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an hour and a halfs rehearsal it was really all that was neccssary. It was rath»ir easicr than conducting a Beet'ioven symphony.” But having expr^ssed admiration for the players’ virtuosity, Rattle confessed to a reser-vation. “The frightening thing is that evertually you may end up with rou-tine and bored performances of Mah-ler, as you get with other composers. The musie really rcquires that it should still be an occasion.^,,

It is typical of Rattle that hav-ing achieved famę as a conductor younger and with morę brilliance than any British musician in gener-ations, he decidcd that his cducation was incomplete. While his stunning young singer wife, Elise Ross, re-mained back at home in London, Rattle went ofT to study English literaturę at Oxford University for a year. But the undergraduate was quickly pursued by the musie world, and gave in to pressure from yet another lively British orchestra, the City of Birmingham Symphony, to bccome principal conductor forthwith and take over a fair slice of the season evcn before hc left Oxford. He has also planned and directed the first of his three scasons in charge of South Bank Summer Musie in I^ondon, an intcnsive two weeks in August. Thcre he was able to indulge his fancies for such musie as Gershwin s Porgy and Bess (the first really complete performance in Britain, believe it or not) and Kurt WeilPs The Seven Deadly Sins (soloist: Mrs. Rattle).

Jazz, too, is in the Rattle musical mixture: from childhood, encour-aged by a jazz-loving father, he has had his firm affections in that area. It was perhaps surprising that his early training as a percussionist did not lead him toward a performing carcer in jazz (Previn would have con-curred). Rattle has a elear answer. “Although I adore it, I’m actually no good at it. Tm very, very square. Even inebriated I’m square, which is normally the test.” In hischosen field, no one is likely to accuse him of being square. And hc doesn’t nced to be inebriated, either. MA

RADI0VISI0NS

Composikm In Real Time: The process ar d product ol impro*i szlional musie is eiamined. Art-sts Ornetle Cofemar Asthcny Brarton. Pauline Oliveros. Roscoe Mitchell and Leo Smith are Featured. (Pmduced by Ray Galion).

Notes From The Steel City: Through musie and interviews this program focuses on work of Pitisburgh based composers Daniel lent*. William Thomas McKinley. and Da»id Stock. (Produced by Mark Yacovone and WQED FM/ Pittsburgh)

Symmetries: The search for order and balance is the theme of this program's 24 short works for eight wioias Pieces are inteimued with poetry. palindromes. and comrren-fary. (Produced by Tom Johnson and Steve Cellum)

Roaratof»: An Irish Circus on “Finnegan's Wake" by John Cage:

The American premiere of Cage s polyphonic oraforio which compnses morę than 5.000 sounds evoked in Joyces maslerpiece FinnegaiTs Wake. (Radio se'ting produced by Ev Grimes; "Roaratono" realized by John Cage and John Fulleman for Westdeutscher Rundfunk).

High Tech Etude: A radio collage from Cmcmnati featurmg poets. artists. writers. musicians. composers and sounds of their city. (Produced by Douglas Smith.)

GERMAN ORCHESTRA SERIES-The Berlin Philharmonic

Herbert von Karajan, conductor: Apollon Musagete by Igor Stravmsky; and Symphome fantaslique. by Hector Ber lioz

Seiii Orawa, conductor: All J S Bach program Prelude and Fugue in E fiat. Ricercare from Das Musrkalische Opler.'' Magmficat in D. BMV 243. and Two chorale preludes.

Charles Dutoit, conductor: 0verture Roman Cvnival“ by Ber lioz: Piano Concerto No. 1 by Tchaikovsky (Martha Ar gench): and Strawmsky s Petrouchka

Sudwestfunk Symphony Orchestra

Kazimierz Kord, conductor: All Brahms program. Piano Concerto (Mischa Dichter): and Symphony No 4.

INTERNATIONAL CONCERT HALL

łorge Mester conducts the American Composers Orchestra:

Works by Frederick Conmse. Richard Felciano. Aaron Copland: Walter Piston. and the premiere of Erik Lund borg s Piano Concerto (Ursula Oppens).

Cnamber Orchestra Festiwal

Karl Munchinger conducts the Stuttgart Chamber Orchestra:

Haydn's Symphony No. 48: Schuberfs Symphony No 5; Morart s Violin Concerto No. 3 (Ulrike Anima Mathe).

David Fetler conducts the Rochester Chamber Orchestra: Ravel's Introduction and Allegro (Grace Wong. harp. John Thomas. Hutę; Michael Webster, darinet): Adagio m G Minor for Organ and Strmgs by Albinom (David Craig-head): Poulencs Concerto for Organ. Strmgs and Tim pani (David Craighead). and works by Howard Hanson. Handel. Edward MacDowell. and Mozart.

Saulius Sondeckis conducts the VHnius Chamber Orchestra:

Works by Mikalojus Konstantinas Ciurhones. by Shosta kovitch. Schubert, Tchaiko»sky. and Concertino for Pi ano Tno and Strmgs by Bohuslav Mart mu (Moscow Trio).

Wolfgang Hofmann conducts the Kurpfalzisches Kammerorches

ter: Works by Josef Martin Kraus. Fantasie for Vtola and Orchestra by Johann Nepomuk Hummel (Wolfram Christ), and Karl Stamitz s Viola Concerto No. 2 (Wolf ram Christ).

NPR RECITAL HALL

Bernard Goldberg, flute; Jerry Bramblett, piano; the Audubon Quartet: Von Weber Tno m G Minor for Flute Cello and Piano. Hmdemith s Sonata for Flute and Piano. Sere nade in D Maior. by Mai Reger; and Quintet for Flute and Strings by Piston (Taped Aug 2. 1981. Musie at Gretna.)

Atlen Krantz. guitar; Carl Ellenberger, flute; Timothy Carter, eon-trabass: Walties. by Dvorak, Guitar Qumtets by Boc chenm and Mano Castelnuovo-Tedesco; Schuberfs Quartet m F Maior for Guitar. Flute. Vi0la and Cello (Taped Aug 9. 1981. Musie at Gretna.)

HIGHLIGHTS OF THE FIRST NATIONAL CONGRESS ON WOMEN IN MUSIC

SAINT PAUL SUNDAY MORNING

Dorothy Delay joms four of her moim students in a performance of works by Beehthoven. Bartok. Strauss, and Tchaikovsky.

The Clewetand Quartet: Mozarfs String Quartel No 19. Bartof/s StrmgQuartet No.3.and HaydnsStrmgOuartet No 5

Members of the Saint Paul Chamber Orchestra and the Dale

Warland Singers: A Chnstmas program mcludmg Corelli’5 C-m certo in G Minor opus 6. No 8: "Siegfned Idyll'' bv Wagner; and the 8ach Magmficent in D Maior

The Canadian Brass: Canada s premiere dassical brass ensemble. joms host Bill McGlaughlm