33. A quartet - Trumpet, Violin, Piano, Orchestra.

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I've spoken about one-hit wonders in the past, and in that context, you have to feel sorry for the composer Johan Hommel, who was at a disadvantage of the moment he popped out from his mother's womb. Any would be composer whose dates of 1787 to 1837 and closer with Beethoven or 1770 to 1827 was always going to be up against it. And the reality is that very few came away with a really solid legacy. Although they were reconciled at Beethoven's death. And he was along with Hubert as a board, a great man's funeral. He had a good musical start, certainly. His father was a conductor, and he had two years of piano teaching by Mozart, his first public appearance at the age of nine. He was a very talented pianist and prolific composer, especially before the piano. His music was well received and widely performed in his lifetime, and Chopin was definitely influenced by him. And yet quite possibly or more probably most likely, because of living in the shadow of Beethoven, it wasn't long before his popularity waned, and nowadays it is a trumpet concerto which gets the most airing. One of the obvious dangers of a piece being overplayed is that it can have the effect of hiding its mastery. We just get so familiar with it that we fail to recognise its true value. The absolutely exquisite first violent concerto by vandalism is a perfect example. But when it's performed by someone right at the top of that game, you can really hear the treasures of the music. I'm afraid that history has decided that Homel's trumpet concerto now falls into this category. So I make no apology for calling on Winter Marsanas again, whom we heard in the very first episode playing Haydn's concerto. Here he is in the final moment, delivering a veritable masterclass in technique, breath control, and music. No offence to the other great virtuosas of this instrument, but I don't think any of them are going to hold a candle to this in a live performance. No chance of another take with the luxury of a recording studio, and yet it's not perfect from the start to finish. It's worth looking it up on the internet actually, because and this is not a phrase I ever expected to use in classical music context, Marsalis is one cool dude. Both of them are gentle and charming pieces. On the face of it, you might think that's no big deal, except for the fact that Beethoven's definitely beginning to take hold, and Osha was being heavily besieged by one Napoleon Bonaparte. In other circumstances, it's extraordinary that anyone could write music as a beautiful and a second. Those of you familiar with this artist will know that her composite attire is an almost trademark back at dress. So as a German, Shell Down has been more than familiar with a phrase an aunt of mine told me when I was living with her in Hamburg trying to master the language for my A levels. I'm not sure who she was speaking of at the time, but she smiled knowingly and said, I'm Jonah, I reckon owl in token. Like any phrase which rhymes in a different language, it doesn't translate well into English. But its simple meaning is a lovely back and also delight. But what a gorgeous sound this is. And it's yet another of those pieces. So next time you hear anyone making such a bold and frankly ignorant statement, put them in their place and ask them to straight. Have you heard the Italian concerto by any chance? Yeah, but no, but yeah, but nothing. This is delightful music. And go to Haydn and the finale of its symphony number 102. This is the tenth of its 12 London symphonies, all composed and played on its second trip to London in 1795. It was also the occasion when the chandelier came crashing to the ground without injuring anybody. Because the audience had all moved forward a bit close to the composer, with directing the concept from the keyboard. Apparently, it caused someone to shout out Miracle. But this is not the company which bears that title, that one being numbered. For the simple reason that for a long time the time delivered was believed to have happened at the premier of the earlier company. He may even have felt he could be a bit more adventurous with less out of the audiences than the ones we have at home. I said before that Haydn, in my view, is seen far too much as a support actor. He's very much more than that.

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