64. A Charge at each end, with some Peace in the middle.

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Do you think that classical music is not for you and you don't know where to start? Or 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. Lend Nick Keely Hutchins in your ears for his weekly dose of classical music that will enrich your life.

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I touched upon the idea of film music recently. I will let another final moment of Corn Girl's violin concern. And the historians among you will know the 25th of October next week as adding Court A. It's as good an opportunity as well to revisit film music as being part of the classical music canon. William Walton's incidental music to the 1944 film of Henry V has since been adapted and played separately as a concert painter. Walton had written the music for several films already, and Lawrence Olivier, who played the part of Henry V, said it was the best four he'd ever heard. But here's a little dilemma. Walton did not himself approve of film music being used away from film. He even said that good film music is not good film music if it can be used for any other purpose. Even if he did make a couple of exceptions himself. And what if John Williams said, perhaps the greatest net specialization of all time. Well, maybe not now, but in years to come especially as Williams has composed a great deal away from film back to Walton. We're going to listen to the charge of battle scene at the end. We get a very clear image of the beginning of the French lining up to charge announced by the brass and drums. And then a rhythm, which is really not far off that iconic jaws moment some thirty years later, in its anticipation of the danger to come, followed by a full-blown gallop. And then the mixture of an attempt to persevere with the charge, while in the midst of a chaos and carnage, which has suddenly arrived under a downpour of English arrows. As a piece descends and Henry surveys the dead, you get this very clear reference to the melody of Contalube's songs from the Auvergne. It's a good but clear storytelling and music, and it's a play here by the Geborn of the Symphony Orchestra and Dutch data by Andrew. On that occasion we listen to the storm and his aftermath. But it's a second movement which Beethoven titled By the Brook, which is probably my favourite of the lot. Flowing water is infinitely recognizable and illustrated throughout with a string. And at the end we get this lovely exchange of bird song between a nightingale on the flute, a quail on the oboe, and a cuckoo on two clarinets. The culmination of the movement with a woodwind really is a sweetness itself. And this is a very fine rendition in a live performance by the Dresden Statella Orchestra under the direction of Herbert Blonstadt. Staying with the gentle, Chopin composed this Belle First, a word meaning lullaby or cradle song, in 1844. Wagner's slightly derogatory comment about Chopin being a composer for the right hand is actually quite apt here. The right hand is doing On the left hand deviators on the animator all the way through. The thing that's gliding up and down the keyboard in the leaders. The final word of the downdate for Windows and ID by the academic smart in the field conducted by Level Narada.

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That's it for now. Thank you for listening to Perfect Pitch with Nick Ely Hutchinson. He'll be back again next week with some more treasures for you. So please do join in then. And you can subscribe to this podcast by clicking on the link below.