Simon Binner's death featured in BBC Two's 'How to Die' documentary. A man lies on a bed in a drab, non- descript room. He is dressed smartly, as if for an occasion, in a blue and pink checked shirt and grey trousers. Shiny silver cufflinks are fastened at his wrists and his shoes are neatly tied. Around his bed stand loved ones, their eyes ringed red and their heads bowed in sadness. A blonde woman, crying softly, holds his right hand. Slowly but surely, with shaking fingers, he opens a small yellow valve on a tube that is attached via a needle to his left arm.

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He lies back on the bed, breathes heavily and shuts his eyes for the last time. Scroll down for video Simon Binner, 5. Purley, Surrey, was killed by a lethal dose of anaesthetic which he administered in a Swiss suicide clinic 6. Four minutes later, Simon Binner, 5. Purley, Surrey, was dead, killed by a lethal dose of anaesthetic which he administered in a Swiss suicide clinic 6. His final, precious moments, on the morning of October 1. Debbie, sister Elizabeth and three of his closest friends.

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Simon was so ashamed of what motor neurone disease — the debilitating condition with which he had been diagnosed in January — had done to him that he wouldn’t even let his mother, Jean, or his stepdaughters, Hannah and Zoe, be present. But tonight this most intimate of scenes will be broadcast to an entire nation, when it forms the final part of a controversial BBC Two documentary, How to Die: Simon’s Choice. The programme follows Simon and his family for the ten months preceding his suicide at the Eternal Spirit Foundation in Basel, Switzerland.

Viewers will listen in on the challenging and emotional conversations he and his wife Debbie had with Swiss clinic head Dr Erika Preisig, who tells him dying ‘can be like a ceremony’. Simon's final, precious moments, on the morning of October 1. Debbie, pictured (right) with Simon (far right; left), sister Elizabeth and three of his closest friends. They are given a detailed description of the medication used to kill Simon, which is 3. They will hear Debbie, in the months leading up to his death, racked with grief, begging her husband to stay and battling to stop him from taking his own life. Then, in a shocking television first, viewers will follow Simon into the Swiss clinic where he has arranged to die, see him administering the drugs that will end his life — and finally watch him take his last, devastating breath. The next scene, apparently filmed minutes later, shows a wooden coffin having its lid fitted on the bed where Simon was lying, and his body being carried out of the room.

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The ethically- contentious and emotionally- charged nature of the scenes shown in the documentary has, quite understandably, raised major concerns. It is the first time footage from inside this Swiss assisted- suicide clinic — the second biggest after Dignitas — will be shown on British television, and many will find it not only difficult but too distressing to watch. Critics say the decision to screen the moment of Simon’s death is particularly alarming, as it risks encouraging others to take their own lives by ‘normalising’ assisted suicide, which remains illegal under UK law.

All of which begs the question: has the BBC gone too far? Undoubtedly, says Alistair Thompson, spokesman for Care Not Killing, a campaign group that promotes end- of- life care and opposes assisted suicide, who describes the documentary as ‘deeply disturbing’.‘It raises serious concerns for us,’ he adds. Oblivion Full Movie Part 1 on this page. Showing scenes like that on national television risks skewing what people think about assisted suicide and sidelines the alternatives, such as hospice and palliative care.‘It gives the impression that if you’re disabled or terminally ill your life is somehow worthless and you should kill yourself. Suicide is the biggest killer of young men in this country and the more it is normalised, the more people will think of it as a way out.‘We should do everything we can to stop suicide, not advertise it.’Tonight, Simon's death will be broadcast to an entire nation, when it forms the final part of a controversial BBC Two documentary, How to Die: Simon’s Choice.

Above, the couple pose for a photograph. The words of Simon’s widow, Debbie — who this week publicly asked the very poignant question, ‘Why didn’t I get a say in my husband’s right to die?’ — give another pause for thought.‘I didn’t want Simon to suffer, but I didn’t want him to die, either,’ she said, in her only interview since his death. Watching him plan his own death, while I still wanted more time, was overwhelmingly traumatic. He had rights, but how much of his life was mine?‘At times he would seem to change his mind, and I began to allow myself to hope.’She, it appears, never fully supported her husband’s decision to end his life — a decision she worried he came to all too quickly. Throughout the documentary, she uses phrases like ‘knee- jerk’ and ‘panic’ to describe his actions.

I feel so strongly inside that this isn’t the right thing to do,’ she says. He’s still really, really enjoying life.’In one uncomfortable scene, filmed last July, the couple are sitting at a picnic table with friends. When Simon tells them of his intentions, Debbie speaks out.‘That doesn’t stop you living,’ she says, firmly. You can eat, your arms and legs work, you can see, you can hear. But you’re not thinking about those things, you’re just saying: “I’m booking [into the clinic] on this date.

I think that’s panic.’ Is this really the sort of heart- wrenching, deeply personal battle we should be watching played out on national television? Here is a woman, who has been with her husband for 1. Simon was told he had between six months and two years to live — and yet wanting him to stay with her for as much of that future as possible.

The couple had already lost a child — Debbie’s 1. Chloe, died of a rare bone cancer in 2. I’m guilty that somehow I couldn’t make his life nice enough Debbie Binner, Simon's wife ‘Losing a child — there’s nothing worse than that,’ said Debbie. But there was something more natural. There was still hope with my daughter right up until the end.‘And I guess maybe there’s a bit of anger in me, thinking: why can’t Simon do that?’She did, she admits, consent to accompany him to the clinic, following a botched suicide attempt at home a week before his appointment. By then he had lost almost all his power of speech, was struggling to walk and was beginning to lose function in his hands.‘Ultimately, I felt my choice was: let him commit suicide in some awful way in front of our family, or let him have his wish of an assisted death.‘The latter seemed the lesser of two stark evils.’No- one could blame a loving wife for wanting her husband to keep on living, nor for eventually relenting to his desire to die. But her enduring uncertainty, shown so heart- wrenchingly in the documentary, reveals that she is grappling with issues that are far from black and white.

It is Simon’s views, however, that are given prominence on screen. Director of his own chain of care homes, a Cambridge graduate and fluent in four languages, he was a highly intelligent man — much- loved by his friends and respected by his colleagues.

He even broke the news of his illness in his profile on the networking website Linked. In — saying of the doctors: “The sawbones thought I would last until 2.

Motor neurone disease, a progressive illness that causes the nerves in the brain and spinal cord to waste away, was Simon’s worst nightmare, threatening to rob him of his dignity. As he explains in the documentary: ‘I’m an independent kind of guy and the end game of motor neurone disease is not to my taste.

Lebrecht CD of the Week. This page contain Norman Lebrecht's CDs of the Week from February 1. March 4, 2. 01. 4.

For the latest. Lebrecht Weekly, visit here. March 3, 2. 01. 4Mieczyslaw Weinberg/Kremerata Baltica(ECM)****Living in the shadow of his close friend and neighbour Dmitri Shostakovich, the Polish refugee was little known in his lifetime (1. Soviet Russia. But a revival has been stirring these past few years with European and US productions of his Auschwitz survivors’ opera The Passenger and sporadic recordings of variable quality of his instrumental works, among them 2. Some consider him the third great Soviet composer, after Prokofiev and Shostakovich. Gidon Kremer has no doubts of his genius.

He opens this set with a solo violin sonata, austere and melancholic. Skip that, and you enter a frisky 1. Tchaikovsky winner, Daniil Trifonov. Written under Stalin’s second Terror Wave in which members of Weinberg’s family were murdered, the works wear a fixed smile and a ferocious concentration. Watch Entry Level Dailymotion more. The listener dare not relax. A 1. 94. 8 concertino for violin and string orchestra is altogether more ingratiating, with an arresting opening melody and busy interplay between soloist and ensemble.

It’s a retro near- masterpiece of 1. The tenth symphony, which wraps up the album, is a post- tonal experiment of the late 1. The playing quality is top drawer.

Weinberg always leaves me wanting to hear more.> Buy this CD at Amazon. February 4, 2. 01. The Westminster Legacy(DG)*****In the golden age of orchestral recording – the 1. American labels piled into London and Vienna after an aggressive union priced their own musicians out of work.

At Abbey Road, players worked thirty days on the trot, three sessions a day, to feed a burgeoning market for classical music. In Vienna, the Philharmonic (exclusively contracted to Decca) performed under six different names for other labels. Westminster was one of the busiest of these producers and its arhives have been virtually unavailable for the past quarter- century, since the digital dawn. This overdue compilation of 4. CDs is filled with uncollected glories, some half- remembered, others unknown. A Vienna Mozart Requiem conducted by the cerebral Hermann Scherchen, with Sena Jurinac as soloist; Clara Haskil playing the Mozart D minor concerto and the very young Daniel Barenboim the E- flat major: treasures beyond the stuff of dreams.

Pierre Monteux leading Beethoven’s ninth in London with Elisabeth Soderstrom and Jon Vickers; Adrian Boult conducting The Planets in Vienna; Hans Knappertsbusch interpreting Bruckner; debut discs by the Amadeus Quartet and Julian Bream; the two best Czech quartets coming together in Mendelssohn’s Octet. Watch The Kill Team Tube Free there. This is fantasy casting of an almost unimaginable pedigree and few today are aware that these recordings even exist. There are, inevitably, a few period duds in the box, but even these mishits – Scherchen Conducts Music for Multiple Orchestras – proclaim an idealism that we’d write off as quixotic if we didn’t, finally, blessedly, have proof of their existence.

Where on earth to begin?> Buy this CD at Amazon. January 6, 2. 01.

André Tchaikovsky: Piano concerto(Toccata)****We now have piano concertos by three composers called Tchaikovsky. The first is written in B flat minor, a dark key that others mostly shunned. The second is by Boris Tchaikovsky, a student and kindred spirit of Dmitri Shostakovich. The third is like nothing you’ve ever heard before. In the first place, its composer’s name is not really Tchaikovsky. That was a name picked by his grandmother to pluck him from the Warsaw Ghetto and keep him alive, hidden in a closet, until the Nazis were defeated. The boy, a pianist and composer, was an unsettled soul who lived mostly in England until his death of cancer, aged 4.

For many years he was known as the man who left his skull to the Royal Shakespeare Company for use in the gravediggers’ scene in Hamlet. Last summer, however, his opera The Merchant of Venice received a triumphant premiere at the Bregenz Festival and the third Tchaikovsky (too late to change the name) is now firmly back in play. His piano concerto, written for Radu Lupu in the late 1. Sixties London. Atonal and dramatic, it is austere only in its frugality – not a note out of place. A sultry mischief, alternately angry and amused, pervades the work. The music engages the listener with a powerful personality and an infectious musicality. We need to hear this concerto at the BBC Proms to sample its exciting potential.

The performers here are Maciej Grzybowski and the Vienna Symphony Orchestra, conductor Paul Daniel. André Tchaikovsky’s extraordinarily articulate diaries, also published this month by Toccata, recount a dauntless human odyssey.> Buy this CD at Amazon.

December 1. 6, 2. Antheil the futurist(Wergo)***The original American in Paris, George Antheil titled his best- selling memoirs Bad Boy of Music and tried hard to live up to his billing.

Raised a Lutheran in Trenton, New Jersey, he went wild among artists and ladies, filling his apartment with new acquisitions – a Braque, a Picasso, a Leger, two Kubins, the paint still wet. Shuttling between 1. Paris and Berlin he finally headed to Hollywood, last refuge of the wannabe celebrity. In music as in books, his best writing is often the title – Airplane Sonata, Swell Music, Death of Machines. The promise soon wears thin. Aiming to break sound barriers, he lands somewhere between honky- tonk and his all- time idol, Igor Stravinsky.

The solo piano music is entertaining enough in noisy spells. Guy Livingston, intermittently joined by two other pianists, hurls himself at the keyboard and spares no effort to make a case for an Antheil revival. No fault of his that the music is no more than a dinner plate shattered into period pieces.> Buy this CD at Amazon. December 9, 2. 01. James Mac. Millan: Alpha & Omega(Linn)****Nobody does church like James Mac. Millan. Every year, as Christmas nears and a Mass or Magnificat of his lands on the deck, the composer contrives to surprise, bending the harmonic line out of the blue like David Beckham in his prime, while staying true throughout to a traditional sacred format.

Mac. Millan himself directs his Missa Dunelmi, with Alan Tavener leading Capella Nova for the rest of the concert. It is recorded in the challenging acoustic of the Church of the Holy Rude, Stirling. The sound though, as you’d expect on a label run by a high- end hi- fi manufacturer, is exemplary – wondrously atmospheric and worth the album price on its own if you’ve got new speakers to show off to envious friends.

Madeleine Mitchell pops up with a stunning violin solo, which she plays more like country fiddler than concert soloist, filling in the harmonic hills and valleys while the vocals curl upwards into the roof beams. Mac. Millan is a champion virtuoso of church space.> Buy this CD at Amazon. December 2, 2. 01. Splinters(Odradek)****The opening of György Kurtág’s Splinters suite sounds like the tuner has arrived and is giving your piano a workover. Then the second phrase chimes in and you realise that you have never listened properly to a piano before. In one minute and seven seconds, a Hungarian composer takes off both your ears, gives them a rinse and polish and leaves them half a tone sharper than before. This is a specialist service offered only by Hungarian composers and their interpreters.

Few perform it better than Mariann Marczi, a teacher at Budapest’s Franz Liszt Academy. She follows austere Kurtág with an extended aphorism of György Ligeti’s and a meditation by Zoltan Kodaly, best known for exotic orchestral overtures but here measuring out each note like Bluebeard enumerating wives.

An autumnal reflection by Laszlo Lajtha yearns for a Paris boulevard, while three Béla Bartók burlesques threaten to tip the piano totally off its casters. Two living composers, Zoltan Jeney and Gyula Csapó, round off an original album without a single superfluous note.