77. Exuberance x 3

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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 Healy Hutchinson your ears for his weekly dose of classical music that will enrich your life.

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From the fact that Humbertone of last week's podcast, this week's music is altogether considerably more cheerful. So I hope that today's offerings will make you feel that the world is not such a bad place on top of the case. If you worked there, you risk being overlooked. So people would flock from far and wide took out their wear. Beethoven's sense of humour is not exactly the stuff of legend, and he was 30 optimes when the Italian Rostini turned up on his patch. But there was stiff competition, even amongst the natives of the city, and it might seem surprising now to think that the likes of Cubit struggled to make his mark in Beethoven's chatter. Taking part are two violins, a viola, a cellar, a double batter, a horn, a platoon, and a clarinet, which is quite a mixture in itself. In the third movement, the together, the strings have this slightly foreboding undercurrent, but the wind instruments prevail to leave you with something lighthearted and upbeat. As I'm sure you know by now, he wrote nothing in his short life which did not include a piano. But what a completely thrilling combination he makes with a cello in his introduction and polynese. I'm indebted to Stephen Ethelit for providing me with part of the sleeve note he wrote, for a recording he made of the piece with the Hungarian pianist Danish Valeon. Within a year of Jupiter's death, the 19-year-old Chopper was taking the great city by storm. The Viennese music observator, stunned and fascinated by this exotic talent from Poland. Later that year, while staying at the Polish Palace, a paradise, according to Chopin, of Prince Radicville, an amateur cellist who had known Beethoven and Goethe, and was to be the dedicate of Chopin's piano trio, Chopin wrote his polynade brillante for piano and cello, to be played by the princess and his pretty pianist daughter, Princess Havanda. Chopin's much quoted letter to a friend written shortly afterwards, in which he dismissed the pollinade as nothing more than a brilliant drawing room piece suitable for the ladies, should not be taken too seriously. It is probably just a self-deprecating squib, typical of the composer's modesty. And furthermore, it should be remembered that at the time of that letter, he had not yet written the expressive introduction, or even, it would seem, the colour's triumphant closing theme, which hastens the work to its exiliate conclusion. At any rate, since he later performed the work in Poland and even considered it worthy of the effort of a solar piano transcription, I think we may presume that despite his expensive words, he was fond of the pizza. And having kindly provided me with that, he added his own assessment of Schottman's approval. Understandably though, with its alluring blend of refined charm, energy, and beauty, it is, in this writer's humble opinion, a winner. And that, you see, is precisely what I thought of it. A stately majestic introduction, followed by an allegro marked a la polaca, in the style of a polynose, with flourishing splashes on the piano, matched by rigid rhythmic collaboration on the cello. Unsurprisingly, therefore, Danish Chevalian is on the piano and Stephen Isilis is on the cello in Chopin's Polonaise Briant. It's the date on which, 277 years ago in 1746, the last field battle took place on English soil, namely the Battle of Cologne. Now you may think this is a bit far-fetched, but I think it calls for something Scottish. And in my view, anyway, the final moment of Mendelssohn's third symphony, the so-called Scottish, actually seems to start in a battle preparatory mode, and has a very discernible conflict at its heart, with galloping back and forth, followed by a peaceful repose before launching into the closing theme in a major key, which sounds nothing less than victorious. I especially like this Pacy version by the Vienna Philomonic Orchestra conducted by Christoph von Dorniani. And the Battle of Colladen was over in just under an hour, so that seems appropriate, however unconnected I know it to be.

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To the documentary, you can see it.

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That's it for now. Thank you for listening to Perfect Pitch with Nick Healy Hutchinson. 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.