0:00  Rossini - Il barbiere di Siviglia

Juan Diego Flórez in one of his greatest stage roles in a highly acclaimed new production from Madrid`s Teatro Real. A top international cast including soprano María Bayo and the great bass baritone Ruggero Raimondi. This sparkling new production of Rossini’s comedy of love is led by two of today’s greatest opera stars – María Bayo as the young ward Rosina and Juan Diego Flórez as her handsome suitor, Count Almaviva. The wily Figaro (the Barber) is Pietro Spagnoli, Bruno Practicò is the hapless guardian Don Bartolo, and the cunning singing teacher Basilio is the renowned Ruggero Raimondi. Gianluigi Gelmetti, Chorus and Orchestra of the Teatro Real Madrid, Ruggero Raimondi, Bruno Practicò, Pietro Spagnoli, Juan Diego Flórez, María Bayo

2:49  Brahms - Liebeslieder Waltzes

,,I will have to admit, this is the first time I smiled to see one of my compositions in print”, Johannes Brahms wrote to his publisher when he first laid eyes on his ‘Liebeslieder Waltzes’. Originally he wrote the piece for two pianos and vocals, but not long after he adapted the composition into a piece for orchestra, which can be seen in this broadcast. Kurt Masur, Gewandhausorchester Leipzig, MDR Radio Chor

2:59  Peaceful Revolution

On October 9, 1989 in the DDR, 70.000 people demonstrated peacefully. This demonstration was a cry for freedom. Thanks to Kurt Masur, who was one of six prominent inhabitants of Leipzig to introduce the notion of 'peaceful revolution', the demonstration passed without bloodshed. On the same night, Masur conducted Johannes Brahms' Second Symphony at Leipzig's Nikolaikirche. The following demonstrations partly caused the fall of the Berlin Wall on November 9, 1989, which paved the way for the reunion of the two Germanies. On the 20th anniversary of the first peaceful demonstration, Masur once again conducts the Gewandhausorchester in Brahms' Second Symphony. Kurt Masur, Gewandhausorchester Leipzig, Thomanerchor Leipzig, Renaud Capuçon (violin)

4:25  Quator Ebene at the Verbier Festival

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. For its 15th anniversary in 2008 the Verbier Festival has once again brought together the most prestigious artists in classical music such as the young Quatuor Ebène. They will perform Mozart’s Divertimento No. 1 and Schubert’s String Quartet No. 14 ‘Death and the Maiden’. Quatuor Ebène

5:21  Tchaikovsky - Meditation for violin and orchestra

This charming piece for violin owes its existence to the unique relationship between Piotr Il’yich Tchaikovsky and his Maecenas Nadezha von Meck. Because of Mme. Von Meck’s support, the composer never had to worry about his financial situation. There was, however, a rather unusual side-note to this support: Von Meck offered it on the condition they would never meet in person. The composer could still stay at her Ukrainian estate when the mistress herself was away, and during one of those visits Tchaikovsky found the inspiration to compose his ‘ Souvenir d’un lieu cher’ (Memory of a dear place). The first movement (Meditation) of this tripartite composition can be heard in this broadcast. Joshua Bell, Verbier Festival Orchestra

5:31  Debussy - Children's Corner

Claude Debussy composed the suite ‘Children’s Corner’ for his three year old daughter Claude-Emma, affectionately known as ‘Chou-Chou’, dedicating it with the words: ,,To my dear Chou-Chou, with the tender apologies of her father for what is to follow’’. We may conjecture that Debussy wrote these pieces while thinking of his daughter’s journey into adulthood and out of the innocence of childhood. His dedication acquires a somber poignancy in the light of later events: at the age of thirteen, Claude-Emma died of diphtheria; the previous year her father had died of cancer. These pieces take as their subject childhood and its imagination, rather than being intended for children to play. The English-language titles reflect Debussy’s fascination with English culture as well as Chou-Chou’s close relation to her British nanny. Nelson Freire

5:46  Ravel - La Valse

Maurice Ravel was very offended when Sergey Diaghilev demeaned the ‘La Valse’ he had especially written, saying it was a portrait of a ballet rather than a proper ballet itself. ‘La Valse’ was meant to be performed together with Stravinsky’s ‘Pulcinella’, by Diaghilev’s Ballets Russes. But Diaghilev was dissatisfied with the results and did not agree with the version for two pianos that Ravel presented to him in 1920. The relationship between the two men had already been tense and for Ravel this last insult was the last straw; he broke all contact. When composer and impresario met again in 1925 Ravel refused to shake Diaghilev’s hand, upon which the latter challenged him to a duel. His friends managed to stop him from competing, but the two stayed on bad terms for the rest of their lives. Gustavo Dudamel, Simon Bolivar Youth Orchestra

6:00  Mozart - Mitridate

"Widely acclaimed as one of the absolute top productions of the Mozart 22 cycle in Salzburg, Mitridate"" has everything going for it. It is a wild story of erotic desire, jealousy, intrigue and betrayal a dramatically focused staging that does full justice to the conflicted relations a cast of singers who are all of the highest calibre and a sensational musical ensemble led by a singularly powerful and charismatic conductor. Indeed, the real star of this production is conductor Marc Minkowski, who is famed for his recordings of Baroque music with his ensemble Les Musiciens du Louvre - Grenoble, who also play on this recording. It is nothing less than phenomenal how Minkowski storms into the score and unleashes raw emotions encompassing everything from happiness and tenderness to madness and murderous jealousy. As he plumbs the depths of this music, he carries his singers on his orchestra's richly nuanced fabric, whips them along impetuously, and envelops them in opulent sounds. In stage director Günter Krämer and his set designer Jürgen Bäckmann, Minkowski found partners on a par with his vibrant talent. Through cleverly placed mirrors, Krämer reveals what's going on ""behind the scenes"" at the same time that we see what is occurring before our eyes - a breathtaking layering of the events that illuminates the characters' psychology in a subtle manner. ""Mitridate"" is the first major opera seria of the 14-year-old Mozart, and its plot typical of this genre, which had its heyday in the mid to late 18th century. King Mitridate, blinded by his lust for power, believes his sons Farnace and Sifare, as well as his betrothed Aspasia, are betraying him. He wants to put them to the test by staging his own death. The two sons, who want to go their own ways, are thus forced to oppose their father, even as they long for his love. Mitridate is ready to sacrifice all three - but in the end, he is the only one who dies. " Marc Minkowski, Les Musiciens du Louvre, Richard Croft, Netta Or, Miah Persson, Bejun Mehta, Ingela Bohlin

8:32  Bizet - Carmen

Carmen is without a doubt one of the best known ‘femmes fatales’ in opera history. No man can withstand her, but watch out: it is dangerous to love her! This is also what corporal Don José finds out when he falls madly in love with Carmen. At first his love is requited, but everything changes when bullfighter Escamillo enters the picture. Recorded in Glyndebourne in 2008, starring Hans Voschezang, Lisa Milne and Anne Sofie von Otter. In this broadcast: the first act. Philippe Jordan, The Glyndebourne Chorus London Philharmonic Orchestra, Moralès: Hans Voschezang, Michaëla: Lisa Milne, Don José: Marcus Haddock, Zuniga: Jonathan Best, Carmen: Anne Sofie von Otter, Frasquita: Mary Hegarty, Mercédès: Christine Rice Lillas, Pastia: Anthony Wise, Escamillo: Laurent Naouri, Le Dancaïre: Quentin Hayes, Le Remendado: Colin Judson, Le Guide: Franck Lopez

11:28  Chopin - Selection from 'Etudes'

Before Frédéric Chopin started working within the genre, most etudes were literally meant as study pieces: exercises to improve playing techniques. With his 12 Études, dedicated to Franz Liszt, Chopin goes into a new direction: they are concert pieces with the added function of technical exercise. Each etude features another technical issue that comes with playing the piano. The fact Chopin could create the most beautiful pieces within the strict confines of the etude is proof of his genius. In this broadcast: a selection. Jean Frederic Neuburger

11:38  Berlioz - Le corsaire Overture

Sir Simon Rattle and the Berliner Philharmoniker perform the Overture Le corsaire by Berlioz. Sir Simon Rattle, Berliner Philharmoniker

11:48  Revueltas - La noche de los Mayas

Gustavo Dudamel, one of the youngest conductor around, performs Revueltas' La noche de los Mayas with the Simon Bolivar Youth Orchestra. Gustavo Dudamel, Simon Bolivar Youth Orchestra

11:58  Gershwin - Do, Do, Do

George Gershwin’s musical ‘Oh, Kay!’ was a massive success. The story of the British Duke of Durham and his sister Kay who at the time of Prohibition in the United States secretly traded in alcohol, was a great success on Broadway. The song Do, Do, Do is one of the musical’s many beauties and remains popular up to this day, both in the original version and in the piano adaptation that is shown in this broadcast. Marc-Andre Hamelin (piano)

12:00  Mozart - Le nozze di Figaro

The essential task viewers of Mozart’s ‘Le Nozze di Figaro’ have is to keep track of who is into who exactly. Susanna and Figaro love each other and want to get married, but that is not the end of it. The Count has also set his sights on Susanna, while his page Cherubino quite likes the Countess. The Countess, however, wants to put new life into her marriage with the Count and Figaro also has more than one admirer: housekeeper Marcellina demands that Figaro marry her if he cannot pay off his debts soon enough. Amidst all the intrigue and the complex relationships there is Figaro and Susanna’s indestructible love. Recorded at the Amsterdam Music Theatre in 2006 with the Netherlands Chamber Orchestra led by Ingo Metzmacher. Ingo Metzmacher, Netherlands Chamber Orchestra, Chorus of De Nederlandse Opera, Il Conte di Almaviva: Garry Magee, La Contessa di Almaviva: Cellia Costea, Susanna: Danielle de Niese, Figaro: Luca Pisaroni, Cherubino: Maite Beaumont, Marcellina: Charlotte Margiono, Bartolo: Mario Luperi

15:18  Celebracion - LA Phil opening gala 2010

The Los Angeles Philharmonic Orchestra started its season with a great Gala Concert conducted by music director Gustavo Dudamel. As special guest: star tenor Juan Diego Flórez. The programme includes popular arias by Rossini as well as famous songs by Latin-American composers. Programme: Rossini, Overture to ‘La gazza ladra’, Overture to ‘Semiramide’, ‘La Speranza piu soave’ from Semiramide, Overture to Guillaume Tell, ‘Asil ereditaire’ from Guillaume Tell; Granada (arr. Florez),’ La flor de la canela’; Mancayo,’ Huapango’; Grever (arr. Guinovart), ‘Jurame’; Gutierrez (arr. Pena), ‘Alma Ilanera’; Marquez, Danzon No. 2; Encores: Verdi, ‘La donna e mobile’ from Rigoletto; Gounod: ‘Ah, leve toi soleil’ from Romeo and Juliette. Gustavo Dudamel, Los Angeles Philharmonic Orchestra, Juan Diego Flórez (tenor)

16:46  Verbier Festival 2007 - Bartók and Schumann

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. In 2007 there was a beautiful concert with masters like Renaud Capuçon (vioinl), Hélène Grimaud (piano) playing Schumanns Sonata for violin and piano and Bartóks Sonata for violin and piano. Helene Grimaud (piano), Renaud Capucon (violin)

17:37  Mozart - Sinfonia Concertante part 2

In between his many performances in 1779, Wolfgang Amadeus Mozart still managed to find the time to compose a Sinfonia concertante for violin, viola and orchestra. On a tour through major European cities, among them Paris and Mannheim, the composer encountered many exciting new musical ideas and techniques. In Paris, the genre of the Sinfonia concertante (a blend of a solo concerto and a symphony)was at the time highly popular. Inspired by his time in Paris, Mozart decided to try his hand at this new genre, in which he was to compose four pieces. Unfortunately, this work for violin, viola and orchestra is the only one that has survived in its entirety. This program broadcasts its second part. Riccardo Muti, Wiener Philharmoniker, Gidon Kremer (violin), Yuri Bashmet (viola)

17:49  Ravel - Tzigane

Maurice Ravel was so impressed with a private performance of Hungarian violinist Jelly d’Aranyi in the early 1920s that he wanted to compose something especially for her. Due to lack of time it took a while before he actually got round to this composition, but on the 22nd of April 1924 the piece was finished and some days later the Hungarian violinist played it for the first time at a show in London. Later that same year Ravel adapted the piece for orchestra and violin and he also allowed the piano to be replaced by a luthéal (a kind of prepared piano on which it is possible to make changes in timbre). Joshua Bell

18:00  Venezuelan Brass Ensemble - Gran Fanfare

The Venezuelan Brass Ensemble – a highly-acclaimed group with nearly 50 brass and percussion players drawn from the extraordinary Simón Bolivar Youth Orchestra of Venezuela. The repertoire of the Venezuelan Brass Ensemble is a regular firework display of ambitious pieces for massed brass - impressively varied and testifies to the high standard of this young ensemble. The Ensemble is both a miracle and an inspiration to all. With their blend of classical and South American repertoire these some 50 young brass and percussion players not only have audiences on their feet but with a scintillating display of brass music demonstrate a virtuosity and a passion that is nothing short of awesome. Thomas Clamor, Venezuelan Brass Ensemble

19:24  Mahler - Symphony No. 1

Jean Paul’s novel ‘Titan’, in which an artistically gifted young man, driven by his failure to find his way in society, eventually commits suicide in despair, inspired Gustav Mahler to compose his Symphony No. 1. The work did not come easily to Mahler: he composed it between 1887 and 1888 when he, in his twenties, was working as a conductor at the Oper Leipzig. The first version of the work was considered as a symphonic poem in two parts, as its titles told a specific musical story. This original version premiered in Budapest in 1898, but it did not go down well. Mahler decided to revise his work: he left out the expressionist titles and cut the second part (Blumine). This results in a wonderful symphony, full of musical references. The opening part quotes one of Mahler's earlier compositions (Ging heut' morgens übers Feld from Lieder eines Fahrenden Gesellen), the second movement is an Austrian ländler (a folk dance), and the third part refers to a very well-known melody: ‘Brother John'. All in all, this Symphony No. 1 marks an incredible achievement for a composer this young. Fabio Luisi, Sächsische Staatskapelle Dresden

20:22  Liszt - Jeux d'eau a la Villa d'Este

Nikolai Lugansky performs “Jeux d'eau a la Villa d'Este” (The Fountain of the Villa d’Este) by Franz Liszt. It is one of the most virtuosic piano pieces Liszt ever wrote. The music is a true tone poem, illustrating the sparkling, jumping and dancing water of the fountain. Nikolai Lugansky (piano)

20:30  Tchaikovsky - Swan Lake

Swan Lake is one of the most loved of all classical ballets and one of the most popular in the Royal Ballet repertory. It has that magical combination of Tchaikovsky’s music, a compelling story of tragic romance and choreography that allows the very best dancers to show just how impressive they can be. Anthony Dowell’s romantic production is inspired by Imperial Russia of 1895, when the ballet was first performed. Against this atmospheric setting, Marius Petipa and Lev Ivanov’s choreography provides an opportunity to see great dance partnerships in the leading roles and the whole Company in the dance ensembles. Illuminated by moonlight, the charged solos for the Prince and Odette and her alter-ego Odile, the machinations of Von Rothbart and the colour of a palace ball all combine with glorious music to make for an evening of inspiration and romance. Valeriy Ovsyanikov, Orchestra of The Royal Opera House, Marianela Nuñez, Thiago Soares, Christopher Saunders

22:39  Thomas Quasthoff at the Verbier Festival

For its 14th edition, the Verbier Festival has once again brought together the most prestigious artists in classical music. During this concert you can enjoy baritone Thomas Quasthoff and Hélène Grimaud performing Schumann’s Dichterliebe, Op.48 and Brahms’ Lieder und Gesänge, Op.32. Thomas Quasthoff bass-baritone) Hélène Grimaud (piano)

23:39  Mahler - Symphony no. 4 part 2

His earlier composition, ‘Das himmlische Leben’ from Des Knaben Wunderhorn, in which heaven is presented in a child-like manner, served as model for Gustav Mahler's complete Symphony No. 4. The first three parts refer frequently to 'Das himmlishe Leben', and it is eventually sung in its entirety by a soprano in the last part. Its sober instrumentation and its short length (approximately 60 minutes) make this possibly Mahler’s most accessible symphonies. Performed by the Gustav Mahler Jugendorchester under direction of Claudio Abbado, featuring Juliane Banse as soprano. This beautiful symphony is preceded by Schoenberg’s Pelleas et Melisande. During this broadcast: the second movement. Claudio Abbado, Gustav Mahler Jugend Orchester

23:49  Mozart - Piano Concerto No. 25 part 3

Mitsuko Uchida is the star in the Mozart piano concerto No. 25, performed with the Wiener Philharmoniker and Riccardo Muti. Riccardo Muti, Wiener Philharmoniker, Mitsuko Uchida (piano)

0:00  Verdi - Il Trovatore

A gigantic blood-red monster, made of steel and flames, floating on the still waters of Lake Constance – this is Robert Carsen’s unconventional vision of the setting of Verdi’s masterpiece Il Trovatore for the 60th anniversary of the Bregenz Festival. In this threatening set of fire and metal, designed by Paul Steinberg, the characters burn with the passions they experience – love, hatred, sexual desire and revenge – and which eventually destroy them. The of this most spectacular outdoor production combines astonishing images, relevant reflections on today’s world and superb musical expression from the soloists and the world-renowned Wiener Symphoniker Orchestra, inspired by musical director Thomas Rösner. Thomas Rösner , Wiener Symphoniker and the Moscow Chamber Choir, Manrico: Carl Tanner Leonora: Iano Tamar Il Conte di Luna: Zeljko Lucic Azucena: Marianne Cornetti Ferrando: Giovanni Battista Parodi Ines: Deanne Meek Ruiz: José Luis Ordonez

2:21  Strauss II - Fledermaus Overture

Johann Strauss’ operetta about a practical joke turned fantastically wrong is a riot of spell-binding Viennese music. The musicians of the Cleveland Orchestra show that Americans can waltz as well as anyone. That being said, it is surely no hindrance that Franz Welser-Möst of Austrian origin conducts the orchestra… Franz Welser-Möst, Cleveland Orchestra

2:30  Albéniz - Merlin

Enjoy the world premiere of the full and original version of Merlin by Isaac Albéniz, over a century after he completed the work. Albéniz composed this Wagnerian opera to an English libretto by his patron Francis Burdett Money-Coutts between 1898 and 1902. Many believed the score was lost, until the conductor José De Eusebio reconstructed it from various manuscript sources and publishers proofs. For this stunning production director John Drew created a world of magic and fantasy, using evocative sets, and splendid lighting. José de Eusebio, The Madrid symphony Orchestra and Choir, David Wilson-Johnson, Eva Marton, Stuart Skelton, Carol Vaness, Angel Odena, Victor Garcia Sierra, Angel Rodriguez, Juan Tomas Martinez, Federico Gallar, Eduardo Santamaria

5:01  Schumann - Davidsbündlertänze

“Always and forever delight and pain are linked: remain pious in delight, and bear pain with courage.” Robert Schumann wrote this old German proverb beneath the title of his 18 pieces for piano solo or ‘Davidsbündlertänze’. This name is misleading, however: the pieces are not so much dances in the traditional sense, but more like musical dialogues between, among others, Schumann’s alter ego’s Eusebius and Florestan: the pieces representing Florestan are lively, the ones connected to Eusibius more dreamy in nature. Friends of Schumann also make appearances in this composition and among them is his wife Clara, a composer herself, whose presence can be heard at the start of Davidsbündlertänze No. 1 and No. 7 that the composer based upon one of her Mazurkas. Boris Berezovsky

5:35  Gershwin - Cuban Overture

Gershwin’s Cuban Overture is dominated by Caribbean rhythms and contains a wide spectrum of instrumental color and technique. While on holiday in Havana, the American composer was drawn to the rhythmical rumba in such a way that he was inspired to write his ‘Cuban Overture’. Performing it requires a wide selection of percussion instruments: Gershwin includes maracas, bongos, claves and a guiro and request they be placed right in front of the conductor. This expansive instrumentation makes for dashing results, or in Gershwin’s words ‘a symphonic overture which embodies the essence of the Cuban dance’. Sir Simon Rattle, Berliner Philharmoniker

5:45  Beethoven - Romances for Violin and Orchestra

Ludwig van Beethoven was an exceptional pianist, perhaps that is why people tend to forget he was also a capable violinist. Although perhaps not a virtuoso, Beethoven loved the instrument and wrote no lesser than ten sonatas for it, several pieces of chamber music and of course the violin concerto. His ‘Two Romances for Violin and Orchestra’ stand out , because they are two pieces of a whole that are still very reminiscent of solo concertos. This performance stars Kolja Blacher, former concertmaster of the Berliner Philharmoniker. Claudio Abbado, Berliner Philharmoniker, Kolja Blacher (violin)

6:00  Haydn - The Seven Last Words of Our Saviour on the Cross

Haydn's Seven Last Words of Our Saviour on the Cross was recognised throughout Europe as a masterpiece when it was premiered in the church of Santa Cueva, Cádiz in 1786. Haydn himself thought it was the best piece of music he ever wrote, and it established his fame in Europe and beyond. Paradoxically, the first version for orchestra, the most famous in Haydn's era, is the least known today. Now, for the first time on television, the work has been recorded in its original setting using Haydn’s original orchestral score. This historic television recording is performed by Le Concert des Nations under the baton of Jordi Savall, one of Europe’s leading exponents of period music. The performance is enhanced by specially shot footage from the Holy Week processions which take place in Cádiz every Easter. Jordi Savall, Le Concert des Nations

7:07  Mendelssohn Unknown

“Mendelssohn Unknown” is the most complete and up-to-date documentary about Felix Mendelssohn ever made till now. The narrative structure is based on the original letters of Mendelssohn and his sister Fanny, combined with evocative period images. The various themes covered by the documentary include: his training, his religious and cultural identity, his journey to Italy, his relation with Bach and his rediscovery, the Leipzig years, the oblivion following his death and the recent unearthing of many important unpublished works. A blend of music and words will guide the public through Mendelssohn’s greatest masterpieces, illustrating their poetic background with images of the places that Mendelssohn himself experienced and recounted with his matchless art. With some of the most distinguished Mendelssohn specialists, including Riccardo Chailly, Steven Isserlis, Lang Lang, Kurt Masur, Anne-Sophie Mutter, Roberto Prosseda, and Charles Rosen.

8:01  Poulenc - Sonata for Clarinet part 1

Francis Poulenc’s ‘Sonata for clarinet and piano’ is one of his last compositions and was dedicated to a fellow composer: Arthur Honegger. The plan was to get world-famous clarinet player Benny Goodman, who also commissioned the piece, to perform together with Poulenc on the premiere, but unfortunately the composer died quite suddenly on 30 January 1963, from a heart attack. The sonata itself was all but finished and on the 10th of April Goodman gave the premiere after all at Carnegie Hall, accompanied by none other than Leonard Bernstein. With reference to this performance, music critic Harold C. Schoenberg wrote in The New York Times: ,,Poulenc was not a ‘big’ composer, for his emotional range was too restricted, but what he did, he did perfectly […]”.In this broadcast: the first movement. Michael Collins, clarinet Julien Quentin, piano

8:07  Mozart - Symphony No. 35 'Haffner'

Having lived in Vienna for over a year, Wolfgang Amadeus Mozart’s career gained a strong boost in 1782 from the enormous popularity of his Singspiel ‘Die Entführung aus dem Serail’ (‘The abduction from the seraglio’). Meanwhile his father Leopold Mozart still disapproved of his son’s decision to move to Vienna and also refused to accept his planned marriage to Constanze Weber. Despite these objections, Leopold asked his son to compose for the inauguration of Salzburg’s new mayor Sigmund Haffner, whereupon Mozart shoved his mounting pile of work aside to compose a serenade. Then, six month later, he needed a new symphony, remembered his serenade, and transformed it into Symphony No. 35 (‘Haffner’), which premiered to great acclaim in 1783. As the composer himself wrote to his father: ,,The theater was packed to the rafters. Yet what most pleased me was that his Royal Highness the Emperor was in the audience – and good heavens how he cheered me!”. Riccardo Muti, Wiener Philharmoniker

8:30  The Great Mass

The Great Mass is the spiritual keystone of a choreographic undertaking in which Uwe Scholz absorbs the structure of the liturgy of the mass. He adds to Wolfgang Amadeus Mozart's unfinished Great Mass in C minor other works by the same composer, such as the Adagio and Fugue in C minor and the motet Ave verum corpus. He also puts in passages of Gregorian chant, sequences from contemporary music by György Kurtág, Thomas Jahn and Arvo Pärt, and readings of poems by Paul Celan. Mozart's music becomes a mould in which Scholz casts his choreography. – A truly impressive requiem a choreographic revelation. Balázs Kocsár, Gewandhausorchester Leipzig, Choir of the Leipzig Opera, Leipzig Ballet, Eun Yee You, Marie-Claude Chappuis, Werner Güra, Friedemann Röhlig

10:34  Nikolai Lugansky at the Verbier Festival

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. For its 15th anniversary in 2008 the Verbier Festival has once again brought together the most prestigious artists in classical music such as the master pianist Nikolai Lugansky. He will perform Janácek’s Sonata 1. X. 1905, Liszt’s Etude d’excecution No. 10 and No. 12, his Jeux d’eau a la Villa d’Este, Sonetto del Petrarca and five pieces from Prokofjev’s Romeo and Juliet. Nikolai Lugansky

11:31  Beethoven - Romances for Violin and Orchestra

Ludwig van Beethoven was an exceptional pianist, perhaps that is why people tend to forget he was also a capable violinist. Although perhaps not a virtuoso, Beethoven loved the instrument and wrote no lesser than ten sonatas for it, several pieces of chamber music and of course the violin concerto. His ‘Two Romances for Violin and Orchestra’ stand out , because they are two pieces of a whole that are still very reminiscent of solo concertos. This performance stars Kolja Blacher, former concertmaster of the Berliner Philharmoniker. Claudio Abbado, Berliner Philharmoniker, Kolja Blacher (violin)

11:46  Bach - Chaconne from Partita in D minor BWV 1004

Johann Sebastian Bach’s ‘Partitas’, together with his six Cello Suites and Paganini’s Caprices for solo violin, are the top few pieces of unaccompanied string music available. Because the violin has to do without the accompaniment of other instruments, all Partitas are filled with technical tour de force, a rarity in Bach’s pre-virtuoso days. These pieces, therefore, were of great influence to the development of violin technique. The ‘Chaconne’ from his Partita in D minor is especially notorious: it basically consists of an enormous series of variations showing off all playing techniques available in Bach’s time. Viktoria Mullova

12:00  Rossini - Il barbiere di Siviglia

Juan Diego Flórez in one of his greatest stage roles in a highly acclaimed new production from Madrid`s Teatro Real. A top international cast including soprano María Bayo and the great bass baritone Ruggero Raimondi. This sparkling new production of Rossini’s comedy of love is led by two of today’s greatest opera stars – María Bayo as the young ward Rosina and Juan Diego Flórez as her handsome suitor, Count Almaviva. The wily Figaro (the Barber) is Pietro Spagnoli, Bruno Practicò is the hapless guardian Don Bartolo, and the cunning singing teacher Basilio is the renowned Ruggero Raimondi. Gianluigi Gelmetti, Chorus and Orchestra of the Teatro Real Madrid, Ruggero Raimondi, Bruno Practicò, Pietro Spagnoli, Juan Diego Flórez, María Bayo

14:49  Brahms - Liebeslieder Waltzes

,,I will have to admit, this is the first time I smiled to see one of my compositions in print”, Johannes Brahms wrote to his publisher when he first laid eyes on his ‘Liebeslieder Waltzes’. Originally he wrote the piece for two pianos and vocals, but not long after he adapted the composition into a piece for orchestra, which can be seen in this broadcast. Kurt Masur, Gewandhausorchester Leipzig, MDR Radio Chor

14:59  Peaceful Revolution

On October 9, 1989 in the DDR, 70.000 people demonstrated peacefully. This demonstration was a cry for freedom. Thanks to Kurt Masur, who was one of six prominent inhabitants of Leipzig to introduce the notion of 'peaceful revolution', the demonstration passed without bloodshed. On the same night, Masur conducted Johannes Brahms' Second Symphony at Leipzig's Nikolaikirche. The following demonstrations partly caused the fall of the Berlin Wall on November 9, 1989, which paved the way for the reunion of the two Germanies. On the 20th anniversary of the first peaceful demonstration, Masur once again conducts the Gewandhausorchester in Brahms' Second Symphony. Kurt Masur, Gewandhausorchester Leipzig, Thomanerchor Leipzig, Renaud Capuçon (violin)

16:25  Quator Ebene at the Verbier Festival

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. For its 15th anniversary in 2008 the Verbier Festival has once again brought together the most prestigious artists in classical music such as the young Quatuor Ebène. They will perform Mozart’s Divertimento No. 1 and Schubert’s String Quartet No. 14 ‘Death and the Maiden’. Quatuor Ebène

17:21  Tchaikovsky - Meditation for violin and orchestra

This charming piece for violin owes its existence to the unique relationship between Piotr Il’yich Tchaikovsky and his Maecenas Nadezha von Meck. Because of Mme. Von Meck’s support, the composer never had to worry about his financial situation. There was, however, a rather unusual side-note to this support: Von Meck offered it on the condition they would never meet in person. The composer could still stay at her Ukrainian estate when the mistress herself was away, and during one of those visits Tchaikovsky found the inspiration to compose his ‘ Souvenir d’un lieu cher’ (Memory of a dear place). The first movement (Meditation) of this tripartite composition can be heard in this broadcast. Joshua Bell, Verbier Festival Orchestra

17:31  Debussy - Children's Corner

Claude Debussy composed the suite ‘Children’s Corner’ for his three year old daughter Claude-Emma, affectionately known as ‘Chou-Chou’, dedicating it with the words: ,,To my dear Chou-Chou, with the tender apologies of her father for what is to follow’’. We may conjecture that Debussy wrote these pieces while thinking of his daughter’s journey into adulthood and out of the innocence of childhood. His dedication acquires a somber poignancy in the light of later events: at the age of thirteen, Claude-Emma died of diphtheria; the previous year her father had died of cancer. These pieces take as their subject childhood and its imagination, rather than being intended for children to play. The English-language titles reflect Debussy’s fascination with English culture as well as Chou-Chou’s close relation to her British nanny. Nelson Freire

17:46  Ravel - La Valse

Maurice Ravel was very offended when Sergey Diaghilev demeaned the ‘La Valse’ he had especially written, saying it was a portrait of a ballet rather than a proper ballet itself. ‘La Valse’ was meant to be performed together with Stravinsky’s ‘Pulcinella’, by Diaghilev’s Ballets Russes. But Diaghilev was dissatisfied with the results and did not agree with the version for two pianos that Ravel presented to him in 1920. The relationship between the two men had already been tense and for Ravel this last insult was the last straw; he broke all contact. When composer and impresario met again in 1925 Ravel refused to shake Diaghilev’s hand, upon which the latter challenged him to a duel. His friends managed to stop him from competing, but the two stayed on bad terms for the rest of their lives. Gustavo Dudamel, Simon Bolivar Youth Orchestra

18:00  Alice’s Adventures in Wonderland

Alice’s Adventures in Wonderland will bring a famous story and its equally famous characters to the ballet stage. The Victorian childhood of Lewis Carroll’s Alice and her encounters with extraordinary people, strange creatures and unusual events gives The Royal Ballet an entire new world to create, and also gives a great chance to see the whole Company on stage in new guises. The music – the first new, full-length ballet score for The Royal Ballet for 20 years – is by Joby Talbot and will be conducted by Barry Wordsworth, Music Director of The Royal Ballet. With a scenario by Nicholas Wright (his adaptations have included His Dark Materials at the NT), and designs by the internationally acclaimed Bob Crowley, this is a compelling creative team indeed. In the words of The Times, the Royal Ballet’s interpretation of Alice’s Adventures in Wonderland is “a spectacular family entertainment brought to life with enormous theatrical verve”. Barry Wordsworth, Orchestra of The Royal Opera House, The Royal Ballet, Lauren Cuthbertson (Alice), Sergei Polunin (Jack/Knave of Hearts), Edward Watson (Lewis Caroll/White Rabbit), Zenaida Yanowsky (Mother/Queen of Hearts), Chrisopher Saunders (Father/King of Hearts), Steven McRae (Magician/Mad Hatter), Eric Underwood (Rajah/Caterpillar), Simon Russell Beale (Duchess), Ricardo Cervera (Vicar/March Hare)

20:04  Bruch - Violin Concerto

Max Bruch’s first violin concerto in G minor is one of the most popular violin concertos. Bruch started composing this piece in 1857 and on April 24th 1866 it was first performed, with Otto von Köningslow on violin and Bruch himself conducting. It was Bruch’s first piece for large orchestra and he found it quite a challenge: unsatisfied with the result, he took the piece from the stand. Only after substantial revisions, with the help of violinist Joseph Joachim among others, a second version was premiered in 1868. This version is played to this day. Sir Simon Rattle, Berliner Philharmoniker, Vadim Repin (violin)

20:30  Europa Concert 2002 - Palermo

The town of Palermo was lit up, and Claudio Abbado revealed his strong Sicilian roots to all his followers. Viewers of this concert, broadcast across all of Europe, were inspired to see the maestro so relaxed, gesticulating so emphatically. After the intermission, music lovers heard an interpretation of Dvorak's Ninth Symphony that couldn't have been lovelier. The Berliners were elegantissimo, playing magnificent solos, mastering the ensemble passages with supreme ease. And when under Abbado's baton Verdi's "Sicilian Vesper" was made to glow in all the colors of southern climes, the audience knew no restraint: there were standing ovations and a never-ending cascade of flowers raining down on the beaming maestro and his musicians. The repertoire includes: Ludwig van Beethoven (Egmont-Ouverture), Johannes Brahms (Violin Concerto op. 77) played by Gil Shaham, Antonin Dvorák (Symphony No. 9) and Giuseppe Verdi (I Vespri Siciliani, Ouverture). Claudio Abbado, Berliner Philharmoniker, Gil Shaham (violin)

22:22  Verbier Festival 2008 - Schumann and Brahms

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. For its 15th anniversary in 2008 the Verbier Festival has once again brought together the most prestigious artists in classical music such Menahem Pressler, Sakvatore Accardo, Antoine Tamestit and Gautier Capuçon. They will perform the andante from Johannes Brahms’ Piano Quartet No. 3 and Schumann’s Piano Quartet Op. 47. Menahem Pressler, Sakvatore Accardo, Antoine Tamestit, Gautier Capuçon

23:05  Beethoven - Leonore Overture No. 3

Ludwig van Beethoven composed no less than four different overtures for his only opera Fidelio. This unusual course of events can be attributed to the long history of origin of the opera, which Beethoven had originally named Leonore. At the time of the first performance in 1805 Beethoven had already composed two Leonore overtures, the first of which was quickly discarded. In the second attempt, Beethoven incorporated many musical themes that echo throughout the opera. But Beethoven was not satisfied with this opera either and he wrote a third version, that like the second contained musical elements from the rest of the opera. The final overture did not come into being until 1814 and is much more of a dashing entrance to the piece than the previous three Leonores, something Beethoven thought suited his opera much better. Daniel Barenboim, West-Eastern Divan Orchestra

23:18  Chabrier - España

In 1882, Emmanuel Chabrier and his wife took a large trip through Spain and, as composers do, was inspired to write a piece infused with the rhythms of the country he had travelled through. Chabrier started his rhapsody for orchestra ‘España’ and was over the moon about his own composition. In a letter to a friend he wrote "my rhythms, my tunes will arouse the whole orchestra to a feverish pitch of excitement; and you too will feel obliged to hold [your assistant] in your arms, so voluptuous will be my melodies." Up to that moment, the composer had owed most of his fame to a few rather unsuccesful operettas, but this changed completely after the premiere of ‘España’, which made Chabrier into a celebrity. Sir Simon Rattle, Berliner Philharmoniker

23:24  Enescu - Romanian Rhapsody No. 1

Because of the great success of George Enescu's first Romanian Rhapsody the rest of his body of work often remains forgotten. Without failing his other pieces; this rhapsody is indeed a magnificent composition: Enescu managed to incorporate the Romanian gypsy music in a masterly way. Sir Simon Rattle, Berliner Philharmoniker

23:37  Revueltas - La noche de los Mayas

Gustavo Dudamel, one of the youngest conductor around, performs Revueltas' La noche de los Mayas with the Simon Bolivar Youth Orchestra. Gustavo Dudamel, Simon Bolivar Youth Orchestra

23:47  Dukas - The Sorcerer's Apprentice

Paul Dukas just could not find his breakthrough. Early 1897 his Symphony in C major saw its premiere, but it found a cool reception. Before that, he had had an average time at the Paris Conservatory and had served his military service for a year. But French composers Vincent d’Indy and Camille Saint-Saëns recognised Dukas’ potential and tried to help him on his way, even though he was still an unknown at the time. However, the premiere of his symphonic poem The Sorcerer’s Apprentice (L’apprenti sorcier’) changed all that completely: the composition quickly became one of the most beloved orchestral pieces in the repertoire and Dukas became a star overnight. The story of the student who escapes his master’s watchful eye and gets himself into an awful lot of trouble was taken from Johann Wolfgang von Goethe’s ballad of the same name. Kurt Masur, Gewandhausorchester Leipzig

0:00  Europe concert 2004 Athens

The Europa Konzert 2004 takes place in Athens. At the ancient Herodes Atticus Theatre the Berliner Philharmoniker will be heard in a highly interesting combination: Sir Simon Rattle and Daniel Barenboim perform works by Johannes Brahms - Piano Concerto No. 1 and Schoenberg's arrangement of Brahms' Piano Quartet No 1. The Athens concert marked a double première: the first Europa Konzert under the direction of the new chief conductor and the first occasion on which Rattle and Barenboim appeared together. The Herodes Atticus Theatre, built in about 161 as an amphitheatre, is situated at the foot of the Acropolis. Seating at least 5,000 spectators, it was reckoned to be the finest theatre in Greece. Sir Simon Rattle, Berliner Philharmoniker, Daniel Barenboim (piano)

1:41  Brahms - Symphony No. 4

When music critic Eduard Hanslick first heard Johannes Brahms’ Fourth Symphony he was not particularly enthusiastic. ,,During the whole first movement I felt as if I were being beaten soundly by two terribly clever people.” This negative judgement may have had to do with the fact Hanslick heard a version for two pianos at his private premiere, instead of the normal orchestral one. The audience, luckily, was more impressed with this latest Brahms symphony. The cheerful third movement was especially popular, to the extent that audiences often demanded it be played again. But the most special part is probably the finale, as Brahms used a piece by another great composer as a base: the cantata ‘Nach dir, Herr, verlanget mich’ (BWV 150) by Johann Sebastian Bach. Sir Simon Rattle, Berliner Philharmoniker

2:28  Turina - Las pocas por amor

In his younger years, Spanish Alfredo Kraus did not think for a second that he was going to make his living as a singer. Only after being urged incessantly by his friends did his start taking singing seriously, a decision that fared him well to say the least. In part because he has always been fairly picky in his choice of roles (he would never sing anything too heavy for his voice) and because he does not get into stressful touring schedules, this tenor has enjoyed one of the longest lasting careers in recent history. In this broadcast he sings Turina's 'Las pocas por amor'. Alfredo Kraus (tenor), Edelmiro Arnaltes (piano)

2:29  Mussorgsky - Khovanshchina

Mussorgsky's loveless and brutal drama of the transformation of Russian society, which led to the rule of Peter the Great within the epic history of Russia, is powerfully modernised through Stein Winge's dramatic and uncompromising production. Performing the version completed by Shostakovich, the outstanding Russian-dominated cast and the orchestra and chorus of the Liceu are led by Michael Boder. Michael Boder, Symphony Orchestra and Chorus of the Gran Teatre del Liceu, Ivan Khovansky: Vladimir Ognovenko Andrei Khovansky: Vladimir Galouzine Vasily Golitsyn: Robert Brubaker Shaklovity: Nikolai Putilin Dosifei: Vladimir Vaneev Marfa: Elena Zaremba

5:31  Mozart - Piano Quartet No. 2 part 2

Viennese publisher Hoffmeister made a deal with Wolfgang Amadeus Mozart in 1785: three piano quartets by Mozart would be published. Mozart kept to his part of the deal and delivered his first Piano Quartet KV 478. It was a beautiful piece, but incredibly difficult and because of that barely suitable for the amateur audience Hoffmeister intended to reach. The publisher cancelled the assigment. Why Mozart, who hardly ever composed anything without a goal or assigment, still composed this piece remains somewhat unclear. But as was the case with his first piano quartet, Mozart wrote a piece that is too much for the average amateur musician, and it is therefore quite possible that he used it in one of his own performances. In this broadcast: the second movement. Nicolas Angelich, Hennig Kraggerud, Yuri Bashmet, Miklos Pereny

5:40  Barber - Adagio for Strings

This world famous ‘Adagio’ by Samuel Barber is now mostly known in its orchestral version, but originally the ‘Adagio’ is the slow section of his First String Quartet. Because of its emotional impact, the composition is often connected to mourning – it was played at the funerals of both Roosevelt and J.F. Kennedy. This version for orchestra was first performed in 1938 and became a world wide success. The ‘Adagio’ was for instance one of few American pieces that were being played in Russia during the Cold War. Sir Simon Rattle, Berliner Philharmoniker

5:50  Tchaikovsky - Symphony No. 4 part 4

The dark brass signals at the beginning of Tchaikovsky’s Fourth Symphony are very clear: whoever composed this has seen the horrors of fate. A year before he completed this work the composer married Antonina Milyukova, one of his students. The marriage however was not a happy one: Tchaikovsky left his wife and tried to commit suicide. He continued to work on this symphony and when he gained the support of the rich Mme. Nadezhda von Meck he was able to complete the work rapidly. Although the horrors of fate are very clear in the beginning of the work, the symphony ends with an explosion of joy: a sign that the 38 year old Tchaikovsky was full of hope. During this broadcast: the final movement. Jos van Immerseel, Anima Eterna

6:00  Humperdinck - Hänsel und Gretel

The composer of Hansel and Gretel, Engelbert Humperdinck, wrote was born in Germany in 1854. In the 1890s, his sister, Adelheid Wette, had written a libretto based on the Grimm fairy tale, and asked her brother to set it to music as a Christmas entertainment for her children. Later, Engelbert and Adelheid decided to turn this modest home project into a full-scale opera. Hansel and Gretel, premiered on December 23, 1893 at Weimar, was an instant hit and remains an everlasting masterpiece. The composer Richard Strauss, who was the assistant conductor for the premiere, called it "a masterwork of the first rank." Michael Hofstetter, Sächsische Staatskapelle Dresden, Iris Vermillon, Irmgard Vilsmaier, Antigone Papoulkas, Hans-Joachim Ketelsen

7:48  Bartók - Concerto for Orchestra

In 1943, after his health had deteriorated over a very short period of time, Béla Bartók was diagnosed with leukaemia. Almost three years earlier he had escaped World War II and left Europe for the United States, but there he felt isolated artistically and had financial problems on top of that. Recognition he only received for his piano playing, but due to his bad health he could not perform anymore after January 1943. The Hungarian composer was emotionally and physically bankrupt. He was in hospital when Serge Koussevitzky, conductor of the Boston Symphony Orchestra, came to ask him to compose a large orchestral piece. Bartók did not know the assignment was financed by his fellow emigrants and good friends violinist Joseph Szigeti and conductor Fritz Reiner. The assignment, to Bartók, came at a crucial stage in his life: he recovered his energy and managed to finish his Concerto for Orchestra within seven weeks. The premiere on December 1st 1944 in Boston was a great success and Bartók’s music now finally received recognition in the United States as well. New requests for compositions were made, but Bartók’s health once again failed him: he died in September 1945. Pierre Boulez, Berliner Philharmoniker

8:27  Waldbühne 2006 - 1001 Nights

The Waldbühne in Berlin, one of the most appealing outdoor amphitheatres on the European continent, is the home of the Berliner Philharmoniker’s summer concerts. With over 22.000 in attendance, they are some of the most popular classical music concerts in the world. This year the outstanding orchestra under the baton of Neeme Järvi take us on a trip to Arabian “Thousand and One Nights”, with soloist Janine Jansen, a rising star who quickly gained the reputation of one of the foremost young violinists on the international concert stages. Programme: Nikolai Rimsky-Korsakov: Scheherazade, Symphonic Suite, op. 35 (excerpts) Edvard Grieg: „Peer Gynt” - Suite No.1, op. 46 (excerpts) Carl Nielsen: Aladdin Suite for Orchestra op. 34 (excerpts) Camille Saint-Saëns: Introduction und Rondo capriccioso Jules Massenet: „Meditation” from 'Thais' for Violin and Orchestra Neeme Järvi, Berliner Philharmoniker, Janine Jansen (violin)

10:19  Verbier Festival 2009 - Chamber music

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. During this concert you can enjoy a divers range of musical celebrities. Valeriy Sokolov (violin) and David Fray (piano) will perform the seventh violin sonata by Ludwig van Beethoven. Joshua Bell (vilon) teams up with Mischa Maiksy (cello) and Evgeny Kissin (piano) to perform Mendelssohn’s Trio Nr. 1 Op. 49. The concert is closed by Dutch violin player Janine Jansen, Lars-Anders Tomter (viola), Torleif Thedéen (cello) and Nelson Goerner (piano) who will perform the Quartet Nr. 1 Op. 15 by Gabriel Fauré . Valeriy Sokolov (violin), David Fray (piano), Joshua Bell (violin), Mischa Maisky (cello), Evgeny Kissin (piano), Janine Jansen (vioinl), Lars-Anders Tomter (viola), Thorleif Thedéen (cello), Nelson Goerner (piano)

11:49  Tchaikovsky - Three pieces from 'The Nutcracker

Pyotr Ilyich Tchaikovsky’s ballet ‘The Nutcracker’ is traditionally associated with Christmas but suits all seasons. The story of the nutcracker under the Christmas tree that transforms into a fairy prince has enchanted ballet visitors from the day of its premiere in 1892 until the present day. This broadcast sees the Berliner Philharmoniker conducted by Sir Simon Rattle performing three beautiful sections from the ballet. Sir Simon Rattle, Berliner Philharmoniker

12:00  Bachfest Leipzig 2004

Since 1999, the Leipzig Bach Festival represents the worlds major festival according to J.S. Bach. This concert is one of the highlights of the Leipzig Bach Festival 2004. With the soloist, who are all experts in Baroque vocal music, the chamber choir Ex Tempore, also specialized in music of the 17th and 18th century, and La Petite Bande, an outstanding orchestra for early music, Sigiswald Kuijken has high professional musicians to perform two of the most remarkable vocal works by J.S. Bach and his most famous son: The two-part cantata "Ascension Oratorio" has its origin in an elder secular work and includes some arias which occur again in the b Minor mess. The thematically related oratorio by C.P.E. Bach, originated 40 years later, is an important masterpiece of the genre and tells with multifaceted musical colours the story of the Ascension of the Christ. Sigiswald Kuijken, La Petite Bande, Ex Tempore choir, Sophie Karthäuser, soprano Patrizia Hardt, alto Christoph Einhorn, tenor Christoph Genz, tenor Jan van Der Crabben bass-baritone Stephan Genz

13:49  Schoenberg - Pelléas et Mélisande

Originally, Arnold Schoenberg intended to turn his ‘Pelléas und Melisande’ into an opera, but quite early on he decided it was to be a purely instrumental piece; the composer thought the piece would turn out better when unrestricted by lyrics. The composition’s subject came from a hint Richard Strauss gave Schoenberg, pointing to the play by Maurice Maeterlinck of the same name. It takes a large orchestra to perform this composition, but it is full of details nonetheless. The main characters in the story for instance (Pelléas, Melissande and Golaud) all have their own theme. Claudio Abbado, Gustav Mahler Jugend Orchester

14:29  Meyerbeer - Les Patineurs

Les Patineurs (The Skaters) cleverly translates skating into ballet, allowing a series of virtuoso displays linked in a complex sequence of meetings and partings as different characters take to the the ice rink. There is no plot, but there are anecdotal relationships: a group of friends enjoy themselves, a girl and boy are in love, a virtuoso skater shows off his skill. Les Patineurs was immediately popular when first performed in London in 1937, as Britain stood on the brink of World War II. Its joyful evocation of the blithe innocence of Edwardian England was a powerful antidote to the anxious times. Indeed, three years after it opened the entire original production had to be abandoned in Holland when The Royal Ballet was on tour and made a narrow escape from the invading Nazis in May 1940. The original scenery, costumes, and musical scores were all abandoned as the company fled. Paul Murphy, Royal Ballet Sinfonia, The Royal Ballet, Calros Acosta, Leane Benjamin, Darcy Bussell, Jonathan Cope, Steven McRae, Ivan Purtov, Tamara Rojo, Miyako Yoshida

15:00  Prokofjev - Peter and the Wolf

Family fun, beautiful dance and generous helpings of colour, wit and charm. Matthew Hart’s wonderfully inventive version of Peter and the Wolf, choreographed for The Royal Ballet School, has an energy all its own as it portrays the scenes of young Peter and his naively valiant attempts at hunting. Peter’s Grandfather, a cat, a duck – even the forest trees and greenery – act out the events that leave Peter triumphant and the wolf his captive. Robert Gibbs, Royal Ballet Sinfonia, Sergei Polunin (The Wolf), Will Kemp (Grandfather), Kilian Smith (Peter), Charlotte Edmonds (Duck), Laurine Muccioli (Bird), Chisato Katsura (Cat)

15:32  Bach - Goldberg Variations

Should it be true that J.S. Bach actually composed the Goldberg Variations as a sleeping aid for Graf Keyserlingk, then Evgeni Koroliov, born 1949 in Moscow, must have succumbed to a misapprehension. The further he proceeds in the series of variations of this colossal opus, the more wide-eyed the audience turned out to be. Koroliov’s performances of Bach’s music usually arouse great excitement and his rendering of Bach’s famous Aria and 30 variations is no exception. The breathtaking intensity develops out of his natural virtuosity. Koroliov is a consummate artist and he convinces his listeners through an enormous spiritual understanding of the works he performs and in whose service he puts the wide range of his artistic and interpretatory abilities. In a cooperation with the Bachfest Leipzig, EuroArts has produced a recording of an exciting recital with this extraordinary phenomenon on the international piano scene – the best way to experience a famous yet demanding and certainly immensely important work by Bach. Evgeni Koroliov

17:00  Borodin - Symphony No. 2 part 3 and 4

Most people will know Russian composer Alexander Borodin of the ‘Polovtsian Dances’ from his opera ‘Prince Igor’. Borodin did not produce a vast body of work , but it is hard to imagine otherwise when you take in mind that he was actually a chemist by profession who composed music ‘on the side’. Not surprisingly then, it took him quite a while to finish his Second Symphony. The composer drew up an outline as early as 1869, but it was not until 1877 that the piece saw its first performance. It did not get very favourable reviews, causing Borodin to make revisions. And successfully, as this second one became the most popular out of his three symphonies. During this broadcast, the third and fourth movement. Sir Simon Rattle, Berliner Philharmoniker

17:15  Wagner - Vorspiel und Liebestod from Tristan und Isolde

Richard Wagner was right in the middle of composing ‘Siegfried’, the third part of his cycle ‘Der Ring des Nibelungen’, when he decided to write a piece of a smaller scale that had a better chance of being performed. In 1856 he put down the first notes of what would become ‘Tristan und Isolde’ and by 1857 the writing was done. In total, the opera takes almost four hours on average, and it is filled to the brim with beautiful music, but the ‘Prelude and Liebestod’ is perhaps the most beautiful and touching part from this opera. Daniel Barenboim, West-Eastern Divan Orchestra

17:32  Beethoven - Symphony No. 9 part 3

May 7, 1824 must have been one of the most important days in Ludwig van Beethoven’s life. A massive audience had gathered at the Hoftheater for a performance of his Missa Solemnis, and the first performance of his Ninth Symphony on top of that. This monumental symphony has its origins in two different pieces: one with a choir and one without. Some ten years before the premiere, Beethoven decided to unite the two compositions and combine them with Friedrich von Schiller’s poem ‘Ode an die Freude’ (Ode to Joy). The result is a colossal piece, a monument that left a lasting impression on music history. The premiere in 1824 was a triumph. Beethoven himself had become so deaf by that point that he, standing with his back to the audience, could not hear the audience’s cheers. One of the soloists had to turn him around so he could see the hundreds of applauding hands! In this broadcast: the third movement. Daniel Barenboim, West-Eastern Divan Orchestra

17:50  Beethoven - Pianoconcerto No. 1 part 3

In time for his 65th birthday in November 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the prestigious Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Daniel Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist. Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven’s overall output. Daniel Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor’s podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. With a tradition reaching back to 1570, the Staatskapelle Berlin is one of the oldest orchestras in the world. Barenboim plays Beethoven brings together two musical masterminds. In this broadcast: the third part. Daniel Barenboim, Staatskapelle Berlin

18:00  Schumann in Leipzig

An all-Schumann programme as highlight of the Schumann Year 2006. Martha Argerich has long been hailed as one of the greatest and most uniquely imaginative pianists. This legendary Argentinean musician is surrounded by an aura of mystery: some find her too uncompromising, others generous and beautiful, yet to all she is without doubt incredibly talented! When Argerich and Chailly performed the Schumann Piano Concerto it created a musical sensation! Riccardo Chailly, Gewandhausorchester Leipzig, Martha Argerich (piano)

19:33  Don Quichot

Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off their technical prowess. But at the same time, the comic story based on Cervantes’ masterpiece makes strong demands on the dancers’ acting abilities. The leading Russian choreographer Alexei Ratmansky has drawn inspiration for his production from the libretto of the first version of Don Quichot by Marius Petipa, created in 1869. The former artistic director of the Bolshoi Ballet and Artist in Residence of the American Ballet Theatre now has also added his own new elements and choreography to the ballet. The modern designs for the ballet, by the renowned French designer Jérôme Kaplan, refer to the times of Cervantes. Kevin Rhodes, Holland Symfonia, Het Nationaal Ballet, Anna Tsygankova (Kitri), Matthew Golding (Basilio), Peter de Jong (Don Quichot), Karel de Rooij (Sancho Panza), Dario Mealli (Gamache), Altin Kafitra (Lorenzo), Natalia Hoffman (Mercedes), Moises Martin Cintas (Espada), Maiko Tsutsumi (Piccilia), Nadia Yanowsky (Juanita), Maia Makhateli (Cupid), Sasha Mukhamedov (Queen of the Dryads)

21:42  Berezovsky - Change of Plans

We live in the “renaissance of the piano”, as the New York Times put it in summer. A new generation has made the piano popular again: pianists with a passion for virtuosity and a willingness to expand their repertoire. In addition to the usual classics they perform formerly scorned works or they discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their individual approaches, their fresh ideas and their music. During this episode, the spotlights are on the Russian pianist Boris Berezovsky.

22:14  Legato - World of the Piano - Berezovsky

We live in the “renaissance of the piano”, as the New York Times put it in summer. A new generation has made the piano popular again: pianists with a passion for virtuosity and a willingness to expand their repertoire. In addition to the usual classics they perform formerly scorned works or they discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their individual approaches, their fresh ideas and their music. During this episode, the spotlights are on the Russian pianist Boris Berezovsky. He performs works by Medtner (Fairy Tales), Llywelyn (Mutata Consilia), Beethoven (Diabelli Variations), Godowsky (Alt Wien) en Liadov (Three Preludes). Boris Berezovsky (piano)

23:57  Copland - I bought me a cat

Aaron Copland’s interest in folk traditions clearly shows in this collection of ‘Old American Songs’. The themes dealt with in these songs (political, religious but also everyday matters) offer a broad view of what ‘America’ means, but presented in a style that is typically Copland. He wrote two sets of American Songs, one in 1950 and one in 1952, all intended for baritone and piano. The performance in this broadcast is of ‘I bought me a cat’ taken from the first set, in a version for baritone and orchestra.

0:00  Europa Concert 2009 - Napoli

In 2009 the annual Europa Konzert took place in Naples, Riccardo Muti’s hometown. The charismatic conductor together with Violeta Urmana, one of the leading sopranos in the Italian dramatic genre, and the Berliner Philharmoniker present the overture of Verdi’s magnificent opera “La Forza del Destino” and “La canzone dei ricordi” by Giuseppe Martucci, who died in Naples. Schubert’s “Great Symphony” completes this fantastic concert at the formidable Teatro San Carlo. Riccardo Muti, Berliner Philharmoniker, Violeta Urmana

1:36  Beethoven - Symphony No. 3 'Eroica'

,,Heroic symphony, composed to celebrate the memory of a great man”. This is the headline to the original score of Ludwig van Beethoven’s third symphony. Originally, this symphony was intended as an ode to Napoleon Bonaparte, but when the latter declared himself emperor of France in 1804, Beethoven, in the midst of composing, threw a fit of rage and scratched out Napoleon’s name, replacing the original dedication by the sentence mentioned above. Nonetheless, this symphony became a landmark in the history of Western music. Daniel Barenboim, Berliner Philharmoniker

2:27  Dupont - Mandoline

French countertenor Philippe Jaroussky attained his succesful singing career by a roundabout way; he started playing violin at eleven and learned to play the piano at fifteen. Only when he was eighteen and met singing teacher Nicole Fallien did he decide to focus exclusively on singing. By now he has become one of the most famous classical vocalists in the world, praised by many for the purity of his voice and his fresh stage presence, with which he undoubtedly improved the public image of old music. In this broadcast he sings Dupont’s ‘Mandoline’. Philippe Jaroussky (countertenor), Jérôme Ducros (piano)

2:29  Mozart - Die Zauberflöte

The internationally renowned Mozart interpreter Sir Colin Davis conducts the chorus and orchestra of the Royal Opera House and a glittering cast in David McVicar’s 2003 production of Mozart’s last opera recorded live at Covent Garden. Sir Colin Davis, The Royal Opera Chorus The Orchestra of the Royal Opera House, Tamino: Will Hartmann Pamina: Dorothea Röschmann Queen of Night: Diana Damrau Sarastro: Franz-Josef Selig Papageno: Simon Keenlyside Papagena: Ailish Tynan Monostatos: Adrian Thompson

5:14  Beethoven - Sonata No. 21 'Waldstein'

The music of Ludwig van Beethoven´s Sonata No. 21 ´Waldstein´ (1803) was inspired by the composer’s acquisition of a new instrument, an Erard fortepiano. At the time, Beethoven was already some two years cognizant of his hearing problems, but his ears were still in good enough condition to register the clear tones of his new pianoforte. Dedicated to Beethoven’s friend and benefactor Count Ferdinand von Waldstein, this piece is widely acknowledged as one of his best piano sonatas, as well as being one of the most technically demanding. Owing to the resounding opening chords of the third movement, it is sometimes also called ‘Aurora’ or simply ‘The Dawn’. Nelson Freire

5:38  Brahms - Concerto for Violin and Cello, part 1

When Johannes Brahms and famous violinist Joseph Joachim first met, Brahms had just turned 20. It was Joachim who introduced the young composer to Robert Schumann and, thus, indirectly caused his breakthrough. For 30 years the two musicians shared an intimate friendship, and Brahms wrote his violin concerto for Joachim. Things, however, took a turn for the worse when the violinist wanted to divorce his wife Amalie. He suspected her of having an affair with his publisher, but Brahms did not believe that was the case and sent Amalie his opinion in a letter. Later on, Amalie presented this letter to the court that was handling the case of her divorce, upon which the judge put her in the right: Joachim was not amused and broke all bonds with Brahms even though he still kept on playing his music. Six years later Brahms wrote his Concerto for Violin, Cello and Orchestra in A minor (the Double Concerto) as a peace offering. It worked: on the 18th of October 1887 it had its premiere with Brahms conducting, Joseph Joachim on violin and Robert Hausmann on cello. In this broadcast: the first movement. Sir Simon Rattle, Berliner Philharmoniker, Lisa Batiashvili (violin), Truls Mørk (cello)

6:00  Mozart - Le nozze di Figaro

The essential task viewers of Mozart’s ‘Le Nozze di Figaro’ have is to keep track of who is into who exactly. Susanna and Figaro love each other and want to get married, but that is not the end of it. The Count has also set his sights on Susanna, while his page Cherubino quite likes the Countess. The Countess, however, wants to put new life into her marriage with the Count and Figaro also has more than one admirer: housekeeper Marcellina demands that Figaro marry her if he cannot pay off his debts soon enough. Amidst all the intrigue and the complex relationships there is Figaro and Susanna’s indestructible love. Recorded at the Amsterdam Music Theatre in 2006 with the Netherlands Chamber Orchestra led by Ingo Metzmacher. Ingo Metzmacher, Netherlands Chamber Orchestra, Chorus of De Nederlandse Opera, Il Conte di Almaviva: Garry Magee, La Contessa di Almaviva: Cellia Costea, Susanna: Danielle de Niese, Figaro: Luca Pisaroni, Cherubino: Maite Beaumont, Marcellina: Charlotte Margiono, Bartolo: Mario Luperi

9:18  Celebracion - LA Phil opening gala 2010

The Los Angeles Philharmonic Orchestra started its season with a great Gala Concert conducted by music director Gustavo Dudamel. As special guest: star tenor Juan Diego Flórez. The programme includes popular arias by Rossini as well as famous songs by Latin-American composers. Programme: Rossini, Overture to ‘La gazza ladra’, Overture to ‘Semiramide’, ‘La Speranza piu soave’ from Semiramide, Overture to Guillaume Tell, ‘Asil ereditaire’ from Guillaume Tell; Granada (arr. Florez),’ La flor de la canela’; Mancayo,’ Huapango’; Grever (arr. Guinovart), ‘Jurame’; Gutierrez (arr. Pena), ‘Alma Ilanera’; Marquez, Danzon No. 2; Encores: Verdi, ‘La donna e mobile’ from Rigoletto; Gounod: ‘Ah, leve toi soleil’ from Romeo and Juliette. Gustavo Dudamel, Los Angeles Philharmonic Orchestra, Juan Diego Flórez (tenor)

10:46  Verbier Festival 2007 - Bartók and Schumann

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. In 2007 there was a beautiful concert with masters like Renaud Capuçon (vioinl), Hélène Grimaud (piano) playing Schumanns Sonata for violin and piano and Bartóks Sonata for violin and piano. Helene Grimaud (piano), Renaud Capucon (violin)

11:37  Mozart - Sinfonia Concertante part 2

In between his many performances in 1779, Wolfgang Amadeus Mozart still managed to find the time to compose a Sinfonia concertante for violin, viola and orchestra. On a tour through major European cities, among them Paris and Mannheim, the composer encountered many exciting new musical ideas and techniques. In Paris, the genre of the Sinfonia concertante (a blend of a solo concerto and a symphony)was at the time highly popular. Inspired by his time in Paris, Mozart decided to try his hand at this new genre, in which he was to compose four pieces. Unfortunately, this work for violin, viola and orchestra is the only one that has survived in its entirety. This program broadcasts its second part. Riccardo Muti, Wiener Philharmoniker, Gidon Kremer (violin), Yuri Bashmet (viola)

11:49  Ravel - Tzigane

Maurice Ravel was so impressed with a private performance of Hungarian violinist Jelly d’Aranyi in the early 1920s that he wanted to compose something especially for her. Due to lack of time it took a while before he actually got round to this composition, but on the 22nd of April 1924 the piece was finished and some days later the Hungarian violinist played it for the first time at a show in London. Later that same year Ravel adapted the piece for orchestra and violin and he also allowed the piano to be replaced by a luthéal (a kind of prepared piano on which it is possible to make changes in timbre). Joshua Bell

12:00  Venezuelan Brass Ensemble - Gran Fanfare

The Venezuelan Brass Ensemble – a highly-acclaimed group with nearly 50 brass and percussion players drawn from the extraordinary Simón Bolivar Youth Orchestra of Venezuela. The repertoire of the Venezuelan Brass Ensemble is a regular firework display of ambitious pieces for massed brass - impressively varied and testifies to the high standard of this young ensemble. The Ensemble is both a miracle and an inspiration to all. With their blend of classical and South American repertoire these some 50 young brass and percussion players not only have audiences on their feet but with a scintillating display of brass music demonstrate a virtuosity and a passion that is nothing short of awesome. Thomas Clamor, Venezuelan Brass Ensemble

13:24  Mahler - Symphony No. 1

Jean Paul’s novel ‘Titan’, in which an artistically gifted young man, driven by his failure to find his way in society, eventually commits suicide in despair, inspired Gustav Mahler to compose his Symphony No. 1. The work did not come easily to Mahler: he composed it between 1887 and 1888 when he, in his twenties, was working as a conductor at the Oper Leipzig. The first version of the work was considered as a symphonic poem in two parts, as its titles told a specific musical story. This original version premiered in Budapest in 1898, but it did not go down well. Mahler decided to revise his work: he left out the expressionist titles and cut the second part (Blumine). This results in a wonderful symphony, full of musical references. The opening part quotes one of Mahler's earlier compositions (Ging heut' morgens übers Feld from Lieder eines Fahrenden Gesellen), the second movement is an Austrian ländler (a folk dance), and the third part refers to a very well-known melody: ‘Brother John'. All in all, this Symphony No. 1 marks an incredible achievement for a composer this young. Fabio Luisi, Sächsische Staatskapelle Dresden

14:22  Liszt - Jeux d'eau a la Villa d'Este

Nikolai Lugansky performs “Jeux d'eau a la Villa d'Este” (The Fountain of the Villa d’Este) by Franz Liszt. It is one of the most virtuosic piano pieces Liszt ever wrote. The music is a true tone poem, illustrating the sparkling, jumping and dancing water of the fountain. Nikolai Lugansky (piano)

14:30  Tchaikovsky - Swan Lake

Swan Lake is one of the most loved of all classical ballets and one of the most popular in the Royal Ballet repertory. It has that magical combination of Tchaikovsky’s music, a compelling story of tragic romance and choreography that allows the very best dancers to show just how impressive they can be. Anthony Dowell’s romantic production is inspired by Imperial Russia of 1895, when the ballet was first performed. Against this atmospheric setting, Marius Petipa and Lev Ivanov’s choreography provides an opportunity to see great dance partnerships in the leading roles and the whole Company in the dance ensembles. Illuminated by moonlight, the charged solos for the Prince and Odette and her alter-ego Odile, the machinations of Von Rothbart and the colour of a palace ball all combine with glorious music to make for an evening of inspiration and romance. Valeriy Ovsyanikov, Orchestra of The Royal Opera House, Marianela Nuñez, Thiago Soares, Christopher Saudners

16:39  Thomas Quasthoff at the Verbier Festival

For its 14th edition, the Verbier Festival has once again brought together the most prestigious artists in classical music. During this concert you can enjoy baritone Thomas Quasthoff and Hélène Grimaud performing Schumann’s Dichterliebe, Op.48 and Brahms’ Lieder und Gesänge, Op.32. Thomas Quasthoff bass-baritone) Hélène Grimaud (piano)

17:39  Mahler - Symphony no. 4 part 2

His earlier composition, ‘Das himmlische Leben’ from Des Knaben Wunderhorn, in which heaven is presented in a child-like manner, served as model for Gustav Mahler's complete Symphony No. 4. The first three parts refer frequently to 'Das himmlishe Leben', and it is eventually sung in its entirety by a soprano in the last part. Its sober instrumentation and its short length (approximately 60 minutes) make this possibly Mahler’s most accessible symphonies. Performed by the Gustav Mahler Jugendorchester under direction of Claudio Abbado, featuring Juliane Banse as soprano. This beautiful symphony is preceded by Schoenberg’s Pelleas et Melisande. During this broadcast: the second movement. Claudio Abbado, Gustav Mahler Jugend Orchester

17:49  Mozart - Piano Concerto No. 25 part 3

Mitsuko Uchida is the star in the Mozart piano concerto No. 25, performed with the Wiener Philharmoniker and Riccardo Muti. Riccardo Muti, Wiener Philharmoniker, Mitsuko Uchida (piano)

18:00  The West-Eastern Divan Orchestra in Berlin

In light of the conflicts in the Middle-East, this orchestra is almost a miracle: the highly acclaimed West-Eastern Divan Orchestra is made up of young musicians from countries that are at war. The orchestra with youngsters from Israel, Palestine, Syria, Egypt, Lebanon, Jordan and Spain was formed in Weimar in 1999. Since then there have been concerts in Berlin, Seville and Rabat among others, and in the summer of 2005 even in Ramallah – a hotspot in the Middle-Eastern conflict. A highlight of the tour of summer 2006 was the performance of Beethoven’s 9th Symphony, conducted by Daniel Barenboim and featuring star singers such as Angelika Denoke and Burkhardt Fritz as well as Waltraud Meier and René Pape. The proceeds from these benefit concerts go to the Fundación Barenboim-Said and their music education programmes in the Palestinian territories. Daniel Barenboim, West-Eastern Divan Orchestra, Angelika Denoke, Waltraud Meier, Burkhardt Fritz, René Pape

19:58  Beethoven - Symphony No. 5

‘Ta-ta-ta-taa’. It is quite possibly the most famous opening sequence, to one of the most famous symphonies ever written. It has become impossible to think of concert halls today without Beethoven’s ‘Fifth’, but for a symphony this popular it had a rather disastrous opening night. December 22nd 1808 the piece was premiered, alongside the Sixth Symphony, the Fantasy in C minor for Piano, Chorus, and Orchestra, and also the Fourth Piano Concerto and parts of the Mass in C. A concert marathon, in fact, and truly exhausting for the underpaid musicians. Vienna at that time was experiencing a gruesomely cold winter, meaning even the audience had a hard time in the unheated concert hall. Beethoven’s biographer Anton Schindler noted: “the reception accorded to these works was not as desired, and probably no better than the author himself had expected. The public was not endowed with the necessary degree of comprehension for such extraordinary music, and the performance left a great deal to be desired.” Jan Willem de Vriend, The Netherlands Symphony Orchestra

20:28  Birtwistle - The Minotaur

This world premiere of a gripping new work by composer Harrison Birtwistle and librettist David Harsent, commissioned by The Royal Opera, brings the monstrous, Greek mythological character to the stage. The Minotaur, part man, part beast, trapped in his labyrinth and constrained by his bloodthirsty role there, longs to discover his true identity and his own voice. Athens must pay a blood sacrifice to Crete and among the innocents is Theseus, who has come to challenge the violent Minotaur, but who also attracts the attention of Ariadne, half-sister and keeper of the monster it is with her help he succeeds. Antonio Pappano, The Royal Opera Chorus, The Orchestra of the Royal Opera House, The Minotaur: John Tomlinson, Theseus: Johan Reuter, Ariadne: Christine Rice, Snake Priestess: Andrew Watts, Hiereus: Philip Langridge, Ker: Amanda Echalaz

22:52  Beethoven - Sonate Nr. 7 Op. 30 No. 2 voor Violin and Piano

Ukrainian violinist Valeriy Sokolov and French pianist David Fray represent a young generation of music heroes, and both musicians have a large following from all over the world. In this performance they play Ludwig van Beethoven’s ‘Seventh Violin Sonata’ (Op. 30 No. 2). The master composer from Vienna dedicated this piece to Tsar Alexander I of Russia. In his 30th opus, Beethoven brought together three violin sonatas, each of almost symphonic length. The Seventh Violin Sonata that is played here even shows the symphonic pattern. The piece consists of four contrasting movements: Allegro, Adagio, Scherzo and Finale; together making up almost half an hour of chamber music brilliance. Valeriy Sokolov (violin), David Fray (piano)

23:19  Mozart - Divertimento No. 1 KV 136

Wolfgang Amadeus Mozart composed this Divertimento No. 1 KV 136 together with two other divertimenti for strings, at the startlingly young age of 16. The three pieces are often performed in orchestral form, but it is almost certain that Mozart intended them for solo strings, replacing the cello with double bass (which at the time would have been the normal set-up for a divertimento). The pieces, therefore, have the string quartet-cast of two violins, viola and cello, as can be seen in this performance by the Quatuor Ebène. Quatuor Ebène

23:33  Sibelius - Rakastava

You will not often hear the tender and moving string melodies of Jean Sibelius’ ‘Rakastava’ (accent on first syllable, meaning ‘The Lover’) played in concert halls today. Its musical germ first presented itself to Sibelius in 1893, when he was working on a composition for choir. Having reworked this score for mixed a cappella choir in 1893, he finished the present work as late as 1911, when he was working on his Fourth Symphony. Vladimir Ashkenazy , Chamber Orchestra of Europe

23:45  Schubert - Klavierstücke No. 1

Lars Vogt performs Schuberts Klavierstücke No. 1. Lars Vogt

0:00  Alice’s Adventures in Wonderland

Alice’s Adventures in Wonderland will bring a famous story and its equally famous characters to the ballet stage. The Victorian childhood of Lewis Carroll’s Alice and her encounters with extraordinary people, strange creatures and unusual events gives The Royal Ballet an entire new world to create, and also gives a great chance to see the whole Company on stage in new guises. The music – the first new, full-length ballet score for The Royal Ballet for 20 years – is by Joby Talbot and will be conducted by Barry Wordsworth, Music Director of The Royal Ballet. With a scenario by Nicholas Wright (his adaptations have included His Dark Materials at the NT), and designs by the internationally acclaimed Bob Crowley, this is a compelling creative team indeed. In the words of The Times, the Royal Ballet’s interpretation of Alice’s Adventures in Wonderland is “a spectacular family entertainment brought to life with enormous theatrical verve”. Barry Wordsworth, Orchestra of The Royal Opera House, The Royal Ballet, Lauren Cuthbertson (Alice), Sergei Polunin (Jack/Knave of Hearts), Edward Watson (Lewis Caroll/White Rabbit), Zenaida Yanowsky (Mother/Queen of Hearts), Chrisopher Saunders (Father/King of Hearts), Steven McRae (Magician/Mad Hatter), Eric Underwood (Rajah/Caterpillar), Simon Russell Beale (Duchess), Ricardo Cervera (Vicar/March Hare)

2:04  Bruch - Violin Concerto

Max Bruch’s first violin concerto in G minor is one of the most popular violin concertos. Bruch started composing this piece in 1857 and on April 24th 1866 it was first performed, with Otto von Köningslow on violin and Bruch himself conducting. It was Bruch’s first piece for large orchestra and he found it quite a challenge: unsatisfied with the result, he took the piece from the stand. Only after substantial revisions, with the help of violinist Joseph Joachim among others, a second version was premiered in 1868. This version is played to this day. Sir Simon Rattle, Berliner Philharmoniker, Vadim Repin (violin)

2:30  Europa Concert 2002 - Palermo

The town of Palermo was lit up, and Claudio Abbado revealed his strong Sicilian roots to all his followers. Viewers of this concert, broadcast across all of Europe, were inspired to see the maestro so relaxed, gesticulating so emphatically. After the intermission, music lovers heard an interpretation of Dvorak's Ninth Symphony that couldn't have been lovelier. The Berliners were elegantissimo, playing magnificent solos, mastering the ensemble passages with supreme ease. And when under Abbado's baton Verdi's "Sicilian Vesper" was made to glow in all the colors of southern climes, the audience knew no restraint: there were standing ovations and a never-ending cascade of flowers raining down on the beaming maestro and his musicians. The repertoire includes: Ludwig van Beethoven (Egmont-Ouverture), Johannes Brahms (Violin Concerto op. 77) played by Gil Shaham, Antonin Dvorák (Symphony No. 9) and Giuseppe Verdi (I Vespri Siciliani, Ouverture). Claudio Abbado, Berliner Philharmoniker, Gil Shaham (violin)

4:22  Verbier Festival 2008 - Schumann and Brahms

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. For its 15th anniversary in 2008 the Verbier Festival has once again brought together the most prestigious artists in classical music such Menahem Pressler, Sakvatore Accardo, Antoine Tamestit and Gautier Capuçon. They will perform the andante from Johannes Brahms’ Piano Quartet No. 3 and Schumann’s Piano Quartet Op. 47. Menahem Pressler, Sakvatore Accardo, Antoine Tamestit, Gautier Capuçon

5:05  Beethoven - Leonore Overture No. 3

Ludwig van Beethoven composed no less than four different overtures for his only opera Fidelio. This unusual course of events can be attributed to the long history of origin of the opera, which Beethoven had originally named Leonore. At the time of the first performance in 1805 Beethoven had already composed two Leonore overtures, the first of which was quickly discarded. In the second attempt, Beethoven incorporated many musical themes that echo throughout the opera. But Beethoven was not satisfied with this opera either and he wrote a third version, that like the second contained musical elements from the rest of the opera. The final overture did not come into being until 1814 and is much more of a dashing entrance to the piece than the previous three Leonores, something Beethoven thought suited his opera much better. Daniel Barenboim, West-Eastern Divan Orchestra

5:18  Chabrier - España

Sir Simon Rattle conducts the Berliner Philharmoniker in Chabrier’s España. Sir Simon Rattle, Berliner Philharmoniker

5:24  Enescu - Romanian Rhapsody No. 1

Because of the great success of George Enescu's first Romanian Rhapsody the rest of his body of work often remains forgotten. Without failing his other pieces; this rhapsody is indeed a magnificent composition: Enescu managed to incorporate the Romanian gypsy music in a masterly way. Sir Simon Rattle, Berliner Philharmoniker

5:37  Revueltas - La noche de los Mayas

Gustavo Dudamel, one of the youngest conductor around, performs Revueltas' La noche de los Mayas with the Simon Bolivar Youth Orchestra. Gustavo Dudamel, Simon Bolivar Youth Orchestra

5:47  Dukas - The Sorcerer's Apprentice

Paul Dukas just could not find his breakthrough. Early 1897 his Symphony in C major saw its premiere, but it found a cool reception. Before that, he had had an average time at the Paris Conservatory and had served his military service for a year. But French composers Vincent d’Indy and Camille Saint-Saëns recognised Dukas’ potential and tried to help him on his way, even though he was still an unknown at the time. However, the premiere of his symphonic poem The Sorcerer’s Apprentice (L’apprenti sorcier’) changed all that completely: the composition quickly became one of the most beloved orchestral pieces in the repertoire and Dukas became a star overnight. The story of the student who escapes his master’s watchful eye and gets himself into an awful lot of trouble was taken from Johann Wolfgang von Goethe’s ballad of the same name. Kurt Masur, Gewandhausorchester Leipzig

6:00  Europe concert 2004 Athens

The Europa Konzert 2004 takes place in Athens. At the ancient Herodes Atticus Theatre the Berliner Philharmoniker will be heard in a highly interesting combination: Sir Simon Rattle and Daniel Barenboim perform works by Johannes Brahms - Piano Concerto No. 1 and Schoenberg's arrangement of Brahms' Piano Quartet No 1. The Athens concert marked a double première: the first Europa Konzert under the direction of the new chief conductor and the first occasion on which Rattle and Barenboim appeared together. The Herodes Atticus Theatre, built in about 161 as an amphitheatre, is situated at the foot of the Acropolis. Seating at least 5,000 spectators, it was reckoned to be the finest theatre in Greece. Sir Simon Rattle, Berliner Philharmoniker, Daniel Barenboim (piano)

7:41  Brahms - Symphony No. 4

When music critic Eduard Hanslick first heard Johannes Brahms’ Fourth Symphony he was not particularly enthusiastic. ,,During the whole first movement I felt as if I were being beaten soundly by two terribly clever people.” This negative judgement may have had to do with the fact Hanslick heard a version for two pianos at his private premiere, instead of the normal orchestral one. The audience, luckily, was more impressed with this latest Brahms symphony. The cheerful third movement was especially popular, to the extent that audiences often demanded it be played again. But the most special part is probably the finale, as Brahms used a piece by another great composer as a base: the cantata ‘Nach dir, Herr, verlanget mich’ (BWV 150) by Johann Sebastian Bach. Sir Simon Rattle, Berliner Philharmoniker

8:28  Turina - Las pocas por amor

In his younger years, Spanish Alfredo Kraus did not think for a second that he was going to make his living as a singer. Only after being urged incessantly by his friends did his start taking singing seriously, a decision that fared him well to say the least. In part because he has always been fairly picky in his choice of roles (he would never sing anything too heavy for his voice) and because he does not get into stressful touring schedules, this tenor has enjoyed one of the longest lasting careers in recent history. In this broadcast he sings Turina's 'Las pocas por amor'. Alfredo Kraus (tenor), Edelmiro Arnaltes (piano)

8:29  Mussorgsky - Khovanshchina

Mussorgsky's loveless and brutal drama of the transformation of Russian society, which led to the rule of Peter the Great within the epic history of Russia, is powerfully modernised through Stein Winge's dramatic and uncompromising production. Performing the version completed by Shostakovich, the outstanding Russian-dominated cast and the orchestra and chorus of the Liceu are led by Michael Boder. Michael Boder, Symphony Orchestra and Chorus of the Gran Teatre del Liceu, Ivan Khovansky: Vladimir Ognovenko Andrei Khovansky: Vladimir Galouzine Vasily Golitsyn: Robert Brubaker Shaklovity: Nikolai Putilin Dosifei: Vladimir Vaneev Marfa: Elena Zaremba

11:31  Mozart - Piano Quartet No. 2 part 2

Nicolas Angelich, Hennig Kraggerud, Yuri Bashmet and Miklos Pereny perform Mozart's second Piano Quartet. Nicolas Angelich, Hennig Kraggerud, Yuri Bashmet, Miklos Pereny

11:40  Barber - Adagio for Strings

Sir Simon Rattle conducts the Berliner Philharmoniker in a beautiful performance of Barber’s famous and romantic Adagio for strings. Sir Simon Rattle, Berliner Philharmoniker

11:50  Tchaikovsky - Symphony No. 4 part 4

The dark brass signals at the beginning of Tchaikovsky’s Fourth Symphony are very clear: whoever composed this has seen the horrors of fate. A year before he completed this work the composer married Antonina Milyukova, one of his students. The marriage however was not a happy one: Tchaikovsky left his wife and tried to commit suicide. He continued to work on this symphony and when he gained the support of the rich Mme. Nadezhda von Meck he was able to complete the work rapidly. Although the horrors of fate are very clear in the beginning of the work, the symphony ends with an explosion of joy: a sign that the 38 year old Tchaikovsky was full of hope. During this broadcast: the final movement. Jos van Immerseel, Anima Eterna

12:00  Lucerne Festival 2003 - Gala Concert

When Claudio Abbado and his new founded Lucerne Festival Orchestra perform at the Lucerne Festival, the whole musical world looks to Lucerne. 120 musicians or "best friends" are also renowned soloists or important players in many leading orchestras and ensembles (e.g. Natalia Gutman, Sabine Meyer, Kolja Blacher, Reinhold Friedrich). Live recording from a unique concert performing - special guest: Bryn Terfel. "A Conductor Is Back, An Orchestra Reborn" The New York Times Programme Richard Wagner: Die Walküre "Wotans Abschied und Feuerzauber" Claude Debussy: Le Martyre de Saint Sébastian "Suite" La mer, trois esquisses symphoniques. Claudio Abbado, Lucerne Festival Orchestra, Bryn Terfel(baritone), Rachel Harnisch (soprano), Eteri Gvazava (soprano)

13:25  Barockstar

„Barockstar“ tells the story of Handel‘s life as he journeyed through baroque Europe, leaving Germany for Italy and experiencing Florence, Rome and Venice, before arriving in London to begin the career that would bring him a worldwide reputation. The film shows the original locations in Halle, Rome, Venice, Florence and London that Handel himself visited. Stars and specialists in today‘s baroque music scene and descendants of Handel‘s friends and sponsors talk about their encounters with the maestro and his work, including Christopher Hogwood and Alan Curtis, Andrea Marcon, Trevor Pinnock and Howard Arman, Sandrine Piau, Christine Schäfer and Klara Ek, Handel specialist Donald Burrows Prince Ruspoli-Sforza and Princess Claudia Ruspoli. Handel‘s music is performed by The English Concert, the Händelfestspielorchester Halle, the Akademie für Alte Musik Berlin and Il Complesso Barocco.

14:24  Tchaikovsky - Pas de deux

Sir Simon Rattle and the Berliner Philharmoniker play the Pas de deux from Tchaikovsky's The Nutcracker. Sir Simon Rattle, Berliner Philharmoniker

14:29  Verdi - Aida

Filmed at the Gran Teatre del Liceu, Barcelona, Daniela Dessì, Elisabetta Fiorillo, Fabio Armiliato, Juan Pons and Roberto Scandiuzzi lead the cast in the renowned period production filmed in 2003 against the historic paper trompe-l'oeil sets painted between 1936-45 by Josep Mestres Cabanes, the last representative of the old Catalan school of scenography. Mestres Cabanes worked on his Aida vision for eight years. The opulent staging he created in 1945 is here in every detail. The seven magnificent sets he painted for Aida in 1945 have been subtly and painstakingly restored by Jordi Castells and his team - revealing the palaces, temples and surroundings of Memphis and Thebes which the set designer had wanted to evoke in his historical yet also fantasy-like vision. These fascinating sets are not just realistic - but also magical in the theatrical sense. Mestres Cabanes loved the theatre which he had been exploring for over a quarter of a century. His sets are dramatic and visceral, conceived for stage action, conveying the dynamic tensions proper to each part of the work – intimate, epic, severe, sensual, troubled and tragic. Miguel Ángel Gómez Martínez, Symphony Orchestra and Chorus of the Gran Teatre del Liceu, Stefano Palatchi, Elisabetta Fiorillo, Daniela Dessì, Fabio Armiliato, Roberto Scandiuzzi, Juan Pons, Josep Fado, Ana Nebot

17:19  Von Dohnanyi - Sextet Op. 37

Nicholas Angelich, Henning Kraggerud, Yuri Bashmet, Miklos Perenyi, Julian Rachlin, Leonard Elschenbroich, Lawrence Power, Martin Fröst and David Guerrier are performing Ernst von Dohnanyi's Sextet. Nicholas Angelich (piano) Henning Kraggerud (violin) Yuri Bashmet (viola) Miklos Perenyi (cello) Julian Rachlin (violin) Leonard Elschenbroich (cello) Lawrence Power (viola) Martin Fröst (clarinet) David Guerrier (horn)

17:51  Borodin - Symphony No. 2, part 1

Must music lovers will associate the name of Russian composer Alexander Borodin with his famous ‘Polovtsian dances’ from the opera ‘Prince Igor’. And true enough, Borodin was not the most prolific of composers , which is hardly surprising given the fact that he was a chemist by profession and did his composing on the side. It took him many years to complete his second symphony: his first notes date from 1869, 14 years before the work’s eventual premiere in 1877. Initially disappointed by the symphony’s lukewarm reception, the composer made extensive and highly successful revisions: to this day, his reworked second remains the most popular of his three completed symphonies. This program broadcasts its first movement. Sir Simon Rattle, Berliner Philharmoniker

18:00  Verdi - Oberto

Even though Giuseppe Verdi was only in his twenties when he composed this piece and it is his first published opera, Oberto already displays some of the beautiful melodies and sense of drama that would later earn Verdi his status. And there is drama indeed. Riccardo is engaged to Cunzia but he secretly seduces Leonora, who is Count Oberto’s daughter. When the latter finds out what happened he explodes into rage. He disowns Leonora and challenges Riccardo to a duel to save the family’s honour. Cunzia, however, decides to sacrifice herself and breaks off her engagement so Riccardo can marry Leonora. But it is already too late: Count Oberto did not survive the duel. Leonora is shocked by what her feelings for Riccardo have caused and commits suicide. Recorded at the Opéra de Bilbao in 2007 starring Ildar Abdrazakov, Evelyn Herlitzius and Carlo Ventre. Yves Abel, Chorus of Ópera de Bilbao Orquesta Sinfónica del Principado de Asturias, Oberto: Ildar Abdrazakov Leonora: Evelyn Herlitzius Ricardo: Carlo Ventre Cuniza: Marianne Cornetti Imelda: Nuria Lorenzo

20:18  Berg - Altenberg Lieder

The somewhat eccentric poet Peter Altenberg was in the habit of writing foul-mouthed poems onto postcards and sending them to his friends. Five of these postcard poems form the basis to Alban Berg’s collection of songs with ‘Altenberg Lieder’ as an appropriate name. Berg composed these pieces when he had officially already finished his studies with Arnold Schoenberg. He was very active as a composer of songs at that time, greatly annoying his former teacher. Schoenberg discouraged Berg’s writing of songs and after hearing these Altenberg Lieder Schoenberg even supposedly said they ‘irritated’ him. These songs would be the last pieces Berg composed in the genre, after this he transferred to purely instrumental music and even opera later on. It is his work in the latter two genres that earned him his place in music history, though these songs should most certainly not be looked over. Claudio Abbado, Lucerne Festival Orchestra, Renée Fleming

20:30  Mozart - Idomeneo

Written for the court of Munich in 1780/81, "Idomeneo" is often regarded as the first of the seven undisputed masterworks in Mozart's dramatic oeuvre. Never before had he cast such bold, impassioned music into a dramatic form or devised such a well-calibrated dramaturgy. Was it the plot that drove Mozart to such extremes of expressive power? The story evokes countless other opera seria subjects: King Idomeneo has promised to sacrifice to Neptune the first person he meets if he is saved from shipwreck this turns out to be his son Idamante, who stands between two women, the Trojan Princess Ilia, whom he loves, and the Greek princess Elettra, who loves him. Four people on the edge of the abyss, drawn together by passion, torn apart by reasons of state... Though respecting the tenets of opera seria, Mozart repeatedly burst out of the rigid corset of the genre. Arias are heightened by unexpected twists and turns, accompagnato recitatives reach unheard-of levels of jagged emotional rawness, and stereotyped set pie es such as the vengeance become entire scenes in themselves. Mozart also treats the instruments in a far more liberal and imaginative manner than ever before, blending the voices with solo instruments and creating new tone colors that prefigure the Romantic era. Such an extraordinary work deserves an exceptional interpretation. And this is ensured by Sir Roger Norrington and the Camerata Salzburg playing on an "island" (the action unfolds on Crete) surrounded by narrow ramps on which the singers, literally "on the edge of the abyss," pace about in search of one another, of love, of redemption... Simplicity and elegance stamp both the production of Ursel and Karl-Ernst Herrmann, and the playing of the Camerata Salzburg. Norrington entices entire catalogues of nuances from his players, but never yields to manneristic over-refinement. His Mozart is slender and suave, rigorous and concise. Under his baton, the soloists blossom. First and foremost is Ramón Vargas as Idomeneo, who colors his despair with exquisite elicacy and rousing bravura. Magdalena Kozená is a passionate, glowing Idamante and Ekaterina Siurina a lyrical Ilia. As Elettra, Anja Harteros triumphs with dramatic fire and intensity. Every inch a noblewoman, she hurls out her vengeance aria with repressed fury rather than scenery-chewing theatrics. They and their colleagues Jeffrey Francis, Robin Leggate and Günther Groissböck, along with the Salzburger Bachchor, lend their artistry to this unforgettably intense performance. Roger Norrington, Camerata Academica Salzburg, Ramon Vargas, Magdalena Kozená, Ekaterina Siurina, Anja Harteros, Jeffrey Francis

23:20  Mendelssohn - Sextet

Contrary to what its high opus number might suggest, this Sextet is in fact a very early work by Felix Mendelssohn, composed when he was only 15 years old. Its instrumentation is striking, especially considering the time when it was written: one violin, two violas, a cello, a double bass and a piano. Perhaps his own skill as a viola player led Mendelssohn to tag on the extra viola instead of the traditional second violin. Be that as it may, the result is a beautiful piece of music. It was first performed in the Mendelssohns’ salon during one of their Sunday morning concerts, which were regularly visited by various stellar guests, among them Louis Spohr, Johann Nepomuk Hummel and Ignaz Moscheles. Yuja Wang (piano), Kirill Troussov (violin), David Aaron Carpenter (viola), Sol Gabetta (cello), Maxim Rysanov (viola), Leigh Mesh (double bass)

23:48  Beethoven - Piano Concerto No. 3 part III

When Ludwig van Beethoven, on April 5th 1803, took his place at the piano to start the premiere of his Third Piano Concerto in C minor Op. 37, hardly a note of the solo had been put to paper. His friend Ignaz von Seyfield, recruited to turn pages at this concert, later recalls: ,,I saw almost nothing but empty leaves; at the most on one page or the other a few Egyptian hieroglyphics wholly unintelligible to me scribbled down to serve as clues for him; for he played nearly all of the solo part from memory, since, as was so often the case, he had not had time to put it all down on paper.” Only a year later did Beethoven find the time to write the full piano score. Mozart’s Piano Concerto in C minor KV 491 served as a model for this concerto, and the piece was dedicated to Prince Louis Ferdinand of Prussia. In this broadcast: the third movement. Claudio Abbado, Lucerne Festival Orchestra, Alfred Brendel (piano)

0:00  Lucerne Festival 2003 - Gala Concert

When Claudio Abbado and his new founded Lucerne Festival Orchestra perform at the Lucerne Festival, the whole musical world looks to Lucerne. 120 musicians or "best friends" are also renowned soloists or important players in many leading orchestras and ensembles (e.g. Natalia Gutman, Sabine Meyer, Kolja Blacher, Reinhold Friedrich). Live recording from a unique concert performing - special guest: Bryn Terfel. "A Conductor Is Back, An Orchestra Reborn" The New York Times Programme Richard Wagner: Die Walküre "Wotans Abschied und Feuerzauber" Claude Debussy: Le Martyre de Saint Sébastian "Suite" La mer, trois esquisses symphoniques. Claudio Abbado, Lucerne Festival Orchestra, Bryn Terfel(baritone), Rachel Harnisch (soprano), Eteri Gvazava (soprano)

1:25  Barockstar

„Barockstar“ tells the story of Handel‘s life as he journeyed through baroque Europe, leaving Germany for Italy and experiencing Florence, Rome and Venice, before arriving in London to begin the career that would bring him a worldwide reputation. The film shows the original locations in Halle, Rome, Venice, Florence and London that Handel himself visited. Stars and specialists in today‘s baroque music scene and descendants of Handel‘s friends and sponsors talk about their encounters with the maestro and his work, including Christopher Hogwood and Alan Curtis, Andrea Marcon, Trevor Pinnock and Howard Arman, Sandrine Piau, Christine Schäfer and Klara Ek, Handel specialist Donald Burrows Prince Ruspoli-Sforza and Princess Claudia Ruspoli. Handel‘s music is performed by The English Concert, the Händelfestspielorchester Halle, the Akademie für Alte Musik Berlin and Il Complesso Barocco.

2:24  Tchaikovsky - Pas de deux

Sir Simon Rattle and the Berliner Philharmoniker play the Pas de deux from Tchaikovsky's The Nutcracker. Sir Simon Rattle, Berliner Philharmoniker

2:29  Verdi - Aida

Filmed at the Gran Teatre del Liceu, Barcelona, Daniela Dessì, Elisabetta Fiorillo, Fabio Armiliato, Juan Pons and Roberto Scandiuzzi lead the cast in the renowned period production filmed in 2003 against the historic paper trompe-l'oeil sets painted between 1936-45 by Josep Mestres Cabanes, the last representative of the old Catalan school of scenography. Mestres Cabanes worked on his Aida vision for eight years. The opulent staging he created in 1945 is here in every detail. The seven magnificent sets he painted for Aida in 1945 have been subtly and painstakingly restored by Jordi Castells and his team - revealing the palaces, temples and surroundings of Memphis and Thebes which the set designer had wanted to evoke in his historical yet also fantasy-like vision. These fascinating sets are not just realistic - but also magical in the theatrical sense. Mestres Cabanes loved the theatre which he had been exploring for over a quarter of a century. His sets are dramatic and visceral, conceived for stage action, conveying the dynamic tensions proper to each part of the work – intimate, epic, severe, sensual, troubled and tragic. Miguel Ángel Gómez Martínez, Symphony Orchestra and Chorus of the Gran Teatre del Liceu, Stefano Palatchi, Elisabetta Fiorillo, Daniela Dessì, Fabio Armiliato, Roberto Scandiuzzi, Juan Pons, Josep Fado, Ana Nebot

5:19  Von Dohnanyi - Sextet Op. 37

Nicholas Angelich, Henning Kraggerud, Yuri Bashmet, Miklos Perenyi, Julian Rachlin, Leonard Elschenbroich, Lawrence Power, Martin Fröst and David Guerrier are performing Ernst von Dohnanyi's Sextet. Nicholas Angelich (piano) Henning Kraggerud (violin) Yuri Bashmet (viola) Miklos Perenyi (cello) Julian Rachlin (violin) Leonard Elschenbroich (cello) Lawrence Power (viola) Martin Fröst (clarinet) David Guerrier (horn)

5:51  Borodin - Symphony No. 2, part 1

Must music lovers will associate the name of Russian composer Alexander Borodin with his famous ‘Polovtsian dances’ from the opera ‘Prince Igor’. And true enough, Borodin was not the most prolific of composers , which is hardly surprising given the fact that he was a chemist by profession and did his composing on the side. It took him many years to complete his second symphony: his first notes date from 1869, 14 years before the work’s eventual premiere in 1877. Initially disappointed by the symphony’s lukewarm reception, the composer made extensive and highly successful revisions: to this day, his reworked second remains the most popular of his three completed symphonies. This program broadcasts its first movement. Sir Simon Rattle, Berliner Philharmoniker

6:00  Europa Concert 2009 - Napoli

In 2009 the annual Europa Konzert took place in Naples, Riccardo Muti’s hometown. The charismatic conductor together with Violeta Urmana, one of the leading sopranos in the Italian dramatic genre, and the Berliner Philharmoniker present the overture of Verdi’s magnificent opera “La Forza del Destino” and “La canzone dei ricordi” by Giuseppe Martucci, who died in Naples. Schubert’s “Great Symphony” completes this fantastic concert at the formidable Teatro San Carlo. Riccardo Muti, Berliner Philharmoniker, Violeta Urmana

7:36  Beethoven - Symphony No. 3 'Eroica'

,,Heroic symphony, composed to celebrate the memory of a great man”. This is the headline to the original score of Ludwig van Beethoven’s third symphony. Originally, this symphony was intended as an ode to Napoleon Bonaparte, but when the latter declared himself emperor of France in 1804, Beethoven, in the midst of composing, threw a fit of rage and scratched out Napoleon’s name, replacing the original dedication by the sentence mentioned above. Nonetheless, this symphony became a landmark in the history of Western music. Daniel Barenboim, Berliner Philharmoniker

8:27  Dupont - Mandoline

French countertenor Philippe Jaroussky attained his succesful singing career by a roundabout way; he started playing violin at eleven and learned to play the piano at fifteen. Only when he was eighteen and met singing teacher Nicole Fallien did he decide to focus exclusively on singing. By now he has become one of the most famous classical vocalists in the world, praised by many for the purity of his voice and his fresh stage presence, with which he undoubtedly improved the public image of old music. In this broadcast he sings Dupont’s ‘Mandoline’. Philippe Jaroussky (countertenor), Jérôme Ducros (piano)

8:29  Mozart - Die Zauberflöte

The internationally renowned Mozart interpreter Sir Colin Davis conducts the chorus and orchestra of the Royal Opera House and a glittering cast in David McVicar’s 2003 production of Mozart’s last opera recorded live at Covent Garden. Sir Colin Davis, The Royal Opera Chorus The Orchestra of the Royal Opera House, Tamino: Will Hartmann Pamina: Dorothea Röschmann Queen of Night: Diana Damrau Sarastro: Franz-Josef Selig Papageno: Simon Keenlyside Papagena: Ailish Tynan Monostatos: Adrian Thompson

11:14  Beethoven - Sonata No. 21 'Waldstein'

The music of Ludwig van Beethoven´s Sonata No. 21 ´Waldstein´ (1803) was inspired by the composer’s acquisition of a new instrument, an Erard fortepiano. At the time, Beethoven was already some two years cognizant of his hearing problems, but his ears were still in good enough condition to register the clear tones of his new pianoforte. Dedicated to Beethoven’s friend and benefactor Count Ferdinand von Waldstein, this piece is widely acknowledged as one of his best piano sonatas, as well as being one of the most technically demanding. Owing to the resounding opening chords of the third movement, it is sometimes also called ‘Aurora’ or simply ‘The Dawn’. Nelson Freire

11:38  Brahms - Concerto for Violin and Cello, part 1

When Johannes Brahms and famous violinist Joseph Joachim first met, Brahms had just turned 20. It was Joachim who introduced the young composer to Robert Schumann and, thus, indirectly caused his breakthrough. For 30 years the two musicians shared an intimate friendship, and Brahms wrote his violin concerto for Joachim. Things, however, took a turn for the worse when the violinist wanted to divorce his wife Amalie. He suspected her of having an affair with his publisher, but Brahms did not believe that was the case and sent Amalie his opinion in a letter. Later on, Amalie presented this letter to the court that was handling the case of her divorce, upon which the judge put her in the right: Joachim was not amused and broke all bonds with Brahms even though he still kept on playing his music. Six years later Brahms wrote his Concerto for Violin, Cello and Orchestra in A minor (the Double Concerto) as a peace offering. It worked: on the 18th of October 1887 it had its premiere with Brahms conducting, Joseph Joachim on violin and Robert Hausmann on cello. In this broadcast: the first movement. Sir Simon Rattle, Berliner Philharmoniker, Lisa Batiashvili (violin), Truls Mørk (cello)

12:00  Verdi - Il Trovatore

A gigantic blood-red monster, made of steel and flames, floating on the still waters of Lake Constance – this is Robert Carsen’s unconventional vision of the setting of Verdi’s masterpiece Il Trovatore for the 60th anniversary of the Bregenz Festival. In this threatening set of fire and metal, designed by Paul Steinberg, the characters burn with the passions they experience – love, hatred, sexual desire and revenge – and which eventually destroy them. The of this most spectacular outdoor production combines astonishing images, relevant reflections on today’s world and superb musical expression from the soloists and the world-renowned Wiener Symphoniker Orchestra, inspired by musical director Thomas Rösner. Thomas Rösner , Wiener Symphoniker and the Moscow Chamber Choir, Manrico: Carl Tanner Leonora: Iano Tamar Il Conte di Luna: Zeljko Lucic Azucena: Marianne Cornetti Ferrando: Giovanni Battista Parodi Ines: Deanne Meek Ruiz: José Luis Ordonez

14:21  Strauss II - Fledermaus Overture

Johann Strauss’ operetta about a practical joke turned fantastically wrong is a riot of spell-binding Viennese music. The musicians of the Cleveland Orchestra show that Americans can waltz as well as anyone. That being said, it is surely no hindrance that Franz Welser-Möst of Austrian origin conducts the orchestra… Franz Welser-Möst, Cleveland Orchestra

14:30  Albéniz - Merlin

Enjoy the world premiere of the full and original version of Merlin by Isaac Albéniz, over a century after he completed the work. Albéniz composed this Wagnerian opera to an English libretto by his patron Francis Burdett Money-Coutts between 1898 and 1902. Many believed the score was lost, until the conductor José De Eusebio reconstructed it from various manuscript sources and publishers proofs. For this stunning production director John Drew created a world of magic and fantasy, using evocative sets, and splendid lighting. José de Eusebio, The Madrid symphony Orchestra and Choir, David Wilson-Johnson, Eva Marton, Stuart Skelton, Carol Vaness, Angel Odena, Victor Garcia Sierra, Angel Rodriguez, Juan Tomas Martinez, Federico Gallar, Eduardo Santamaria

17:01  Schumann - Davidsbündlertänze

“Always and forever delight and pain are linked: remain pious in delight, and bear pain with courage.” Robert Schumann wrote this old German proverb beneath the title of his 18 pieces for piano solo or ‘Davidsbündlertänze’. This name is misleading, however: the pieces are not so much dances in the traditional sense, but more like musical dialogues between, among others, Schumann’s alter ego’s Eusebius and Florestan: the pieces representing Florestan are lively, the ones connected to Eusibius more dreamy in nature. Friends of Schumann also make appearances in this composition and among them is his wife Clara, a composer herself, whose presence can be heard at the start of Davidsbündlertänze No. 1 and No. 7 that the composer based upon one of her Mazurkas. Boris Berezovsky

17:35  Gershwin - Cuban Overture

Gershwin’s Cuban Overture is dominated by Caribbean rhythms and contains a wide spectrum of instrumental color and technique. While on holiday in Havana, the American composer was drawn to the rhythmical rumba in such a way that he was inspired to write his ‘Cuban Overture’. Performing it requires a wide selection of percussion instruments: Gershwin includes maracas, bongos, claves and a guiro and request they be placed right in front of the conductor. This expansive instrumentation makes for dashing results, or in Gershwin’s words ‘a symphonic overture which embodies the essence of the Cuban dance’. Sir Simon Rattle, Berliner Philharmoniker

17:45  Beethoven - Romances for Violin and Orchestra

Ludwig van Beethoven was an exceptional pianist, perhaps that is why people tend to forget he was also a capable violinist. Although perhaps not a virtuoso, Beethoven loved the instrument and wrote no lesser than ten sonatas for it, several pieces of chamber music and of course the violin concerto. His ‘Two Romances for Violin and Orchestra’ stand out , because they are two pieces of a whole that are still very reminiscent of solo concertos. This performance stars Kolja Blacher, former concertmaster of the Berliner Philharmoniker. Claudio Abbado, Berliner Philharmoniker, Kolja Blacher (violin)

18:00  Strauss II - Die Fledermaus

Prison is next for Gabriel von Eisenstein! He will be locked up for eight days for insulting a policeman. But first, his friend Dr. Falke coaxes him to come along to the ball of the Russian prince Orlofsky. Von Eisenstein is certainly up for it, but does not tell his wife Rosalinde, nor Rosalinde's maid Adele. While exchanging goodbyes with the two ladies, he pretends to be heading for prison. He is quite unaware that Adele and Rosalinde attend the same ball too - but in disguise. The prince's ball is a practical joke of Dr. Falke's, who seeks revenge on Von Eisenstein for having been left behind, drunk and dressed up as a 'Fledermaus' (a bat), the year before. Dr. Falke's joke goes according to plan, and, intoxicated by quite a few glasses of champagne, Von Eisenstein seduces his wife, in her disguise of a Hungarian Countess. The day after the ball, confusion abounds, but all misunderstandings are cleared out of the way eventually. Recorded in Glyndebourne in 2007, featuring Pär Lindskog, Lyubov Petrova and Pamela Armstrong, amongst others. Vladimir Jurowski, The Glyndebourne Chorus, The London Philharmonic Orchestra, Alfred: Pär Lindskog Adele: Lyubov Petrova Rosalinde: Pamela Armstrong Gabriel von Eisenstein: Thomas Allen Dr Blind: Ragnar Ulfung Dr Falke: Håkan Hagegård Frank: Artur Korn Prince Orlofsky: Malena Ernman Frosch: Udo Samel Ida: Renée Schüttengruber

20:47  Beethoven - Piano concerto No. 1 part 2

In time for his 65th birthday in November 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the prestigious Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Daniel Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist. Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven’s overall output. Daniel Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor’s podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. With a tradition reaching back to 1570, the Staatskapelle Berlin is one of the oldest orchestras in the world. Barenboim plays Beethoven brings together two musical masterminds. In this broadcast: the second part. Daniel Barenboim, Staatskapelle Berlin

21:00  Europa concert 2005 Budapest

The Europa-Konzert 2005 took place in Budapest, the capital of the new European Union member Hungary. At the impressive State Opera House in Budapest the Berliner Philharmoniker under the baton of their music director Sir Simon Rattle perform works by Bartók (Violin Concerto No.2), Stravinsky (Firebird) and Berlioz (Le Corsaire, Overture). The Soloist for Bartók's 2nd violin concerto is Leonidas Kavakos. The Greek violinist has established himself as one of the most sought-after young virtuosos and appears regularly with leading orchestras and in recital throughout the world. Sir Simon Rattle, Berliner Philharmoniker, Leonidas Kavakos (violin)

22:43  Mendelssohn - Piano Trio

The Verbier Festival is unique with its gorgeous entourage of impressive Alpine views. But the amazing musicians taking part in the show each year match the Alps in stature. Not surprisingly, Verbier is many musicians’ favourite summertime getaway. Every year, dozens of celebrities take the trip to this Swiss town to join their equally famous colleagues in playing chamber music and enjoying the mountain views, festive atmosphere and gorgeous repertoire. It may well occur that in one concert here as many stars take the stage as would normally fill up a whole concert season. Take for instance the performance of Mendelssohn’s beautiful Piano Trio No. 1 by two former wunderkinder Joshua Bell (violin) and Evgeny Kissin (piano) together with none other than cello giant Mischa Maisky. The Piano Trio, finished by Felix Mendelssohn – another wunderkind – on September 23, 1839, is one of his best-loved chamber music compositions, perhaps only matched by his String Octet (Op. 20). Joshua Bell, Evgeny Kissin, Mischa Maisky

23:11  Respighi - Adagio con variazioni

Yuri Temirkanov conducts the St. Petersburg Philharmonic in a performance of Respighi's Adagio con variazioni. Yuri Temirkanov, St. Petersburg Philharmonic Orchestra

23:24  Bruch - Kol Nidrei

German composer Max Bruch gave his ‘Kol Nidrei’ the subtitle ‘An adagio, based upon Hebrew themes for cello and orchestra’. Kol Nidrei is a Jewish religious dedication recited in synagogues nine days after the start of the Jewish new year. During this recitation, a request is made to nullify all the vows and obligations people have taken upon themselves in the previous year, to make for a fresh start. Mischa Maisky, Verbier Festival Orchestra

23:35  Brahms - Pianoconcerto No. 1 part 1

With the courage of the young, 20-year-old Johannes Brahms started composing what he thought would become his first symphony. Despite of his age, his music was already widely known and he was seen by many as the ‘new Ludwig van Beethoven’. It was this kind of praise that made Brahms feel insecure: he felt he was too inexperienced to be composing a grand symphony and he reshaped the material into a sonata for two pianos, which he would eventually, in 1858, turn into his first Piano Concerto in D minor. The piece was premiered in Hannover in January 1859 and was played in Leipzig five days later. Especially in Leipzig it got a frosty welcome and was labelled ,,unorthodox, banal and horrid”. In our times, however, this early Brahms is popular with concert audiences and widely performed. This performance took place at the Herrodus Atticus Theatre in Athens. In this broadcast we bring you the first part of the concerto. Sir Simon Rattle, Berliner Philharmoniker, Daniel Barenboim (piano)

0:00  Bachfest Leipzig 2004

Since 1999, the Leipzig Bach Festival represents the worlds major festival according to J.S. Bach. This concert is one of the highlights of the Leipzig Bach Festival 2004. With the soloist, who are all experts in Baroque vocal music, the chamber choir Ex Tempore, also specialized in music of the 17th and 18th century, and La Petite Bande, an outstanding orchestra for early music, Sigiswald Kuijken has high professional musicians to perform two of the most remarkable vocal works by J.S. Bach and his most famous son: The two-part cantata "Ascension Oratorio" has its origin in an elder secular work and includes some arias which occur again in the b Minor mess. The thematically related oratorio by C.P.E. Bach, originated 40 years later, is an important masterpiece of the genre and tells with multifaceted musical colours the story of the Ascension of the Christ. Sigiswald Kuijken, La Petite Bande, Ex Tempore choir, Sophie Karthäuser, soprano Patrizia Hardt, alto Christoph Einhorn, tenor Christoph Genz, tenor Jan van Der Crabben bass-baritone Stephan Genz

1:49  Schoenberg - Pelléas et Mélisande

Claudio Abbado leads the Gustav Mahler Jugend Orchester in an astonishing performance of Schoenberg’s symphonic poem ‘Pelleas et Melisande’. Claudio Abbado, Gustav Mahler Jugend Orchester

2:29  Meyerbeer - Les Patineurs

Les Patineurs (The Skaters) cleverly translates skating into ballet, allowing a series of virtuoso displays linked in a complex sequence of meetings and partings as different characters take to the the ice rink. There is no plot, but there are anecdotal relationships: a group of friends enjoy themselves, a girl and boy are in love, a virtuoso skater shows off his skill. Les Patineurs was immediately popular when first performed in London in 1937, as Britain stood on the brink of World War II. Its joyful evocation of the blithe innocence of Edwardian England was a powerful antidote to the anxious times. Indeed, three years after it opened the entire original production had to be abandoned in Holland when The Royal Ballet was on tour and made a narrow escape from the invading Nazis in May 1940. The original scenery, costumes, and musical scores were all abandoned as the company fled. Paul Murphy, Royal Ballet Sinfonia, The Royal Ballet, Calros Acosta, Leane Benjamin, Darcy Bussell, Jonathan Cope, Steven McRae, Ivan Purtov, Tamara Rojo, Miyako Yoshida

3:00  Prokofjev - Peter and the Wolf

Family fun, beautiful dance and generous helpings of colour, wit and charm. Matthew Hart’s wonderfully inventive version of Peter and the Wolf, choreographed for The Royal Ballet School, has an energy all its own as it portrays the scenes of young Peter and his naively valiant attempts at hunting. Peter’s Grandfather, a cat, a duck – even the forest trees and greenery – act out the events that leave Peter triumphant and the wolf his captive. Robert Gibbs, Royal Ballet Sinfonia, Sergei Polunin (The Wolf), Will Kemp (Grandfather), Kilian Smith (Peter), Charlotte Edmonds (Duck), Laurine Muccioli (Bird), Chisato Katsura (Cat)

3:32  Bach - Goldberg Variations

Should it be true that J.S. Bach actually composed the Goldberg Variations as a sleeping aid for Graf Keyserlingk, then Evgeni Koroliov, born 1949 in Moscow, must have succumbed to a misapprehension. The further he proceeds in the series of variations of this colossal opus, the more wide-eyed the audience turned out to be. Koroliov’s performances of Bach’s music usually arouse great excitement and his rendering of Bach’s famous Aria and 30 variations is no exception. The breathtaking intensity develops out of his natural virtuosity. Koroliov is a consummate artist and he convinces his listeners through an enormous spiritual understanding of the works he performs and in whose service he puts the wide range of his artistic and interpretatory abilities. In a cooperation with the Bachfest Leipzig, EuroArts has produced a recording of an exciting recital with this extraordinary phenomenon on the international piano scene – the best way to experience a famous yet demanding and certainly immensely important work by Bach. Evgeni Koroliov

5:00  Borodin - Symphony No. 2 part 3 and 4

Most people will know Russian composer Alexander Borodin of the ‘Polovtsian Dances’ from his opera ‘Prince Igor’. Borodin did not produce a vast body of work , but it is hard to imagine otherwise when you take in mind that he was actually a chemist by profession who composed music ‘on the side’. Not surprisingly then, it took him quite a while to finish his Second Symphony. The composer drew up an outline as early as 1869, but it was not until 1877 that the piece saw its first performance. It did not get very favourable reviews, causing Borodin to make revisions. And successfully, as this second one became the most popular out of his three symphonies. During this broadcast, the third and fourth movement. Sir Simon Rattle, Berliner Philharmoniker

5:15  Wagner - Vorspiel und Liebestod from Tristan und Isolde

Daniel Barenboim conducts the West-Eastern Divan Orchestra in Wagner's moving Vorspiel und Liebestod from Tristan und Isolde. Daniel Barenboim, West-Eastern Divan Orchestra

5:32  Beethoven - Symphony No. 9 part 3

Daniel Barenboim conducts the West-Eastern Divan Orchestra in the third movement of Beethoven's Symphony No. 9 Daniel Barenboim, West-Eastern Divan Orchestra

5:50  Beethoven - Pianoconcerto No. 1 part 3

In time for his 65th birthday in November 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the prestigious Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Daniel Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist. Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven’s overall output. Daniel Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor’s podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. With a tradition reaching back to 1570, the Staatskapelle Berlin is one of the oldest orchestras in the world. Barenboim plays Beethoven brings together two musical masterminds. In this broadcast: the third part. Daniel Barenboim, Staatskapelle Berlin

6:00  Schumann in Leipzig

An all-Schumann programme as highlight of the Schumann Year 2006. Martha Argerich has long been hailed as one of the greatest and most uniquely imaginative pianists. This legendary Argentinean musician is surrounded by an aura of mystery: some find her too uncompromising, others generous and beautiful, yet to all she is without doubt incredibly talented! When Argerich and Chailly performed the Schumann Piano Concerto it created a musical sensation! Riccardo Chailly, Gewandhausorchester Leipzig, Martha Argerich (piano)

7:33  Don Quichot

Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off their technical prowess. But at the same time, the comic story based on Cervantes’ masterpiece makes strong demands on the dancers’ acting abilities. The leading Russian choreographer Alexei Ratmansky has drawn inspiration for his production from the libretto of the first version of Don Quichot by Marius Petipa, created in 1869. The former artistic director of the Bolshoi Ballet and Artist in Residence of the American Ballet Theatre now has also added his own new elements and choreography to the ballet. The modern designs for the ballet, by the renowned French designer Jérôme Kaplan, refer to the times of Cervantes. Kevin Rhodes, Holland Symfonia, Het Nationaal Ballet, Anna Tsygankova (Kitri), Matthew Golding (Basilio), Peter de Jong (Don Quichot), Karel de Rooij (Sancho Panza), Dario Mealli (Gamache), Altin Kafitra (Lorenzo), Natalia Hoffman (Mercedes), Moises Martin Cintas (Espada), Maiko Tsutsumi (Piccilia), Nadia Yanowsky (Juanita), Maia Makhateli (Cupid), Sasha Mukhamedov (Queen of the Dryads)

9:42  Berezovsky - Change of Plans

We live in the “renaissance of the piano”, as the New York Times put it in summer. A new generation has made the piano popular again: pianists with a passion for virtuosity and a willingness to expand their repertoire. In addition to the usual classics they perform formerly scorned works or they discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their individual approaches, their fresh ideas and their music. During this episode, the spotlights are on the Russian pianist Boris Berezovsky.

10:14  Legato - World of the Piano - Berezovsky

We live in the “renaissance of the piano”, as the New York Times put it in summer. A new generation has made the piano popular again: pianists with a passion for virtuosity and a willingness to expand their repertoire. In addition to the usual classics they perform formerly scorned works or they discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their individual approaches, their fresh ideas and their music. During this episode, the spotlights are on the Russian pianist Boris Berezovsky. He performs works by Medtner (Fairy Tales), Llywelyn (Mutata Consilia), Beethoven (Diabelli Variations), Godowsky (Alt Wien) en Liadov (Three Preludes). Boris Berezovsky (piano)

11:57  Copland - I bought me a cat

Aaron Copland’s interest in folk traditions clearly shows in this collection of ‘Old American Songs’. The themes dealt with in these songs (political, religious but also everyday matters) offer a broad view of what ‘America’ means, but presented in a style that is typically Copland. He wrote two sets of American Songs, one in 1950 and one in 1952, all intended for baritone and piano. The performance in this broadcast is of ‘I bought me a cat’ taken from the first set, in a version for baritone and orchestra.

12:00  The West-Eastern Divan Orchestra in Berlin

In light of the conflicts in the Middle-East, this orchestra is almost a miracle: the highly acclaimed West-Eastern Divan Orchestra is made up of young musicians from countries that are at war. The orchestra with youngsters from Israel, Palestine, Syria, Egypt, Lebanon, Jordan and Spain was formed in Weimar in 1999. Since then there have been concerts in Berlin, Seville and Rabat among others, and in the summer of 2005 even in Ramallah – a hotspot in the Middle-Eastern conflict. A highlight of the tour of summer 2006 was the performance of Beethoven’s 9th Symphony, conducted by Daniel Barenboim and featuring star singers such as Angelika Denoke and Burkhardt Fritz as well as Waltraud Meier and René Pape. The proceeds from these benefit concerts go to the Fundación Barenboim-Said and their music education programmes in the Palestinian territories. Daniel Barenboim, West-Eastern Divan Orchestra, Angelika Denoke, Waltraud Meier, Burkhardt Fritz, René Pape

13:58  Beethoven - Symphony No. 5

‘Ta-ta-ta-taa’. It is quite possibly the most famous opening sequence, to one of the most famous symphonies ever written. It has become impossible to think of concert halls today without Beethoven’s ‘Fifth’, but for a symphony this popular it had a rather disastrous opening night. December 22nd 1808 the piece was premiered, alongside the Sixth Symphony, the Fantasy in C minor for Piano, Chorus, and Orchestra, and also the Fourth Piano Concerto and parts of the Mass in C. A concert marathon, in fact, and truly exhausting for the underpaid musicians. Vienna at that time was experiencing a gruesomely cold winter, meaning even the audience had a hard time in the unheated concert hall. Beethoven’s biographer Anton Schindler noted: “the reception accorded to these works was not as desired, and probably no better than the author himself had expected. The public was not endowed with the necessary degree of comprehension for such extraordinary music, and the performance left a great deal to be desired.” Jan Willem de Vriend, The Netherlands Symphony Orchestra

14:28  Birtwistle - The Minotaur

This world premiere of a gripping new work by composer Harrison Birtwistle and librettist David Harsent, commissioned by The Royal Opera, brings the monstrous, Greek mythological character to the stage. The Minotaur, part man, part beast, trapped in his labyrinth and constrained by his bloodthirsty role there, longs to discover his true identity and his own voice. Athens must pay a blood sacrifice to Crete and among the innocents is Theseus, who has come to challenge the violent Minotaur, but who also attracts the attention of Ariadne, half-sister and keeper of the monster it is with her help he succeeds. Antonio Pappano, The Royal Opera Chorus, The Orchestra of the Royal Opera House, The Minotaur: John Tomlinson, Theseus: Johan Reuter, Ariadne: Christine Rice, Snake Priestess: Andrew Watts, Hiereus: Philip Langridge, Ker: Amanda Echalaz

16:52  Beethoven - Sonate Nr. 7 Op. 30 No. 2 voor Violin and Piano

Ukrainian violinist Valeriy Sokolov and French pianist David Fray represent a young generation of music heroes, and both musicians have a large following from all over the world. In this performance they play Ludwig van Beethoven’s ‘Seventh Violin Sonata’ (Op. 30 No. 2). The master composer from Vienna dedicated this piece to Tsar Alexander I of Russia. In his 30th opus, Beethoven brought together three violin sonatas, each of almost symphonic length. The Seventh Violin Sonata that is played here even shows the symphonic pattern. The piece consists of four contrasting movements: Allegro, Adagio, Scherzo and Finale; together making up almost half an hour of chamber music brilliance. Valeriy Sokolov (violin), David Fray (piano)

17:19  Mozart - Divertimento No. 1 KV 136

Wolfgang Amadeus Mozart composed this Divertimento No. 1 KV 136 together with two other divertimenti for strings, at the startlingly young age of 16. The three pieces are often performed in orchestral form, but it is almost certain that Mozart intended them for solo strings, replacing the cello with double bass (which at the time would have been the normal set-up for a divertimento). The pieces, therefore, have the string quartet-cast of two violins, viola and cello, as can be seen in this performance by the Quatuor Ebène. Quatuor Ebène

17:33  Sibelius - Rakastava

You will not often hear the tender and moving string melodies of Jean Sibelius’ ‘Rakastava’ (accent on first syllable, meaning ‘The Lover’) played in concert halls today. Its musical germ first presented itself to Sibelius in 1893, when he was working on a composition for choir. Having reworked this score for mixed a cappella choir in 1893, he finished the present work as late as 1911, when he was working on his Fourth Symphony. Vladimir Ashkenazy , Chamber Orchestra of Europe

17:45  Schubert - Klavierstücke No. 1

Lars Vogt performs Schuberts Klavierstücke No. 1. Lars Vogt

18:00  60 Years RIAS Kammerchor

This festive concert from the Gethsemanekirche in Berlin marks the 60th anniversary of the RIAS Kammerchor. Under the baton of the new chief conductor Hans-Christoph Rademann, the RIAS Kammerchor and the Akademie für Alte Musik Berlin perform famous Motets by Johann Sebastian Bach, interspersed with some fine instrumental works of the composer. Founded in 1948, the choir enjoys today a worldwide reputation as one of the best ensembles of its kind. Hans-Christoph Rademann, Akademie für Alte Musik Berlin, RIAS Kammerchor, Stephanie Petitlaurent (soprano), Waltraud Heinrich (alto), Susanne Langner (alto), Volker Arndt (tenor), Christian Mücke (tenor), Ingolf Horenburg (bass)

19:32  Sophia – Biography of a Violin Concerto

In August of 2007, Anne-Sophie Mutter performed the world premiere of Sofia Gubaidulina’s second Violin Concerto in Lucerne with conductor Sir Simon Rattle and the Berliner Philharmoniker. This piece by the Russian composer (born in 1931) is an important event in many respects. Sofia Gubaidulina is one of the worlds leading contemporary composers. Her international breakthrough came in 1980 with her first Violin Concerto, Offertorium, which she wrote for Gidon Kremer. To this day, it remains her most often performed piece. In spite of all the other pieces the has written in the meantime, it is her second Violin Concerto that violinists, conductors and orchestras around the world have eagerly been awaiting, especially since she was commissioned to write it in 1992 by Paul Sacher, the Basel conductor and patron of the arts. It was his whish that Gubaidulina’s new violin concerto first be performed by Anne-Sophie Mutter. Fifteen years later, that dream finally came true. The film focuses on the piece – from its inception, through the many stages of the creative process to its world premiere but also features the many great expectations of the music world and the resulting pressure on Gubaidulina.

20:29  Tchaikovsky - The Sleeping Beauty Prologue

Tchaikovsky's The Sleeping Beauty is one of the best loved of classical ballets, combining in a single work all the enchantment and virtuosity that ballet has to offer. The royal court, the panoramic journey of the Prince to the overgrown castle, and the great celebratory dances of the happy ending (in which other famous fairytale figures appear) are all brought to life by the luscious designs of this celebrated production, created in 1946 for the The Royal Ballet. The inspired performances of its revival for the 75th anniversary of the Company in 2006 make this a superb tribute to The Royal Ballet’s unique style and visual splendour. Valeriy Ovsyanikov, The Royal Ballet, The Orchestra of the Royal Opera House, Princess Aurora: Alina Cojocaru, Prince Florimund: Federico Bonelli, King Florestan XXIV: Christopher Saunders, His Queen: Elizabeth McGorian, Cattalabutte: Alastair Marriott, Carabosse: Genesia Rosato. Lilac Fairy: Marianela Nuñez

21:02  Tchaikovsky - The Sleeping Beauty

Tchaikovsky's The Sleeping Beauty is one of the best loved of classical ballets, combining in a single work all the enchantment and virtuosity that ballet has to offer. The royal court, the panoramic journey of the Prince to the overgrown castle, and the great celebratory dances of the happy ending (in which other famous fairytale figures appear) are all brought to life by the luscious designs of this celebrated production, created in 1946 for the The Royal Ballet. The inspired performances of its revival for the 75th anniversary of the Company in 2006 make this a superb tribute to The Royal Ballet’s unique style and visual splendour. Valeriy Ovsyanikov, The Royal Ballet, The Orchestra of the Royal Opera House, Princess Aurora: Alina Cojocaru, Prince Florimund: Federico Bonelli, King Florestan XXIV: Christopher Saunders, His Queen: Elizabeth McGorian, Cattalabutte: Alastair Marriott, Carabosse: Genesia Rosato. Lilac Fairy: Marianela Nuñez

22:45  Schumann - Piano Quartet Op. 47

In 1842, his ‘chamber music year’, Robert Schumann composed no less than five great pieces: three string quartets, one piano quintet and one piano quartet. Apart from a single piano quartet, Schumann had never written chamber music before. Because of the small set-up, the quartet has an intimate quality about it and has become one of the standards. Menahem Pressler (piano), Salvatore Accardo (violin), Antoine Tamestit (viola), Gautier Capuçon (cello)

23:14  Tchaikovsky - Violin Concerto movement 1

After a failed marriage and failed attempted suicide, Pyotr Il'yich Tchaikovsky wanted to rest and regain some strength in Clarens. While there he was visited by friend and violinist Yosif Kotek. In only eleven days he finished the rough version of a new violin concerto and two weeks later even the full orchestration was done. He did not dedicate the concerto to Kotek, however, but to Leopold Auer, who did not even want to try it as he thought the piece impossible to play. At the premiere on December 4th 1881 the solo part was played by Adolf Brodsky. The first performance was not received entirely favourably; critic Eduard Hanslick wrote that the music ‘stinks to the ear’ but also admitted in the same review that the concerto contained bits of genius and musicality. Meanwhile, it has become a favourite amongst violin concertos. This broadcast shows the first movement. Sir Andrew Davis, Verbier Festival Orchestra, Joshua Bell (violin)

23:33  Mendelssohn - Trumpet Overture

Riccardo Chailly performs Mendelssohn's Trumpet Overture with the Gewandhausorchester Leipzig. Riccardo Chailly, Gewandhausorchester Leipzig

23:42  Beethoven - Symphony No. 7 part 2

The year 1812 was a busy one for the by then already famous but deaf Ludwig van Beethoven. He finally met Johann Wolfgang von Goethe (another German celebrity) but was disappointed by his personality, had an eventful love life and wrote the famous letter to his anonymous ‘Unsterbliche Geliebte’ (Immortal Beloved) and also tried to interfere in the life of his youngest brother, who had an affair with one of the maids. Amidst all this he still found the time to compose some new pieces, among which was his Seventh Symphony. The piece was first performed in 1813 at a charity event for wounded soldiers, by a rather special orchestra: Louis Spohr for instance was one of the violinists, and Johann Nepomuk Hummel, Giacomo Meyerbeer and Antonio Salieri were also among those in the orchestra. In this broadcast: the second movement. Sir Simon Rattle, Berliner Philharmoniker

23:51  Mozart - Sonata No. 32 part 2

Wolgang Amadeus Mozart’s Sonata No. 32 tells its own story. In Mozart’s time, the clarinet was a novelty, a newly invented instrument that was highly regarded among composers for its warm tone and versatility. Towards the end of his life, Mozart wrote one of the most beautiful pieces ever composed for the clarinet: his Clarinet Concerto. He applauded the addition of two clarinets to symphony orchestras like Mannheim’s modern orchestra, and was on friendly terms with Viennese master clarinettist Anton Stadlers, for whom he wrote his famous Clarinet Quintet as well as the said Clarinet Concerto. Unfortunately, he never composed a sonata for clarinet and piano – all the more reason for Michael Collins to adapt Mozart’s brilliant 32nd Sonata for Violin and Piano KV. 454 for piano and clarinet. This program broadcasts the second movement. Michael Collins (clarinet), Julien Quentin (piano)

0:00  Humperdinck - Hänsel und Gretel

The composer of Hansel and Gretel, Engelbert Humperdinck, wrote was born in Germany in 1854. In the 1890s, his sister, Adelheid Wette, had written a libretto based on the Grimm fairy tale, and asked her brother to set it to music as a Christmas entertainment for her children. Later, Engelbert and Adelheid decided to turn this modest home project into a full-scale opera. Hansel and Gretel, premiered on December 23, 1893 at Weimar, was an instant hit and remains an everlasting masterpiece. The composer Richard Strauss, who was the assistant conductor for the premiere, called it "a masterwork of the first rank." Michael Hofstetter, Sächsische Staatskapelle Dresden, Iris Vermillon, Irmgard Vilsmaier, Antigone Papoulkas, Hans-Joachim Ketelsen

1:48  Bartók - Concerto for Orchestra

In 1943, after his health had deteriorated over a very short period of time, Béla Bartók was diagnosed with leukaemia. Almost three years earlier he had escaped World War II and left Europe for the United States, but there he felt isolated artistically and had financial problems on top of that. Recognition he only received for his piano playing, but due to his bad health he could not perform anymore after January 1943. The Hungarian composer was emotionally and physically bankrupt. He was in hospital when Serge Koussevitzky, conductor of the Boston Symphony Orchestra, came to ask him to compose a large orchestral piece. Bartók did not know the assignment was financed by his fellow emigrants and good friends violinist Joseph Szigeti and conductor Fritz Reiner. The assignment, to Bartók, came at a crucial stage in his life: he recovered his energy and managed to finish his Concerto for Orchestra within seven weeks. The premiere on December 1st 1944 in Boston was a great success and Bartók’s music now finally received recognition in the United States as well. New requests for compositions were made, but Bartók’s health once again failed him: he died in September 1945. Pierre Boulez, Berliner Philharmoniker

2:27  Waldbühne 2006 - 1001 Nights

The Waldbühne in Berlin, one of the most appealing outdoor amphitheatres on the European continent, is the home of the Berliner Philharmoniker’s summer concerts. With over 22.000 in attendance, they are some of the most popular classical music concerts in the world. This year the outstanding orchestra under the baton of Neeme Järvi take us on a trip to Arabian “Thousand and One Nights”, with soloist Janine Jansen, a rising star who quickly gained the reputation of one of the foremost young violinists on the international concert stages. Programme: Nikolai Rimsky-Korsakov: Scheherazade, Symphonic Suite, op. 35 (excerpts) Edvard Grieg: „Peer Gynt” - Suite No.1, op. 46 (excerpts) Carl Nielsen: Aladdin Suite for Orchestra op. 34 (excerpts) Camille Saint-Saëns: Introduction und Rondo capriccioso Jules Massenet: „Meditation” from 'Thais' for Violin and Orchestra Neeme Järvi, Berliner Philharmoniker, Janine Jansen (violin)

4:19  Verbier Festival 2009 - Chamber music

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. During this concert you can enjoy a divers range of musical celebrities. Valeriy Sokolov (violin) and David Fray (piano) will perform the seventh violin sonata by Ludwig van Beethoven. Joshua Bell (vilon) teams up with Mischa Maiksy (cello) and Evgeny Kissin (piano) to perform Mendelssohn’s Trio Nr. 1 Op. 49. The concert is closed by Dutch violin player Janine Jansen, Lars-Anders Tomter (viola), Torleif Thedéen (cello) and Nelson Goerner (piano) who will perform the Quartet Nr. 1 Op. 15 by Gabriel Fauré . Valeriy Sokolov (violin), David Fray (piano), Joshua Bell (violin), Mischa Maisky (cello), Evgeny Kissin (piano), Janine Jansen (vioinl), Lars-Anders Tomter (viola), Thorleif Thedéen (cello), Nelson Goerner (piano)

5:49  Tchaikovsky - Three pieces from 'The Nutcracker

Pyotr Ilyich Tchaikovsky’s ballet ‘The Nutcracker’ is traditionally associated with Christmas but suits all seasons. The story of the nutcracker under the Christmas tree that transforms into a fairy prince has enchanted ballet visitors from the day of its premiere in 1892 until the present day. This broadcast sees the Berliner Philharmoniker conducted by Sir Simon Rattle performing three beautiful sections from the ballet. Sir Simon Rattle, Berliner Philharmoniker

6:00  Verdi - Il Trovatore

A gigantic blood-red monster, made of steel and flames, floating on the still waters of Lake Constance – this is Robert Carsen’s unconventional vision of the setting of Verdi’s masterpiece Il Trovatore for the 60th anniversary of the Bregenz Festival. In this threatening set of fire and metal, designed by Paul Steinberg, the characters burn with the passions they experience – love, hatred, sexual desire and revenge – and which eventually destroy them. The of this most spectacular outdoor production combines astonishing images, relevant reflections on today’s world and superb musical expression from the soloists and the world-renowned Wiener Symphoniker Orchestra, inspired by musical director Thomas Rösner. Thomas Rösner , Wiener Symphoniker and the Moscow Chamber Choir, Manrico: Carl Tanner Leonora: Iano Tamar Il Conte di Luna: Zeljko Lucic Azucena: Marianne Cornetti Ferrando: Giovanni Battista Parodi Ines: Deanne Meek Ruiz: José Luis Ordonez

8:21  Strauss II - Fledermaus Overture

Johann Strauss’ operetta about a practical joke turned fantastically wrong is a riot of spell-binding Viennese music. The musicians of the Cleveland Orchestra show that Americans can waltz as well as anyone. That being said, it is surely no hindrance that Franz Welser-Möst of Austrian origin conducts the orchestra… Franz Welser-Möst, Cleveland Orchestra

8:30  Albéniz - Merlin

Enjoy the world premiere of the full and original version of Merlin by Isaac Albéniz, over a century after he completed the work. Albéniz composed this Wagnerian opera to an English libretto by his patron Francis Burdett Money-Coutts between 1898 and 1902. Many believed the score was lost, until the conductor José De Eusebio reconstructed it from various manuscript sources and publishers proofs. For this stunning production director John Drew created a world of magic and fantasy, using evocative sets, and splendid lighting. José de Eusebio, The Madrid symphony Orchestra and Choir, David Wilson-Johnson, Eva Marton, Stuart Skelton, Carol Vaness, Angel Odena, Victor Garcia Sierra, Angel Rodriguez, Juan Tomas Martinez, Federico Gallar, Eduardo Santamaria

11:01  Schumann - Davidsbündlertänze

“Always and forever delight and pain are linked: remain pious in delight, and bear pain with courage.” Robert Schumann wrote this old German proverb beneath the title of his 18 pieces for piano solo or ‘Davidsbündlertänze’. This name is misleading, however: the pieces are not so much dances in the traditional sense, but more like musical dialogues between, among others, Schumann’s alter ego’s Eusebius and Florestan: the pieces representing Florestan are lively, the ones connected to Eusibius more dreamy in nature. Friends of Schumann also make appearances in this composition and among them is his wife Clara, a composer herself, whose presence can be heard at the start of Davidsbündlertänze No. 1 and No. 7 that the composer based upon one of her Mazurkas. Boris Berezovsky

11:35  Gershwin - Cuban Overture

Gershwin’s Cuban Overture is dominated by Caribbean rhythms and contains a wide spectrum of instrumental color and technique. While on holiday in Havana, the American composer was drawn to the rhythmical rumba in such a way that he was inspired to write his ‘Cuban Overture’. Performing it requires a wide selection of percussion instruments: Gershwin includes maracas, bongos, claves and a guiro and request they be placed right in front of the conductor. This expansive instrumentation makes for dashing results, or in Gershwin’s words ‘a symphonic overture which embodies the essence of the Cuban dance’. Sir Simon Rattle, Berliner Philharmoniker

11:45  Beethoven - Romances for Violin and Orchestra

Ludwig van Beethoven was an exceptional pianist, perhaps that is why people tend to forget he was also a capable violinist. Although perhaps not a virtuoso, Beethoven loved the instrument and wrote no lesser than ten sonatas for it, several pieces of chamber music and of course the violin concerto. His ‘Two Romances for Violin and Orchestra’ stand out , because they are two pieces of a whole that are still very reminiscent of solo concertos. This performance stars Kolja Blacher, former concertmaster of the Berliner Philharmoniker. Claudio Abbado, Berliner Philharmoniker, Kolja Blacher (violin)

12:00  Alice’s Adventures in Wonderland

Alice’s Adventures in Wonderland will bring a famous story and its equally famous characters to the ballet stage. The Victorian childhood of Lewis Carroll’s Alice and her encounters with extraordinary people, strange creatures and unusual events gives The Royal Ballet an entire new world to create, and also gives a great chance to see the whole Company on stage in new guises. The music – the first new, full-length ballet score for The Royal Ballet for 20 years – is by Joby Talbot and will be conducted by Barry Wordsworth, Music Director of The Royal Ballet. With a scenario by Nicholas Wright (his adaptations have included His Dark Materials at the NT), and designs by the internationally acclaimed Bob Crowley, this is a compelling creative team indeed. In the words of The Times, the Royal Ballet’s interpretation of Alice’s Adventures in Wonderland is “a spectacular family entertainment brought to life with enormous theatrical verve”. Barry Wordsworth, Orchestra of The Royal Opera House, The Royal Ballet, Lauren Cuthbertson (Alice), Sergei Polunin (Jack/Knave of Hearts), Edward Watson (Lewis Caroll/White Rabbit), Zenaida Yanowsky (Mother/Queen of Hearts), Chrisopher Saunders (Father/King of Hearts), Steven McRae (Magician/Mad Hatter), Eric Underwood (Rajah/Caterpillar), Simon Russell Beale (Duchess), Ricardo Cervera (Vicar/March Hare)

14:04  Bruch - Violin Concerto

Max Bruch’s first violin concerto in G minor is one of the most popular violin concertos. Bruch started composing this piece in 1857 and on April 24th 1866 it was first performed, with Otto von Köningslow on violin and Bruch himself conducting. It was Bruch’s first piece for large orchestra and he found it quite a challenge: unsatisfied with the result, he took the piece from the stand. Only after substantial revisions, with the help of violinist Joseph Joachim among others, a second version was premiered in 1868. This version is played to this day. Sir Simon Rattle, Berliner Philharmoniker, Vadim Repin (violin)

14:30  Europa Concert 2002 - Palermo

The town of Palermo was lit up, and Claudio Abbado revealed his strong Sicilian roots to all his followers. Viewers of this concert, broadcast across all of Europe, were inspired to see the maestro so relaxed, gesticulating so emphatically. After the intermission, music lovers heard an interpretation of Dvorak's Ninth Symphony that couldn't have been lovelier. The Berliners were elegantissimo, playing magnificent solos, mastering the ensemble passages with supreme ease. And when under Abbado's baton Verdi's "Sicilian Vesper" was made to glow in all the colors of southern climes, the audience knew no restraint: there were standing ovations and a never-ending cascade of flowers raining down on the beaming maestro and his musicians. The repertoire includes: Ludwig van Beethoven (Egmont-Ouverture), Johannes Brahms (Violin Concerto op. 77) played by Gil Shaham, Antonin Dvorák (Symphony No. 9) and Giuseppe Verdi (I Vespri Siciliani, Ouverture). Claudio Abbado, Berliner Philharmoniker, Gil Shaham (violin)

16:22  Verbier Festival 2008 - Schumann and Brahms

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. For its 15th anniversary in 2008 the Verbier Festival has once again brought together the most prestigious artists in classical music such Menahem Pressler, Sakvatore Accardo, Antoine Tamestit and Gautier Capuçon. They will perform the andante from Johannes Brahms’ Piano Quartet No. 3 and Schumann’s Piano Quartet Op. 47. Menahem Pressler, Sakvatore Accardo, Antoine Tamestit, Gautier Capuçon

17:05  Beethoven - Leonore Overture No. 3

Ludwig van Beethoven composed no less than four different overtures for his only opera Fidelio. This unusual course of events can be attributed to the long history of origin of the opera, which Beethoven had originally named Leonore. At the time of the first performance in 1805 Beethoven had already composed two Leonore overtures, the first of which was quickly discarded. In the second attempt, Beethoven incorporated many musical themes that echo throughout the opera. But Beethoven was not satisfied with this opera either and he wrote a third version, that like the second contained musical elements from the rest of the opera. The final overture did not come into being until 1814 and is much more of a dashing entrance to the piece than the previous three Leonores, something Beethoven thought suited his opera much better. Daniel Barenboim, West-Eastern Divan Orchestra

17:18  Chabrier - España

Sir Simon Rattle conducts the Berliner Philharmoniker in Chabrier’s España. Sir Simon Rattle, Berliner Philharmoniker

17:24  Enescu - Romanian Rhapsody No. 1

Because of the great success of George Enescu's first Romanian Rhapsody the rest of his body of work often remains forgotten. Without failing his other pieces; this rhapsody is indeed a magnificent composition: Enescu managed to incorporate the Romanian gypsy music in a masterly way. Sir Simon Rattle, Berliner Philharmoniker

17:37  Revueltas - La noche de los Mayas

Gustavo Dudamel, one of the youngest conductor around, performs Revueltas' La noche de los Mayas with the Simon Bolivar Youth Orchestra. Gustavo Dudamel, Simon Bolivar Youth Orchestra

17:47  Dukas - The Sorcerer's Apprentice

Paul Dukas just could not find his breakthrough. Early 1897 his Symphony in C major saw its premiere, but it found a cool reception. Before that, he had had an average time at the Paris Conservatory and had served his military service for a year. But French composers Vincent d’Indy and Camille Saint-Saëns recognised Dukas’ potential and tried to help him on his way, even though he was still an unknown at the time. However, the premiere of his symphonic poem The Sorcerer’s Apprentice (L’apprenti sorcier’) changed all that completely: the composition quickly became one of the most beloved orchestral pieces in the repertoire and Dukas became a star overnight. The story of the student who escapes his master’s watchful eye and gets himself into an awful lot of trouble was taken from Johann Wolfgang von Goethe’s ballad of the same name. Kurt Masur, Gewandhausorchester Leipzig

18:00  Lucerne Festival 2004

,,Nobody understood it. I wish I could conduct the first performance - 50 years after I'm gone.’’ Gustav Mahler wrote his Symphony No. 5 in the summers of 1901 and 1902, a period of change in the composer's life. As director of the Wiener Staatsoper and conductor of the Wiener Philharmoniker, he had one of the most-wanted positions in the music business, while he also met his wife Alma Mahler, who was pregnant with their first child, in 1902. Mahler's health gave less cause for celebration: a hemorrhage would have killed him in 1901, had his doctor not prevented that. Keeping this in mind, it comes as no surprise that Mahler's approach to composition changed. His work premiered in 1904, but the audience was not ready for a composition this impressive. Different from his Symphonies No. 2 and 3, Mahler's Symphony No. 5 is a completely instrumental work (with the famous fourth movement, the Adagietto, as the highlight), and, moreover, it lacks the philosophical or religious themes of his earlier Symphonies. Mahler would keep wrestling with the instrumentation of the piece until his death in 1911. This magnificent work is broadcasted in combination with Ludwig van Beethoven's Piano Concerto No. 4. Claudio Abbado, Lucerne Festival Orchestra, Maurizio Pollini (piano)

19:47  Beethoven - Piano Concerto No. 5 'Emperor'

In time for his 65th birthday in 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist. Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven’s overall output. Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor’s podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. During this recording you can enjoy the Piano Concerto No. 5, Daniel Barenboim, Staatskapelle Berlin

20:28  Mendelssohn - Spinnerlied

Felix Mendelssohn spent a long time working on his total of eight volumes with ‘Lieder ohne Wörter’ (songs without words). He composed these pieces between 1832 and 1845 and put six ‘songs’ into every volume. Because there are no lyrics to these compositions, Mendelssohn leaves to the audience to decide what the pieces are about. This Song is from the sixth volume. The title of this piano piece by Felix Mendelssohn was particularly well chosen: the piece is constantly on the move and never comes to a standstill. Evgeny Kissin

20:30  Rameau - Castor and Pollux

Castor et Pollux is arguably Rameau’s finest creation in the tragédie lyrique style. Its libretto, based in mythology, focuses on an unusual theme: the self-sacrificing love between Castor, who is mortal, and his immortal brother, Pollux. When Castor is killed while defending his beloved Télaire from an attempted abduction, Pollux resolves to give up his immortality and take Castor’s place in the Underworld. After passionate debate over who will live and who will die, the brothers are eternally united, transformed into the constellation Gemini. The strikingly luminous sets, depicting a stylized version of the constellation, give this fabulous production, staged by Pierre Audi and conducted by Christophe Rousset, a glorious 21st-century baroque look. Christophe Rousset, Chorus of De Nederlandse Opera, Les Talens Lyriques, Télaïre: Anna Maria Panzarella, Phébé: Véronique Gens, Castor: Finnur Bjarnason , Pollux: Henk Neven, Cléone/Une suivante d’Hébé/Une ombre heureuse: Judith van Wanroij, Jupiter: Nicolas Testé, Le Grand-Prêtre/Une autre voix: Thomas Oliemans, Un Spartiate/Un athlète/Mercure/Une voix: Anders J. Dahlin

22:45  Chopin - Sonata No. 3

Marc-Andre Hamelin (piano) plays Chopin's Piano Sonate No. 3 Marc-Andre Hamelin (piano)

23:14  Bach - Sonata No. 6 BWV 1019

This Sonata for Violin and Harpsichord No.6 BWV 1019 is the last of the set of sonatas that Johann Sebastian Bach composed before 1725, probably while working as chapel master in Köthen. He presumably wrote these sonatas for Prince Leopold and later adapted them for further use in Leipzig. Maybe this is why these pieces are well playable for amateurs, while every sonata still has the finesse that can offer a challenge to professional musicians. The different pieces are meant to be a set, just like the Brandenburg concertos, but this last sonata is different from the others in that it has five sections instead of four. Frank Peter Zimmermann (violin), Enrico Pace (piano)

23:32  Brahms - Symphony No. 2 part 2

In the summer of 1877, during a visit to Pörtschach am Wörthersee, Johannes Brahms was inspired to write his Second Symphony. One summer is a short time to write an entire symphony, especially compared to the 15 years Brahms took to compose his First Symphony. The piece is lighter and much more spontaneous than his previous symphony and therefore bears comparison to Ludwig van Beethoven’s Sixth Symphony. Even though Brahms started with renewed confidence after the success of his first symphony that had premiered a year earlier, he was still a bit insecure about this new piece. In a letter to his friend Dr. Billroth he wrote: “I do not know if I have a pretty symphony; I must inquire of learned persons”. In this broadcast: the second movement. Kurt Masur, Gewandhausorchester Leipzig

23:42  Ravel - Boléro

Maurice Ravel’s ‘Boléro’ is by far his most famous piece. Famous because it contains the longest ever crescendo in an orchestral piece, famous because it features all instruments, famous because of the repeated motifs and famous because all of this fits into about 15 minutes. Legendary ballet dancer Ida Rubinstein was the one to give the assignment. In 1928, she requested a piece with Spanish character, and Ravel composed this mini ballet as a practice composition. That it would become such a success he had never envisioned. At the premiere that same year, the audience even called out for it to be played again. Ravel himself was less impressed with his most popular piece: he called it a ‘piece for orchestra without music’. Jos van Immerseel, Anima Eterna

0:00  Verdi - Oberto

Even though Giuseppe Verdi was only in his twenties when he composed this piece and it is his first published opera, Oberto already displays some of the beautiful melodies and sense of drama that would later earn Verdi his status. And there is drama indeed. Riccardo is engaged to Cunzia but he secretly seduces Leonora, who is Count Oberto’s daughter. When the latter finds out what happened he explodes into rage. He disowns Leonora and challenges Riccardo to a duel to save the family’s honour. Cunzia, however, decides to sacrifice herself and breaks off her engagement so Riccardo can marry Leonora. But it is already too late: Count Oberto did not survive the duel. Leonora is shocked by what her feelings for Riccardo have caused and commits suicide. Recorded at the Opéra de Bilbao in 2007 starring Ildar Abdrazakov, Evelyn Herlitzius and Carlo Ventre. Yves Abel, Chorus of Ópera de Bilbao Orquesta Sinfónica del Principado de Asturias, Oberto: Ildar Abdrazakov Leonora: Evelyn Herlitzius Ricardo: Carlo Ventre Cuniza: Marianne Cornetti Imelda: Nuria Lorenzo

2:18  Berg - Altenberg Lieder

The somewhat eccentric poet Peter Altenberg was in the habit of writing foul-mouthed poems onto postcards and sending them to his friends. Five of these postcard poems form the basis to Alban Berg’s collection of songs with ‘Altenberg Lieder’ as an appropriate name. Berg composed these pieces when he had officially already finished his studies with Arnold Schoenberg. He was very active as a composer of songs at that time, greatly annoying his former teacher. Schoenberg discouraged Berg’s writing of songs and after hearing these Altenberg Lieder Schoenberg even supposedly said they ‘irritated’ him. These songs would be the last pieces Berg composed in the genre, after this he transferred to purely instrumental music and even opera later on. It is his work in the latter two genres that earned him his place in music history, though these songs should most certainly not be looked over. Claudio Abbado, Lucerne Festival Orchestra, Renée Fleming

2:30  Mozart - Idomeneo

Written for the court of Munich in 1780/81, "Idomeneo" is often regarded as the first of the seven undisputed masterworks in Mozart's dramatic oeuvre. Never before had he cast such bold, impassioned music into a dramatic form or devised such a well-calibrated dramaturgy. Was it the plot that drove Mozart to such extremes of expressive power? The story evokes countless other opera seria subjects: King Idomeneo has promised to sacrifice to Neptune the first person he meets if he is saved from shipwreck this turns out to be his son Idamante, who stands between two women, the Trojan Princess Ilia, whom he loves, and the Greek princess Elettra, who loves him. Four people on the edge of the abyss, drawn together by passion, torn apart by reasons of state... Though respecting the tenets of opera seria, Mozart repeatedly burst out of the rigid corset of the genre. Arias are heightened by unexpected twists and turns, accompagnato recitatives reach unheard-of levels of jagged emotional rawness, and stereotyped set pie es such as the vengeance become entire scenes in themselves. Mozart also treats the instruments in a far more liberal and imaginative manner than ever before, blending the voices with solo instruments and creating new tone colors that prefigure the Romantic era. Such an extraordinary work deserves an exceptional interpretation. And this is ensured by Sir Roger Norrington and the Camerata Salzburg playing on an "island" (the action unfolds on Crete) surrounded by narrow ramps on which the singers, literally "on the edge of the abyss," pace about in search of one another, of love, of redemption... Simplicity and elegance stamp both the production of Ursel and Karl-Ernst Herrmann, and the playing of the Camerata Salzburg. Norrington entices entire catalogues of nuances from his players, but never yields to manneristic over-refinement. His Mozart is slender and suave, rigorous and concise. Under his baton, the soloists blossom. First and foremost is Ramón Vargas as Idomeneo, who colors his despair with exquisite elicacy and rousing bravura. Magdalena Kozená is a passionate, glowing Idamante and Ekaterina Siurina a lyrical Ilia. As Elettra, Anja Harteros triumphs with dramatic fire and intensity. Every inch a noblewoman, she hurls out her vengeance aria with repressed fury rather than scenery-chewing theatrics. They and their colleagues Jeffrey Francis, Robin Leggate and Günther Groissböck, along with the Salzburger Bachchor, lend their artistry to this unforgettably intense performance. Roger Norrington, Camerata Academica Salzburg, Ramon Vargas, Magdalena Kozená, Ekaterina Siurina, Anja Harteros, Jeffrey Francis

5:20  Mendelssohn - Sextet

Contrary to what its high opus number might suggest, this Sextet is in fact a very early work by Felix Mendelssohn, composed when he was only 15 years old. Its instrumentation is striking, especially considering the time when it was written: one violin, two violas, a cello, a double bass and a piano. Perhaps his own skill as a viola player led Mendelssohn to tag on the extra viola instead of the traditional second violin. Be that as it may, the result is a beautiful piece of music. It was first performed in the Mendelssohns’ salon during one of their Sunday morning concerts, which were regularly visited by various stellar guests, among them Louis Spohr, Johann Nepomuk Hummel and Ignaz Moscheles. Yuja Wang (piano), Kirill Troussov (violin), David Aaron Carpenter (viola), Sol Gabetta (cello), Maxim Rysanov (viola), Leigh Mesh (double bass)

5:48  Beethoven - Piano Concerto No. 3 part III

When Ludwig van Beethoven, on April 5th 1803, took his place at the piano to start the premiere of his Third Piano Concerto in C minor Op. 37, hardly a note of the solo had been put to paper. His friend Ignaz von Seyfield, recruited to turn pages at this concert, later recalls: ,,I saw almost nothing but empty leaves; at the most on one page or the other a few Egyptian hieroglyphics wholly unintelligible to me scribbled down to serve as clues for him; for he played nearly all of the solo part from memory, since, as was so often the case, he had not had time to put it all down on paper.” Only a year later did Beethoven find the time to write the full piano score. Mozart’s Piano Concerto in C minor KV 491 served as a model for this concerto, and the piece was dedicated to Prince Louis Ferdinand of Prussia. In this broadcast: the third movement. Claudio Abbado, Lucerne Festival Orchestra, Alfred Brendel (piano)

6:00  Bachfest Leipzig 2004

Since 1999, the Leipzig Bach Festival represents the worlds major festival according to J.S. Bach. This concert is one of the highlights of the Leipzig Bach Festival 2004. With the soloist, who are all experts in Baroque vocal music, the chamber choir Ex Tempore, also specialized in music of the 17th and 18th century, and La Petite Bande, an outstanding orchestra for early music, Sigiswald Kuijken has high professional musicians to perform two of the most remarkable vocal works by J.S. Bach and his most famous son: The two-part cantata "Ascension Oratorio" has its origin in an elder secular work and includes some arias which occur again in the b Minor mess. The thematically related oratorio by C.P.E. Bach, originated 40 years later, is an important masterpiece of the genre and tells with multifaceted musical colours the story of the Ascension of the Christ. Sigiswald Kuijken, La Petite Bande, Ex Tempore choir, Sophie Karthäuser, soprano Patrizia Hardt, alto Christoph Einhorn, tenor Christoph Genz, tenor Jan van Der Crabben bass-baritone Stephan Genz

7:49  Schoenberg - Pelléas et Mélisande

Claudio Abbado leads the Gustav Mahler Jugend Orchester in an astonishing performance of Schoenberg’s symphonic poem ‘Pelleas et Melisande’. Claudio Abbado, Gustav Mahler Jugend Orchester

8:29  Meyerbeer - Les Patineurs

Les Patineurs (The Skaters) cleverly translates skating into ballet, allowing a series of virtuoso displays linked in a complex sequence of meetings and partings as different characters take to the the ice rink. There is no plot, but there are anecdotal relationships: a group of friends enjoy themselves, a girl and boy are in love, a virtuoso skater shows off his skill. Les Patineurs was immediately popular when first performed in London in 1937, as Britain stood on the brink of World War II. Its joyful evocation of the blithe innocence of Edwardian England was a powerful antidote to the anxious times. Indeed, three years after it opened the entire original production had to be abandoned in Holland when The Royal Ballet was on tour and made a narrow escape from the invading Nazis in May 1940. The original scenery, costumes, and musical scores were all abandoned as the company fled. Paul Murphy, Royal Ballet Sinfonia, The Royal Ballet, Calros Acosta, Leane Benjamin, Darcy Bussell, Jonathan Cope, Steven McRae, Ivan Purtov, Tamara Rojo, Miyako Yoshida

9:00  Prokofjev - Peter and the Wolf

Family fun, beautiful dance and generous helpings of colour, wit and charm. Matthew Hart’s wonderfully inventive version of Peter and the Wolf, choreographed for The Royal Ballet School, has an energy all its own as it portrays the scenes of young Peter and his naively valiant attempts at hunting. Peter’s Grandfather, a cat, a duck – even the forest trees and greenery – act out the events that leave Peter triumphant and the wolf his captive. Robert Gibbs, Royal Ballet Sinfonia, Sergei Polunin (The Wolf), Will Kemp (Grandfather), Kilian Smith (Peter), Charlotte Edmonds (Duck), Laurine Muccioli (Bird), Chisato Katsura (Cat)

9:32  Bach - Goldberg Variations

Should it be true that J.S. Bach actually composed the Goldberg Variations as a sleeping aid for Graf Keyserlingk, then Evgeni Koroliov, born 1949 in Moscow, must have succumbed to a misapprehension. The further he proceeds in the series of variations of this colossal opus, the more wide-eyed the audience turned out to be. Koroliov’s performances of Bach’s music usually arouse great excitement and his rendering of Bach’s famous Aria and 30 variations is no exception. The breathtaking intensity develops out of his natural virtuosity. Koroliov is a consummate artist and he convinces his listeners through an enormous spiritual understanding of the works he performs and in whose service he puts the wide range of his artistic and interpretatory abilities. In a cooperation with the Bachfest Leipzig, EuroArts has produced a recording of an exciting recital with this extraordinary phenomenon on the international piano scene – the best way to experience a famous yet demanding and certainly immensely important work by Bach. Evgeni Koroliov

11:00  Borodin - Symphony No. 2 part 3 and 4

Most people will know Russian composer Alexander Borodin of the ‘Polovtsian Dances’ from his opera ‘Prince Igor’. Borodin did not produce a vast body of work , but it is hard to imagine otherwise when you take in mind that he was actually a chemist by profession who composed music ‘on the side’. Not surprisingly then, it took him quite a while to finish his Second Symphony. The composer drew up an outline as early as 1869, but it was not until 1877 that the piece saw its first performance. It did not get very favourable reviews, causing Borodin to make revisions. And successfully, as this second one became the most popular out of his three symphonies. During this broadcast, the third and fourth movement. Sir Simon Rattle, Berliner Philharmoniker

11:15  Wagner - Vorspiel und Liebestod from Tristan und Isolde

Daniel Barenboim conducts the West-Eastern Divan Orchestra in Wagner's moving Vorspiel und Liebestod from Tristan und Isolde. Daniel Barenboim, West-Eastern Divan Orchestra

11:32  Beethoven - Symphony No. 9 part 3

Daniel Barenboim conducts the West-Eastern Divan Orchestra in the third movement of Beethoven's Symphony No. 9 Daniel Barenboim, West-Eastern Divan Orchestra

11:50  Beethoven - Pianoconcerto No. 1 part 3

In time for his 65th birthday in November 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the prestigious Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Daniel Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist. Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven’s overall output. Daniel Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor’s podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. With a tradition reaching back to 1570, the Staatskapelle Berlin is one of the oldest orchestras in the world. Barenboim plays Beethoven brings together two musical masterminds. In this broadcast: the third part. Daniel Barenboim, Staatskapelle Berlin

12:00  Humperdinck - Hänsel und Gretel

The composer of Hansel and Gretel, Engelbert Humperdinck, wrote was born in Germany in 1854. In the 1890s, his sister, Adelheid Wette, had written a libretto based on the Grimm fairy tale, and asked her brother to set it to music as a Christmas entertainment for her children. Later, Engelbert and Adelheid decided to turn this modest home project into a full-scale opera. Hansel and Gretel, premiered on December 23, 1893 at Weimar, was an instant hit and remains an everlasting masterpiece. The composer Richard Strauss, who was the assistant conductor for the premiere, called it "a masterwork of the first rank." Michael Hofstetter, Sächsische Staatskapelle Dresden, Iris Vermillon, Irmgard Vilsmaier, Antigone Papoulkas, Hans-Joachim Ketelsen

13:48  Bartók - Concerto for Orchestra

In 1943, after his health had deteriorated over a very short period of time, Béla Bartók was diagnosed with leukaemia. Almost three years earlier he had escaped World War II and left Europe for the United States, but there he felt isolated artistically and had financial problems on top of that. Recognition he only received for his piano playing, but due to his bad health he could not perform anymore after January 1943. The Hungarian composer was emotionally and physically bankrupt. He was in hospital when Serge Koussevitzky, conductor of the Boston Symphony Orchestra, came to ask him to compose a large orchestral piece. Bartók did not know the assignment was financed by his fellow emigrants and good friends violinist Joseph Szigeti and conductor Fritz Reiner. The assignment, to Bartók, came at a crucial stage in his life: he recovered his energy and managed to finish his Concerto for Orchestra within seven weeks. The premiere on December 1st 1944 in Boston was a great success and Bartók’s music now finally received recognition in the United States as well. New requests for compositions were made, but Bartók’s health once again failed him: he died in September 1945. Pierre Boulez, Berliner Philharmoniker

14:27  Waldbühne 2006 - 1001 Nights

The Waldbühne in Berlin, one of the most appealing outdoor amphitheatres on the European continent, is the home of the Berliner Philharmoniker’s summer concerts. With over 22.000 in attendance, they are some of the most popular classical music concerts in the world. This year the outstanding orchestra under the baton of Neeme Järvi take us on a trip to Arabian “Thousand and One Nights”, with soloist Janine Jansen, a rising star who quickly gained the reputation of one of the foremost young violinists on the international concert stages. Programme: Nikolai Rimsky-Korsakov: Scheherazade, Symphonic Suite, op. 35 (excerpts) Edvard Grieg: „Peer Gynt” - Suite No.1, op. 46 (excerpts) Carl Nielsen: Aladdin Suite for Orchestra op. 34 (excerpts) Camille Saint-Saëns: Introduction und Rondo capriccioso Jules Massenet: „Meditation” from 'Thais' for Violin and Orchestra Neeme Järvi, Berliner Philharmoniker, Janine Jansen (violin)

16:19  Verbier Festival 2009 - Chamber music

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. During this concert you can enjoy a divers range of musical celebrities. Valeriy Sokolov (violin) and David Fray (piano) will perform the seventh violin sonata by Ludwig van Beethoven. Joshua Bell (vilon) teams up with Mischa Maiksy (cello) and Evgeny Kissin (piano) to perform Mendelssohn’s Trio Nr. 1 Op. 49. The concert is closed by Dutch violin player Janine Jansen, Lars-Anders Tomter (viola), Torleif Thedéen (cello) and Nelson Goerner (piano) who will perform the Quartet Nr. 1 Op. 15 by Gabriel Fauré . Valeriy Sokolov (violin), David Fray (piano), Joshua Bell (violin), Mischa Maisky (cello), Evgeny Kissin (piano), Janine Jansen (vioinl), Lars-Anders Tomter (viola), Thorleif Thedéen (cello), Nelson Goerner (piano)

17:49  Tchaikovsky - Three pieces from 'The Nutcracker

Pyotr Ilyich Tchaikovsky’s ballet ‘The Nutcracker’ is traditionally associated with Christmas but suits all seasons. The story of the nutcracker under the Christmas tree that transforms into a fairy prince has enchanted ballet visitors from the day of its premiere in 1892 until the present day. This broadcast sees the Berliner Philharmoniker conducted by Sir Simon Rattle performing three beautiful sections from the ballet. Sir Simon Rattle, Berliner Philharmoniker

18:00  Britten - Albert Herring

Albert Herring, Benjamin Britten's comic opera is gently laced with moments of farce and a jocular parody on life in East Suffolk at the turn of the 20th century. The libretto by Eric Crozier is based on Guy de Maupassant's story “Le Rosier de Madame Husson” and transposed entirely to an English setting. The opera was premiered in Glyndebourne on 20 June 1947, conducted by the composer. The text itself is genuinely funny and there are myriad musical quotations, but despite the light subject there are as well some complex forms. Like other works by Britten, this opera explores society's reaction to an odd individual – although in this case it is from a generally humorous and lighthearted perspective. Brunel chose to update the action to contemporary times, in a world with rows of little white houses, perfect mowed lawns and with Big-Brother-like video surveillance. Laurence Equilbey, Musicians of the Orchestra of the Opéra de Rouen, Haute Normanndie, Albert Herring: Allan Clayton; Lady Billows: Nancy Gustafson; Florence Pike: Felicity Palmer; Miss Wordsworth: Ailish Tynan; Mr. Gedge: Christopher Purves; Mr. Upfold: Simeon Esper; Superintendant Budd: Andrew Greenan; Sid: Leigh Melrose.

20:23  Ligeti - Etudes pour piano No. 4

Yuja Wang performs Ligetos Etudes pour piano No. 4. Yuja Wang

20:30  Simon Bolivar Youth Orchestra in Lucern

For several years now, Gustavo Dudamel and the young musicians from the Venezuelan youth orchestra "Simón Bolívar" have been causing a furore on the international music scene. More than anything else, it is they who have earned the Venezuelan orchestra system respect around the world: Over 30 years ago, the conductor, composer and economist José Antonio Abreu had the vision of combining social work and classical music. Abreu's goal was to tear down elitist structures in music education and make music a fundamental right of all the country's children. Gustavo Dudamel, Simon Bolivar Youth Orchestra

21:53  Schubert - Die schöne Müllerin

Christoph Prégardien and Michael Gees are, beyond the shadow of a doubt, among the greatest interpreters of Schubert’s song cycle “Die schöne Müllerin”. The cycle deals with a period in the life of a young miller lad as he wanders along a stream in search of work he meets a mill-girl and falls in love with her then loses her to another man and, in deep despair, drowns himself in the millstream. “Die schöne Müllerin” - consisting of twenty songs - is an amazing compendium of the human psyche which deals with the miller’s emotions as he finds, and then loses, his love. Christoph Prégardien (tenor), Michael Gees (piano)

23:10  Ravel - Le tombeau de Couperin

Maurice Ravel originally wrote his ‘Tombeau de Couperin’ (A Memorial to Couperin) as a six-piece suite for piano, each part of which was dedicated to friends the composer had lost during World War I. The first part (Prelude) for instance was dedicated to Jacques Charlot, a cousin to Claude Debussy, and the Toccata to French musicologist Joseph de Marliave, whose wife was the first to play the piano version. In 1820 the composer edited a few parts for orchestral performance, intended for a small orchestra setup. The piece became, as the name suggests, a tribute to French music of the 18th century and François Couperin in particular. Pierre Boulez, Berliner Philharmoniker

23:29  Saint-Saëns - Introduction and Rondo capriccioso

When fifteen-year-old Spanish violin prodigy Pablo de Sarasate approached Camille Saint-Saëns for a piece, the composer was honoured. He took the opportunity with both hands and wrote his First Violin Concerto. De Sarasate, at his young age, was already a celebrity and he performed all over the world. Saint-Saëns, who like many French composers of the Romantic period was very interested in Spanish folk music, wrote another piece for the young violin legend four years later: ‘Introduction et Rondo Capriccioso’ for violin and orchestra. This piece not only contains elements of several Spanish dances, but Saint-Saëns also deliberately made it difficult to play. He wanted to present the violinist, who had grown up in the meantime, with a challenge. De Sarasate was very pleased with the result and performed the piece on a regular basis, with popularity ensuing: both George Bizet and Claude Debussy made their own versions. Neeme Järvi, Berliner Philharmoniker, Janine Jansen (violin)

23:38  Schumann - Adagio and Allegro

An all-Schumann Programme as highlight of the Schumann Year 2006. Martha Argerich has long been hailed as one of the greatest and most uniquely imaginative pianists. This legendary Argentinean musician is surrounded by an aura of mystery: some find her too uncompromising, others generous and beautiful, yet to all she is without doubt incredibly talented! When Argerich and Chailly performed the Schumann Piano Concerto it created a musical sensation! Riccardo Chailly, Gewandhausorchester Leipzig, Martha Argerich

23:47  Beethoven - Egmont Overture

Goethes play ‘Egmont’ undoubtedly appealed to Ludwig van Beethoven – a fight for freedom. It was the great subject of his only opera, Fidelio. ‘Egmont’ tells the story of the Spanish occupation of The Netherlands in the Eighty Years’ War and of the trials and tribulations of the people of the Dutch provinces. The Catholic Count of Egmont, loyal to Spain, pleads for tolerance but instead Spanish King Philip II sends the Duke of Alva. The Iron Duke eventually takes Egmont prisoner and beheads him. Beethoven wrote theatre music for the complete play, but the overture is by far the most famous part. Claudio Abbado, Berliner Philharmoniker

23:57  Saint-Saëns - Mélodies persanes, Op. 26: No. 6 Tournoiement, Songe d'Opium

French countertenor Philippe Jaroussky attained his succesful singing career by a roundabout way; he started playing violin at eleven and learned to play the piano at fifteen. Only when he was eighteen and met singing teacher Nicole Fallien did he decide to focus exclusively on singing. By now he has become one of the most famous classical vocalists in the world, praised by many for the purity of his voice and his fresh stage presence, with which he undoubtedly improved the public image of old music. In this broadcast he sings Saint-Saëns' 'Mélodies persanes'. Philippe Jaroussky (countertenor), Jérôme Ducros (piano)

0:00  Venezuelan Brass Ensemble - Gran Fanfare

The Venezuelan Brass Ensemble – a highly-acclaimed group with nearly 50 brass and percussion players drawn from the extraordinary Simón Bolivar Youth Orchestra of Venezuela. The repertoire of the Venezuelan Brass Ensemble is a regular firework display of ambitious pieces for massed brass - impressively varied and testifies to the high standard of this young ensemble. The Ensemble is both a miracle and an inspiration to all. With their blend of classical and South American repertoire these some 50 young brass and percussion players not only have audiences on their feet but with a scintillating display of brass music demonstrate a virtuosity and a passion that is nothing short of awesome. Thomas Clamor, Venezuelan Brass Ensemble

1:24  Mahler - Symphony No. 1

Jean Paul’s novel ‘Titan’, in which an artistically gifted young man, driven by his failure to find his way in society, eventually commits suicide in despair, inspired Gustav Mahler to compose his Symphony No. 1. The work did not come easily to Mahler: he composed it between 1887 and 1888 when he, in his twenties, was working as a conductor at the Oper Leipzig. The first version of the work was considered as a symphonic poem in two parts, as its titles told a specific musical story. This original version premiered in Budapest in 1898, but it did not go down well. Mahler decided to revise his work: he left out the expressionist titles and cut the second part (Blumine). This results in a wonderful symphony, full of musical references. The opening part quotes one of Mahler's earlier compositions (Ging heut' morgens übers Feld from Lieder eines Fahrenden Gesellen), the second movement is an Austrian ländler (a folk dance), and the third part refers to a very well-known melody: ‘Brother John'. All in all, this Symphony No. 1 marks an incredible achievement for a composer this young. Fabio Luisi, Sächsische Staatskapelle Dresden

2:22  Liszt - Jeux d'eau a la Villa d'Este

Nikolai Lugansky performs “Jeux d'eau a la Villa d'Este” (The Fountain of the Villa d’Este) by Franz Liszt. It is one of the most virtuosic piano pieces Liszt ever wrote. The music is a true tone poem, illustrating the sparkling, jumping and dancing water of the fountain. Nikolai Lugansky (piano)

2:30  Tchaikovsky - Swan Lake

Swan Lake is one of the most loved of all classical ballets and one of the most popular in the Royal Ballet repertory. It has that magical combination of Tchaikovsky’s music, a compelling story of tragic romance and choreography that allows the very best dancers to show just how impressive they can be. Anthony Dowell’s romantic production is inspired by Imperial Russia of 1895, when the ballet was first performed. Against this atmospheric setting, Marius Petipa and Lev Ivanov’s choreography provides an opportunity to see great dance partnerships in the leading roles and the whole Company in the dance ensembles. Illuminated by moonlight, the charged solos for the Prince and Odette and her alter-ego Odile, the machinations of Von Rothbart and the colour of a palace ball all combine with glorious music to make for an evening of inspiration and romance. Valeriy Ovsyanikov, Orchestra of The Royal Opera House, Marianela Nuñez, Thiago Soares, Christopher Saudners

4:39  Thomas Quasthoff at the Verbier Festival

For its 14th edition, the Verbier Festival has once again brought together the most prestigious artists in classical music. During this concert you can enjoy baritone Thomas Quasthoff and Hélène Grimaud performing Schumann’s Dichterliebe, Op.48 and Brahms’ Lieder und Gesänge, Op.32. Thomas Quasthoff bass-baritone) Hélène Grimaud (piano)

5:39  Mahler - Symphony no. 4 part 2

His earlier composition, ‘Das himmlische Leben’ from Des Knaben Wunderhorn, in which heaven is presented in a child-like manner, served as model for Gustav Mahler's complete Symphony No. 4. The first three parts refer frequently to 'Das himmlishe Leben', and it is eventually sung in its entirety by a soprano in the last part. Its sober instrumentation and its short length (approximately 60 minutes) make this possibly Mahler’s most accessible symphonies. Performed by the Gustav Mahler Jugendorchester under direction of Claudio Abbado, featuring Juliane Banse as soprano. This beautiful symphony is preceded by Schoenberg’s Pelleas et Melisande. During this broadcast: the second movement. Claudio Abbado, Gustav Mahler Jugend Orchester

5:49  Mozart - Piano Concerto No. 25 part 3

Mitsuko Uchida is the star in the Mozart piano concerto No. 25, performed with the Wiener Philharmoniker and Riccardo Muti. Riccardo Muti, Wiener Philharmoniker, Mitsuko Uchida (piano)

6:00  Strauss II - Die Fledermaus

Prison is next for Gabriel von Eisenstein! He will be locked up for eight days for insulting a policeman. But first, his friend Dr. Falke coaxes him to come along to the ball of the Russian prince Orlofsky. Von Eisenstein is certainly up for it, but does not tell his wife Rosalinde, nor Rosalinde's maid Adele. While exchanging goodbyes with the two ladies, he pretends to be heading for prison. He is quite unaware that Adele and Rosalinde attend the same ball too - but in disguise. The prince's ball is a practical joke of Dr. Falke's, who seeks revenge on Von Eisenstein for having been left behind, drunk and dressed up as a 'Fledermaus' (a bat), the year before. Dr. Falke's joke goes according to plan, and, intoxicated by quite a few glasses of champagne, Von Eisenstein seduces his wife, in her disguise of a Hungarian Countess. The day after the ball, confusion abounds, but all misunderstandings are cleared out of the way eventually. Recorded in Glyndebourne in 2007, featuring Pär Lindskog, Lyubov Petrova and Pamela Armstrong, amongst others. Vladimir Jurowski, The Glyndebourne Chorus, The London Philharmonic Orchestra, Alfred: Pär Lindskog Adele: Lyubov Petrova Rosalinde: Pamela Armstrong Gabriel von Eisenstein: Thomas Allen Dr Blind: Ragnar Ulfung Dr Falke: Håkan Hagegård Frank: Artur Korn Prince Orlofsky: Malena Ernman Frosch: Udo Samel Ida: Renée Schüttengruber

8:47  Beethoven - Piano concerto No. 1 part 2

In time for his 65th birthday in November 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the prestigious Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Daniel Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist. Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven’s overall output. Daniel Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor’s podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. With a tradition reaching back to 1570, the Staatskapelle Berlin is one of the oldest orchestras in the world. Barenboim plays Beethoven brings together two musical masterminds. In this broadcast: the second part. Daniel Barenboim, Staatskapelle Berlin

9:00  Europa concert 2005 Budapest

The Europa-Konzert 2005 took place in Budapest, the capital of the new European Union member Hungary. At the impressive State Opera House in Budapest the Berliner Philharmoniker under the baton of their music director Sir Simon Rattle perform works by Bartók (Violin Concerto No.2), Stravinsky (Firebird) and Berlioz (Le Corsaire, Overture). The Soloist for Bartók's 2nd violin concerto is Leonidas Kavakos. The Greek violinist has established himself as one of the most sought-after young virtuosos and appears regularly with leading orchestras and in recital throughout the world. Sir Simon Rattle, Berliner Philharmoniker, Leonidas Kavakos (violin)

10:43  Mendelssohn - Piano Trio

The Verbier Festival is unique with its gorgeous entourage of impressive Alpine views. But the amazing musicians taking part in the show each year match the Alps in stature. Not surprisingly, Verbier is many musicians’ favourite summertime getaway. Every year, dozens of celebrities take the trip to this Swiss town to join their equally famous colleagues in playing chamber music and enjoying the mountain views, festive atmosphere and gorgeous repertoire. It may well occur that in one concert here as many stars take the stage as would normally fill up a whole concert season. Take for instance the performance of Mendelssohn’s beautiful Piano Trio No. 1 by two former wunderkinder Joshua Bell (violin) and Evgeny Kissin (piano) together with none other than cello giant Mischa Maisky. The Piano Trio, finished by Felix Mendelssohn – another wunderkind – on September 23, 1839, is one of his best-loved chamber music compositions, perhaps only matched by his String Octet (Op. 20). Joshua Bell, Evgeny Kissin, Mischa Maisky

11:11  Respighi - Adagio con variazioni

Yuri Temirkanov conducts the St. Petersburg Philharmonic in a performance of Respighi's Adagio con variazioni. Yuri Temirkanov, St. Petersburg Philharmonic Orchestra

11:24  Bruch - Kol Nidrei

German composer Max Bruch gave his ‘Kol Nidrei’ the subtitle ‘An adagio, based upon Hebrew themes for cello and orchestra’. Kol Nidrei is a Jewish religious dedication recited in synagogues nine days after the start of the Jewish new year. During this recitation, a request is made to nullify all the vows and obligations people have taken upon themselves in the previous year, to make for a fresh start. Mischa Maisky, Verbier Festival Orchestra

11:35  Brahms - Pianoconcerto No. 1 part 1

With the courage of the young, 20-year-old Johannes Brahms started composing what he thought would become his first symphony. Despite of his age, his music was already widely known and he was seen by many as the ‘new Ludwig van Beethoven’. It was this kind of praise that made Brahms feel insecure: he felt he was too inexperienced to be composing a grand symphony and he reshaped the material into a sonata for two pianos, which he would eventually, in 1858, turn into his first Piano Concerto in D minor. The piece was premiered in Hannover in January 1859 and was played in Leipzig five days later. Especially in Leipzig it got a frosty welcome and was labelled ,,unorthodox, banal and horrid”. In our times, however, this early Brahms is popular with concert audiences and widely performed. This performance took place at the Herrodus Atticus Theatre in Athens. In this broadcast we bring you the first part of the concerto. Sir Simon Rattle, Berliner Philharmoniker, Daniel Barenboim (piano)

12:00  60 Years RIAS Kammerchor

This festive concert from the Gethsemanekirche in Berlin marks the 60th anniversary of the RIAS Kammerchor. Under the baton of the new chief conductor Hans-Christoph Rademann, the RIAS Kammerchor and the Akademie für Alte Musik Berlin perform famous Motets by Johann Sebastian Bach, interspersed with some fine instrumental works of the composer. Founded in 1948, the choir enjoys today a worldwide reputation as one of the best ensembles of its kind. Hans-Christoph Rademann, Akademie für Alte Musik Berlin, RIAS Kammerchor, Stephanie Petitlaurent (soprano), Waltraud Heinrich (alto), Susanne Langner (alto), Volker Arndt (tenor), Christian Mücke (tenor), Ingolf Horenburg (bass)

13:32  Sophia – Biography of a Violin Concerto

In August of 2007, Anne-Sophie Mutter performed the world premiere of Sofia Gubaidulina’s second Violin Concerto in Lucerne with conductor Sir Simon Rattle and the Berliner Philharmoniker. This piece by the Russian composer (born in 1931) is an important event in many respects. Sofia Gubaidulina is one of the worlds leading contemporary composers. Her international breakthrough came in 1980 with her first Violin Concerto, Offertorium, which she wrote for Gidon Kremer. To this day, it remains her most often performed piece. In spite of all the other pieces the has written in the meantime, it is her second Violin Concerto that violinists, conductors and orchestras around the world have eagerly been awaiting, especially since she was commissioned to write it in 1992 by Paul Sacher, the Basel conductor and patron of the arts. It was his whish that Gubaidulina’s new violin concerto first be performed by Anne-Sophie Mutter. Fifteen years later, that dream finally came true. The film focuses on the piece – from its inception, through the many stages of the creative process to its world premiere but also features the many great expectations of the music world and the resulting pressure on Gubaidulina.

14:29  Tchaikovsky - The Sleeping Beauty Prologue

Tchaikovsky's The Sleeping Beauty is one of the best loved of classical ballets, combining in a single work all the enchantment and virtuosity that ballet has to offer. The royal court, the panoramic journey of the Prince to the overgrown castle, and the great celebratory dances of the happy ending (in which other famous fairytale figures appear) are all brought to life by the luscious designs of this celebrated production, created in 1946 for the The Royal Ballet. The inspired performances of its revival for the 75th anniversary of the Company in 2006 make this a superb tribute to The Royal Ballet’s unique style and visual splendour. Valeriy Ovsyanikov, The Royal Ballet, The Orchestra of the Royal Opera House, Princess Aurora: Alina Cojocaru, Prince Florimund: Federico Bonelli, King Florestan XXIV: Christopher Saunders, His Queen: Elizabeth McGorian, Cattalabutte: Alastair Marriott, Carabosse: Genesia Rosato. Lilac Fairy: Marianela Nuñez

15:02  Tchaikovsky - The Sleeping Beauty

Tchaikovsky's The Sleeping Beauty is one of the best loved of classical ballets, combining in a single work all the enchantment and virtuosity that ballet has to offer. The royal court, the panoramic journey of the Prince to the overgrown castle, and the great celebratory dances of the happy ending (in which other famous fairytale figures appear) are all brought to life by the luscious designs of this celebrated production, created in 1946 for the The Royal Ballet. The inspired performances of its revival for the 75th anniversary of the Company in 2006 make this a superb tribute to The Royal Ballet’s unique style and visual splendour. Valeriy Ovsyanikov, The Royal Ballet, The Orchestra of the Royal Opera House, Princess Aurora: Alina Cojocaru, Prince Florimund: Federico Bonelli, King Florestan XXIV: Christopher Saunders, His Queen: Elizabeth McGorian, Cattalabutte: Alastair Marriott, Carabosse: Genesia Rosato. Lilac Fairy: Marianela Nuñez

16:45  Schumann - Piano Quartet Op. 47

In 1842, his ‘chamber music year’, Robert Schumann composed no less than five great pieces: three string quartets, one piano quintet and one piano quartet. Apart from a single piano quartet, Schumann had never written chamber music before. Because of the small set-up, the quartet has an intimate quality about it and has become one of the standards. Menahem Pressler (piano), Salvatore Accardo (violin), Antoine Tamestit (viola), Gautier Capuçon (cello)

17:14  Tchaikovsky - Violin Concerto movement 1

After a failed marriage and failed attempted suicide, Pyotr Il'yich Tchaikovsky wanted to rest and regain some strength in Clarens. While there he was visited by friend and violinist Yosif Kotek. In only eleven days he finished the rough version of a new violin concerto and two weeks later even the full orchestration was done. He did not dedicate the concerto to Kotek, however, but to Leopold Auer, who did not even want to try it as he thought the piece impossible to play. At the premiere on December 4th 1881 the solo part was played by Adolf Brodsky. The first performance was not received entirely favourably; critic Eduard Hanslick wrote that the music ‘stinks to the ear’ but also admitted in the same review that the concerto contained bits of genius and musicality. Meanwhile, it has become a favourite amongst violin concertos. This broadcast shows the first movement. Sir Andrew Davis, Verbier Festival Orchestra, Joshua Bell (violin)

17:33  Mendelssohn - Trumpet Overture

Riccardo Chailly performs Mendelssohn's Trumpet Overture with the Gewandhausorchester Leipzig. Riccardo Chailly, Gewandhausorchester Leipzig

17:42  Beethoven - Symphony No. 7 part 2

The year 1812 was a busy one for the by then already famous but deaf Ludwig van Beethoven. He finally met Johann Wolfgang von Goethe (another German celebrity) but was disappointed by his personality, had an eventful love life and wrote the famous letter to his anonymous ‘Unsterbliche Geliebte’ (Immortal Beloved) and also tried to interfere in the life of his youngest brother, who had an affair with one of the maids. Amidst all this he still found the time to compose some new pieces, among which was his Seventh Symphony. The piece was first performed in 1813 at a charity event for wounded soldiers, by a rather special orchestra: Louis Spohr for instance was one of the violinists, and Johann Nepomuk Hummel, Giacomo Meyerbeer and Antonio Salieri were also among those in the orchestra. In this broadcast: the second movement. Sir Simon Rattle, Berliner Philharmoniker

17:51  Mozart - Sonata No. 32 part 2

Wolgang Amadeus Mozart’s Sonata No. 32 tells its own story. In Mozart’s time, the clarinet was a novelty, a newly invented instrument that was highly regarded among composers for its warm tone and versatility. Towards the end of his life, Mozart wrote one of the most beautiful pieces ever composed for the clarinet: his Clarinet Concerto. He applauded the addition of two clarinets to symphony orchestras like Mannheim’s modern orchestra, and was on friendly terms with Viennese master clarinettist Anton Stadlers, for whom he wrote his famous Clarinet Quintet as well as the said Clarinet Concerto. Unfortunately, he never composed a sonata for clarinet and piano – all the more reason for Michael Collins to adapt Mozart’s brilliant 32nd Sonata for Violin and Piano KV. 454 for piano and clarinet. This program broadcasts the second movement. Michael Collins (clarinet), Julien Quentin (piano)

18:00  Evelyn Glennie in Concert

The famous, versatile percussionist Evelyn Glennie performs together with the Orchestre Philharmonique du Luxembourg, conducted by Bramwel Tovey: "Konzertstück" by Icelandic composer Áskell Másson, "Concert for Piccolo" by Vivaldi arranged for vibraphone by Evelyn Glennie herself and "Six Miniatures" for marimba solo by the German percussionist and composer Matthias Schmitt. The programme also includes Beethoven's Leonore Overture No.3 and the 3rd Symphony (Eroica). Bramwel Tovey, Orchestre Philharmonique du Luxembourg, Evelyn Glennie (percussion)

19:52  Dragon Songs - Lang Lang in China

Leaving his hometown at age 8 to start an international career, he had by age 23 earned a stellar reputation for his passionate interpretations of Western classical music. Since then, young pianist Lang Lang has not left the international stages. We witness this masterful pianist return to his roots during a concert tour in his homeland, China. The concert tour starts in Lang Lang's birth place Shenyang, where the pianist's parents comment on their sacrifices for their son's career. A highlight of the documentary is a performance with traditional Chinese instruments at the Central Conservatory of Music in Beijing.

20:49  Mozart - Horn Concerto No. 1

Wolfgang Amadeus Mozart wrote his First Horn Concerto for a good friend he had known since childhood: Joseph Leutgeb. Mozart admired the horn player’s skill but also liked making fun of him. He for instance wrote on Leutgeb’s manuscript: “W. A. Mozart took pity on Leitgeb, ass, ox and fool in Vienna on 27 May 1783." He would also, for example, deliberately instruct the orchestra to play ‘allegro’ (lively, fast) where Leutgeb’s score said ‘adagio’ (slowly, at ease), which undoubtedly caused some confusion. Leutgeb does not seem to have minded the teasing much and the two were very close friends. When Mozart’s wife Constanze was away for a few days in 1791, the composer even stayed over at Leutgeb’s house, because otherwise “I would have been all alone at home, which would not have been pleasant”. Daniel Barenboim, Berliner Philharmoniker, Radek Baborak

21:00  Meyerbeer - Les Huguenots

The dramatic events surrounding the St. Bartholomew's Day massacre, in which approximately 3000 Protestants were murdered by Catholics, forms the setting for this historical ‘grand opera’ by Giacomo Meyerbeer. Protestant Raoul is in love with Catholic Valentine: an impossible love. Religion is not the only matter that keeps the two lovers apart, as Valentine has been promised to the Catholic Comte de Nevers, his enemy... This work enjoyed an incredible popularity after it premiered, but suffered oblivion shortly after. This production of the Deutsche Oper Berlin marks a triumphant comeback for this timeless work, presented in a contemporary setting. Recorded in the Deutsche Oper Berlin featuring Angela Denning, Lucy Peacock and Camille Capasso. Stefan Soltesz, Orchestra and Chorus of the Deutsche Oper Berlin, Angela Denning, Lucy Peacock, Camille Capasso, Marcia Bellamy, Richard Leech and Martin Blasius

23:43  Márquez - Dánzon No. 2

If you could assign human ages to classical music, Arturo Márquez’s Dánzon No. 2 would still be a toddler. This swinging piece was first performed in 1994, by the Orchestra Filarmonica of the Universidad Nacional Autónoma de México (National Autonomous University of Mexico), that also commissioned Márquez to write it. The title of this contemporary piece refers to the Dánzon, a type of dance originally from Cuba but also important in the folklore of Veracruz, one of Mexico’s 31 states. Gustavo Dudamel, Berliner Philharmoniker

23:53  Mendoza - Guerra de Secciones

Gustavo Dudamel and the Simon Bolivar Youth Orchestra perform Mendoza's Guerra de Secciones. Gustavo Dudamel, Simon Bolivar Youth Orchestra

0:00  The West-Eastern Divan Orchestra in Berlin

In light of the conflicts in the Middle-East, this orchestra is almost a miracle: the highly acclaimed West-Eastern Divan Orchestra is made up of young musicians from countries that are at war. The orchestra with youngsters from Israel, Palestine, Syria, Egypt, Lebanon, Jordan and Spain was formed in Weimar in 1999. Since then there have been concerts in Berlin, Seville and Rabat among others, and in the summer of 2005 even in Ramallah – a hotspot in the Middle-Eastern conflict. A highlight of the tour of summer 2006 was the performance of Beethoven’s 9th Symphony, conducted by Daniel Barenboim and featuring star singers such as Angelika Denoke and Burkhardt Fritz as well as Waltraud Meier and René Pape. The proceeds from these benefit concerts go to the Fundación Barenboim-Said and their music education programmes in the Palestinian territories. Daniel Barenboim, West-Eastern Divan Orchestra, Angelika Denoke, Waltraud Meier, Burkhardt Fritz, René Pape

1:58  Beethoven - Symphony No. 5

‘Ta-ta-ta-taa’. It is quite possibly the most famous opening sequence, to one of the most famous symphonies ever written. It has become impossible to think of concert halls today without Beethoven’s ‘Fifth’, but for a symphony this popular it had a rather disastrous opening night. December 22nd 1808 the piece was premiered, alongside the Sixth Symphony, the Fantasy in C minor for Piano, Chorus, and Orchestra, and also the Fourth Piano Concerto and parts of the Mass in C. A concert marathon, in fact, and truly exhausting for the underpaid musicians. Vienna at that time was experiencing a gruesomely cold winter, meaning even the audience had a hard time in the unheated concert hall. Beethoven’s biographer Anton Schindler noted: “the reception accorded to these works was not as desired, and probably no better than the author himself had expected. The public was not endowed with the necessary degree of comprehension for such extraordinary music, and the performance left a great deal to be desired.” Jan Willem de Vriend, The Netherlands Symphony Orchestra

2:28  Birtwistle - The Minotaur

This world premiere of a gripping new work by composer Harrison Birtwistle and librettist David Harsent, commissioned by The Royal Opera, brings the monstrous, Greek mythological character to the stage. The Minotaur, part man, part beast, trapped in his labyrinth and constrained by his bloodthirsty role there, longs to discover his true identity and his own voice. Athens must pay a blood sacrifice to Crete and among the innocents is Theseus, who has come to challenge the violent Minotaur, but who also attracts the attention of Ariadne, half-sister and keeper of the monster it is with her help he succeeds. Antonio Pappano, The Royal Opera Chorus, The Orchestra of the Royal Opera House, The Minotaur: John Tomlinson, Theseus: Johan Reuter, Ariadne: Christine Rice, Snake Priestess: Andrew Watts, Hiereus: Philip Langridge, Ker: Amanda Echalaz

4:52  Beethoven - Sonate Nr. 7 Op. 30 No. 2 voor Violin and Piano

Ukrainian violinist Valeriy Sokolov and French pianist David Fray represent a young generation of music heroes, and both musicians have a large following from all over the world. In this performance they play Ludwig van Beethoven’s ‘Seventh Violin Sonata’ (Op. 30 No. 2). The master composer from Vienna dedicated this piece to Tsar Alexander I of Russia. In his 30th opus, Beethoven brought together three violin sonatas, each of almost symphonic length. The Seventh Violin Sonata that is played here even shows the symphonic pattern. The piece consists of four contrasting movements: Allegro, Adagio, Scherzo and Finale; together making up almost half an hour of chamber music brilliance. Valeriy Sokolov (violin), David Fray (piano)

5:19  Mozart - Divertimento No. 1 KV 136

Wolfgang Amadeus Mozart composed this Divertimento No. 1 KV 136 together with two other divertimenti for strings, at the startlingly young age of 16. The three pieces are often performed in orchestral form, but it is almost certain that Mozart intended them for solo strings, replacing the cello with double bass (which at the time would have been the normal set-up for a divertimento). The pieces, therefore, have the string quartet-cast of two violins, viola and cello, as can be seen in this performance by the Quatuor Ebène. Quatuor Ebène

5:33  Sibelius - Rakastava

You will not often hear the tender and moving string melodies of Jean Sibelius’ ‘Rakastava’ (accent on first syllable, meaning ‘The Lover’) played in concert halls today. Its musical germ first presented itself to Sibelius in 1893, when he was working on a composition for choir. Having reworked this score for mixed a cappella choir in 1893, he finished the present work as late as 1911, when he was working on his Fourth Symphony. Vladimir Ashkenazy , Chamber Orchestra of Europe

5:45  Schubert - Klavierstücke No. 1

Lars Vogt performs Schuberts Klavierstücke No. 1. Lars Vogt

6:00  Alice’s Adventures in Wonderland

Alice’s Adventures in Wonderland will bring a famous story and its equally famous characters to the ballet stage. The Victorian childhood of Lewis Carroll’s Alice and her encounters with extraordinary people, strange creatures and unusual events gives The Royal Ballet an entire new world to create, and also gives a great chance to see the whole Company on stage in new guises. The music – the first new, full-length ballet score for The Royal Ballet for 20 years – is by Joby Talbot and will be conducted by Barry Wordsworth, Music Director of The Royal Ballet. With a scenario by Nicholas Wright (his adaptations have included His Dark Materials at the NT), and designs by the internationally acclaimed Bob Crowley, this is a compelling creative team indeed. In the words of The Times, the Royal Ballet’s interpretation of Alice’s Adventures in Wonderland is “a spectacular family entertainment brought to life with enormous theatrical verve”. Barry Wordsworth, Orchestra of The Royal Opera House, The Royal Ballet, Lauren Cuthbertson (Alice), Sergei Polunin (Jack/Knave of Hearts), Edward Watson (Lewis Caroll/White Rabbit), Zenaida Yanowsky (Mother/Queen of Hearts), Chrisopher Saunders (Father/King of Hearts), Steven McRae (Magician/Mad Hatter), Eric Underwood (Rajah/Caterpillar), Simon Russell Beale (Duchess), Ricardo Cervera (Vicar/March Hare)

8:04  Bruch - Violin Concerto

Max Bruch’s first violin concerto in G minor is one of the most popular violin concertos. Bruch started composing this piece in 1857 and on April 24th 1866 it was first performed, with Otto von Köningslow on violin and Bruch himself conducting. It was Bruch’s first piece for large orchestra and he found it quite a challenge: unsatisfied with the result, he took the piece from the stand. Only after substantial revisions, with the help of violinist Joseph Joachim among others, a second version was premiered in 1868. This version is played to this day. Sir Simon Rattle, Berliner Philharmoniker, Vadim Repin (violin)

8:30  Europa Concert 2002 - Palermo

The town of Palermo was lit up, and Claudio Abbado revealed his strong Sicilian roots to all his followers. Viewers of this concert, broadcast across all of Europe, were inspired to see the maestro so relaxed, gesticulating so emphatically. After the intermission, music lovers heard an interpretation of Dvorak's Ninth Symphony that couldn't have been lovelier. The Berliners were elegantissimo, playing magnificent solos, mastering the ensemble passages with supreme ease. And when under Abbado's baton Verdi's "Sicilian Vesper" was made to glow in all the colors of southern climes, the audience knew no restraint: there were standing ovations and a never-ending cascade of flowers raining down on the beaming maestro and his musicians. The repertoire includes: Ludwig van Beethoven (Egmont-Ouverture), Johannes Brahms (Violin Concerto op. 77) played by Gil Shaham, Antonin Dvorák (Symphony No. 9) and Giuseppe Verdi (I Vespri Siciliani, Ouverture). Claudio Abbado, Berliner Philharmoniker, Gil Shaham (violin)

10:22  Verbier Festival 2008 - Schumann and Brahms

The Verbier Festival is an innovative music festival which was created in 1994. The greatest stars in classical music come here year after year. The Verbier Festival also relies on the talents of young artists from all over the world, forging links between the young and the great masters. The Verbier Festival creates, develops and promotes excellence in the field of performing arts. It offers a unique and welcoming artistic experience to its 40,000-strong audience every year. For its 15th anniversary in 2008 the Verbier Festival has once again brought together the most prestigious artists in classical music such Menahem Pressler, Sakvatore Accardo, Antoine Tamestit and Gautier Capuçon. They will perform the andante from Johannes Brahms’ Piano Quartet No. 3 and Schumann’s Piano Quartet Op. 47. Menahem Pressler, Sakvatore Accardo, Antoine Tamestit, Gautier Capuçon

11:05  Beethoven - Leonore Overture No. 3

Ludwig van Beethoven composed no less than four different overtures for his only opera Fidelio. This unusual course of events can be attributed to the long history of origin of the opera, which Beethoven had originally named Leonore. At the time of the first performance in 1805 Beethoven had already composed two Leonore overtures, the first of which was quickly discarded. In the second attempt, Beethoven incorporated many musical themes that echo throughout the opera. But Beethoven was not satisfied with this opera either and he wrote a third version, that like the second contained musical elements from the rest of the opera. The final overture did not come into being until 1814 and is much more of a dashing entrance to the piece than the previous three Leonores, something Beethoven thought suited his opera much better. Daniel Barenboim, West-Eastern Divan Orchestra

11:18  Chabrier - España

Sir Simon Rattle conducts the Berliner Philharmoniker in Chabrier’s España. Sir Simon Rattle, Berliner Philharmoniker

11:24  Enescu - Romanian Rhapsody No. 1

Because of the great success of George Enescu's first Romanian Rhapsody the rest of his body of work often remains forgotten. Without failing his other pieces; this rhapsody is indeed a magnificent composition: Enescu managed to incorporate the Romanian gypsy music in a masterly way. Sir Simon Rattle, Berliner Philharmoniker

11:37  Revueltas - La noche de los Mayas

Gustavo Dudamel, one of the youngest conductor around, performs Revueltas' La noche de los Mayas with the Simon Bolivar Youth Orchestra. Gustavo Dudamel, Simon Bolivar Youth Orchestra

11:47  Dukas - The Sorcerer's Apprentice

Paul Dukas just could not find his breakthrough. Early 1897 his Symphony in C major saw its premiere, but it found a cool reception. Before that, he had had an average time at the Paris Conservatory and had served his military service for a year. But French composers Vincent d’Indy and Camille Saint-Saëns recognised Dukas’ potential and tried to help him on his way, even though he was still an unknown at the time. However, the premiere of his symphonic poem The Sorcerer’s Apprentice (L’apprenti sorcier’) changed all that completely: the composition quickly became one of the most beloved orchestral pieces in the repertoire and Dukas became a star overnight. The story of the student who escapes his master’s watchful eye and gets himself into an awful lot of trouble was taken from Johann Wolfgang von Goethe’s ballad of the same name. Kurt Masur, Gewandhausorchester Leipzig

12:00  Lucerne Festival 2004

,,Nobody understood it. I wish I could conduct the first performance - 50 years after I'm gone.’’ Gustav Mahler wrote his Symphony No. 5 in the summers of 1901 and 1902, a period of change in the composer's life. As director of the Wiener Staatsoper and conductor of the Wiener Philharmoniker, he had one of the most-wanted positions in the music business, while he also met his wife Alma Mahler, who was pregnant with their first child, in 1902. Mahler's health gave less cause for celebration: a hemorrhage would have killed him in 1901, had his doctor not prevented that. Keeping this in mind, it comes as no surprise that Mahler's approach to composition changed. His work premiered in 1904, but the audience was not ready for a composition this impressive. Different from his Symphonies No. 2 and 3, Mahler's Symphony No. 5 is a completely instrumental work (with the famous fourth movement, the Adagietto, as the highlight), and, moreover, it lacks the philosophical or religious themes of his earlier Symphonies. Mahler would keep wrestling with the instrumentation of the piece until his death in 1911. This magnificent work is broadcasted in combination with Ludwig van Beethoven's Piano Concerto No. 4. Claudio Abbado, Lucerne Festival Orchestra, Maurizio Pollini (piano)

13:47  Beethoven - Piano Concerto No. 5 'Emperor'

In time for his 65th birthday in 2007, Daniel Barenboim has completed a cycle of Beethoven's piano concertos. Recorded live at the Klavier-Festival Ruhr in May 2007, this recording reflects both a very individual and special reading of Beethoven’s music and the artist’s life-long dedication to the composer. Barenboim is one of the most prolific and high-profile artists performing on international stages today and Beethoven’s masterpieces have been a key part of his repertoire throughout his career, both as conductor and as pianist. Beethoven himself was a keyboard virtuoso of almost awesome abilities who created a sensation wherever he played. It is no wonder, therefore, that the piano was central to Beethoven’s overall output. Barenboim, artistic personality and former wunderkind, long an essential part of the international musical scene both on the conductor’s podium and at the piano, is the perfect match for this demanding music. Conducting and playing at the same time, Barenboim chose his orchestra of almost two decades, the Staatskapelle Berlin, which he has praised warmly for its exceptional, dark and warm sound. During this recording you can enjoy the Piano Concerto No. 5, Daniel Barenboim, Staatskapelle Berlin

14:28  Mendelssohn - Spinnerlied

Felix Mendelssohn spent a long time working on his total of eight volumes with ‘Lieder ohne Wörter’ (songs without words). He composed these pieces between 1832 and 1845 and put six ‘songs’ into every volume. Because there are no lyrics to these compositions, Mendelssohn leaves to the audience to decide what the pieces are about. This Song is from the sixth volume. The title of this piano piece by Felix Mendelssohn was particularly well chosen: the piece is constantly on the move and never comes to a standstill. Evgeny Kissin

14:30  Rameau - Castor and Pollux

Castor et Pollux is arguably Rameau’s finest creation in the tragédie lyrique style. Its libretto, based in mythology, focuses on an unusual theme: the self-sacrificing love between Castor, who is mortal, and his immortal brother, Pollux. When Castor is killed while defending his beloved Télaire from an attempted abduction, Pollux resolves to give up his immortality and take Castor’s place in the Underworld. After passionate debate over who will live and who will die, the brothers are eternally united, transformed into the constellation Gemini. The strikingly luminous sets, depicting a stylized version of the constellation, give this fabulous production, staged by Pierre Audi and conducted by Christophe Rousset, a glorious 21st-century baroque look. Christophe Rousset, Chorus of De Nederlandse Opera, Les Talens Lyriques, Télaïre: Anna Maria Panzarella, Phébé: Véronique Gens, Castor: Finnur Bjarnason , Pollux: Henk Neven, Cléone/Une suivante d’Hébé/Une ombre heureuse: Judith van Wanroij, Jupiter: Nicolas Testé, Le Grand-Prêtre/Une autre voix: Thomas Oliemans, Un Spartiate/Un athlète/Mercure/Une voix: Anders J. Dahlin

16:45  Chopin - Sonata No. 3

Marc-Andre Hamelin (piano) plays Chopin's Piano Sonate No. 3 Marc-Andre Hamelin (piano)

17:14  Bach - Sonata No. 6 BWV 1019

This Sonata for Violin and Harpsichord No.6 BWV 1019 is the last of the set of sonatas that Johann Sebastian Bach composed before 1725, probably while working as chapel master in Köthen. He presumably wrote these sonatas for Prince Leopold and later adapted them for further use in Leipzig. Maybe this is why these pieces are well playable for amateurs, while every sonata still has the finesse that can offer a challenge to professional musicians. The different pieces are meant to be a set, just like the Brandenburg concertos, but this last sonata is different from the others in that it has five sections instead of four. Frank Peter Zimmermann (violin), Enrico Pace (piano)

17:32  Brahms - Symphony No. 2 part 2

In the summer of 1877, during a visit to Pörtschach am Wörthersee, Johannes Brahms was inspired to write his Second Symphony. One summer is a short time to write an entire symphony, especially compared to the 15 years Brahms took to compose his First Symphony. The piece is lighter and much more spontaneous than his previous symphony and therefore bears comparison to Ludwig van Beethoven’s Sixth Symphony. Even though Brahms started with renewed confidence after the success of his first symphony that had premiered a year earlier, he was still a bit insecure about this new piece. In a letter to his friend Dr. Billroth he wrote: “I do not know if I have a pretty symphony; I must inquire of learned persons”. In this broadcast: the second movement. Kurt Masur, Gewandhausorchester Leipzig

17:42  Ravel - Boléro

Maurice Ravel’s ‘Boléro’ is by far his most famous piece. Famous because it contains the longest ever crescendo in an orchestral piece, famous because it features all instruments, famous because of the repeated motifs and famous because all of this fits into about 15 minutes. Legendary ballet dancer Ida Rubinstein was the one to give the assignment. In 1928, she requested a piece with Spanish character, and Ravel composed this mini ballet as a practice composition. That it would become such a success he had never envisioned. At the premiere that same year, the audience even called out for it to be played again. Ravel himself was less impressed with his most popular piece: he called it a ‘piece for orchestra without music’. Jos van Immerseel, Anima Eterna

18:00  Gala from Berlin 2008

We are proud to present the Gala from Berlin 2008, featuring the outstanding Berliner Philharmoniker, Sir Simon Rattle, and world-class singers Thomas Quasthoff and Pauline Malefane with an all-American programme. Gershwin’s "Cuban Overture" is the perfect opener for this journey through all-time favourites, from Gershwin’s “Porgy and Bess” and "An American in Paris" to Copland’s "Old American Songs", accentuated by contrasting pieces such as John Adam’s joyfully exuberant "Short Ride in a Fast Machine" and Samuel Barber’s almost romantic, warm "Adagio for Strings op. 11". Sir Simon Rattle, Berliner Philharmoniker, Pauline Malefane, soprano Thomas Quasthoff, bass-baritone

19:21  Wagner - Die Walküre

Daniel Barenboim leads Bryn terfel, Waltraud Meier ? And the West-Eastern Divan Orchestra in a performance of the first act of Wagner's Die Walküre.

20:26  Mendelssohn - Wedding March from 'A Midsummer Night's Dream'

Riccarco Chailly leads the Gewandhausorchester Leipzig in a performance of Mendelssohn's Wedding March from his Midsummer Night's Dream. Riccardo Chailly, Gewandhausorchester Leipzig

20:30  Mozart - La Finta Giardiniera

"My opera ... was such a success that it is impossible for me to describe the applause to Mamma," wrote Wolfgang Amadeus Mozart to his mother from Munich on 14 January 1775, the day after the premiere of his new opera buffa, "La finta giardiniera" (The Make-Believe Gardener) K. 196. Written for the Munich carnival season, it is not only the first example of a combination of buffa and seria roles in Mozart's music, but it also carries its plot of pretense, disguise and surprising revelations to the brink of catastrophe. Belfiore believes he has killed his betrothed, Violante, in a fit of jealousy. He flees in panic - which does not prevent him from falling for Arminda, who then spurns her admirer Ramiro in favor of Belfiore. Violante, meanwhile, searches for her lover with her servant Roberto. Under a false name, she takes a post as gardener on the estate of Don Anchise her servant passes himself off as her cousin. While Anchise pursues Violante, Roberto romances the maid. The labyrinth of pursuit and decept n becomes completely entangled when Belfiore, his new conquest Arminda and her persistent admirer Ramiro turn up on the estate... The Mozart 22 production of "La finta giardiniera" was placed in the hands of Doris Dörrie, a noted filmmaker ("Men") and, more recently, director of controversial opera productions ("Rigoletto" in Munich). Asked why she set the work in a garden center, Dörrie replied: "It's a market of emotions! The plants represent feelings, the garden is our little paradise. [...] We all have the same dream ..., which is why we buy so much equipment, chemicals, even weapons to keep our garden under control. It must be kept in its boundaries, for just as an uncontrolled garden can mutate into a wild jungle, so can uncontrolled emotions, proliferating like wild plants, become dangerous to us." The rousing musical underpinnings of this irreverent production are provided by the Mozarteum Orchestra under its principal conductor Ivor Bolton, who has made a name for himself as champion of authentic an spirited interpretations of Handel, Monteverdi, Gluck and, of course, Mozart. In this performance of "La finta giardiniera," Bolton makes it clear that the real dramatic development in this early work is to be found in Mozart's music. Ivor Bolton, Mozarteum Orchester Salzburg, John Hall, Alexandra Reinprecht, John Mark Ainsley, Véronique Gens, Ruxandra Donose

23:15  Poulenc - Sonata for clarinet and piano

Francis Poulenc’s ‘Sonata for clarinet and piano’ is one of his last compositions and was dedicated to a fellow composer: Arthur Honegger. The plan was to get world-famous clarinet player Benny Goodman, who also commissioned the piece, to perform together with Poulenc on the premiere, but unfortunately the composer died quite suddenly on 30 January 1963, from a heart attack. The sonata itself was all but finished and on the 10th of April Goodman gave the premiere after all at Carnegie Hall, accompanied by none other than Leonard Bernstein. With reference to this performance, music critic Harold C. Schoenberg wrote in The New York Times: ,,Poulenc was not a ‘big’ composer, for his emotional range was too restricted, but what he did, he did perfectly […]”. Michael Collins, clarinet Julien Quentin, piano

23:30  Dvorák - Symphony No. 7 part 4

When Antonin Dvorák was elected honourary member of the Royal Philharmonic Society in London in 1884 and invited to write a symphony, the composer was up to the task. He was full of fresh admiration for Brahms’ third symphony and he had just been planning to start on a new composition himself. The first ideas presented themselves when he entered the train station in Prague and a train full of men from Pest drew in. The group was in Prague for a special programme at the National Theatre that was aimed at increasing awareness of the political struggles of the Czech nation. Dvorák decided that his symphony had to reflect these struggles, leading to the birth of a masterpiece. In this broadcast: the fourth movement. Sir John Eliot Gardiner, Swedish Royal Philharmonic

23:38  Verdi - Overture La forza del Destino

After the premiere of ‘Un ballo in Maschera’ it seemed as if Giuseppe Verdi had lost his interest in composing. He did not put a single note to paper in two years. Towards the end of 1860, however, he received a composition assignment from as prestigious a client as the Russian court, and Verdi decided to end his period of artistic silence. He composed ‘La Forza del Destino’ (The power of fate) on a libretto by Francesco Maria Piave and the result is on of his most dramatic and complex operas. In this broadcast: the overture. Riccardo Muti, Berliner Philharmoniker

23:47  Beethoven - Second Romance for Violin and Orchestra

Ludwig van Beethoven was an exceptional pianist, perhaps that is why people tend to forget he was also a capable violinist. Although perhaps not a virtuoso, Beethoven loved the instrument and wrote no lesser than ten sonatas for it, several pieces of chamber music and of course the violin concerto. His ‘Two Romances for Violin and Orchestra’ stand out, because they are two pieces of a whole that are still very reminiscent of solo concertos. In this broadcast: the Second Romance. Kurt Masur, Gewandhausorchester Leipzig, Renaud Capuçon (violin)

23:56  Poulenc - Sonata for clarinet part III

Francis Poulenc’s ‘Sonata for clarinet and piano’ is one of his last compositions and was dedicated to a fellow composer: Arthur Honegger. The plan was to get world-famous clarinet player Benny Goodman, who also commissioned the piece, to perform together with Poulenc on the premiere, but unfortunately the composer died quite suddenly on 30 January 1963, from a heart attack. The sonata itself was all but finished and on the 10th of April Goodman gave the premiere after all at Carnegie Hall, accompanied by none other than Leonard Bernstein. With reference to this performance, music critic Harold C. Schoenberg wrote in The New York Times: ,,Poulenc was not a ‘big’ composer, for his emotional range was too restricted, but what he did, he did perfectly […]”.In this broadcast: the third movement. Michael Collins, clarinet Julien Quentin, piano

0:00  Britten - Albert Herring

Albert Herring, Benjamin Britten's comic opera is gently laced with moments of farce and a jocular parody on life in East Suffolk at the turn of the 20th century. The libretto by Eric Crozier is based on Guy de Maupassant's story “Le Rosier de Madame Husson” and transposed entirely to an English setting. The opera was premiered in Glyndebourne on 20 June 1947, conducted by the composer. The text itself is genuinely funny and there are myriad musical quotations, but despite the light subject there are as well some complex forms. Like other works by Britten, this opera explores society's reaction to an odd individual – although in this case it is from a generally humorous and lighthearted perspective. Brunel chose to update the action to contemporary times, in a world with rows of little white houses, perfect mowed lawns and with Big-Brother-like video surveillance. Laurence Equilbey, Musicians of the Orchestra of the Opéra de Rouen, Haute Normanndie, Albert Herring: Allan Clayton; Lady Billows: Nancy Gustafson; Florence Pike: Felicity Palmer; Miss Wordsworth: Ailish Tynan; Mr. Gedge: Christopher Purves; Mr. Upfold: Simeon Esper; Superintendant Budd: Andrew Greenan; Sid: Leigh Melrose.

2:23  Ligeti - Etudes pour piano No. 4

Yuja Wang performs Ligetos Etudes pour piano No. 4. Yuja Wang

2:30  Simon Bolivar Youth Orchestra in Lucern

For several years now, Gustavo Dudamel and the young musicians from the Venezuelan youth orchestra "Simón Bolívar" have been causing a furore on the international music scene. More than anything else, it is they who have earned the Venezuelan orchestra system respect around the world: Over 30 years ago, the conductor, composer and economist José Antonio Abreu had the vision of combining social work and classical music. Abreu's goal was to tear down elitist structures in music education and make music a fundamental right of all the country's children. Gustavo Dudamel, Simon Bolivar Youth Orchestra

3:53  Schubert - Die schöne Müllerin

Christoph Prégardien and Michael Gees are, beyond the shadow of a doubt, among the greatest interpreters of Schubert’s song cycle “Die schöne Müllerin”. The cycle deals with a period in the life of a young miller lad as he wanders along a stream in search of work he meets a mill-girl and falls in love with her then loses her to another man and, in deep despair, drowns himself in the millstream. “Die schöne Müllerin” - consisting of twenty songs - is an amazing compendium of the human psyche which deals with the miller’s emotions as he finds, and then loses, his love. Christoph Prégardien (tenor), Michael Gees (piano)

5:10  Ravel - Le tombeau de Couperin

Maurice Ravel originally wrote his ‘Tombeau de Couperin’ (A Memorial to Couperin) as a six-piece suite for piano, each part of which was dedicated to friends the composer had lost during World War I. The first part (Prelude) for instance was dedicated to Jacques Charlot, a cousin to Claude Debussy, and the Toccata to French musicologist Joseph de Marliave, whose wife was the first to play the piano version. In 1820 the composer edited a few parts for orchestral performance, intended for a small orchestra setup. The piece became, as the name suggests, a tribute to French music of the 18th century and François Couperin in particular. Pierre Boulez, Berliner Philharmoniker

5:29  Saint-Saëns - Introduction and Rondo capriccioso

When fifteen-year-old Spanish violin prodigy Pablo de Sarasate approached Camille Saint-Saëns for a piece, the composer was honoured. He took the opportunity with both hands and wrote his First Violin Concerto. De Sarasate, at his young age, was already a celebrity and he performed all over the world. Saint-Saëns, who like many French composers of the Romantic period was very interested in Spanish folk music, wrote another piece for the young violin legend four years later: ‘Introduction et Rondo Capriccioso’ for violin and orchestra. This piece not only contains elements of several Spanish dances, but Saint-Saëns also deliberately made it difficult to play. He wanted to present the violinist, who had grown up in the meantime, with a challenge. De Sarasate was very pleased with the result and performed the piece on a regular basis, with popularity ensuing: both George Bizet and Claude Debussy made their own versions. Neeme Järvi, Berliner Philharmoniker, Janine Jansen (violin)

5:38  Schumann - Adagio and Allegro

An all-Schumann Programme as highlight of the Schumann Year 2006. Martha Argerich has long been hailed as one of the greatest and most uniquely imaginative pianists. This legendary Argentinean musician is surrounded by an aura of mystery: some find her too uncompromising, others generous and beautiful, yet to all she is without doubt incredibly talented! When Argerich and Chailly performed the Schumann Piano Concerto it created a musical sensation! Riccardo Chailly, Gewandhausorchester Leipzig, Martha Argerich

5:47  Beethoven - Egmont Overture

Goethes play ‘Egmont’ undoubtedly appealed to Ludwig van Beethoven – a fight for freedom. It was the great subject of his only opera, Fidelio. ‘Egmont’ tells the story of the Spanish occupation of The Netherlands in the Eighty Years’ War and of the trials and tribulations of the people of the Dutch provinces. The Catholic Count of Egmont, loyal to Spain, pleads for tolerance but instead Spanish King Philip II sends the Duke of Alva. The Iron Duke eventually takes Egmont prisoner and beheads him. Beethoven wrote theatre music for the complete play, but the overture is by far the most famous part. Claudio Abbado, Berliner Philharmoniker

5:57  Saint-Saëns - Mélodies persanes, Op. 26: No. 6 Tournoiement, Songe d'Opium

French countertenor Philippe Jaroussky attained his succesful singing career by a roundabout way; he started playing violin at eleven and learned to play the piano at fifteen. Only when he was eighteen and met singing teacher Nicole Fallien did he decide to focus exclusively on singing. By now he has become one of the most famous classical vocalists in the world, praised by many for the purity of his voice and his fresh stage presence, with which he undoubtedly improved the public image of old music. In this broadcast he sings Saint-Saëns' 'Mélodies persanes'. Philippe Jaroussky (countertenor), Jérôme Ducros (piano)

6:00  Venezuelan Brass Ensemble - Gran Fanfare

The Venezuelan Brass Ensemble – a highly-acclaimed group with nearly 50 brass and percussion players drawn from the extraordinary Simón Bolivar Youth Orchestra of Venezuela. The repertoire of the Venezuelan Brass Ensemble is a regular firework display of ambitious pieces for massed brass - impressively varied and testifies to the high standard of this young ensemble. The Ensemble is both a miracle and an inspiration to all. With their blend of classical and South American repertoire these some 50 young brass and percussion players not only have audiences on their feet but with a scintillating display of brass music demonstrate a virtuosity and a passion that is nothing short of awesome. Thomas Clamor, Venezuelan Brass Ensemble

7:24  Mahler - Symphony No. 1

Jean Paul’s novel ‘Titan’, in which an artistically gifted young man, driven by his failure to find his way in society, eventually commits suicide in despair, inspired Gustav Mahler to compose his Symphony No. 1. The work did not come easily to Mahler: he composed it between 1887 and 1888 when he, in his twenties, was working as a conductor at the Oper Leipzig. The first version of the work was considered as a symphonic poem in two parts, as its titles told a specific musical story. This original version premiered in Budapest in 1898, but it did not go down well. Mahler decided to revise his work: he left out the expressionist titles and cut the second part (Blumine). This results in a wonderful symphony, full of musical references. The opening part quotes one of Mahler's earlier compositions (Ging heut' morgens übers Feld from Lieder eines Fahrenden Gesellen), the second movement is an Austrian ländler (a folk dance), and the third part refers to a very well-known melody: ‘Brother John'. All in all, this Symphony No. 1 marks an incredible achievement for a composer this young. Fabio Luisi, Sächsische Staatskapelle Dresden

8:22  Liszt - Jeux d'eau a la Villa d'Este

Nikolai Lugansky performs “Jeux d'eau a la Villa d'Este” (The Fountain of the Villa d’Este) by Franz Liszt. It is one of the most virtuosic piano pieces Liszt ever wrote. The music is a true tone poem, illustrating the sparkling, jumping and dancing water of the fountain. Nikolai Lugansky (piano)

8:30  Tchaikovsky - Swan Lake

Swan Lake is one of the most loved of all classical ballets and one of the most popular in the Royal Ballet repertory. It has that magical combination of Tchaikovsky’s music, a compelling story of tragic romance and choreography that allows the very best dancers to show just how impressive they can be. Anthony Dowell’s romantic production is inspired by Imperial Russia of 1895, when the ballet was first performed. Against this atmospheric setting, Marius Petipa and Lev Ivanov’s choreography provides an opportunity to see great dance partnerships in the leading roles and the whole Company in the dance ensembles. Illuminated by moonlight, the charged solos for the Prince and Odette and her alter-ego Odile, the machinations of Von Rothbart and the colour of a palace ball all combine with glorious music to make for an evening of inspiration and romance. Valeriy Ovsyanikov, Orchestra of The Royal Opera House, Marianela Nuñez, Thiago Soares, Christopher Saudners

10:39  Thomas Quasthoff at the Verbier Festival

For its 14th edition, the Verbier Festival has once again brought together the most prestigious artists in classical music. During this concert you can enjoy baritone Thomas Quasthoff and Hélène Grimaud performing Schumann’s Dichterliebe, Op.48 and Brahms’ Lieder und Gesänge, Op.32. Thomas Quasthoff bass-baritone) Hélène Grimaud (piano)

11:39  Mahler - Symphony no. 4 part 2

His earlier composition, ‘Das himmlische Leben’ from Des Knaben Wunderhorn, in which heaven is presented in a child-like manner, served as model for Gustav Mahler's complete Symphony No. 4. The first three parts refer frequently to 'Das himmlishe Leben', and it is eventually sung in its entirety by a soprano in the last part. Its sober instrumentation and its short length (approximately 60 minutes) make this possibly Mahler’s most accessible symphonies. Performed by the Gustav Mahler Jugendorchester under direction of Claudio Abbado, featuring Juliane Banse as soprano. This beautiful symphony is preceded by Schoenberg’s Pelleas et Melisande. During this broadcast: the second movement. Claudio Abbado, Gustav Mahler Jugend Orchester

11:49  Mozart - Piano Concerto No. 25 part 3

Mitsuko Uchida is the star in the Mozart piano concerto No. 25, performed with the Wiener Philharmoniker and Riccardo Muti. Riccardo Muti, Wiener Philharmoniker, Mitsuko Uchida (piano)

12:00  Schumann in Leipzig

An all-Schumann programme as highlight of the Schumann Year 2006. Martha Argerich has long been hailed as one of the greatest and most uniquely imaginative pianists. This legendary Argentinean musician is surrounded by an aura of mystery: some find her too uncompromising, others generous and beautiful, yet to all she is without doubt incredibly talented! When Argerich and Chailly performed the Schumann Piano Concerto it created a musical sensation! Riccardo Chailly, Gewandhausorchester Leipzig, Martha Argerich (piano)

13:33  Don Quichot

Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off their technical prowess. But at the same time, the comic story based on Cervantes’ masterpiece makes strong demands on the dancers’ acting abilities. The leading Russian choreographer Alexei Ratmansky has drawn inspiration for his production from the libretto of the first version of Don Quichot by Marius Petipa, created in 1869. The former artistic director of the Bolshoi Ballet and Artist in Residence of the American Ballet Theatre now has also added his own new elements and choreography to the ballet. The modern designs for the ballet, by the renowned French designer Jérôme Kaplan, refer to the times of Cervantes. Kevin Rhodes, Holland Symfonia, Het Nationaal Ballet, Anna Tsygankova (Kitri), Matthew Golding (Basilio), Peter de Jong (Don Quichot), Karel de Rooij (Sancho Panza), Dario Mealli (Gamache), Altin Kafitra (Lorenzo), Natalia Hoffman (Mercedes), Moises Martin Cintas (Espada), Maiko Tsutsumi (Piccilia), Nadia Yanowsky (Juanita), Maia Makhateli (Cupid), Sasha Mukhamedov (Queen of the Dryads)

15:42  Berezovsky - Change of Plans

We live in the “renaissance of the piano”, as the New York Times put it in summer. A new generation has made the piano popular again: pianists with a passion for virtuosity and a willingness to expand their repertoire. In addition to the usual classics they perform formerly scorned works or they discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their individual approaches, their fresh ideas and their music. During this episode, the spotlights are on the Russian pianist Boris Berezovsky.

16:14  Legato - World of the Piano - Berezovsky

We live in the “renaissance of the piano”, as the New York Times put it in summer. A new generation has made the piano popular again: pianists with a passion for virtuosity and a willingness to expand their repertoire. In addition to the usual classics they perform formerly scorned works or they discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their individual approaches, their fresh ideas and their music. During this episode, the spotlights are on the Russian pianist Boris Berezovsky. He performs works by Medtner (Fairy Tales), Llywelyn (Mutata Consilia), Beethoven (Diabelli Variations), Godowsky (Alt Wien) en Liadov (Three Preludes). Boris Berezovsky (piano)

17:57  Copland - I bought me a cat

Aaron Copland’s interest in folk traditions clearly shows in this collection of ‘Old American Songs’. The themes dealt with in these songs (political, religious but also everyday matters) offer a broad view of what ‘America’ means, but presented in a style that is typically Copland. He wrote two sets of American Songs, one in 1950 and one in 1952, all intended for baritone and piano. The performance in this broadcast is of ‘I bought me a cat’ taken from the first set, in a version for baritone and orchestra.

18:00  Mascagni - Cavalleria Rusticana

Giancarlo del Monaco’s acclaimed production elegantly intertwines Mascagni’s and Leoncavallo’s well-loved operas, masterpieces which brought new levels of realism into opera through their so-called verismo style. Jesús López Cobos directs a double cast of outstanding talent. Jesús López Cobos, Chorus and Orchestra of the Teatro Real, Pagliacci Canio: Vladimir Galouzine Nedda: María Bayo Tonio: Carlo Guelfi Beppe: Antonio Gandía Silvio: Ángel Ódena

19:20  Leoncavallo - Pagliacci

Giancarlo del Monaco’s acclaimed production elegantly intertwines Mascagni’s and Leoncavallo’s well-loved operas, masterpieces which brought new levels of realism into opera through their so-called verismo style. Jesús López Cobos directs a double cast of outstanding talent. Jesús López Cobos, Chorus and Orchestra of the Teatro Real, Pagliacci Canio: Vladimir Galouzine Nedda: María Bayo Tonio: Carlo Guelfi Beppe: Antonio Gandía Silvio: Ángel Ódena

20:32  Weill - Rise and Fall of the City of Mahagonny

Welcome to Mahagonny, where sin is “in” and love is always on sale. This Old West boomtown rises from the desert to become a razzle-dazzle Mecca for lust, liberty, and the pursuit of pleasure. Cash is king, poverty is punishable by death, and anything worth doing is worth overdoing. With book and lyrics by the influential playwright Bertolt Brecht, Four-time Tony Award winner Audra McDonald stars as Jenny, a tart-with-a-heart, and Broadway legend Patti LuPone as the town's feisty madam Kurt Weill (composer of “Mack the Knife” and the Threepenny Opera) penned a haunting score, which crosses over from opera to cabaret to Broadway including ragtime, jazz, raucous music hall songs and the classic pop hit “Moon of Alabama”. John Doyle, the director of Broadway's smash hit revival of Sweeney Todd, delivers a risqué new production as controversial as the original one banned by the Nazis in the 1930s. The provocative work that inspired the Broadway hits Cabaret and Chicago. A gripping evening of grand entertainment! This programme earned 2009 two Grammy® Awards for Best Classical Album and Best Opera Recording. James Conlon, Los Angeles Opera, Audra McDonald, Patti LuPone, Anthony Dean Griffey

22:50  Shostakovich - Piano Quintet Op. 57

Having played Dimitri Shostakovich’s First String Quartet, the musicians of the Beethoven String Quartet were so enthusiastic that they commissioned the composer to write a new piece for string quartet and piano. A huge honour, considering the Beethoven String Quartet was one of the most respected chamber music ensembles of the USSR. This was done and on 14 September 1940, the piece was premiered with the composer himself at the piano. The composition was hugely successful, even Moscow’s stiff critics were full of praise. The piece was described as ,,a portrait of our times…the perfect voice of the present”. Martha Argerich, Joshua Bell, Henning Kraggerud, Mischa Maiksy, Yuri Bashmet

23:22  Saint-Saëns - Introduction and Rondo Capriccioso

When fifteen-year-old Spanish violin prodigy Pablo de Sarasate approached Camille Saint-Saëns for a piece, the composer was honoured. He took the opportunity with both hands and wrote his First Violin Concerto. De Sarasate, at his young age, was already a celebrity and he performed all over the world. Saint-Saëns, who like many French composers of the Romantic period was very interested in Spanish folk music, wrote another piece for the young violin legend four years later: ‘Introduction et Rondo Capriccioso’ for violin and orchestra. This piece not only contains elements of several Spanish dances, but Saint-Saëns also deliberately made it difficult to play. He wanted to present the violinist, who had grown up in the meantime, with a challenge. De Sarasate was very pleased with the result and performed the piece on a regular basis, with popularity ensuing: both George Bizet and Claude Debussy made their own versions. Yuri Temirkanov, St. Petersburg Philharmonic Orchestra, Viktor Tretjakov

23:32  Bruch - Violin Concerto part 1 and 2

Max Bruch’s first violin concerto in G minor is one of the most popular violin concertos in the repertoire. Bruch started the composition of this piece in 1857 and on April 24th 1866 it was first performed, with Otto von Köningslow on violin and Bruch himself in charge. It was Bruch’s first piece for large orchestra and he found it quite a challenge: unsatisfied with the result, he took the piece from the stand. Only after substantial revisions, with the help of violinist Joseph Joachim among others, a second version was premiered in 1868. This version is played to this day. In this broadcast: the first two parts. Sir Simon Rattle, Berliner Philharmoniker, Vadim Repin (violin)

23:50  Mozart - Piano Concerto No. 22 part 2

Daniel Barenboim performs the second part of Mozart's Piano Concerto No. 22, together with the Berliner Philharmoniker. Daniel Barenboim, Berliner Philharmoniker

0:00  Schumann in Leipzig

An all-Schumann programme as highlight of the Schumann Year 2006. Martha Argerich has long been hailed as one of the greatest and most uniquely imaginative pianists. This legendary Argentinean musician is surrounded by an aura of mystery: some find her too uncompromising, others generous and beautiful, yet to all she is without doubt incredibly talented! When Argerich and Chailly performed the Schumann Piano Concerto it created a musical sensation! Riccardo Chailly, Gewandhausorchester Leipzig, Martha Argerich (piano)

1:33  Don Quichot

Don Quichot – an audience favourite of prestigious companies worldwide – is a dazzling display of high spirits, virtuosity and Spanish temperament. The flamboyant leaps, dizzying pirouettes and crisp pointe work that are standard features of the production give the performers every opportunity to show off their technical prowess. But at the same time, the comic story based on Cervantes’ masterpiece makes strong demands on the dancers’ acting abilities. The leading Russian choreographer Alexei Ratmansky has drawn inspiration for his production from the libretto of the first version of Don Quichot by Marius Petipa, created in 1869. The former artistic director of the Bolshoi Ballet and Artist in Residence of the American Ballet Theatre now has also added his own new elements and choreography to the ballet. The modern designs for the ballet, by the renowned French designer Jérôme Kaplan, refer to the times of Cervantes. Kevin Rhodes, Holland Symfonia, Het Nationaal Ballet, Anna Tsygankova (Kitri), Matthew Golding (Basilio), Peter de Jong (Don Quichot), Karel de Rooij (Sancho Panza), Dario Mealli (Gamache), Altin Kafitra (Lorenzo), Natalia Hoffman (Mercedes), Moises Martin Cintas (Espada), Maiko Tsutsumi (Piccilia), Nadia Yanowsky (Juanita), Maia Makhateli (Cupid), Sasha Mukhamedov (Queen of the Dryads)

3:42  Berezovsky - Change of Plans

We live in the “renaissance of the piano”, as the New York Times put it in summer. A new generation has made the piano popular again: pianists with a passion for virtuosity and a willingness to expand their repertoire. In addition to the usual classics they perform formerly scorned works or they discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their individual approaches, their fresh ideas and their music. During this episode, the spotlights are on the Russian pianist Boris Berezovsky.

4:14  Legato - World of the Piano - Berezovsky

We live in the “renaissance of the piano”, as the New York Times put it in summer. A new generation has made the piano popular again: pianists with a passion for virtuosity and a willingness to expand their repertoire. In addition to the usual classics they perform formerly scorned works or they discover neglected composers. LEGATO is a series dedicated to presenting some of this new movement's most fascinating pianists - their individual approaches, their fresh ideas and their music. During this episode, the spotlights are on the Russian pianist Boris Berezovsky. He performs works by Medtner (Fairy Tales), Llywelyn (Mutata Consilia), Beethoven (Diabelli Variations), Godowsky (Alt Wien) en Liadov (Three Preludes). Boris Berezovsky (piano)

5:57  Copland - I bought me a cat

Aaron Copland’s interest in folk traditions clearly shows in this collection of ‘Old American Songs’. The themes dealt with in these songs (political, religious but also everyday matters) offer a broad view of what ‘America’ means, but presented in a style that is typically Copland. He wrote two sets of American Songs, one in 1950 and one in 1952, all intended for baritone and piano. The performance in this broadcast is of ‘I bought me a cat’ taken from the first set, in a version for baritone and orchestra.

6:00  The West-Eastern Divan Orchestra in Berlin

In light of the conflicts in the Middle-East, this orchestra is almost a miracle: the highly acclaimed West-Eastern Divan Orchestra is made up of young musicians from countries that are at war. The orchestra with youngsters from Israel, Palestine, Syria, Egypt, Lebanon, Jordan and Spain was formed in Weimar in 1999. Since then there have been concerts in Berlin, Seville and Rabat among others, and in the summer of 2005 even in Ramallah – a hotspot in the Middle-Eastern conflict. A highlight of the tour of summer 2006 was the performance of Beethoven’s 9th Symphony, conducted by Daniel Barenboim and featuring star singers such as Angelika Denoke and Burkhardt Fritz as well as Waltraud Meier and René Pape. The proceeds from these benefit concerts go to the Fundación Barenboim-Said and their music education programmes in the Palestinian territories. Daniel Barenboim, West-Eastern Divan Orchestra, Angelika De