Innholdsfortegnelse for September 2025 i BBC Music Magazine

As a violinist, I don’t mind admitting that Itzhak Perlman is one of my all-time heroes – up there with David Oistrakh and Anne-Sophie Mutter as a player who tackles even the most difficult repertoire with effortless grace and, more importantly, whose characterful sound is instantly recognisable. As a journalist, I’ve interviewed him twice – once for his 70th birthday and, in this issue, as he celebrates turning 80. Always the consummate gentleman, Perlman is as comfortable in the media spotlight as he is on stage – witness his multiple television appearances, from Sesame Street to Obama’s presidential inauguration – but his interviews are far more than surface sheen. As in his warm-hearted playing, Perlman can dig deep when he wants to, and he offers some fascinating insights from a…

2nd: The eminent Scottish civil engineer Thomas Telford dies aged 77. Plying his trade largely in Shropshire and North Wales, among Telford’s major achievements were the Ellesmere Canal with its 38m-high Pontcysyllte Aqueduct, and the Menai Suspension Bridge connecting Anglesey with Wales. His work on Britain’s road network earned him the nickname ‘Colossus of Roads’. 14th: As the First Carlist War in Spain moves into its second year, Carlist forces defeat the Liberals near the Basque town of Viana. The increasingly bloody conflict is being fought over claims to succession to the Spanish throne, with the conservative supporters of Carlos de Borbon (the Carlists) on one side and the more progressive backers of the reigning Isabella II (the Liberals) on the other. 18th: Five years after winning its independence from…

There are numerous artists whose performances shaped my development and achieved hero status in my mind while I was growing up. The members of my orchestra are heroes to me too, not just for the quality of their playing but also for their deep humanity, inquisitiveness, commitment and sensitivity. The person I’ve chosen, though, is David Syrus, who was for many years head of music at The Royal Opera House, Covent Garden. When I arrived as a postgrad at the Royal Academy of Music, I persuaded three colleagues to sign up for a weekly repetiteur programme that was still advertised in the brochure but had not actually been run for several years. For the opening session, David walked into the room and asked us what we all knew (embarrassingly little,…

Isaac Stern (1920-2001) Stern gave his final concert performance at New York’ Carnegie Hall in 2001, just three months before his death, aged 81. His debut at the same venue was back in 1943, and he would go on to perform at the great stages across the world – including the Soviet Union in 1951. Nathan Milstein (1904-92) In 1915, the 11-year-old Milstein caught the ear of violin legend Leopold Auer in St Petersburg… and was still performing, aged 82, 71 years later. A recording of a concert in Stockholm in 1986 shows Milstein with technique still very much intact, shortly before a wrist injury finally brought the curtain down. Ida Haendel (192?-2020) When Ida Haendel (left) performed with cellist Steven Isserlis in New York in 2010, she may have…

Having experimented with ciphers in a work for his pupils – the 1888 Allegretto on GEDGE was dedicated to ‘The Misses Gedge, Malvern’ – Elgar developed his use of musical codes in the Enigma Variations. Each of the 14 sections describe a member of his inner circle, giving personal clues that could only be properly deciphered by the dedicatees. For example, the first variation ‘CAE’ (Caroline Alice Elgar) includes a four-note motif the composer used to sing to his wife, while the tumbling opening in ‘GRS’ (George Robertson Sinclair) evokes George’s bulldog falling down the bank into the River Wye and a joyful bark as he returns to dry land. Like all good puzzles, such musical messaging masked another, more complex mystery. Elgar further clarifies this in his 1905 biography:…

Situated on the northern shore of Lake Lucerne, Villa Senar stands on land bought by Rachmaninov in 1930. The hill on which it stands was flattened to create a modern home, landscaped garden and arboretum. Swiss architects Alfred Möri and Karl Friedrich Krebs were commissioned to construct a house in the functional New Objectivity style. Rachmaninov himself had a hand in the planning and design process. The villa was named after Rachmaninov and his wife by combining the first two letters of their names (Sergei and Natalia) and the R of their surname. Rachmaninov finished his Variations on a Theme of Corelli at the villa in 1931 and composed his Rhapsody on a Theme of Paganini there in 1934. The villa hosted famous guests, whose signed photographs still adorn the…

While attendance at most churches has been in decline for many decades, a recent trend reversing this trajectory is emerging – that of attending evensong. Evensong (‘choral vespers’ if associated with the Catholic Church) is a service traditionally held near sunset, focusing on singing psalms and other biblical canticles. Reasons for this increase may have partly come about through the website choralevensong.org, which details times and locations of services. Motivation for attendance, however, surely goes far deeper than this and seems to illustrate the need for many in the modern world to find a peaceful space at a time of day where they can sit with their own thoughts, without judgement or explanation. This, coupled with witnessing outstanding music-making at no cost, doubtless adds to an uplifting sense of escape,…

Bernard Foccroulle Cassandra Jessica Niles, Katarina Bradić et al; La Monnaie Chorus; La Monnaie Symphony Orchestra/Kazushi Ono Fuga Libera FUG844 108:01 mins (2CD) The first opera by Bernard Foccroulle (b1953), organist, composer and administrator consecutively of La Monnaie in Brussels and the Aix-en-Provence Festival, Cassandra was recorded live during its premiere run at La Monnaie in September 2023 under the opera house’s one-time music director, Kazushi Ono. The opera avoids preachiness and even includes humour The subject is climate change. Two periods alternate in Matthew Jocelyn’s English-language libretto: that of the destruction of Troy despite the warnings delivered by King Priam’s daughter Cassandra (the highly expressive Katarina Bradić); and the modern era, with two committed activists with different approaches – Jessica Niles’s university lecturer/stand-up comedian Sandra, and her more passionately…

Shostakovich Piano Trios; Piano Quintet, Op. 57* *Julia Fischer (violin), *Nils Mönkemeyer (viola); Oliver Schnyder Trio Prospero PROSP0035 76:52 mins Shostakovich’s Piano Quintet explores a bewildering variety of moods in a musical journey that opens with almost neo-Bachian severity in the Prelude and Fugue. A Scherzo of hollow jocularity is followed by a brief Intermezzo which can hardly contain its overriding sense of despair. Not surprisingly, the Finale hardly provides closure, preferring instead to retreat in the closing bars into an all-too-brief vision of childhood innocence. Julia Fischer and friends certainly convey the Quintet’s disturbing emotional subtext, delivering a performance of great distinction. Where other ensembles make a hugely dramatic statement out of the Prelude, Fischer opts for restraint, even when the opening material returns with seemingly greater urgency later…

Quartet (England) 1985 Anthony Braxton Quartet Burning Ambulance Music BRX80 (digital) Anthony Braxton’s compositions, in which the spontaneity of free jazz interpenetrates with the structural ideas associated with the modern conservatoire, were brilliantly explored in the music he made with his mid-’80s quartet. Three concerts from the group’s England tour were released on CD, but Braxton biographer Graham Lock recorded seven other performances from the tour as reference sources using very basic equipment. Astonishingly, with some expert audio restoration by Chris Trent that retains their quasi-bootleg charm while rendering them eminently listenable, here are four of them. Braxton’s sprawling discography encompasses both studio and live albums, but the energy and engagement of this particular quartet was exceptional in the way it presented his complex and demanding music with what can…

Sony Classical has begun on a one-of-a-kind collection celebrating the long career of composer John Williams. The Anthology, Vol. 1 – 1969-90 (Sony Classical 19802861012) is the first of three box sets which, when together, will comprise 75 discs of original soundtrack albums. Across the 22 discs of this first release, we trace Williams’s flair for emotional poignancy and symphonic drama from The Reivers to Home Alone, via tentpole scores for the original Star Wars trilogy and the first two Indiana Jones films. Discoverable gems include 1974’s The Towering Inferno, 1986’s Spacecamp and 1988’s The Accidental Tourist. Given the range of studios and original labels involved, this set represents quite the feat. Bravo Sony! In Claudio Arrau – The Ambassador Auditorium Recitals (First Hand Records FHR172) we are treated to…

1. ‘The garden is mourning, the rain sinks coolly into the flowers’ is the opening line of which composer’s September, written in 1948? 2. Which Tchaikovsky ballet features the ‘Waltz of the Flowers’? 3. ‘The Walk to the Paradise Garden’ is an intermezzo from which opera, composed 1899-1901? 4. Which 1852 opera by Verdi is loosely based on Alexandre Dumas’s La Dame aux Camélias (The Lady of the Camellias)? 5. The casting of soprano Mary Garden (pictured above) in the 1902 premiere of which opera led to a protest by its librettist Maurice Maeterlinck, who wanted his lover Georgette Leblanc to play a title role? 6. Which composer, whose works include 1973’s In an Autumn Garden for gagaku orchestra, once wrote ‘My music is like a garden. I am the…

One of the most trusted names in cinema criticism, Mark Kermode is known to millions thanks to his popular radio and podcast double-act with Simon Mayo. Also a talented double bassist, he performs regularly with his band The Dodge Brothers. His new book on film music, Mark Kermode’s Surround Sound, is out on 11 September. When I was a kid I wanted to be a pop star or a film critic, and when I was at school I built an electric guitar; it was meant to take a couple of months but ended up taking two years! I played it in bands, but I was never very good at it. I studied piano a little bit, and I’d failed grade four French horn spectacularly, so I decided I wasn’t going…

Jean-Pierre Joyce Journalist, writer and historian ‘There’s nothing like spending time in a composer’s home to understand their musical world. After visiting Rachmaninov’s villa and talking to pianist Alexander Melnikov, the man and his music made perfect sense.’ Page 44 Paul Hillier Conductor and author ‘The essence of Arvo Pärt’s tintinnabuli music was already in place when he started to compose it. To remind myself, I play (slowly and rather badly) the “three-part” music of his Fratres from 1977. All is clear.’ Page 64 Jo Talbot Cellist and writer ‘A distinguished cellist said they’d played Dvořák’s Concerto over 140 times and still found more nuance. The same is true of listening: the glorious work reveals new secrets, with so many inspired performances. What a treat!’ Page 68…

Without context or words, can instrumental music really be amusing, as the pianist Alfred Brendel suggested? Of course it can, reasons Tom Service It remains a mystery: not why Alfred Brendel took a tortoise on a lead to a concert at the Musikverein in Vienna in the 1950s – although that is a fact of his life that ought to be better known – but why it’s still the case, even after his death, that not enough people have taken the great pianist seriously when he said that Beethoven and Haydn were funny. There are two problems with what should be one of Brendel’s most important legacies. One is the entrenched snobbery of the gatekeepers of classical music, who often demand a pseudo-seriousness at all costs. This was precisely the…

There are many reasons to read Thomas Hardy’s poems, which I have been doing all my adult life. As with his novels, but rather more pithily, they often plunge you into the terrifying darkness of Victorian pessimism. Yet they are full of humour and irony. And for musicians and music lovers there’s an additional reason. Though Hardy’s quirky metres make his poems notoriously hard to set to music (fine cycles by Britten and Finzi notwithstanding), they are themselves full of music. And I mean that in two ways. First, Hardy depicts a musical world that still existed in his 1840s Wessex boyhood but was fast disappearing. It’s a world of viol consorts bowing ancient hymns in the west galleries of village churches; of folk fiddlers striking up reels at country…

Television has played a hugely important role in Itzhak Perlman’s career. At his initial appearance on The Ed Sullivan Show in 1958 at the age of 13, he gave dazzling performances of Rimsky-Korsakov’s Flight of the Bumblebee and Wieniawski’s Polonaise Brillante. And when he was asked back to the show in 1964, he appeared opposite the Rolling Stones. In subsequent years, he was exposed to viewers of all ages with appearances on the Late Show with David Letterman, Sesame Street, The Frugal Gourmet, The Tonight Show and numerous Grammy Awards and Live From Lincoln Center broadcasts. In 2008, he spoke about the relationship between music and food on Artist’s Table, and in 1994 hosted the US broadcast of the Three Tenors, Encore! from Dodger Stadium in Los Angeles. His PBS…

Living in a foreign country can bring on homesickness. But for Western musicians like James Kirby, Moscow offered a surprising connection to the UK. Former UK ambassador to the Soviet Union Sir Rodric Braithwaite, who was at the height of his diplomatic career when he was posted at the British Embassy in Russia under Gorbachev, cut something of a deal with the students at the Moscow Conservatory. ‘I met a group of international students at the Conservatory,’ says Sir Rodric. ‘I played the viola in Moscow. And I liked to play with other people if I got the chance. So, they were willing to come play with me in exchange for a decent meal.’ The memories bring a smile to James Kirby’s face. ‘We had many happy meals there. The…

Bach, Debussy and Schubert arranged for solo marimba? Operatic works for cello and electronics? Why not! It can be quite refreshing to hear familiar music in a new light, and the above examples are well worth exploring this month. For those wanting something really fresh, there’s a host of new orchestral works performed by the LSO, clarinet concertos by Tõnu Kõrvits and Erkki-Sven Tüür, an intense and timely new opera from Canadian composer Brian Current and one of the West End’s most appealing new musicals. If you prefer tried and tested, then you won’t want to miss violinist Rachel Podger’s breathtaking Biber sonatas (see ‘Recording of the Month’), symphonies by Dvořák and Schumann, and not one, but three helpings of Shostakovich! This month’s critics John Allison, Nicholas Anderson, Michael Beek,…

Ries Symphonies Nos 3 & 8 Tapiola Sinfonietta/Janne Nisonen Ondine ODE 1465-2 55:22 mins Beethoven’s one-time student, secretary and devoted friend, Ferdinand Ries (1784-1838) was also an accomplished and industrious composer. Cecil Hill’s thematic catalogue lists some 300 extant works, including eight symphonies, nine concertos and a vast array of other compositions too, most remaining largely unknown. Ries’s compositional style is distinctive and engaging Ries’s compositional style is distinctive and engaging, and it’s gratifying to see more of his music being performed and recorded after several centuries of obscurity. This latest offering is the penultimate release in Ondine’s valuable survey of Ries’s symphonies, which is due for completion later in 2025. Like the earlier instalments, it again features the excellent Tapiola Sinfonietta, Finland’s finest chamber orchestra, directed by Janne Nisonen,…

Handel Chandos Anthems Arcangelo/Jonathan Cohen  Alpha Classics ALPHA1153 75:08 mins Today’s historians could have a field day besmirching this music as being the product of a morally corrupt society. After composing the Water Music in 1717, Handel turned his attention to composing occasional works for James Brydges, whose exploitation of his post as paymaster of the Queen’s army brought him phenomenal wealth. This allowed him to collect old masters and buy an earldom, becoming the 1st Duke of Chandos. Cannons was the name of the estate on which he built a Palladian mansion, for which he had his own band. Nothing could be emotionally purer than Handel’s Chandos Anthems Yet nothing could be emotionally purer than the music of what are known as the Chandos Anthems. Brevity is of the…

Ravel Stravinsky Ravel: Ma mère l’Oye; Stravinsky: Le Sacre du printemps Pavel Kolesnikov and Samson Tsoy (piano) Harmonia Mundi HMM902752 49:20 mins Those of us lucky, as I was at both their Ragged Music Festival and at the East Neuk Festival, to have heard Pavel Kolesnikov and Samson Tsoy play Stravinsky’s own arrangement of The Rite of Spring for four hands – with a few tweaks of their own – will find an extra layer of insight here. By pairing it with Ravel’s original Ma mère l’Oye (Mother Goose Suite), they magically reveal not only how so much more comes through in Stravinsky’s orchestral masterpiece as pared down, but how, at the other end of the scale, musical poetry can fill out the surface simplicity of Ravel’s ‘pièces enfantines’. The…

Cloister Will Fraser New Generation Publishing 379pp (hb) £18.99 The ambition of Will Fraser’s debut novel is never in doubt. Weaving together sometimes self-conscious observations about the nature of music with slow-burn, (ultimately page-turning) noir-ish suspense, its cloistered world unites the quotidian scheming of Trollope’s Barchester with the tortured passions of William Golding’s The Spire. Matthew Marcan is an obsessive young organist who returns to his Bristol Cathedral roots where musical friction and a complicated love affair with blues singer Chloe await. She’s dogged by a sinister ex; and the contrapuntal interaction of the novel’s characters are as elaborate as anything in Bach’s Art of Fugue – a work that haunts Matthew and supplies the denouement. (A discussion of its mirror fugues permeates his first dinner date with Chloe!) Fraser…

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Write to: The editor, BBC Music Magazine, Eagle House, Bristol, BS1 4ST Email: music@classical-music.com Social media: contact us on Facebook and X (Twitter) LETTER of the MONTH The majesty of Mendelssohn If Christopher Cook finds the popular works of Felix Mendelssohn too saccharin, perhaps he should dig deeper rather than writing him off (Hero or hype?; August issue). We consider Mendelssohn to be more overlooked than overrated, particularly with regard to his later works. His organ music is entirely ignored by non-players – yet it is as full of passion, tenderness and exuberance as the Octet. Cook is dismissive of much of the chamber music, but as a lifelong Mendelssohn fan, I am wondering why I have only just discovered the brilliant and emotionally wide-ranging cello sonatas – and through…

Nineteenth-century opera is packed with scenes of fiery confrontation, from the red-hot love entanglements in Bizet’s Carmen to the apocalyptic clashes between gods, demigods and humans in Wagner’s Ring cycle. Few, though, are fierier than the convulsive episode Gaetano Donizetti placed at the heart of his opera Maria Stuarda, as he readied it for presentation at the Royal Court of Naples in 1834. Though the opera was based on British history – its central characters are Mary, Queen of Scots and her cousin Queen Elizabeth I of England – its central scene, where the two queens meet in person, was in fact invented by the German writer Friedrich Schiller for his play Maria Stuart, on which Donizetti based his opera. The queens’ meeting, though fictional, sharply focused the intensely charged…

THIS MONTH Francesco Piemontesi pianist CONCERT HEAVEN Brahms Piano Quintet Francesco Piemontesi (piano); Emerson String Quartet Geneva (February 2016) Heaven for me is succeeding in making music with absolute integrity and inviting the audience into that experience. Especially when you play with others – you feel you are not just with people on stage who are playing together; something is happening and you are one with them and the music. When that happens it’s a feeling which is difficult to describe; it’s as if you are being played. You don’t think about your fingers, you don’t think about anything anymore and you just let go. On the one hand you’re engaged, because of your feelings, but on the other hand you are sitting back and just letting it happen. You…

The solo cello carves out a slow-moving phrase. It’s not a melody as such, but it becomes a refrain, passed on to the accompanying six cellos. The listener becomes Hercule Poirot, picking out clues hidden within the score. Boulez’s Messagesquisse (Message-Sketch) is exactly as the title suggests: a series of musical ciphers and codes, laid out for investigation. Was it Mrs Peacock in the drawing room with the candlestick and crotchets, or Colonel Mustard with the dagger and diminuendo? The recurring motif comprises a row of notes (E flat-A-C-B-E-D) that appears preserved, yet altered, throughout four short movements. A Da Vinci Code translation reveals that the notes spell out ‘eS-A-C-H-E-Re’ (Es is E flat in German; H is B in German; Re is D in French). This is what became…

Suite Antique Composed in 1979 for flute, harpsichord and strings, Rutter’s immediately likeable Suite Antique was inspired by Bach’s Fifth Brandenburg Concerto, which is scored for the same forces. Typically melodious throughout its six movements, it opens with a wistful Prelude before we are launched into a brief, perky Ostinato that has the composer’s distinctive voice running right through it. The Beatles Concerto Admittedly, the tunes in this 1977 work are not Rutter’s own – Messrs Lennon and McCartney get to take the credit for those. However, from the opening ‘She loves you’ to ‘The long and winding road’ at the end, the way Rutter melds them together into a three-movement, Rachmaninov-like concerto for two pianos and orchestra is really rather ingenious. The Reluctant Dragon There are singers here, but…

Whether adapting music by Byrd and the 16th-century Flemish composer Tielman Susato, or writing his own music often with Tudor-style inflections, composer David Hirschfelder did a pretty good job with his score for the 1998 historic drama Elizabeth – so much so, in fact, that his efforts were nominated for an Oscar. Throughout, Hirschfelder creates a claustrophobic, unnerving soundworld that deftly depicts the dangers lurking round every corner for Elizabeth I (Cate Blanchett), fits perfectly with director Shekhar Kapur’s atmospheric camerawork, and plunges us into the heart of 16th-century England. But then, as the film reaches its climax, along comes something of an oddity. Having disposed of most of the conspirators in a plot to dethrone her, the Queen tells the remaining one, her former lover Robert Dudley (Joseph Fiennes),…

Arvo Pärt’s music has a sound which appears hauntingly simple, though it stirs complex emotions. Much of it is written for voices singing sacred texts, but there are also instrumental works composed in the same way, and works that combine voices and instruments together. This music is now well known, and communicates directly with audiences around the world. But the origins of that sound emerged in the 1970s from a composer who had started, so to speak, at the other end. Pärt spent most of his childhood in the little town of Rakvere, Estonian SSR, and then studied in Tallinn, where his musical skills were quickly recognised. Already as a student he found work at Estonian Radio as a recording engineer, and composed music for stage and films. His earliest…

The best recording Truls Mørk (cello) Oslo Philharmonic/Mariss Jansons Erato 735 2972 (1992) Since Emanuel Feuermann made the first commercial recording of Dvořák’s Cello Concerto in 1928, around 230 have followed. Among the historical versions are a glorious rendition from Pierre Fournier and the Berlin Philharmonic under George Szell, while Mstislav Rostropovich made the work very much his own with numerous recordings. One of the earliest, with the Czech Philharmonic under Václav Talich, is a classic, while his version with Karajan and the Berlin Philharmonic has an impressive orchestral richness. However, on the basis of superior sound, I’ve restricted my contenders to more contemporary recordings. Most of the cellists that have recorded this work are strongly virtuosic and expressive, but because of its symphonic nature, the orchestral partnership proves a…

Biber Sonatas Nos 1, 2, 3, 5 and 6; Sonata violino solo representativa in A major Rachel Podger (violin); Brecon Baroque Channel Classics CCS48525 70:08 mins No Arts Council funding was available to rescue the livelihood of composers in Biber’s day. You simply had to be entertaining and enthralling to garner the support of patrons. Virtuosity was designed to astound – whether it was scalic flurries, racy string crossing, cascades of dazzling double-stops or in contrast, a coaxing whisper of tenderness. Rachel Podger – one of the finest of today’s Baroque violinists – takes up the challenge posed by Biber’s 1681 sonata collection with élan. Her affinity with the material allows a free and spontaneous delivery – a flexibility her continuo partners from Brecon Baroque follow to the dot. They…

Mozart Piano Concertos Nos 9 in E flat and 12 in A*; Violin Concerto No. 2 in D** *Evren Ozel (piano), **Jan Mráček (violin); ORF Vienna Radio-Symphony Orchestra/Howard Griffiths Alpha Classics ALPHA1139 75:04 mins That Alpha’s ‘New Generation Mozart Soloists’ project hasn’t yet fully equalled the sum of its parts is most likely due to the relative inexperience of some of the performers, who might not yet comprehend the late Alfred Brendel’s observation, that with Mozart ‘everyone tries too hard … and at the same time, not hard enough!’ Evren Ozel acquits himself superbly in both concertos However, pianist Evren Ozel, who plays Mozart’s Piano Concertos Nos 9 and 12, K271 and K414, might well be the exception here. He acquits himself superbly in both works, emerging as a scholarly…

Nei giardini d’amore Arias by Caldara, Handel, Monteverdi, Steffani and Vivaldi Hugh Cutting, Carlo Vistoli (countertenor); Les Arts Florissants/William Christie Harmonia Mundi HAF8905347 68:31 mins Les Arts Florissants’s latest release, Nei giardini d’amore, leads us through the Baroque garden of love, a place where nymphs dally, lovers languish and vengeance quells the heat of passion. Hugh Cutting’s restraint is the perfect foil to Carlo Vistoli’s operatic approach Two major solo cantatas anchor the programme. Caldara’s Medea in Corinto is a dramatic tour de force whose carefree opening Sinfonia masks the smouldering fury to come. Carlo Vistoli brings both pathos and rage to Medea’s vehement outpourings, manipulating her treacherous melodic lines in a performance that combines vocal bravura with penetrating psychological insight. Equally compelling is Hugh Cutting’s interpretation of Vivaldi’s Cessate,…

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SEPTEMBER’S RADIO 3 LISTINGS Schedules may be subject to alteration. For up-to-date listings see BBC Sounds and iPlayer Three to look out for Sam Jackson, the controller of BBC Radio 3, selects three programme highlights for the month of September Edinburgh International Festival Highlights from this year’s EIF include members of the London Symphony Orchestra and Ian Bostridge, led by Antonio Pappano; and the Royal Scottish National Orchestra with Thomas Søndergård. Repertoire spans Strauss’s Metamorphosen to Britten’s Seven Sonnets of Michelangelo. In Concert, Friday Night is Music Night, Opera on 3, Monday 15 to Saturday 20 September Train Tracks Celebrating the 200th anniversary of the birth of the modern railway, Petroc Trelawny broadcasts from the LNER train, 581 miles from Inverness to King’s Cross. Along the way, special guests and…