Suzy Klein explores the use, abuse and manipulation of music in the Second World War - from swinging jazz to film soundtracks and from ballads to ballets. The war, she demonstrates, wasn't just a military fight but an ideological battle where both sides used music as a weapon to secure their vision for civilisation. Suzy reveals how the forces' sweetheart Vera Lynn was taken off air by the BBC for fear her sentimental songs undermined the British war effort. She reveals the war work of two British composers. Walton's Spitfire Prelude became the archetype for a particularly British form of patriotic music. By contrast, Tippett was sent to prison for being a conscientious objector, but his anti-war oratorio A Child of Our Time was showcased at the Royal Albert Hall. Suzy examines Olivier Messiaen's haunting Quartet for the End of Time, written in a POW camp. At Auschwitz, Suzy reveals how music was co-opted to serve the Nazis' evil purposes.
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Suzy Klein takes us back to the volatile years following the Russian Revolution and World War I, when music was seen as a tool to change society. Suzy explores the gender-bending cabarets of 1920s Berlin and smashes a piano in the spirit of the Bolshevik revolution. She also reveals why one orchestra decided to work without a conductor, uncovers the dark politics behind Mack the Knife and probes the satirical songs which tried to puncture the rise of the Nazis. Suzy's musical stories are brought to life with the help of the BBC National Orchestra of Wales and its Chorus, as well as solo performers. This was a golden age for music, and its jazz, popular songs, experimental symphonies and classics like Rachmaninoff all provoke debate - what kind of culture do we want? Is music for the elite or for the people? Was this a new age of liberal freedom to be relished - or were we hurtling towards the apocalypse?
2017 • Music
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?
2017 • Music
Suzy Klein explores the use, abuse and manipulation of music in the Second World War - from swinging jazz to film soundtracks and from ballads to ballets. The war, she demonstrates, wasn't just a military fight but an ideological battle where both sides used music as a weapon to secure their vision for civilisation. Suzy reveals how the forces' sweetheart Vera Lynn was taken off air by the BBC for fear her sentimental songs undermined the British war effort. She reveals the war work of two British composers. Walton's Spitfire Prelude became the archetype for a particularly British form of patriotic music. By contrast, Tippett was sent to prison for being a conscientious objector, but his anti-war oratorio A Child of Our Time was showcased at the Royal Albert Hall. Suzy examines Olivier Messiaen's haunting Quartet for the End of Time, written in a POW camp. At Auschwitz, Suzy reveals how music was co-opted to serve the Nazis' evil purposes.
2017 • Music
In episode two, Whole Lotta Shakin', the rock 'n' roll story continues with the boom in the sound across America and its move into mainstream culture thanks to seminal TV appearances from Elvis, who made his small-screen debut with a rendition of Heartbreak Hotel before his notoriously sexualised performance of Hound Dog that caused shockwaves across conservative America. The programme explores the media's failed attempts to suppress the genre before wholesome Buddy Holly calmed the waters, converting geeky looks into chart success, before scandal again in 1958 with Elvis's conscription to the army and Jerry Lee Lewis's career suicide when he married his 13-year-old cousin.
S1E2 • Rock and Roll America • 2015 • Music
We don't know much about the human brain on music. Do people instinctively know the sound patterns of the pentatonic scale? Is there a base level of musical knowledge in all of us, just waiting to be tapped? Or is the pentatonic scale simply so common in Western music that it has become ingrained in all of our minds? Improvisational genius Bobby McFerrin uses audience participation to demonstrate the power of the pentatonic scale - or at least the audience's familiarity with it.
2011 • Music
Dirt roads. Pickup trucks. Hip-hop? As the borders around country music shift, who decides what defines the popular genre, and who gets to be a star?
From the waltz to voguing, dance crazes have connected people throughout history. But when a dance catches on, who gets the credit - and compensation?
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.
S1E3 • Sound of Song • 2015 • Music
Bob Marley's musical (and cultural) shadow is so large that the man clearly needed an authoritative documentary portrait--and Marley steps in with all the right stuff to fill the role. Working with official rights to the music and access to Marley's family and friends, Oscar-winning documentarian Kevin Macdonald (One Day in September) creates a thorough account that hits the major points, not stinting on some of the less admirable aspects of Marley's life (including his brood of children fathered with women other than his patient wife, Rita, whose presence indicates just how much she puts Marley's legacy above his personal infidelities). Especially interesting is the sketch of Bob Marley's youth, as a mixed-race--and thus socially ostracized--kid from the village of Nine Mile who began to put together a reggae sound with a group of like-minded musicians in Jamaica in the late '50s and early '60s. That period comes to life, and the account of Marley's ascent, while familiar from such sagas, has its share of offbeat incidents. His death, at age 36 in 1981, does not dominate the movie, but Macdonald does a good job of getting that story laid out. In the meantime, the music and the concert footage are more than enough to justify the movie's existence, and Macdonald makes time to include thoughts about politics, ganja smoking, and Rastafarianism, too. If it's not the final word on Marley, it's an excellent start.
2012 • Music