7. Three doses of joy, with Rimsky Korsakov Capriccio Espanol; Mozart Exsultate, Brahms Hungarian Rhapsodies 4 and 5.

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Welcome back to Perfect Pitch with Nick Healy Hutchinson and his fresh approach to the world of classical music. Whether you're an expert or a beginner, old or young. Perfect Pitch has something for everyone.

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I'm not saying you're one of them, but there's a fair chance that if I mention the name Rinsky Korsakov, the first thing that tends to come to the mind of many is Flight of the Bumblebee. At just over a couple of minutes, that might be something of an insult, so I'm not going to fall into that trap today. Quite apart from the fact that he wrote a great deal more, all of it deserving much greater praise. Like a lot of Russian composers, Rinsky Korsakov was born into a noble family in the second half of the 19th century. But he certainly wasn't any kind of child prodigy, and seemed destined for a naval career. He developed a musical interest only gradually and persevered with his composition by being almost entirely self-taught in his early years. Lacking in the very basic musical grammar, his efforts were not taken seriously. Part of the problem lay in the fact that he found himself more partial to Western music at a time when Russia was trying to forge its own identity. Ironically, this was something he came to embody himself, almost more than any other at the time, but chiefly as a direct result of acquainting himself with the orchestration of a European, Richard Wagner. And this, of course, was by no means an activity limited to the world of music. Russian painters were doing exactly the same thing, learning especially from their French counterparts and bringing ideas back to their homeland. In 1887, Vritsiko Khorsakov wrote a lively orchestral suite. His Capriccio Espagnol is made up of five parts, based on Spanish dances. It's a piece where all the instruments in the orchestra get their chance to shine. The opening of the second part with the French horns is just one example to look out for. Nikolai Orinsky Korsikov's Capriccio Espanol is played here in a suitably lively and spirited account by the Gottenberg Symphony Orchestra conducted by Nemi Yevi. I think it's high time we heard the voice of one of the great lovers of Mozart, Kiri de Canova. We've actually listened to her before with a Mozart aria from Don Giovanni, but it really is one of the great sounds to come out of anybody's mouth. She does not, Shark Horror may have been forgiven for saying so, no offense and all that, possess the greatest diction in a foreign language. But you can be forgiven absolutely anything, for a combination of phrasing, breath control, and a sound which has had a few peers in my lifetime anyway. And as I may have said before, she is a shining exception to the rule that you should never meet your heroes. My one and only encounter for just a few minutes was nearly 40 years ago. And the smile she let out still brings a warm glow when I think of it. And that is the sound of a glow. Let's listen to the first part, the English translation of which is Rejoice, resound with joy, O you blessed souls, singing sweet songs. In response to your singing, Let the Heavens Sing Forth With Me. We'll also listen to the fourth and concluding part, the Alleluia. That has only one word, so it doesn't require any further input from me. Nobody's going to get any prizes for observing that the pace of technology has advanced very rapidly over the last few decades. But it's funny to think that anybody in their mid-thirties wouldn't know what it's like not to be able to wander around with a small computer in their pocket. In the context of music, recording did not really take hold until the beginning of the twentieth century. With everything so easily accessible now, it can sometimes be easy to forget. And if you wanted to hear it again, there was no luxury of a CD, assuming you know what that is. Never mind a live stream. The only reason I mentioned this is that competition was rife at the end of the 19th century, and your reputation depended a great deal on word of mouth, some of which could not necessarily be relied upon for reasons of self-promotion. So this goes some way to explaining why there were plenty of composers who were happy to be quite mouthy about the works of others. And I think it goes a long way to explain why the music of Brahms was so divisive in his lifetime. To many he was and still is a man of nostalgia, clinging onto the classical traditions of the past and even tentative and cautious with an apparent reluctance to explore new past. There may be some truth in that, but there's also such a thing as a Brahm, a sound, a sound all of his own. What he does is to take some of the traditions of the past inherited from Mozart and Beethoven, both of whom he rated, and put on them his own layer of extra feeling and emotion as well as his own rhythms. It all adds up to an expansive canvas, big, sweeping melodies with lots of moody drama and moments of wit as well. The image we have of Brahms is of a slightly grumpy-looking man with a full beard. Far from Grumpy. Number five, I'm sure you will recognize, because it's short and catchy. But I'm also a fan of number four, which starts with a theme which could so easily slip into the soundtrack of a romantic film. If we go back to Russia, where we started today, it's not hard to imagine this featuring in a film like Dr. Shivago. Both of them cover his unmistakable sound, and Elgar for one has a great deal to thank him for. As does, I believe, one Richard Vagner. Although there was never going to be much risk of him admitting that. If you enjoy these podcasts, and I continue to be amazed at how many of you take the time to listen, please do rate it and write a small review. As Nicola Walker says in her summing up, it really does help. And for the avoidance of doubt, this is not a commercial exercise. And going back to my earlier comment about the ease of listening, try and make it your mission if you haven't before, to go to a live performance. Nothing quite beats the thrill intention of a live event. As a starting point, the BBC proms have just started, and there is hardly a better, more accessible arena to experience your first live performance. And the London Philharmonic Orchestra, with whom I have a particular association, has some riveting conferences starting in September at the Royal Festival Hall. Classical music is for everyone. Both of these venues will demonstrate that beyond doubt. And it's also a good deal cheaper than you think. We may have got a few things wrong in this country over the last few years. I couldn't possibly comment. But one thing which I do know is the envy of the world, and that is our music scene. Go and enjoy it. You will not regret it.

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