S2.E36. Two sets of variations - Brahms on 'Haydn', Haydn on himself. And another grand finale - with Tchaikovsky's 1st Piano 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.

It's no better and it's orchestrated first. But it's architected as a five. That's it, it's quite difficult. It's a good thing. The Iron of Master Over and Doctor is a really fine one. The pizza is made up of a theme and nine variations with the two of them bringing out touching and sensitive playing in the tournament and plenty of vigor in the jubilant ones. The finale build up is worth the wait as well. We've talked about the so-called romantic period in classical music before, but a quick reminder for today's grand finale doesn't hurt. It spanned the decades between 1830 and around 1900. The word itself doesn't have today's connotations, but feeling and emotion certainly began to play a bigger part. The period broader affected the sort of themes and patterns which were trending in literature and art. Although I don't suppose the word trending was really a thing back then. There are many composers who fall into this bracket, but few typify the later part of the period better than Tchaikovsky, who was quite unable to contain his enthusiasm about height and chamber music, urging everyone possible to play the quartet at any opportunity. I remember teasing you with the opening bars of Tchaikovsky's first band of concerto in a previous episode, and then going on to play his third. But his third is one of his most popular works, and unquestionably one of the great favourites today. But it's a real challenge for the service. Unsurprisingly, for a piece of such popularity, there are over 130 recordings. But one of the most thrilling is played by Stephen Hart for the Minnesota Orchestra conducted by Osmar Vanska. The fact that it's a live performance only adds a bit of attention and his astonishing technique is enough for those rapid octaves towards the end before the majestic theme finishes the piece. And then think of it in the context of knowing that you don't get a second chance in the concert hall like you do in the studio to do that or any other bit again. That's what makes this a remarkable account.