S2.E54. A mixture of Patriotism and Beauty. Walton Facade, Mozart Dove Sono. Scarlatti Sonata k27, Villa Lobos Choros 1, Elgar Pomp and Circumstance 1.

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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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However long you've been kind enough to listen to my particular views on classical music, you'll know that I don't stray off that subject too often. There are plenty of historians and political commentators to keep everyone informed of matters of the day. And I've seen elsewhere that if you express an opinion on current affairs, you're only going to invite a victory of some corders and like to get your head not. I'm not too bothered if you disagree with my thoughts on music, because it's always going to be subjective anyway. And I said to get expected to like everything, it might have to cater lots of different tasks. But in the UK, we've just had a general effects. And whatever anyone's individual political perspective might be, there's a strange atmosphere in the country right now. I mentioned in my thoughts on D Day about how lucky we are in the UK that while we don't have combative politics, we don't have the politics of the apocalypse. And after 14 years of civil administrations under the same banner, the country almost feels so we can all hope that the coming years don't call the promises may be made turn out to one of these. William Walton was asked by Edith Title to provide the music for a collective subject poem titled Fassade, first performed public in 1931. It was a slightly bonker located, but only more of a thought than a facade and almost universally rounded on by the critics. Titwell declaimed their poetry with the help of a megaphone, which he projected through a screen. No coward made a big fuss of walking out during a performance, and it was a little while before they made up. I don't think I'll be upsetting too many of her determinants by saying that Titwell was a fairly odd woman with her artistic output, as well as her very strange tutorial of her appearance, for ever courting, but never marrying, most art suitable of men, pretending either to be married already or homosexual. Neither of those apparently minor details appears to be in a hazard to bring her gratification without the need for the outlet prize. Alternate music makes up about 20 brief accountability. And here, without the words, is the one that acted a popular song. Some listeners might just recall it as being the work which was used to introduce a musical quiz on television several decades ago called Face the Music. So after rather long preamble, let's use it to introduce today's podcast, played here by the English Northern Philomonia under the direction of David Lloyd Jones. Sitwell, a name which I think Petey Woodhouse would have been quite happy to have invented. And she gave birth to George, whose wife gave birth to Edith. And that, I recently discovered, Edith Will, my third cousin was removed for what it's worth. A couple of years back, we listened to Marilla Framey singing Adobe Solo from Mother's Margaret Figure. But I heard this recently, which reminded me that through a combination of unexpected had launched a career of the then little name kidding the counter. But oh my goodness, is it ever just utterly beautiful thing? The voice is one thing. But her variety in volume and painting is nothing less than transcendent. I was completely transfixed when I heard it. A brief context by way of reminder might help Countess on the Viva laments and a few beautiful moments of a tea how she is married to a philandra. And that only her maid Calavino can help her win him back. In the aria that follows Adove Toro. She asks where are those happy moments, and of her growing determination to unlock the counter art again. This is one of the most art most lovely arias. But the orchestration is a sweetness itself too, and that exquisitely dangling over to link the two verses is a moment in itself. Decanoa is joined by the London Philharmonic Orchestra conducted by George Shelton. Most of them are only a few minutes, but they're instantly recognizable, and yet each one has its own personality. Or at least that's what I've found from the ones I've heard, because I'm certainly not going to sit here and pretend that I've heard a lot. What I love about them is that he manages to grab so much musical character in just so little time. Yes, I know that Basket is the master of them all, but this B minor K27's Arta Baskalatti is three minutes of farm smile on its face. I've been wondering for ages how he does it, and I think it's with these rapid splashes of dyads in the top hand. That's the term for two notes, which are next to each other and played at the same time. If I've lost you for a moment, all will be revealed here by Murray Pariah. In the interest of balance, I'm happy to compromise declaring a personal allegiance to the Spanish side of the net in the tennis. So let's listen to this delightful piece with guitar by Villa Lobos. His Choros No. Played by Stefan Nischke Hauser. And so to the football. I hope I won't alienate any of my Spanish listeners. It needs a brief word. You see, despite the overwhelming support and expectations with fans overseas and more than two generations of the other. I don't know how to accommodate it. Whatever the result tonight, I can't really get real. We all know that only one outcome matters tonight. And run around is another one. Here's a bit of Elgar to raise everyone's understanding positive by many orchestra conducted by the Nobel Raise Elgar's pomp and circumstance March number one.

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