^{page 34 note 1} I am thinking espeically (though not only) of the well known Decca series with that title.

^{page 36 note 2} Griffiths, Paul, A Guide to Electronic Music (London: Thames and Hudson, 1979), p. 39 Google Scholar.

^{page 36 note 3} Other performances have appeared on Channel Classics, Arabesque, Romantic Robot and (most recently) Koch International.

^{page 37 note 4} Cf. my review, in Tempo 201, of their complete recording of the eight string quartets of Malipiero.

^{page 37 note 5} Try for example La Bottega Discantica, Via Nirone 5,20123 Milano, Tel: +392-862966; Milano Dischi, Via Fantoli 7, 20138 Milano, Tel: +392-55400332, Fax: +392-55400385;or Orlandini Dischi, Via Fieschi 37-39R, 16121 Genova, Tel: +3910-585896, Fax: +3910-543101.

^{page 37 note 6} Instituto per la Musica, Fondazione Giorgio Cini, Isola di San Giorgio Maggiore, 30124 Venezia, Tel: +3941-5289900, Fax: +3941-5238540.

^{page 37 note 7} Nuova Fonit Cetra SpA, Corso Sempione 27,20145 Milano (Tel of foreign sales department: +392-34562238, Fax: +392-33608773).

^{page 43 note 1} The scheme adopted may well have something to do with Britten's examination of Berg's Wozzeck together with his teacher Frank Bridge, but its expressive profile could not be more native.

^{page 43 note 2} The notion of ambiguity in music, since it is not semantic as are poetry and figurative painting, has not received much attention. Whatever its ‘meaning’, a ‘musical object’ can be designed to have multiple functions. This in turn alters and enriches the significance of the whole of which it is part. In addition to a structural ambiguity in music there is associative ambiguity as well, without which anything more than rudimentary use of leitmotiv technique would have been impossible. These problems are well worth looking into.

^{page 44 note 3} Herrick was of course a Jacobean poet, one of the ‘tribe of Ben’, and not an Elizabethan as indicated in the programme booklet.

^{page 44 note 4} A prime example of this is the opera A Tale of Two Cities, extracts from which were recently broadcast by Radio 3.

^{page 44 note 5} One thinks of the disquietingly exotic fauna in Raphael's painting of the Baptism of Christ.

^{page 46 note 1} Notes to FOCD 9118.

^{page 47 note 2} Arata Osada (ed.), Children of Hiroshima, Iwanami Publishing.

^{page 47 note 3} Notes to FOCD 9118.

^{page 47 note 4} Notes to FOCD 3406.

^{page 47 note 5} Ibid.

^{page 47 note 6} Ibid.