Sir John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique perform the world's most iconic piece of classical music, Beethoven's Fifth Symphony. Bringing out all the revolutionary fervour that Gardiner believes underpins the work and performing on period instruments of Beethoven's day, this performance brings us an authentic re-imagination of the sounds Beethoven's original audiences would have heard. Shot on location in St John's Smith Square, the performance looks and sounds stunning. Ahead of the performance, Gardiner and the principals of the orchestra discuss the issues in trying to breathe new life into such a famous piece and how their period instruments transform the symphony's sound.
Tina Weymouth of Talking Heads and Tom Tom Club celebrates the extraordinary contribution of bass to popular music, tracing its progress from street-corner doo-wop and the overlooked ‘guy at the back’ in rock ‘n’ roll, via Paul McCartney, the anonymous James Jamerson and Carol Kaye - whose genius bass lines underpinned The Beatles, Motown and LA sound respectively - British jazzer Herbie Flowers’s immortal line in Walk on the Wild Side, the emergence of 70s funky bass stars Bootsy Collins and Chic’s Bernard Edwards, the driving lead bass of postpunk maverick Peter Hook in both Joy Division and New Order, through to the growth of bass culture in reggae, whose sound systems sparked whole new genres in drum and bass, grime and beyond. With Bootsy Collins, Dizzee Rascal, Ray Parker Jr, Nile Rodgers, Peter Hook, Carol Kaye, Herbie Flowers, Valerie Simpson, The Marcels’ Fred Jonson, DJ Aphrodite and Gail Ann Dorsey.
Suzy Klein reaches the 1930s, when the totalitarian dictators sought to use and abuse music for ideological ends. Suzy looks at the lives of Richard Strauss, Dmitri Shostakovich and Sergei Prokofiev, who produced some of the 20th-century's best-loved music whilst working for Hitler and Stalin. The political message of Peter and the Wolf is revealed as well as the secret code hidden in Shostakovich's quartets and Strauss's personal reasons for trying to please the Nazis. Suzy also uncovers why Hitler adored Wagner but banned Mendelssohn's Wedding March; how Stalin used music to subtly infiltrate minds; and why Carl Orff's Carmina Burana, a Nazi favourite, appeals to our most primitive senses. Suzy also raises some intriguing questions: Can we pin meaning onto music? What are the moral responsibilities of artists? And did the violence and tyranny of those regimes leave an indelible stain on the music they produced?
The composer examines the extraordinarily fertile musical period between 1650 and 1750, which saw innovations including the orchestra, the overture, modern tuning, the oratorio and the piano. Vivaldi developed a form of concerto where a charismatic solo violin was pitted against the rest of the orchestra, Bach wrote complex and heartfelt music in his mission to glorify God, and Handel brought all the techniques of the preceding 100 years to his oratorio Messiah.
In-depth documentary investigation into the story of a popular music genre that is often said to be made to be heard but not listened to. The film looks at easy listening's architects and practitioners, its dangers and delights, and the mark it has left on modern life. From its emergence in the 50s to its heyday in the 60s, through its survival in the 70s and 80s and its revival in the 90s and beyond, the film traces the hidden history of a music that has reflected society every bit as much as pop and rock - just in a more relaxed way. Invented at the dawn of rock 'n' roll, easy listening has shadowed pop music and the emerging teenage market since the mid-50s. It is a genre that equally soundtracks our modern age, but perhaps for a rather more 'mature' generation and therefore with its own distinct purpose and aesthetic. Contributors include Richard Carpenter, Herb Alpert, Richard Clayderman, Engelbert Humperdinck, Jimmy Webb, Mike Flowers, James Last and others.
2011 • Music
The composer examines the history and development of music, beginning by looking back at the first faltering steps humanity took toward creating it. He considers archaeological evidence showing that music was as important in the late Stone Age as it is now and charts how Gregorian chant started with a handful of monks singing the same tune in unison. Over the course of several centuries, medieval musicians painstakingly put together the basics of what has become termed harmony and then added rhythm - the building blocks of the music the world enjoys today
The composer examines the history of the past 100 years in music, known as the popular age. During this period, classical music - as it is now termed - seemed to be in decline, but Howard argues that while some cutting-edge works proved too challenging to be appreciated by the mainstream audience, the DNA of the genre is alive and well in musical theatre, cinema and popular music.