S2.E35. Acrobatics with Handel's Da Tempeste and Bach Gigue Partita 2, Quirkiness in a Poulenc Sonata, and a triumphant finale with Beethoven's 3rd Piano Concerto.

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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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One of the reasons for that is that it was festival at the time to repeat artists at different stages of the opera. It was such a lot of catch up. Or did it have it up? But another reason is that there's a good chance that somebody wouldn't have heard it the first time around. Or did it nothing like as well behaved as we are now? For one thing, they were in the box. It's one of its most popular. It's unlikely and quite demanding. That's the heart of the torment what the side itself. We've had the pseudo-violin before, and I hope I demonstrated that it's anything but dull. Handel's contemporary Sebastian Bach with three partitas of a violin with six months. All of them, except the last, and based on Fred Star. So let's listen to the deep from the second partita played here in a live performance by Anne Sophie Mother. Imagine for a moment being a string player, sitting in the orchestra watching and listening to the spell by the encore. At one level you're thinking, wow. But at another, there must be just the tiniest thought. That's unfair. I wish I could do that. After all that exquisite harmony, it's going to feel a bit like slinging a ball down a temp and burning out. But there's something mischievous about some of the music of Pulag, which deserves its place among the great stuff. But every time it approaches being too melodic, Pulag can't resist its own quick disruption. Take this great sonata and three movements an allegro, a dante, and a rondo. A horn, trumpet, and trombone. One of its friends observed at the time that it was a very well written mess. Not to add anything further, is not to trivialise it, but just to let it speak for itself.

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On the horn is Hervé Joulin, the trumpet Guy Touvor, and the trombone Jacques Mauger, and the early thing.

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There's no way you would even suspect that it came from a refined individual like Mendelssohn or Chopper. With no access to recording. It's a wonder his publishers managed to decipher what he had quite literally scribbled down. Especially when sometimes it's a caricature. That would have been that quite part as well. If you ever wondered what it would have been like to watch you if you were alive today, I can't believe that's the kind of person I would engage with or look lovingly into either cameras or people nearby. It's not hard to imagine someone like Mozart looking into the audience occasionally with a Dudley more victim boger like Twinkle. I can't see both living daylights on the keyboard.

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That's it for this week. Nick will be back again soon. Please rate and comment on any of the previous episodes, and if you like what you hear, take a moment to press the follow button as it helps to spread the word.