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Wednesday - Sarah Walker with James Palumbo

With Sarah Walker. Five Reasons to Love Ballet Music; Classical Consequences; Artist of the Week: trumpeter Alison Balsom; Sarah's Essential Choice: Ravel: Daphnis et Chloe.

With Sarah Walker and her guest, the entrepreneur James Palumbo.

9am
A selection of music including '5 Reasons to Love ... ballet music'. Throughout the week Sarah makes the case for ballet music and dips into scores from some of the masters of the art form including Tchaikovsky, Rameau and Prokofiev.

9.30am
Classical Consequences
Take part in our daily musical challenge: listen to the story and tell us what happens next.

10am
Sarah's guest this week is the entrepreneur James Palumbo. James co-founded the Ministry of Sound nightclub in 1991. The business has since branched out into a number of areas, becoming a global brand and the largest independent record company in the world. James was recently made a life peer, taking the title Baron Palumbo of Southwark. James shares a selection of his favourite classical music with Sarah.

10.30am
This week's featured artist is the trumpeter Alison Balsom.

11am
Ravel
Daphnis et Chloé
Boston Symphony Orchestra
New England Conservatory Chorus and Alumni Chorus
Charles Munch (conductor).

3 hours

Music Played

  • 5 Reasons to Love...ballet scores

    • Adolphe Adam

      Giselle: Dance of the Wilis

      Orchestra: London Festival Ballet Orchestra. Conductor: Terence Kern.
      • EMI.
  • Christian Cannabich

    Sinfonia in E flat major

    Ensemble: Concerto Köln.
    • TELDEC.
  • Antonín Dvořák

    Goin’ Home – Theme from Symphony No. 9

    Performer: Anna Polonsky. Music Arranger: William Fischer. Music Arranger: John Leneham. Performer: Alisa Weilerstein.
    • DECCA.
  • John Dowland

    Queene Elizabeth, her galliard (K Darcies galliard) P.41 for lute

    Performer: Ian Watts.
    • Britten; Walton; McLeod; Wilson; Dowland.
    • Nimbus Records.
    • 4.
  • Giuseppe Verdi

    Overture to ‘Nabucco’

    Conductor: Edward Downes. Orchestra: BBC Philharmonic.
    • CHANDOS.
  • Georg Philipp Telemann

    Concerto in G TWV43:G6

    Director: Sigiswald Kuijken. Ensemble: La Petite Bande.
    • ACCENT.
  • Richard Strauss

    ‘Da geht er hin’ - Der Rosenkavalier, Act I

    Orchestra: Munich Philharmonic Orchestra. Conductor: Christian Thielemann. Singer: Renée Fleming.
    • DECCA.
  • James Palumbo's Choice

    • Ludwig van Beethoven

      Piano Sonata No 32 in C minor, Op 111 (2nd mvt)

      Performer: Stephen Kovacevich.
      • EMI.
  • Franz Schreker

    Fantastic Overture, Op 15

    Orchestra: BBC Philharmonic. Conductor: Vassily Sinaisky.
    • GBBBC.
  • Artist of the Week: Alison Balsom

    • Alexander Arutiunian

      Trumpet Concerto

      Performer: Alison Balsom. Orchestra: BBC Scottish Symphony Orchestra. Conductor: Lawrence Renes.
      • EMI.
    • Ferdinando Lazzari

      Sonata a 6 in D major

      Performer: Crispian Steele‐Perkins. Ensemble: The Parley of Instruments. Performer: Alison Balsom.
      • HYPERION.
  • Sergey Rachmaninov

    Vocalise (Op.34`14) arr. for violin & piano [orig. for voice & piano]

    Performer: Lisa Batiashvili. Performer: Hélène Grimaud.
    • Lisa Batiashvili: Echoes of Time.
    • Deutsche Grammophon.
  • Ferdinando Lazzari

    Sonata a 6 in D major

    Performer: Crispian Steele‐Perkins. Ensemble: The Parley of Instruments. Performer: Alison Balsom.
    • HYPERION.
  • Essential Choice

    • Maurice Ravel

      Daphnis et Chloe

      Orchestra: Boston Symphony Orchestra. Ensemble: New England Conservatory Chorus & Alumni Chorus. Conductor: Charles Munch.
      • RCA LIVING STEREO.
  • George Thalben-Ball

    Elegy

    Music Arranger: Quentin Thomas. Performer: Alison Balsom. Performer: Quentin Thomas.
    • EMI.

Musical Challenge - Classical Consequences

In 1959, to mark the 25th anniversary of Glyndebourne, founders John Christie and Carl Ebert mounted a production of Richard Strauss’s opera Der Rosenkavalier. Although it was met with near-unanimous praise, a single critic from The Times gave it a scathing review. What happened next?

 

Christie personally wrote to every single member of the audience, asking them to write to The Time and express their thoughts on the performance. And they did, saying that the critic was completely wrong.

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