17 今週のお気に入り 40






放送日: 2017年 9月30日(土)

放送時間: 午前7:20〜午前9:00(100分)




(曲名 / アーティスト名 // アルバム名)

01. Roll With The Punches / Van Morrison // Roll With The Punches

02. Teardrops From My Eyes / Van Morrison // Roll With The Punches

03. Why Can’t We Live Together / Steve Winwood // Greatest Hits Live

04. While You See A Chance / Steve Winwood // Greatest Hits Live

05. On A Distant Shore / Leon Russell // On A Distant Shore

06. A Song For You / Leon Russell // On A Distant Shore

07. Changes / Charles Bradley // Changes

08. I Walk On Gilded Splinters / Johnny Jenkins // Ton-Ton Macoute!

09. Feet Start Walking / Doris Duke // I'm A Loser

10. Total Destruction to Your Mind / Swamp Dogg // The Excellent Sides of Swamp Dogg Vol. 1

11. Sunshine Special / Elvin Bishop // Let It Flow

12. You've Really Got A Hold On Me / Bonnie Bramlett // Lady's Choice

13. Don't Mess Up A Good Thing / Gregg Allman // Laid Back

14. Leave My Blues At Home / The Allman Brothers Band // Peakin' At The Beacon

15. Teen Town / Weather Report // The Legendary Live Tapes 1978-1981




放送日: 2017年 9月30日(土)

放送時間: 午前9:00〜午前11:00(120分)



− 幻想の音楽 −





ポニーキャニオン PCCA-02230>




東芝EMI TOCT-24257>

「ファンタジー・エチュードから 「モデラート」」








幻想交響曲 作品14から 「ワルプルギスの夜の夢」」





東芝EMI TOCE-7969>












EMI ROULETTE JAZZ 724352454723>
















<テイチクエンタテインメント THCD-006>








SONY MUSIC 88697927752>












SONY MUSIC ESCL-30013,30014>




<UNIVERSAL UCCU-1541,1542>








<ビーンズ・レコード BNSCD933>

Jazz Record Requests

Jazz records from across the genre, played in special sequences to highlight the wonders of jazz history. All pieces have been specifically requested by Radio 3 listeners


Sat 30 Sep 2017


BBC Radio 3


In this week's dip into the postbag and emails from listeners, Alyn Shipton includes music from the little-known French trumpeter Pierre Allier, in the company of Django Reinhardt, from a rare wartime recording.

Music Played

01. The Cape Verdean Blues

Horace Silver

Composer: Silver

Performers: Woody Shaw, t; Joe Henderson, ts; Horace Silver, p; Bob Cranshaw, b; Roger Humphries, d.

Oct 1965


Blue Note 95576 CD3 Tr.3

02. Ninouche

Django Reinhardt

Composer: Allier

Performers: Pierre Allier, t; Hubert Rostaing, ts; Charles Lisse, as; Paul Collot, p; Django Reinhart, g; Pierre Fouad, d.

18 Dec 1940


Naxos 8.120822 Tr.2

03. Blue Skies

Stéphane Grappelli

Composer: Berlin

Performers: Stéphane Grappelli, vn; C G Heywood, cl, bs, dir; W O Davison, Hugh Tripp, J Hardy, reeds; Jack Hegarty, p; Millie Smith, Joan Bush, acc; George Smith, g; Bert Howard, b; George Hamilton, d.

The Quintessence

Fremeaux FA-281 CD1 Tr.15

04. I Got Rhythm


Composer: Gershwin

Performer: Hiromi, p.


Beyond Standard: Hiromi's Sonicbloom/Time Control

Telarc CD-83655 Tr.9

05. It Never Entered My Mind

Ben Webster

Composers: Rodgers/ Hart

Performers: Ben Webster, Coleman Hawkins, ts; Oscar Peterson, p; Herb Ellis, g; Ray Brown, b; Alvin Stoller, d.

Oct 1957

Three Classic Albums PLus

Avid 1038 CD1 Tr.8

06. Whatsit

Cuff Billett & Bill Greenow

Composer: Unknown

Performers: Cuff Billett, t, v; Bill Greenow, as; Pat Hawes, p; Dave Holland, b; Johnny Richardson, d.

Strong Jazz

Swift S 2 Side A Tr.1

07. Je Suis Sex Appeal

Jean Sablon

Composers: Bastia/ Nivoix

Performers: Jean Sablon, v; Leon Ferrari, vn; Django Reinhardt, g; Michel Emer, p.

April 1933

Je Tire Ma Reverence

Conifer/Happy Days 75605 52267 2 Tr.2

08. I Gotta Right To Sing The Blues

Marion Montgomery

Composers: Koehler/ Arlen

Performers: Marion Montgomery, v; Laurie Holloway, p; Mitch Dalton, g; Allan Ganley, d.


I Gotta Right to Sing the Blues

Ronnie Scott's Jazz House JDHE 003 Tr.10

09. Brown Street

Joe Zawinul

Composer: Shorter

Performers: Joe Zawinul, keyboards, vocoder; Victor Bailey, b; Nathaniel Townsley, d; Alex Acuña, perc.

Brown Street

Intuition 830-2 CD1 Tr.1

10. Love Song

John Abercrombie

Composer: Abercrombie

Performers: John Abercrombie, g; Jan Hammer, kb.



ECM 629114-2 Side A Tr.2

11. Charleston Rag

Eubie Blake

Composer: Blake

Performer: Eubie Blake, p.

Aug 1917

Les Tresors du Jazz 1898-1943

Le Chant Du Monde C 574-120110 CD1 Tr.10

Private Passions

Guests from all walks of life discuss their musical loves and hates.



Maurice Riordan

Sun 1 Oct 2017


BBC Radio 3


Maurice Riordan is a poet much preoccupied with time - how time suddenly stands still, or speeds up, or loops you back in dreams to childhood - in his case, to the countryside of County Cork where he grew up. It's a theme he's explored in four prize-winning collections of verse, alongside translations and a series of anthologies - including an anthology of very early Irish poetry, scribbled by Irish monks in the margins of Latin texts. In his day job, he's professor of poetry at Sheffield Hallam University and was until recently editor of Poetry Review.

In Private Passions, Maurice Riordan talks to Michael Berkeley about his childhood in the "horse-drawn, candle-lit" Irish countryside and the music which inspires him, beginning with the Gregorian Chant he heard as a young altar boy. We hear the haunting unaccompanied voice of the traditional Irish singer Darach Ó Cathain, and of the Traveller and banjo player Margaret Barry. Other choices include Debussy, Piazzola and Samuel Barber. Ian Bostridge sings an aria from Monteverdi's Orfeo, begging the boatman Charon to carry him to the underworld: a metaphor, Riordan believes, for what poets do. They take you, he claims, deep down into the underworld of the unconscious. To illustrate this, he reads "The January Birds", a poem about hearing birds singing in a local cemetery:

The birds in Nunhead Cemetery begin

Before I've flicked a switch, turned on the gas.

There must be some advantage to the light

I tell myself, viewing my slackened chin

Mirrored in the rain-dark window glass,

While from the graveyard's trees, the birds begin...

Produced by Elizabeth Burke

A Loftus production for BBC Radio 3

Music Played



Oro se do bheatha abhaile

Singer: Darach Ó Catháin


Samuel Barber

The Monk and his Cat (Hermit Songs)

Singer: Leontyne Price

Performer: Samuel Barber



Dies Irae

Choir: Aurora Surgit


Astor Piazzolla

Jacinto Chiclana

Singer: Edmundo Rivero

Performer: Astor Piazzolla

Ensemble: New Tango Quintet


Claude Debussy

Prelude a l'apres-midi d'un faune

Orchestra: Boston Symphony Orchestra

Conductor: Michael Tilson Thomas


Claudio Monteverdi

Possente Spirto (L'Orfeo)

Singer: Ian Bostridge

Ensemble: Le Concert d'Astrée

Conductor: Emmanuelle Haïm



Moses Ritoolarilay

Singer: Margaret Barry

Words and Music

A sequence of music interspersed with well-loved and less familiar poems and prose read by leading actors



Things Fall Apart

Sun 1 Oct 2017


BBC Radio 3


Emma Fielding and Robert Glenister with readings on decay and decadence from John Donne to Derek Walcott. Music from Schreker to Elgar, Basinski to Bowie.

Producer Notes

Everything is impermanent. The inevitability of decay is what all of these pieces reflect, in one way or another. Not simply physical transience, but moral decline too. Decay and decadence.

‘My days are as the grass’ is a setting of Isaac Watts’ words by the American composer Stephen Jenks. Our sense of the finite nature of things is informed by our own mortality and vice versa.

John Donne’s An Anatomy of the World traces the corruption and decay that can be perceived all around us right back to the creation of the world, the uprising of the rebel angels and the expulsion from Eden.

As we shall see, decay and intentional destruction can also be used as creative tools. The Catalan composer Xavier Montsalvatge begins with the original chords and harmony of the Ciaccona from Bach’s second Partita in D minor and then progressively takes them apart over the course of his Desintegració Morfològica de la Xacona de J.S. Bach.

In ‘I know that all beneath the moon decays’ the 17th century Scottish poet William Drummond of Hawthornden lays out a very human conundrum. Even though he knows that nothing lasts, everyone dies and all that he creates is doomed to oblivion, he is nonetheless compelled to love and to write.

As mentioned earlier, we’re also looking at moral decay. Franz Schreker’s 1918 opera Die Gezeichneten is partially set on an island paradise that has been created by a young nobleman, Aviano. Concerned about his hunchbacked appearance, he avoids the island, but in his absence his decadent peers use it as a setting for their depraved orgies. In 1938, four years after Schreker’s death, the Nazi regime included the opera in the group of works that they labelled as Entartete Musik (Degenerate Music).

Oscar Wilde was associated with the decadent movement of the late 19th century and his most decadent creation was surely Dorian Gray. Influenced by an unnamed morally poisonous French novel (actually Against Nature by Joris-Karl Huysmans) Gray embarks on an eighteen year spree of indulging in every conceivable vice. While he remains beautiful (because beauty and sensual fulfilment are all the matter to him), his portrait becomes increasingly hideous and distorted.

Both physical and moral decay feature in Benjamin Britten’s opera Death In Venice, based on Thomas Mann’s novella. In this excerpt, the writer Aschenbach becomes aware of rumours of a cholera epidemic in the city, but he has become obsessed with a young Polish boy, Tadzio, and is determined that the boy’s family must remain ignorant of these rumours, fearing that otherwise they might leave immediately.

In The Fire Sermon, the third section of The Waste Land, T. S. Eliot evokes a barren city whose riverbanks are the litter-strewn site of debased sexual encounters. Overall, the poem is his response to what he saw as the moral and spiritual decay afflicting Western civilisation after the First World War.

Two years before The Waste Land was published, Maurice Ravel finished writing La Valse. Despite Ravel’s insistence that the piece was not intended as an allusion to the situation in post-war Vienna, some listeners have found it difficult not to hear resonances of those events, including the British composer George Benjamin: “Whether or not it was intended as a metaphor for the predicament of European civilization in the aftermath of the Great War, its one-movement design plots the birth, decay and destruction of a musical genre: the waltz”.

Charles Baudelaire embraced the term ‘decadent’ as expressing a preference for the beautiful and the exotic and the pursuit of sensual expression. To The Reader is a disconcerting inventory of human vice, moral shortcomings and crime which is turned with full force on the reader in the two final, accusatory lines.

Another decadent figure is The Thin White DukeDavid Bowie’s louche persona that he unveiled on his 1976 album Station To Station and onstage during the subsequent tour. The album was recorded while Bowie was living a life of occult-tinged excess in Los Angeles, bedevilled by cocaine-fuelled paranoia. Not long afterwards he relocated to Berlin, a move foreshadowed by the motorik beat of the title track’s long introduction.

People and their morals may decay, but so too do the things that we make. In Cities Thrones and Powers, Rudyard Kipling reflects on the fleeting nature of our works and the way that we comfort ourselves by clinging to the illusion that they will endure.

Magnetic tape is particularly prone to decay, a fact exemplified by William Basinski’s work The Disintegration Loops. Basinski had been trying to save recordings of some of his earlier pieces in a digital format, but the ferric oxide layer of the tape started coming away from the backing as they played. He decided to exploit this setback by making tape loops from the original recordings and playing them to destruction while he recorded the process.

Derek Walcott’s Ruins of a Great House is an ambiguous response to the experience of walking amongst the crumbling remains of a plantation house in the Caribbean. The narrator rages at the inhumanity that the place represents, but concludes by extending his compassion to all who were caught up in the history of an empire of which only ruins remain.

The image of the ruined statue in Ozymandias is possibly the most famous poetic expression of the frailty of worldly power. In fourteen lines Shelley encapsulates with wonderful bathos the transitory nature of despots and empires.

Like to the Damask Rose is Edward Elgar’s setting of a poem of uncertain authorship which unremittingly hammers home the transience of everything.

In Reservoirs, R. S. Thomas delivers an angry lament for the Wales that has been erased by the picturesque surfaces of those artificial lakes and the conifer plantations that cover the hills. In assigning blame for the decay of his nation and its language, he points the finger not only at the English but also at the acquiescent Welsh themselves.

Trent Reznor is a musician and composer whose career has included collaborations with David Bowie and, like Bowie, experienced a period when his life was spiralling out of control. Ripe With Decay was recorded with his band Nine Inch Nails in 1999 when his problems with substance abuse were at their most profound.

Ageing is necessarily a process of decline, despite the compensations that it may offer. Hardest to bear is the falling away of those aspects which combine to create our sense of self. The small phrases are easy is taken from Philip Gross’s collection Deep Field in which he struggles to come to terms with his father’s loss of language, first due to deafness and then aphasia.

The thrust of Bob Dylan’s 1989 song Everything Is Broken is perfectly summed up by its title. It must be said that despite laying out a litany of disintegration, he sounds remarkably jaunty.

Decay is not necessarily a bad thing. In musical terms it describes the attenuation of a note after it initially sounds – notes played on different instruments decay at different rates. Michael Nyman’s Bell Set No.1 explores the different decay lengths of various percussion instruments including bells, triangles, gongs, cymbals and tamtams.

In You Lingering Sparse Leaves of Me, Walt Whitman likens his aged self to a tree – those attributes that he still retains in his final years may lack the vigour and magnificence of what he had when he was younger, but they are hard-won and precious to him.

Cycles of decay are all around us and the passing of the year is a well-worn metaphor for our own mortality. Guillaume Apollinaire’s Sickly Autumn poignantly evokes the signs of the year’s decline into winter. Robert Frost also uses the inevitable passing of the green of spring and summer to underline the tendency of everything to fall away.

Finally, demonstrating that something good can come from things falling apart, the Canadian composer and musician Ian William Craig uses broken tape machines to create his music. The appropriately titled Drifting to Void on All Sides is taken from his 2016 album Centres and manages to wrench beauty from mechanical and electronic malfunction.

Producer: Torquil MacLeod

Music Played


Stephen Jenks

Decay (“My days are as the grass”)

Performer: His Majestie’s Clerkes


John Donne

An Anatomy of the World, read by Robert Glenister


Xavier Montsalvatge

Desintegració Morfològica de la Xacona de J.S. Bach

Performer: Orquestra Simfònica de Barcelona i Nacional de Catalunya, Edmon Colomer (Conductor)

VALOIS V4732 Tr.6

William Drummond of Hawthornden

I know that all beneath the moon decays, read by Emma Fielding


Franz Schreker

Die Gezeichneten - Prelude

Performer: Deutsches Symphonie-Orchester Berlin, Lothar Zagrosek (Conductor)

DECCA 4444422 CD1 Tr.1

Oscar Wilde

The Portrait of Dorian Gray, read by Robert Glenister


Benjamin Britten

Death In Venice – Scene 9 – Do I detect a scent? Aschenbach

Performer: Peter Pears (Gustav von Aschenbach), English Chamber Orchestra, Steuart Bedford (conductor)

LONDON 4256692 CD2 Tr.5

T.S. Eliot

The Waste Land, read by Emma Fielding


Maurice Ravel

La Valse

Performer: Royal Concertgebouw Orchestra, Bernard Haitink (Conductor)

PHILIPS 4387452 Tr.7

Charles Baudelaire (trans. Roy Campbell)

To The Reader, read by Robert Glenister


David Bowie

Station To Station (2010 Mix) (2016 Remaster)

Performer: David Bowie

Parlophone – 0190295989842 CD9 Tr.1

Rudyard Kipling

Cities and Thrones and Powers, read by Emma Fielding


William Basinski

Disintegration Loop, Pt.4

Performer: William Basinski


Derek Walcott

Ruins of a Great House, read by Robert Glenister


William Basinski

Disintegration Loop, Pt. 4

Performer: William Basinski


Percy Bysshe Shelley

Ozymandias, read by Emma Fielding


Edward Elgar

Like to the Damask Rose (1892) Orchestrated by G Williams

Performer: Susan Gritton (soprano), BBC Concert Orchestra, Martyn Brabbins (Conductor)


R. S. Thomas

Reservoirs, read by Robert Glenister


Trent Reznor

Ripe With Decay

Performer: Nine Inch Nails

Island Records – CIDD 8091 CD2 Tr.11

Philip Gross

The small phrases are easy, read by Emma Fielding


Bob Dylan

Everything Is Broken

Performer: Bob Dylan

CBS – 465800 2 Tr.3


Michael Nyman

Bell Set No.1

Performer: Michael Nyman (percussion), Nigel Shipway (percussion)

EMI CDVE964 Tr.2

Walt Whitman

You Lingering Sparse Leaves of Me, read by Robert Glenister

Guillaume Apollinaire (trans. Anne Hyde Greet)

Sickly Autumn, read by Emma Fielding

Robert Frost

Nothing Gold Can Stay, read by Robert Glenister


Ian William Craig

Drifting to Void on All Sides

Performer: Ian William Craig

130701 - CD13-22 Tr.3

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