The Observer from London, Greater London, England • 21

ARTS BOOKS SUNDAY 17 JUNE 1984 21 Info (5)5 (ffl(5X5)IM3Q MUSIC HAS Gyorgi Ligeti, for a quarter of a century widely regarded as a pillar of the avant garde, gone conservative That is a question posed by bis new Trio for violin, horn and piano, which CINEMA PETER HEYWORTH on the Aldeburgh Festival had its first British performance last Sunday at the Snape Makings. It is indeed a question he has teasingly raised himself. written and one that after six years of almost total silence carries him on to wholly new territory. Whether it is conservative or not is a question I am happy to leave to the apostles of Adorno and other dialecticians. An excellent performance by Robin Graham, a remarkable young American horn player, Saschko Gawriloff and Eckert Besch, who did much to instigate the work's commissioning, was received with great warmth.

It was, however, sad to observe that an event of such moment attracted so small an audience. It is also surely regrettable that the editor of the Aldeburgh Festival's copious programme book chose not to include Ligeti's succinct and highly illuminating introduction to his own work. The following evening members of the English Chamber Orchestra gave the first performance of Colin Matthews' Night This setting for soprano and instrumental septet of a poem by a Portuguese writer, Fernando Pessoa, is the work of a clear head and a keen ear. Delicate washes of sound are matched to some quite angular line-drawing within an idiom whose frontiers extend from Britten to Berg. I could however perceive little of the tension that marks Ligeti's (or for that matter Berg's or Britten's) approach to the past.

Perhaps for that reason the work lacks any strong individuality, as indeed does the vocal line, though that impression may in part be due to the strains it imposed on Patrizia Kwella's voice. I confess that I am in any case dispirited by the readiness of an increasing number of young composers (German as well as British) who seek comfort in the past, instead of using it, as does Ligeti in his Trio, as a springboard into the future. Not even the ill-fated Glori-ana had such a cool reception as Britten's penultimate opera, Owen Wingrave, at its first performances on TV in 1971 and two years later at Covent Garden. But its restaging by the Britten-Pears School at the Snape Malting is not likely to bring about any reassessment. I find it hard to put my finger on what is lacking in this operatic realisation of Henry James's short story.

Is it that the supernatural element is introduced so late that the ghosts are reduced to the level otdiaboli ex machina Is it that Britten is content to caricature the members of the Wingrave clan who do not share young Owen's (and, of course, the composer's) pacifist sympathies, thereby reducing them to pasteboard figures Or did the shadow of the box weigh on Britten's inventive powers, here surely at a lower ebb than in any of his other operatic scores Whatever the reasons, the work lacks the compelling power of his earlier Jamesian opera, The Turn of the Screw. Nor did the performance itself do much to stimulate interest. Steuert Bedford drew some splendidly incisive playing from the Britten-Pears Orchestra. James Meek captured the hero's moral earnestness (and prig-gery while Jennifer Bolam delivered a telling performance as the odious Kate. But most of the other members of a youthful and vocally accomplished cast inevitably lacked the powers of characterisation needed to convey elderly personages convincingly.

Basil Coleman's production is hamstrung by John Piper's sets, which on the broad platform of the Makings fail to convey the claustrophobic atmosphere of the great house in which the action plays. IN Raiders of the Lost Ine producer George Lucas and director Steven Spielberg set out to create a roller-coaster movie of endless climaxes to match memories of the adventure serials of their youth or, more correctly, their parents' youth before the war. Originality was to be assiduously avoided and cliches embraced with the warmth reserved for log-lost friends. The formula worked well enough in a mindless way. It is, however, already looking tired in the sequel, Indiana Jones and the Temple of Doom (Empire, PG), which again features Harrison Ford as the eponymous archaeologist hero, cracking jokes, skulls and his bull-hide whip as he trots the globe.

The picture begins in 1935 Shanghai, evoking the 1930s comic-strip 'Terry and the Pirates' and the Fu Manchu yellow-peril stories, and pitting Indy Jones against a fiendish Oriental villain in a night-spot called (self-referentially) the Club Obi Wan, where the resident choreographer has the style and budget of Busby Berkeley. The scene then shifts, by way of a flight across China borrowed from Lost to the India of the Raj his devoted Chinese boy assistant and a belly-aching American blonde beauty (Kate Capshaw) bale out of their doomed aircraft in an inflatable rubber dinghy that does service as a parachute, a toboggan to slide down Himalayan slopes, and finally a craft to shoot the rapids in. This is 007-stuff, and as in the Bond movies we are invited to admire the producers' cheek, not compelled to share the characters' danger. In India the trio are co-opted by some downtrodden villagers (a cross between the peons of 'The Magnificent Seven' and the Munchkins of 'Wizard of Oz) to rescue their abducted children and retrieve a sacred stone from a sect of mad zealots who have revived the ancient cult of Thuggee under the leadership of an Oxford-educated fanatic (played by Roshan Seth, Attenborough's Pandit Nehru). This, the main body of the film, draws heavily on that grand 1939 action romp, 'Gunga and Harrison Ford at archaeologist Indiana Jonaa ahadaa of Gunga Din.

PHILIP FRENCH features extensive scenes of torture and mutilation. 'Indiana Jones' is a thin, arch, graceless affair. And I'm not at all sure that you can so sedulously ape pre-war imperial adventure pictures of this kind without taking a more critical or ironic attitude towards their xenophobia and sexism than Lucas and Spielberg do. My 30-year-old dinner jacket has been in and out of fashion several times and so has my 28-year-old opinion that Hitchcock's 1956 Hollywood remake of The Man Who Knew Too Much (Electric Screen, PG) is inferior to his 1934 British version. As with the ageing tuxedo, I've often thought of swapping my views of the 1956 film for something trendier, but, having seen it again, I'm hanging on to them.

Indiana Jones is named after that unprepossessing middle-western state (the setting of Spielberg's Close Encounters ') that American writers always seize on to identify what is most unreQectively typical in middle-American life. In the 1956 'The Man Who Knew Too Hitchcock chose to test to near destruction a fragile nuclear family from Indianapolis. The marriage of ex-singing star Jo (Doris Day) and her over-bearing physician husband Ben Games Stewart) is already frayed when their son is kidnapped in Marrakesh to prevent them revealing the knowledge they have accidentally acquired about a projected Eolitical assassination in ondon. Jo and Ben are much more complicated than the stiff, middle-class English couple played by Edna Best and Leslie Banks back in 1934. But they're far less attractive, and the balance between character and dramatic incident in the economic, unpretentious earlier film makes for a far better thriller.

The re-make is heavy and oppressive. For the first time in the Master's work (though sadly not the last), the suspense is often risible and the moments of comic relief fall flat. individual a composer to allow himself to be trapped in a nostalgic cul-de-sac. Indeed, the opening phrase instantaneously denies any return to the womb of the past, a prospect it might seem to offer to a casual ear. Each of its three intervals is slightly askew, so as to establish an idiom that Ligeti has provokingly described as at once non-tonal and yet diatonic Countless composers have in recent years taken a piece of familiar music from the past and proceeded to wreck it like a destructive child.

If Ligeti is too independent to sink into the arms of the past, he is also too respectful to maltreat it. Thus when he chooses, as he does here, not to obey the rules of his model, he does so with an intellectual discipline as compelling as that underlying the model itself. The fascination of this Trio stems in large part from the way in which he avoids the expectations he seems to hold out without however allowing them to slip wholly from the listener's mind. The tension established between the model and the music indeed shares certain features with Stravinsky's neo-classicism, though it is hard to conceive of Stravinsky taking Brahms as a model, while Ligeti is a more elusive composer, who only allows his model to be momentarily glimpsed, like the ground that fieetingly becomes visible from a low flying aircraft in cloudy weather. These glimpses become less frequent as the work advances.

There are echoes of Brahms in assertive mood in the rhythmic attack of a short march movement and the Brahmsian melancholy of the opening andantino returns at the opening of the final adagio. But after a passage of exultant eloquence the mood here goes blacker as the pianist plunges ever deeper into the lowest regions of the keyboard, hammering as though on a bass drum. This impassioned lament, which eventually dies away to nothingness in a bare and desolate coda, is as fine a piece of music as Ligeti has Ligeti disclaims any special affinity to Brahms, but his willingness to accept a commission to provide a companion piece to Brahms's Horn Trio for the 150th anniversary of the old Hamburger's birth speaks for itself. So do the words, Hom-mage a which stand at the head of this new work. For a man of Ligeti's historical self-awareness (a characteristic he shares with Stravinsky) a horn is the very embodiment of romanticism.

Its presence in a piece of chamber music is alone sufficient to introduce a romantic flavour. Thus it comes as no surprise that the opening movement of his Trio breathes an air that he himself has described as 'tender and In short, its mood is often distinctly Brahmsian. That is not the only conservative element in this new work. Its very opening phrase knowingly evokes the horn call at the opening of Beethoven's Les Adieux sonata. Two of its four movements are in binary form, a shape that would hardly have been reconcilable with the micro-cellular music that Ligeti composed in the Sixties One of these is a scherzo whose trio contains rhythmic patterns such as occur in Schumann and Chopin.

There is also some invented folk song in this movement (another Brahmsian touch), occasionally interwoven with jazz figuration as though the Balkans were stretching out a hand to the Caribbean. The adagio finale is a passacaglia, a form beloved of Brahms and countless other historically minded composers. Above all, every time the horn line swells, a lost continent of romantic sensibility comes into view. The past looms larger here than it does in anything Ligeti has written as a mature composer. No wonder that voices have mockingly asked whether he had not been infected by the neo-romantic sympathies of tome of hit students.

ButLigetiisfartoostrongand naiars latest slice of raw Parisian life, To Oar Loves (Camden Plaza, 15), was by some way the most rewarding experience of the week. Last time out, with his powerful gutter drama Lou Pialat directed three of France's finest young actors, Guy Marchand, Gerard Depardieu and Isabelle Huppert. Now he's back with unknowns and amateurs, and has given himself a sizeable role as a middle-aged French tailor of Polish extraction with a shrewish, neurotic wife, 'an obese homosexual son nursing literary ambitions and an attractive 16-year-old daughter, In conversation with Truf-faut, Hitchcock dismissed the 1934 film with the patronising comment: 'Let's say the first version is the work of a talented amateur, and the second was made by a Hitchcock knew that this was precisely what his anglophobic French admirer wanted to hear. Of course, he misrepresented himself. The 1934 film was the work of a confident young genius, the 1956 re-make that of a complacent old master.

Both are now period pieces, and they throw light on Hitchcock's mind and on the social current of the time. Because Hitchcock's naive political ideas are better suited to the world of Buchan and E. Phillips Oppenheim, 'The Man Who Knew Too Much' sits better in the early 1930s than the mid-1950s. Paradoxically, the tough, confident Edna Best, an international crack-shot who saves her daughter with a well-aimed bullet in the 1934 version, is a more appealing figure for us now than Dons Day's queru- Suzanne. The movie unfolds over AnpiYbY STEPHEN LOWE Dlnefdby DAVID LEVEAUX Designed by ROHYDEMPSTOt loua, pouting homemaker who pops pills and saves her son by sitting down at the piano to sing a doleful pop song.

The week's third disappointment is The Osterman Weekend (Leicester Square Theatre, 18, from Friday; Oxford Film Festival on Thursday), Sam Peckmpah's first film for six years. Like General Patton, Peckinpah has made a career out of not belonging to the twentieth century, Which has given his films a desperate energy, an elegiac tone and a sense that everything decent it dead or dying. The master of the Western and the para-Western, he's never been happy with contemporary urban subjects and the new picture (adapted from Robert Ludlum bestseller) is a commonplace espionage thriller like his 1975 pot-boiler, The Killer Elite. But Peckinpah is incapable of going about anything in a routine manner, and once again he has run into trouble with his producers, who have re-edited the film. The slick piece casts John Hurt as a neurotic secret serviceman drawing a Californ-ian TV current affairs star (the smug Rutger Hauer) into a CIA scheme to expose three old college chums from radical Berkeley days as KGB agents.

The mixture of state-of-the-art high-tech and run-of-the-mill low cunning is familiar. The ideas and dramatic structure are confused and complicated rather than complex. Although it left me puzzled and dissatisfied, Maurice period of two years in a series of edgy, emi-improvised scenes, centering on Suzanne, whose drift into promiscuity after rejecting the handsome boy who loves her, is attributed to 'a dry There is no formal exposition or reference ughtmg by MEN UAHEY Compmny EUZMETH MADUV KENNETH COLLEV MICHELE CO PSEY CHRISTOPHER QUINES MICHAEL PACKER HOLAREID. JOANNE WH ALLEY TERENCE WILTON rarer: asuiisroa to a larger social context. This is family life as a kind of hell, somewhere between Cocteau and Mike Leigh.

When the father suddenly departs, for no obvious reason, the weak son is CAMERON MICKNIOSHS New Production of SANDY WILSON'S ElifclUlMilitnrai'AVilliIil i ii "jwiIJhUe left to assume fan parental and commercial responsibilities. There are appealing outbursts of physical and psychic violence and Suzanne contracts a foolish roarriage merely to escape the torment. But although individual scenes are performed with terrible conviction and have the feel of emotional authenticity, Pialat fails to define the nnini that is destroying his characters and the picture ends on an obscure note. jji ii ji Jm tin i a a p. w.f.v jrm Ban ujumsfansMKiKtsrasi: I ArtsCoundl I sift itm BliiHH I A iT i i VIA iM.iaaHaHiaBaBHBaussBaj THE FALSU10U5 MUSICAL ROCOCO VICTORIA u-'ne01-581489 ADMISSION 2 MLDCKI SATURDAY SUNDAY 1 MUSEUM CLOSED FRIDAYS Low prico Previews from 12 July Opens 18 July for limited 4 week season THE OLD VIC WATERLOO ROAD LONDON SE1 BOXOFFrCE 01-9267616 This exhibition is spomorad by ihrthotBerdrte UNTIL 30 SEPTEMBER 1984 CREDIT CARD HOTLINE 01 -261 1621 Haas afl3gBigas wmvm I WHAT'S ON 1231 ROYAL FESTIVAL HALL I CONCERTS PHILHARMONIA Tim Today 17 Juna CITY OF LONDON SINFON1A.

Makete LayllsU (director violin) Jack Diassi (clarinet). Bach BraiulenDurg Concerto No 3 BWV 1048. Mosart Clarinet Concetto in K62Z VtTakU iTha Four Seasons. 8, 7, 6, 5, 4, 3. Victor Hochhauier.

Sun Jane 17 7 JO Pal BRODSKY STRING QUARTET Sunday Morning Coffee Concert Sdwbett Quartet in A min D804; Scfanmana Quartet in A Op 41 No 3 2.50 incl prog free coffee, aperitif or squash after performance 11.30 am Monday GRAND PIANO eXTRAVAOAN7AOrtaPnfmanoa lor lha Parte Ln 18 Juna Group 25 pianists inc: KaHh Burston, John Ogdon, Brand Lucas, 7X5 pm Qwannath Pryor, Naomi Davtdov, Courtney Kanny, Dermis Laa, DavW Oman Noma, prog inc wks by RKhmnlno, Dabuaay, Rossini oinka. DAVID CAMPBELL clarinet BOCHMANN STRING OUAR- BBC SINGERS. Smwja Jory (cond) Phllia Fowka (piano). Songs QLC South Bank Conoert Hana, Bahsjdere Road. London 8E1 8XX Sox 0Hea: Open Mon-Sat lOam-opm, Sun 1 J0pnvpm Telephone Bookings 01-928 3191 Credit Cards 01-928 8800 Open all day.

Free exhibitions and lunchtlme music Coffc shop, buffet and bars. Jazz in ths Riverside Cats Friday, Saturday and Sunday evenings. airausa, etc tzau, sasm, sssa, uum rantuneon Moo June 18 1.00 pm TET Haydn String Quartet in flat Op 501; Philip Cannon uvoraa, Kuar, aeuar. i ippen, uefsawm ana amnsomena ior byDv piano THE ROYAL OVER-SEAS LEAGUE MUSIC FESTIVAL Anal Comp live Concert. Artists from the Commonwearrh a the UK: Adrian oi worics oy Rresuer ana Joaann arranea.

au seats iu. Tonight 17 June 7.30 pm uannet utuntet Mao list i-on pen); lrppeii stnng uuar- Tuesday IBJune 715 pm Od34 tet no 2 in snarp; weser Clannet Qnutet in a tiat (pnol Lome Anderson (singer) Nicholas Cox (woodwind) Gina McCormack (string) AurM String Quartet Helen Ranger 3.50. 3. 2.50. 1.80 LONDON SYMPHONY ORCHESTRA.

Nicholas CleobBTy (cond) Barry Douslaa (piano), RoaatoJ Overture William Handel Water Music Suite. Grlaa Piano Concerto in A minor. PAMELA KUHN sonrano GRAHAM JOHNSON Diano Sat June 23 S.OOpn 1 5ft 2. aw. fAau toniy) tiw Royal Over-asaa League Sehomann 7 Leiden Debuaav Fetes aalantet II.

Le Baicon: UP Cores! musk, unuur vucnani Op 16. Drotik Symphony No 9 in minor. Op 95 From the New 8. 7. 6.

5. 4. R. Gubbay Ltd Monday 18 June 7.30 pas CAE. Concerto Qrosao In F.

Opj6 NoJK Elgar 8eranade tor Wednesday 20 June 7.45 pm PooiCDC i Song Cycle Tel jour Telle nuit; Samuel Barber Song Cycle Depite and Still 3.50. 3. 2.50. 1.80 Qraeeitne D-DAY ANNIVERSARY CONCERT. London Concert Baoh Callo Cone In Vivaldi Cello COnc In min; Minrlilssohn Simonla No.10 tran; Grin Holoera Suite.

ORCHESTRA Principal Conductor Giuseppe Sinopoli KURT SANDERLLNG conducts Monday Next 18 Tone st 7.30 LYNN HARRELL soloist Prokofiev Sinfonia Concertante (for cello orchestra) Brahms Symphony No. 4 Thursday Next 21 Jane at 7.30 Wagner Lohengrin Prelude to Act I CEOLE OUSSET soloist Brahms Piano Concerto No. 2 Shostakovich Symphony No. 6 Monday 25 June at 7.30 NEVILLE MARRTNER Haydn Symphony No. 104 (London) Strauss Der Rosenkavalier Suite GHO-LIANG LIN soloist Tchaikovsky Violin Concerto Friday 29 Tune at 7.30 PAAVO BERGLUND Sibelius The Swan of Tuonela RALPH MRSHBAUM soloist Dvorak Cello Concerto Sunday ROYAL PHILHARMONIC ORCHESTRA Yuri Terrtfrkanov 17 June Eiiso Virsaledie ipmno, Tchaikovsky Suite Swan LaKe 3.15 pm Tchaikovsky Piano uoncerto Nol Tchaikovsky Symphony No 6 (Patheliquo) 230, 4.50.

C3.50, 6.60. 7 SO. CSJC lonlvl RPOLtd nana oitne weisn uuaras. Harry Kaaaaoriu major u. layior.

Intro bv Joaa HiaaiaT. Proa inc. The Damburtcra' Mon JnaeZS .00 pa Snitfire Theme A Fueue. Plus rare archive film of D-Dav KUN WOO PAIK piano Liszt Piano Works Van. on Weinen, Klagen, Sorgen, Zajen (Bach).

Apparitions No Ballade No 2 in min; Scherzo and March; Christmas Tree Suite; Adeste Fideles; Scherzo So; Anden noil Provencal; Cloche du soir; landing. 7.50. 6.50. 5.50. 4.30.

3.50. X. Oubbay Ltd Tuesday 19 June 7.30 pm Sunday 17 Juna 7.30 pm Geouray Burgon Requiem BEAUA2TE DEM LOklbfiN 5VMPrl6NV CHORUS London Symphony Orchestra Richard Hlckox iconO) jerv niter Smith (sop) Charles Brett ic-ten, David RendaH iteni Timothy 1 50, ZS0. 310, 4 fjQ, 5 XM Trw Tate Muak; Group Thursday WHITEHALL CHOIR Roaabary Orchestra Christopher Herrtck (cond) 21 Juna 7.45 pm Pearce. Haydn Te Oeum: Mozart Symphony Ho AO: Schubert Mass in flat 150.

250. 350. 450. 550 Whitehall Choir Friday ELiSo vlRSALAbZE tpiano) Mozart Rondo In A minor, KjJll. 22 Juna Schumann Fantasia in Op 17; Chopin Polonaise Fantasy In A (tat.

745 pm Op 61. Prokofiev Sonata No.2 in minor. Op 14 2 JO. 250. 350, 4 JO, 450 Harold Holt Ltd LONDON SYMPHONY ORCHESTRA.

Rafael KnbeUk (cond). Jaaacek Sinfonietta. Bruckner Symphony No 9 in minor. In atMoekuUm with British Airways. 8, 7, 6, 3.50, Farrell (oraani variations on U3cn 3.50.3.2.50.1.80 Wigmore Summer NIghtsI Harold Holt Ltd.

Tuce Jane 26 IAS pm 90. 3:90. 4 90. CSflO. f90.

i90 London Chorus 2.50. 'PUlLHARMONiA OACUEsTrA Kurt Sandemng (conductor! ENGLISH CHAMBER ORCHESTRA. Sir Alexander Gibson Monday 18 June 7.30 pm DOMUS Krvsla Osotowicz vln, Robin Ireland via, Timothy Hugh cello, Susan Tome pno Mozart Piano Quartet K493; Globokar Oiscours VI; Weir A Serbian Cabaret; Brahma Piano Quartet in min Op 60 3.50. 3. 2.50.

1.80 Wed. 20 June 7.30 pm Brahms Symphony No 4 (cond) Barry Tuckwell (horn). Mozart symphony No 40 in HANDEL OPERA ORCHESTRA Bruno Ameduoct (cond) Sarah Fran Li ju. L3.au. L4.S0.

050. 650. 7.50. 8i0 Pminarrrionia Ltd Wed June 27 7.45 pm minor, aoou. raozart nom unonu iwmc iiah iw.

i. Saturday 23 June 745 pm cis oo) Katpn noimee (vin) nooen Nawincsae (npacna) nanoers naaan Tuesday R6VAL PHILHARMONIC 0BCHE5THA trans Hom Concerto No 1 in flat. Op 11. lkoflev in flat. On 11.

TarsW. Contemporaries: Music tor strings inc wks oy Wvawi, locals 7. 6. 5. 4.

3.50. 2.50. Geminianl, etc. 2. 3.

4. 6 Handel Opera Society Classical Sympnony op 19 June Peter Oonohoe ipianoj Brahms IragiL Overture Beethoven Piano 7.30 pm Concerto No 4 Sibelius Symphony No i 2 SO. 3 SO 4 50 CS 00 rfi 1 7 V) ui ni in. i a Thursday A concert in memory of MARC RAUBENHEIMER. Carol Cooper, Martin Roscoe, Nlel Imnvriratn, Pater Bltbell.

Bach Busonl Chaconne in min; Beethoven Sonata in min Op 111 Scriabm Preludes from Op 1 Poeme Op 322; Albeolz Iberia Blcl 4.50. 3.50. 150. 2 I Jane Cray LONDON SYMPHONY ORCHESTRA. Rafael Knballktcond) Rodolf FMraaay (piano).

Detthoven Piano Concerto No 1 in Op 15. Brockaar Symphony No 9 in minor. 8, 7, 6, 5, zi June 7.30 pm Than June 28 7.45 pm Wednesday LONDON SY.MPHONV AACfisTRA Url Segal (conductor) Nigel 20 June 7.30 pm Kennedy (vionri, Tchaikovsky Fantasy Overture. Romeo and Juliet. Beethoven Violin Concerto.

Dvorak Symphony No 9 (from the New World! 2.30. 3.60. 4.80 620 7 SO Cft tt i uunnit ENGLISH CHAMBER ORCHESTRA. Sir Alexander Gibson TESSA UYS piano Brahma Variations on a theme Of Schumann Op Sonata No 3 in mm Op Sclasnana Sonata No 1 in sharp min Op 11 3.50. 3.

2.50. 1.80 Esme Bird Friday 22 June 7.30 pm Friday June 29 7.45 pm (cond) oaear siasmiky (vioUnl. acnuecrt sympnony mo minor, K759 Mendel soohn Violin Concerto in minor. Op 64. 8pohr Violin concerto No 8 in A minor.

On 47. Schubert Symphony No 5 in Flat, D48S. 7, 6. 5, 3.50, Beethoven Symphony No. 2 Ticket 2.30.

3.50. 4.50. 5.50. 6.50. 7.50.

8.50 from Hall (01-928 3191) CC (01-928 8800 and usu agents. Thursday PHiUMAMONIA OACHEsTAA Kurt Sanderllng (conductor) 31 June Cedle Ousset tpiano) Wagner Prelude to Act 1 Lohengrin Brahma f-30 pm Piano Concerto No.2. Shostakovich Symphony No 230. 350. 4.50.

13.50, 650. 750. 850 Philharmonia Ltd Saturday BBC INTERNATIONAL FESTIVAL OF LIGHT MUSIC BBC Concert 23 June Orchestra Ashley Lawrence (cond) Lillian Watson (sop) Malcolm pm slier (oboe I David Jacobs introduces More Melodies (or You. 2.30. 3.60.

4 80. 650. 750. 8.00 BBC in assoc with the GLC IU.3U. Tuesday VEOA WIND QUINTET with STUART ALLEN (bast clannet) EMM 18 Juna Carter Quintet (1948); Jama Dillon Le Rlvage (1st Ldn pi); SeKter 7.30pm Permutazioni a cinque: Nick Redlem The Dreams of Fallen Gods (1 st Ldn pi); Janacek Mladi lor wind sextet Please rerte changed artists programme 250 Vega Wind Quintet Wednesday JOHN MILLS (guitar) FreecoMdl Aria con vartazkinl; Breectensflo 20 Juna Partita in min; Tansman 6 Pieces in Modo Polonico; Grieg 4 Lyric 7.30 pm Piece; Ouarte Tout en Ronde, Op57; 8mtth BrtrKSe Ste in 3 Movements; Do not go Gentle: wks by Ceatelnuovo-Tedesoo, Turin.

1.75. 2.75. 3775 Helen Jennings Concert Agency Thursday MARGARET BRUCE (piano) Schumann Fantasia In Op.17; Antoren 21 Juna Tucapeky Fantasia quasi una Sonata (1st pari). Jean Courthard 7.30pm Sketches from the Western Woods (1st perf); Mozart Sonata in flat. K333.l,2J50.3J0 Gordon Ounkerley GABRIELI STRING QUARTET Mozart Quartet No 20 in K499 Hoffmeister Britten Three Drvertimenti; Beethoren Quartet No 14 in sharp minor Op 131 3.50.

3. 2.50. 1.80 Wigmore Summer Nights Saturday 23 June 7.30 pa Sponsored by the Hooae of du Manriar CITY OF LONDON FESTIVAL 15-28 JULY CHORAL CONCERTS LINDSAY STRING QUARTET DOUGLAS CUMMINGS cello Sttadity Morning Coffee Concert. Schubert Morning Quartettsatz in minor D703, Quintet in D956 2.50 incl prog and free coffee, aperitif- or squash after performance Sunday 24 Juna 11 JO am auraay ouncan hiddeu. (violin) simon ariEarriiNU (piano) Sunday DANIEL BLUMENTHAL (piano) Beethoven Sonata in llaL Op.7, 17 June Debussy Children's Corner Suite: Chopin Sonata in minor.

Op-68; M0 pm The programme also includes works by Mendelssohn. Sonata In G. Op 30 NoA Szymanowsld Three Mythaa. OpJCr. Janacek BaWe Knaveae-St.

Man Axe, ECS 23 June 740 pm oonata tot vioiin am piano; raure sonata noi in a. up.13. rnnsicFBsrii Uliur LAjnuuN H1NFUNJA 150. 2 so. 3 00.

350. 4.50 Helen Jennings Concert 1 150, 230, 350 Grapevine Concert Management Agency John Lill piano Patrizia Kwella sop. Richard Hlckox cond. BwiktHii rvu 18 July Wed. 7.30 am Sunday A FESTIVAL OF tONa Mb DAMCE The Zernel Choir Malcolm 17 June Singer (conductor) Maureen Creese (accompanist) The Oranlm Israeli 7.1S pm oence Troupe.

A programme ot traditional and contemporary music and dance. SOLD OUT The Zemel Choir RAYMOND GUBBAY presents at the BARBICAN SATURDAY NEXT 23 JUNBatSp.se. jOSHUA WFKW Midsummer Night'i Dream Hoist (arr. Matthews) The praam City Mozart Piano Concerto No. 20.

7 Sponsored by Legal General Group PLC 4-1 nmiiaM TELL OVBSTUItB rlrl nranm MUSIC SUITE St. MlchaeT Chorch, Owiihltt. ECS AMARYLLIS CONSORT Monl Tues3 Grieg PIANO CONCERT 19JoJy Hum. 7.30 pm SCOTTiOPUH A Pilgrim's Solace rnadriamla etc. by Joha Dowtand and his contemporaries.

No. 9 (NEW WORLD) Dvorak. 4 Supported by Lloyd's of London LONDON SYMPHONY ORCHESTRA Conductor NICHOLAS CLBOBURY HAMMERSMITH ODEON I July John Shot ry ii9SMil4 Merchant Taylor' Hill, EC2 THE HOLST SINGERS, GBfldhall String Emembla works by J. Dankwortk. Bliss.

DDeA. atTheDorrunion BARKY DUUtrtJUi piano 3, 4, 5, 6, 7, 8 Box Office (01-628 8795) Credit Cards (01-638 8891) 24 July Toes. 7.30 pm Road Tottenham-' 7 Sponsored Cavser Limited Baltic St. Marr Axa. EC3 SONG1 ALMANAC.

Melodious Albion 25 July Wed. 7.30 pm Sarah Walker mezzo. Patricia Rozario son. Richard JacLaoa bar. with the WREN ORCHESTRA MAR8HAU.

ARTS praaanto 'MAHAVISHNU' john Mclaughlin billy cobham bill evans (DRUMS) (SAX) MITCH FORMAN JONAS HELLBORG (KEYBOARDS) (BASS) HAMMERSMITH ODEON THURSDAY 12th JULY at 8 p.m. 6.50. 5.50. 4.50 from 01-748 4081 and usual agenta Agency Credit Card Not: 01-240 0771, 01-741 8980, 01439 3371 Agency tickets subject to booking la tranam joimtoa piano ana actor trom too KSC 7 Supported by The Baltic Exchange at The Dominion, Tottenham Court Road, Wl 1 A dramatic musical story covering the years 1899-1914, 1 St. Mary-at-Hill Church.

Eastebaan. EC3 PHILIP PICKETT at the NEW LONDON CONSfiRT. 23-27 July 1.05 pm WHAT'S ON also on pages 18 20 including Diano raes. orchestral rasrs. raetime and Plus Support THURSDAY 21st JUNE 7.30pm TICKETS 5.00 4.00 3.00 HWM SOX Off I CI (0174e-40V) ANO USUAL AOINT5 lnrectious)oy and good humour STANDARD The bast doe harmony group ever spawned In Britain' THETIMES Five Lunch time concerts of varied medieval music, sacred and secular.

ft.jn ballet. The UK premier for the fifteen piece orchestral 1 racrs. Performance 8pm. Tickets 5.50, 6.50, 7.50. 1 FULL BROCHURE Ml TICKETS from FESTIVAL BOX OFFICE, St.

Paul's Churchyard, London EC4M 8BU, 01.236 2801 AB Credit Cards Dominion Box Office Tel: 01-580 9562 1.