 3
http://www.bbc.co.uk/programmes/b093m73p
The poet and singer-songwriter Gwyneth Glyn talks to Michael Berkeley about the music she loves from Wales and around the world.
Gwyneth has been described as a poet among singers and a singer among poets. She's also a television script writer, a playwright and a children's author, having won the Crown at the Urdd Eisteddfod aged 18, and going on to be appointed Wales' National Poet Laureate for Children in 2006, the year she also won Best Female Artist in the Radio Cymru Rock and Pop Awards. Brought up in a Welsh speaking household, she's a passionate advocate of the language both within Wales and internationally.
Gwyneth talks to Michael about writing a libretto for the first ever Welsh language opera, growing up in a rural Welsh-speaking community, and the pleasures and challenges of passing the language on to the next generation.
She chooses music from her collaboration with Indian ghazal singer Tauseef Akhtar, as well as music by Tippett, Welsh folk hero Meredydd Evans, Rimsky Korsakov and Tchaikovsky.
Producer: Jane Greenwood
A Loftus production for BBC Radio 3
Music Played
00:03
Guto Puw
Torri'r garreg - Overture
Orchestra: BBC National Orchestra of Wales
Conductor: Guto Puw
00:11
Michael Tippett
Concerto for Double String Orchestra (2nd mvt)
Orchestra: BBC Symphony Orchestra
Conductor: Sir Andrew Davis
00:26
Nikolai Rimsky-Korsakov
The Sea and Sinbad's Ship (Scheherazade)
Orchestra: London Philharmonic Orchestra
Conductor: Mariss Jansons
00:34
Traditional
Y cariad cyntaf
Singer: Meredydd Evans
00:36
Traditional
Teri Aankhon Mein (Seren Syw)
Singer: Tahseef Akhbar
Singer: Gwyneth Gwyn
00:40
Traditional
Woh dil hi kya
Singer: Jagjit Singh
00:47
Pyotr Ilyich Tchaikovsky
Cherubic Hymn (Liturgy of St John Chrysostom)
Choir: State Chamber Choir of Moscow Conservatory
Conductor: Valery Kuzmich Polyansky
00:54
Elizabeth Poston
Jesus Christ the Apple Tree
Singer: Aled Jones
Choir: BBC Welsh Chamber Choir
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
Making Music
Sun 3 Sep 2017
17:45
BBC Radio 3
http://www.bbc.co.uk/programmes/b093m73y
As the Proms season comes to its final week we feature a series of readings from Sylvestra Le Touzel and Paul Jesson considering what we do when we create, practice and perform music. The writers featured include Charles Dickens, Jane Austen, William Shakespeare, Philip Larkin, John Dryden and James Joyce. The music comes from composers and performers such as Bach, Mozart, Saint-Saëns, Keith Jarrett, Joni Mitchell, Sidney Bechet and William Alwyn.
Producer's Notes
The programme starts, as many children do, with Benjamin Britten’s The Young Person’s Guide to the Orchestra. Written in 1945, the piece is based on music Henry Purcell composed in 1695 for a performance of Abdelazar, a play by the pioneering woman writer Aphra Behn. Britten’s Variations and Fugue on a Theme of Purcell was first used in an educational film entitled Instruments of the Orchestra which had narration explaining the instruments and how they worked together. “The blowing instruments - some are made of wood. They are called the wood wind.” Marianne Boruch’s 1950 poem Little Fugue also concerns young people, a conductor and players, tackling a fugue - a composition in which themes are repeated and interweave with each other.
A prelude and a fugue follow from Bach’s Well-Tempered Clavier. This was a 1722 book of preludes and fugues which had the express purpose of being "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". There was one for each of the keys providing an exercise in playing in all twenty-four. This is the very first piece from book one: No1 in C Major.
Walt Whitman explores the idea of the interweaving lines that make music greater than the sum of its parts in his poem That Music Always Round Me taken from his 1900 collection Leaves of Grass. It’s not clear which piece of music he was thinking of but it could easily have been Haydn’s Missa pro defuncto Archiepiscopo Sigismundo also known as his Requiem. The Benedictus seems to illustrate the point perfectly.
Elizabeth Barrett Browning not only describes the making of music, but the faun god Pan making the reed pipe that makes it, in A Musical Instrument - the last poem written before her death in1861 and published posthumously by her husband Robert Browning. However it wasn’t the inspiration for Claude Debussy’s Prélude à l'après-midi d'un faune, which was, as Debussy said, “a very free illustration of Mallarmé's beautiful poem” of the same name.
Philip Larkin’s love of traditional jazz and the positive feelings engendered by the playing of a clarinettist are expressed in his 1954 poem For Sidney Bechet and in What Is This Thing Called Love we hear Bechet hold the notes that Larkin says make him feel the way love should.
The clarinet is also the instrument of the street musician whose playing For Free Joni Mitchell contrasts with her own cosseted way of making music in a track from her 1970 album Ladies of the Canyon.
In Sonnet 128, How oft when thou, my music, music play’st, William Shakespeare, like Larkin, sees the playing of an instrument as provoking feelings of love - this time in a lover who watches the object of his or her affection playing a keyboard instrument, probably a virginal. Perhaps they are alone or perhaps the player is performing socially. This is the instrument Christopher Hogwood chooses to play John, Come Kiss Me Now composed by Shakespeare’s contemporary William Byrd.
That music making was very much a social activity is illustrated in a scene from Bleak House by Charles Dickens which was first published in serial form in 1852-3. Readers would have recognised the business of playing and singing party pieces and the popular melodies mentioned: Believe Me, if All Those Endearing Young Charms, an Irish ballad not much heard now and the rousing The British Grenadiers, a traditional march played here by the Royal Army Regiment which has survived considerably better.
Lynda Hull takes us to the dank streets and canals of 1988 Amsterdam in this extract from her Lost Fugue for Chet, about the brilliant, handsome jazz singer and trumpet player Chet Baker. Baker was famously ravaged by drugs but continued to make music despite this, or perhaps because of it, although the knowledge of his decline does add an extra poignancy to a song he made famous, Let's Get Lost, which the poem cites. It was also the title of an Oscar nominated documentary on Baker from the same year.
St Cecilia is the patron saint of music and John Dryden’s poem Alexander’s Feast; or, the Power of Music was written to celebrate that saint’s day in 1697. Henry Purcell, whose theme Britten borrowed for his The Young Person’s Guide, also wrote a St Cecilia’s Day tribute. His Te Deum and Jubilate in D is from three years earlier and we hear the Jubilate.
The making of music was considered an important part of a lady’s accomplishments in the middle class and aristocratic world so deliciously satirised by Jane Austen. In Pride and Prejudice, published in 1813, Lady Catherine de Bourgh extols the virtue of practice and tells Mr Fitzwilliam Darcy how often she has told Miss Elizabeth Bennet she will never really play well unless she practices more.
The world first heard Wolfgang Amadeus Mozart’s Overture to the Magic Flute at the opera’s premiere in September 1791, a matter of weeks before the composer’s death. In it the Queen of the Night and her attendants give the Prince Tamino, a magic flute which is able to change sadness into happiness, a key example of the power of making music.
Sometimes the place that music is played has a magic of its own. New York’s 52nd Street was the location of many of the jazz clubs that flourished in the 1940s and 50s. Philip Levine wrote On 52nd Street in celebration of the area as a fount of musical creativity, although the story in the poem is of a no-show by the seminal bebop pianist Bud Powell, another troubled jazz musician, in his case plagued by mental health problems. His bass player around 1960, Oscar Pettiford, can only sit and wait. Fortunately for us, Powell was able to make it to the recording of his own 52nd Street Theme.
The physical demands of making music can be literally heard in an extract from the Köln Concert, solo piano improvisations given by Keith Jarrett and recorded in Cologne in1975 becoming the best-selling solo piano album of all time. Andrew Solomon, who wrote widely on psychology, describes Jarrett’s technique in a piece for the New York Times in 1997 entitled The Jazz Martyr.
The harp features both in the opening poems to James Joyce’s 1907 collection Chamber Music, in which the making of music is once more linked to love, and in The Strange Music by G. K. Chesterton from a few years later in 1915. Here the listener must decide whether the love is for the instrument or something more metaphorical. They are set against the third movement Adagio, Ma Non Troppo William Alwyn’s 1954 concerto Lyra Angelica For Harp And Strings.
Emily Dickinson imbues the making of music with possibly a religious and certainly a mystical force in Better - than Music! a poem not published until 1945, nearly 70 years after her death.
Having started with the beginnings of music appreciation for children we end with a peak of music making ability: the former child prodigy Maxim Vengerov, who was winning violin competitions aged ten, plays Camille Saint-Saëns Introduction & Rondo Capriccioso Op.28……. “Now the scraping instruments - these are played with a bow or plucked with the fingers and are called the strings”.
Producer: Harry Parker
Music Played
00:04
Benjamin Britten, Eric John Crozier
Young Person's Guide To The Orchestra
Performer: Minnesota Orchestra, Neville Marriner (Conductor)
EMI CDEMTVD 72 CD2 Tr.14
Marianne Boruch, 1950
Little Fugue
Reader: Sylvestra Le Touzel
00:05
Johann Sebastian Bach
The Well-Tempered Clavier, Book 1: Prelude No. 1 In C Major, BWV 846
Performer: Jenö Jandó (piano)
Naxos 8 556786 Tr.9
Walt Whitman
That Music Always Round Me
Reader: Paul Jesson
00:10
Michael Haydn
Benedictus from Missa pro defuncto Archiepiscopo Sigismundo MH154 (Requiem)
Performer: Johannette Zomer (Soprano), Helena Rasker (Alto), Markus Schäfer (Tenor), Klaus Mertens (Bass), Orchestre de Chambre de Lausanne, Christian Zacharias (Conductor)
MD&G MDG34012452 Tr.6
Elizabeth Barrett Browning
A Musical Instrument
Reader: Sylvestra Le Touzel
00:13
Claude Debussy
Prelude A L'apres-Midi D'un Faune
Performer: James Galway (flute), Christopher O'Riley (piano)
RCA Victor Red Seal 886974220121 Tr.13
Philip Larkin
For Sidney Bechet
Reader: Paul Jesson
00:17
Cole Porter
What Is This Thing Called Love
Performer: Sidney Bechet
Editions Atlas WIS CD 612 Tr.15
00:20
Joni Mitchell
For Free
Performer: Joni Mitchell
Reprise Records 7599-27450-2 Tr.2
William Shakespeare
Sonnet 128: How oft, when thou, my music, music play’st
Reader: Sylvestra Le Touzel
00:25
William Byrd
John Come Kisse Me now
Performer: Christopher Hogwood (Virginal by Thomas White – London 1642)
Decca 4805597 CD2 Tr.1
Charles Dickens
Bleak House
Reader: Paul Jesson
00:29
Smith
The British Grenadiers
Performer: Royal Irish Regimental Band
Soundline SLB 4043 Tr.3
Lynda Hull, 1954
Lost Fugue for Chet
Reader: Sylvestra Le Touzel
00:32
McHugh/ Loesser
Let's Get Lost
Performer: Chet Baker Quartet
Virgin VTDCD 531 CD2 Tr.16
John Dryden, 1631 – 1700
Alexander’s Feast; or, the Power of Music (to celebrate Saint Cecilia's Day 1697)
Reader: Paul Jesson
00:38
Henry Purcell
Jubilate in D (for St Cecilia's Day 1694)
Performer: Taverner Consort & Players, Andrew Parrott (Conductor)
Virgin Classics VC5450612 Tr.2
Jane Austen
Pride and Prejudice
Reader: Sylvestra Le Touzel
00:42
Wolfgang Amadeus Mozart, Barrington Pheloung (arranger)
Overture From Die Zauberflote K620 (The Magic Flute)
Performer: Barrington Pheloung
Virgin VTCD 2 Tr.3
Philip Levine (1928 – 2015)
On 52nd Street
Reader: Paul Jesson
00:51
Thelonious Monk
52nd Street Theme (The Rudy Van Gelder Edition)
Performer: Bud Powell's Modernists
Blue Note CDP8543632 Tr.9
00:53
Keith Jarrett
Köln, January 24, 1975 - Part II a
Performer: Keith Jarrett (piano)
ECM ECM106465 Tr.2
Andrew Solomon, New York Times February 9, 1997
The Jazz Martyr
Reader: Paul Jesson
James Joyce
Chamber Music
Reader: Sylvestra Le Touzel
00:58
William Alwyn
Lyra Angelica For Harp And Strings: Adagio, Ma Non Troppo
Performer: Suzanne Willison (Harp), Royal Liverpool Philharmonic, David Lloyd Jones (Conductor)
Naxos 8557647 Tr.3
G. K. Chesterton
Strange Music
Reader: Paul Jesson
Emily Dickinson
Better—than Music! For I—who Heard It
Reader: Sylvestra Le Touzel
01:04
Camille Saint-Saëns
Introduction & Rondo Capriccioso Op.28
Performer: Maxim Vengerov (violin), Israel Philharmonic Orchestra, Zubin Mehta (Conductor)
Sunday Express none Tr.7
