Classical For Everyone

Benjamin Britten is today perhaps best known for his operas which included ‘Peter Grimes’, ‘The Turn of The Screw’, ‘Billy Budd’ and ‘Death In Venice’. But I am actually going to feature more of his orchestral work in this episode. There’ll be a bit of singing today but I’m going to save up his operas for another time. You’ll hear some of his Violin Concerto, Simple Symphony, Ceremony of Carols, Serenade for Tenor, Horn and Strings, War Requiem, Young Persons Guide To The Orchestra... and the incredible Four Sea Interludes from Peter Grimes.

The name comes from the night of the week when for some of us, the demon of insomnia hits the hardest… and because my preferred antidote is getting lost in some music. Of course this series is for everyone… but it is perhaps intended a little more for those of you whose sleep has been troubled. The idea of the special is to play just one piece, uninterrupted and in its entirety… with a few minutes of background explained at the end of the episode. This week… John Luther Adams’ ‘Become Ocean’. Performed by the Seattle Symphony Orchestra conducted by Ludovic Morlot.

Wondering if I could produce an episode without my AI pal Claude and I going down too many rabbit holes… I thought I’d see what I could come up with if I revisited past episodes and cherry-picked some favourite pieces. To be honest I was not that optimistic but I have to say I was pleasantly surprised. I hope you will be too. It has ended up being quite an eccentric and eclectic collection. But it’s all very good. In the next hour you will hear music from Aram Khachaturian, Osvaldo Golijov, Ludwig van  Beethoven, Pyotr Ilyich Tchaikovsky, Josef Haydn, Edward Elgar, Gillian Whitehead, Philip Glass and Benjamin Britten. And I’ll let you know which episodes I have taken the music from in case you want to go back and explore them.

Johann Sebastian Bach’s‘ The Goldberg Variations’ was the only work that Glenn Gould recorded twice. Now, he died only about a year after this recording so it’s not possible to say that he would not have re-recorded other works… but there is something a little haunting that the work that took him from quirky prodigy to global star in 1955 was the one he returned to in the final year of his life. If you are after some background to Gould and the music he made, then please listen to the previous episode. If you are happy to launch into 52 minutes of piano magic… then ‘just hit play’.

This is the first episode of ‘Classical For Everyone’ devoted to just one musician so I better have some good reasons… apart from just a personal affection for his recordings. In the English speaking world, the Canadian Glenn Gould was amongst the most recognised and popular pianists in the second half of the 20th Century. In fact, even today, over forty years after his death at the age of 50 in 1982 there are not many pianists of similar stature. Ok, so he has enduring popularity. But why is that? At the heart of it is sheer technical skill. Which of course many pianists had and have… but Gould had a quite specific dexterity… a way of playing that articulated each note with a very precise individuality that could be applied at the same time, when required, at extraordinary speed. And in particular he applied this to the, then relatively unknown, keyboard works of Johann Sebastian Bach… a number of which will be featured in the episode along with music from Beethoven, Byrd, Brahms and Scarlatti.

Music that takes its inspiration from humanity’s gaze out into the cosmos and from our attempts to reach beyond this fragile planet we call home. And to access some music that predated the quite modern science of ‘astronomy’ I’ve thrown in some works that may owe rather more to ‘astrology’ or perhaps even to the realm of ‘mythology’. As a result this is I think the most eclectic collection of music yet put out into the universe under the ‘Classical For Everyone’ banner. In the next hour and a quarter you are going to hear music by Gustav Holst, Jean-Phillipe Rameau, Henri Dutilleux, Joaquin Rodrigo, Terry Riley, Johann Sebastain Bach, Brett Dean and Benjamin Britten.

I am being a little deliberately opaque with the title of this episode. There is a certain logic to letting people know what they are going to get. But not today. Because I am hoping that for a good selection of listeners out there the date of 22nd December 1808 is pretty much meaningless. And that what follows will be a bit of a surprise. What happened? Well I guess a lot happened but for our purposes there was a concert. A thirty-eight year old composer, with the help of some aristocratic patrons had booked a big theatre to showcase some of the new music he had been working on. And he was the composer, a performer, the conductor and the promoter. Now the concert turned out to be somewhere between a disappointing night out and an unparalleled disaster… depending on which sources you follow. And you might be wondering why am I featuring an event which, in a city filled with glittering musical events at that time… even as the Napoleonic Wars raged on, was essentially a failure. Might be something to do with the music.

‘Unfairly neglected’ is a bit of a cliché and pretty subjective but I do think it could describe a mass of great music that a lot of us (us Anglos at least) are missing out on… music from South America. Before I put this episode together I only knew about half the pieces I am going to play. The rest are as new for me as I suspect they might be for you. Which is, I hope, more of a positive than a negative. I don’t think I can even get away with describing this episode as ‘scratching the surface’… not just because it seems to be ‘cliché day’ here at Mending Wall Studios… but because an hour and a bit is not a lot of time for the music of an entire continent. Still, it’s perhaps worth starting somewhere. Please enjoy music from… Astor Piazzola, Heitor Villa-Lobos, Osvaldo Golijov, Alberto Ginastera and Camargo Guarnieri.

The name comes from the night of the week when for some of us, the demon of insomnia hits the hardest… and because my preferred antidote is getting lost in some music. Of course this series is for everyone… but it is perhaps intended a little more for those of you whose sleep has been troubled. The idea of the special is to play just one piece, uninterrupted and in its entirety… with a few minutes of background explained at the end of the episode. This week… Anton Bruckner’s 7th Symphony. Performed by the Royal Scottish National Orchestra and conducted by Georg Tintner.

I get it that for some people opera is just noise that they are not ever going to enjoy but if there are listeners out there with a bit of curiousity and an inquiring mind… and that is how I would describe anyone listening to this podcast… then I urge you to have a listen to this episode. Why? Well because if you enjoy any music with singing… then you can enjoy opera. And the selection I have made for this episode is based on one simple criteria… pure pleasure. I think you might enjoy ten pieces of opera… from Wolfgang Amadeus Mozart, Georg Friedrich Handel, Gioachino Rossini, Giuseppi Verdi, Georges Bizet, Giacomo Puccini and John Adams.

The second of a two episode special. His music uniquely blended Western European compositional techniques with distinctly Russian melodic and harmonic elements, creating a style that was both internationally appealing and unmistakably Russian. Remarkably successful in his own lifetime and responsible for so much music that remains popular to this day he is still perhaps not quite given his due. In these two episodes Sleeping Beauties, Memories of Beloved Places, Teasing Peasants, Violins, Pianos and Cannons argue his case.

The first of a two episode special. His music uniquely blended Western European compositional techniques with distinctly Russian melodic and harmonic elements, creating a style that was both internationally appealing and unmistakably Russian. Remarkably successful in his own lifetime and responsible for so much music that remains popular to this day he is still perhaps not quite given his due. In these two episodes Sleeping Beauties, Memories of Beloved Places, Teasing Peasants, Violins, Pianos and Cannons argue his case.

Why New York? Well, mainly because I love the city… and I’m here. I’m recording this episode in a hotel room on West 56th Street in Manhattan around the corner from Carnegie Hall and up the road from The Museum of Modern Art… which is incidentally a very popular place to make TikTok videos. I think there might still be some paintings there… but it was hard to tell today. More importantly… the music in this episode is from Steve Reich, Charles Ives, Jessie Montgomery, Leonard Bernstein, Phillip Glass and George Gershwin.

I’m going to start with a question. If one thinks of musical instruments as tools… as things humans create to perform tasks… other than the violin, is there any other tool you can think of used in an area of incredibly complex human endeavour where the design and construction of it reached its zenith over three hundred years ago and has not been improved upon since? Whilst you ponder that, enjoy music by Wolfgang Amadeus Mozart, Josef Haydn, Ludwig Van Beethoven, Johann Sebastain Bach, Samuel Barber, Ross Edwards & Johann Joseph Vilsmayr in this episode of Classical For Everyone.

The name comes from the night of the week when for some of us, the demon of insomnia hits the hardest… and because my preferred antidote is getting lost in some music. Of course this series is for everyone… but it is perhaps intended a little more for those of you whom distractions and apprehensions… racing imaginations and freewheeling thoughts hold suspended at the edge of sleep. The idea of the special is to play just one piece, uninterrupted and in its entirety… with a few minutes of background explained at the end of the episode. This week… Gustav Mahler’s 1st Symphony.

Brian Eno’s 1979 LP ‘Music For Airports’ launched the genre of ‘Ambient Music’… an alternative to the dreadful ‘muzak’ inflicted on humans in most public spaces… music that reduced stress rather than added to it… music for contemplation that rewarded attention but did not require it. This episode takes that idea and rummages around classical music to see if there are works that might do the same… with thanks to Gavin Bryars, Erik Satie, Tomás Luis de Victoria, Phillip Glass, Richard Wagner, John Adams, Arvo Pärt and Gabriel Fauré.

Instances where composers have hidden something in their works… sometimes for the sheer ingeniousness of being able to do it… sometimes to send a secret message to someone… sometime to create a puzzle for generations to come… sometimes to create a tortured ambiguity of meaning. The music is from a pretty eclectic mix… Johann Sebastain Bach, Wolfgang Amadeus Mozart, Robert Schumann, Johannes Brahms, Alban Berg, Dmitri Shostakovich and Edward Elgar. Lots of Secrets.

Can something of a survey of the music of Italy… including music of the city states, republics and kingdoms that became the nation of Italy in the late nineteenth century… be done in a little over an hour? Absolutely not. But what I have chosen does perhaps suggest a few themes that can be found in the music made on the Italian Peninsula over the last several centuries. Please enjoy… Giuseppe Verdi, Archangelo Corelli, Claudio Monteverdi, Ottorino Respighi, Carlo Gesualdo, Tomaso Albinoni, Giovanni Pierluigi da Palestrina, Gioachino Rossini,  Pietro Mascagni and Alessandro Scarlatti.

From fairy tale romances to dark psychological dramas, discover how ballet music evolved while maintaining its essential power to match the poetry of human movement with unforgettable musical expression… what I’m calling grasping towards beauty. This episode explores three centuries of ballet music, from the elegant entertainments of Gluck through the Romantic masterpieces of Adam, Delibes, and Tchaikovsky, to the revolutionary modernism of Stravinsky and Prokofiev, and finally the diverse voices of Copland and Khachaturian.

You could take almost any year of composer Wolfgang Amadeus Mozart’s life, probably from the age of fifteen onwards and be staggered by both the scale of his output… AND the quality… but his final year… 1791.. was a truly astonishing achievement… including his 27th piano concerto, his 6th string quintet, his clarinet concerto, two complete operas in wildly contrasting genres… ‘La Clemenza di Tito’ and ‘The Magic Flute’, and an unfinished Requiem Mass.