51. Everything - tenderness, lightness, high drama, passion, and happiness.

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Do you think that classical music is not for you and you don't know where to start? Maybe you're a fan already and would welcome a fresh approach. You've come to the right place. Perfect pitch is for everyone. Beginners or experts, whatever your age, then what you have to do in your air for the quicker dose of classical music that will encrypt your life.

SPEAKER_00 0:40

If I asked you to find that, one of those photos, I was also a few. It's under the card of fine techniques, and that's a vector. I left this record. The listen to the dialogue between the left and right side of the first and the other turn to enter. Then the real light is a touch and the second or the third test and the other. And then I realize that every single data as a result of a careful entry of that length of the S. It can be easy to overdo it with what we all call the loud pedal effects. But too much of it means that when they run into each other, I get lots of things. You can barely notice it. The progression from the tranquility of the first movement to the temperatures until the last is, I think, just as it should be. And that is why it's so much more fun to listen to the whole thing rather than just one part. The moonlight between you and me and everyone else is played here by Valentina Lizzit. Amongst them is Widmung, meaning dedicated, which is a poem by Friedrich Ruffert. We've come across him before with Marlowe. Schumann's longing and love for Clara is made more than clear right from the very first day. You might rapture, or you might pay. Your eyes transfer me in mind. You raise me lovingly above myself. My guardian angels. What a tune it is, and as near perfect a song as you could hope for. We may talk about this extraordinary amount another time. But for now, I just want to demonstrate the skills as a transcriber of other composers' work outstanding skills of the keyboard. One of these cards of the cards, it's a bit of a copy with lots of automatic target. Put together two manner and one of the finest living peanuts today, Martha Argovich, and you have the perfect cocktail of passion and tenderness. Playing it as an encore in a live performance. In 2016, soon after the Olympics in Rio, I was a guest of the National Youth Orchestra of Great Britain at their prom in the Albert Hall. If you've ever attended a concert there, you'll know that the quality and volume of the sound can vary enormously depending on where you are sitting or standing. Over the years, I found myself almost always wishing the music was a little louder. But on this joyous occasion, there were actually moments when I felt myself recoiling from the wall of sound, almost muttering, Do you think you could turn down a whisker? There were over 160 musicians, aged between 13 and 19, on the stage. And I can say with complete confidence that I've never before heard volume like it anywhere in a live performance. Encouraged by the conductor Edward Gardner is not something you would ever forget. I mentioned the Olympics because I remember quite clearly being struck by the enthusiasm, inspiration, and hope which youth all around the world demonstrated in every event winner or loser for the future. So the concert was especially apt in that context. Even more apt was the inclusion of a piece by Gustav Holst, who lived between 1874 and 1934, who, having taught at St. Paul's School for Girls and Hammersmith was on 30 years, was a great believer in the community spirit which music can instill. Despite his foreign-sounding name, Holst was British or Swedish descent. On the programme that evening was his most famous and best receiver, Peter, the planet composed between 1914 and 17, a group of seven Swedes illustrating the moods of Egypt as a felt by Holst. Out of the Swede. Today I have picked Jupiter, the bringer of geology. And this is actually the very performance I attended. At its heart it introduces a deeply emotive theme, later set to words by a settle springwriter in I Vouted Thee My Country. Contrary to some views, Holz was entirely happy and flattered to be approached with the idea. It's believed that the words were found on Springwriter's desk when he left office as ambassador to the United States in 1918. In recent years, there's been some debate about whether its words make it unsuitable as a British anthem. Well, whatever your views, you can't deny this is one electrifying piece of music. Jupiter demonstrates how happiness and exaltation does not have to be portrayed with excessive flamboyance, that a daring theme can do the trick too. It may explain why sometimes we are moved to tears with joy rather than outright laughter. And it sums up so well the emotions I felt watching this orchestra after the Olympics with their common characteristics of youth striving for excellence. A love that never falters or that ever lurks in the background. Unlike me at the Albert Hall, you're in a position to turn this down a bit. And for the protection of your ears, if you're listening on headphones, it might be advisable. If not, then just turn it up and relish the enormous sound.

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He'll be back again next week with some more treasures for you, so please do join him then. And you can subscribe to this podcast by clicking on the link below.