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.
How many times does the chorus repeat in your favorite song? How many times have you listened to that chorus? Repetition in music isn’t just a feature of Western pop songs, either; it’s a global phenomenon. Why? Elizabeth Hellmuth Margulis walks us through the basic principles of the ‘exposure effect,’ detailing how repetition invites us into music as active participants, rather than passive listeners.
John Eliot Gardiner goes in search of Bach the man and the musician. The famous portrait of Bach portrays a grumpy 62-year-old man in a wig and formal coat, yet his greatest works were composed 20 years earlier in an almost unrivalled blaze of creativity. We reveal a complex and passionate artist; a warm and convivial family man at the same time a rebellious spirit struggling with the hierarchies of state and church who wrote timeless music that is today known world-wide. Gardiner undertakes a 'Bach Tour' of Germany, and sifts the relatively few clues we have - some newly-found. Most of all, he uses the music to reveal the real Bach.
2013 • Music
Musician Neil Brand explores the magical elements that come together to create great songs by recreating some of the most memorable and innovative recording sessions in music history - from Elvis's slapback echo in Memphis and the Beatles' tape loops at Abbey Road to Phil Spector's Wall of Sound and the Beach Boys' pop symphonies. He shows that all this was made possible by the discovery of magnetic tape by an American soldier in the ruins of WWII Germany, the invention that, more than any other, drove the emergence of the music studio as a compositional tool and the rise of the producer as a new creative force shaping the sound of song.
Composer and musician Neil Brand's series exploring the alchemy that creates great songs reaches the modern era, when a revolution in how they were made took place. From the synthesisers of symphonic rock to the mixes of disco and the samplings of hip hop, music was transformed by the arrival of digital technology and the computer, which gave some songwriters more power but others much less. Along the way Neil talks synths with Rick Wakeman from Yes, samples with Public Enemy's Hank Shocklee, uncovers the surprising lo-fi origins of Bruce Springsteen's stadium-busting Born in the USA, and finds out how Cher changed the sound of her voice on the smash hit Believe.
To mark the publication of Keith Richards' autobiography, Life, this Culture Show special looks at the life of the man with five strings and nine lives. In a candid interview he chats to Andrew Graham-Dixon about his childhood in Dartford, his passion for music and the decade that catapulted the Rolling Stones from back-room blues boys to one of the greatest rock 'n' roll bands in the world.
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?