S2.E13. Music for love, tears, and joy. Schumann Arabesque, Rossini Stabat Mater, A Schubert Sanctus, Mozart Agnus Dei from Coronation Mass, Vivaldi Lute Concerto.

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.

I'd like to start with a small request of you. The wonders of the Internet mean that Perfect Pitch reaches all corners of the world. Some very remote. And nearly half of you, much to my delight, are now listening in the United States. Whether you're a regular listener or a new one, I'd be very grateful if you could recommend the podcast to just a few people. It will only take you a few minutes and would be the best way of demonstrating the wonderful feedback you continue to give me. Two unlikely students are falling for each other with the aid of a little music on a small guitar. In reality, of course, the human race is the only one able to express feelings of love in words, animals allowed sound or touch. You may not have met your true love yet. But if you have, can you remember how you made your feelings first known? Or the written word, or maybe a single gesture. But you're creative enough to have created something like an artifact of some kind. If music be the food of love to play on, on its own, it sounds like Shakespeare is equating the two. But in this instance, Orsino is actually asking for more music to try and call his love for Olivia as a means of trying to get over that. No one would question that love could be conveyed to music of whatever genre. From his own personal perspective, who did it better than Robert Schumann or Carl and to get married? They were apart in the autumn of 1838. When Summer left like Tick for the other. So there was plenty of gooey correspondence. But also little gems of music like this are a better for the cannabis. Two clear emotions come to the fore here. Longing and desperation. Allowing them both to come through can be tricky. Take it too quickly, and you lose the longing. Take it too slowly, and you lose the desperation. Neither must be suppressed by the other. Here are the opening bars of two examples, so you can see what I mean. The brilliant Yergeni Kittin is in the fast lane, and one of the greatest of all, Arthur Urenstein, is in the slow one. But to this listener anyway, neither gets, whatever the musical equivalent is, to the Goldilocks approach. And then I found the combination of what I was looking for, played in a live performance by Vladimir Feltzman. Here is a pining heart and a desperate urgency. Is it perfect? One last thing Schumann completes a piece with a brief and utterly exquisite post-clude, which is a sort of summation of the whole thing. He wrote very little in the second half of his life, but one of my favorite of his compositions is his heading to the hymn Star that Mata, the title coming from the first line, Starlight Mata Dola Rosa, meaning the grieving mother was standing. It tells at the moment that Fighter's mother stands in a crucifixion. The subject is obviously about as good as it gets, but Rostini nevertheless manages to infuse it with the use of pressure. It cannot be surprised to hear that it has an operative feel about it, but like the direct outlets, and the way force philosophers mingle with each other, as well as with the core set and the orchestra. And still starting to get its music appreciated. So I think we can have a look at this. And you may remember how Reston got his own back in later life by describing Wagner's music effects. That's an awful quarter of an hour. But we're still suffering poor health. So we did in and out of it for the next ten years. In all, there are 20 versions of freelancing and it's bursting with loving tunes. We're going to do one of them now. It might be a dark dark data. But Rosini just can't help himself. Rosini is held by many to be one of the great underrated components. And by just as many. In the Latin Mass, of which Mozart wrote seventeen, the Santus is followed by the Angus Dei, the Lamb of God. One of Mozart's most popular is the so-called Coronation Mass, its nickname coming as a result of the Court of Vienna, using it on royal occasions. If you recognise the tune, it's because fifteen years later Mozart uses exactly the same one for the Countess, when she sings her first Aria Dove Sono in the marriage of Figaro. The final words donar nobis parchem, grant us peace, and swell by a choir could scarcely be less entreating or pleading. They come ever more as an exuberant demand. The Anyous Day is sung here by Emma Kirkby. Actually, we can't be certain he was composed for the lute, but that's now become accepted wisdom. We're going to finish today by listening to it in full in the traditional fast, slow, fast format. The slow movement, I think, is particularly lovely, with a meditative feel about it, which I expect you may well recognise. Played by one of the all-time greats Julian Breen. But before we do listen to it, don't forget my small request at the beginning of the podcast. Wherever this may find you, if you enjoy the music I share with you and the thoughts that go with it, please let others know as well. It'll only take you a few minutes to send a link to a handful of people. And if you want to write a review or rate it, that all helps as well. Until next week.