S2.E57 Music to perpetuate the Olympic spirit - Mozart Sonata k381 for 4 hands; Handel Ev'ry Valley; Blumenfeld Etude; Beethoven Allegretto, 7th Symphony.

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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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And so the first part of the Paris Olympics come to a close. Which is why I'm a little bit late this week. The first in order forms is full of designing. Okay, the void of the code. Between Brazil and Canada. And there's a cut output between the two sides across the left. When I worked with an example, the reference start intermediate and click on the passage. The pattern in charge of the background is the method. It's up to the lead type of the entrax. I would not take the data items, that would be in the top. The cloud erupted with your tweet with being a smart. That network for the hard bit of methods. A frequent part in which the feature does competition. Well the music as well. Music of all kinds is the one thing that is most functional that you have to do. It's much more than the one out of phrase or being identified language. It's the heart of all code music. It's just one fundamental data. It's called connecting. It's combined together. It allows for this agreement to be resolved. Then Johnson wrote how all code is born of code. It's quite music like nothing else. Which are the credit by charts are in the words of this other code of hardware. Straight R code, not just a third-party list code. But are the third experiments of the performance code? It's perfectly embodied in the website. And the first libid and the two notes which belonged to figure out the area along Q and Drive. And the last libit that opera was still one or fourteen years away. In a live performance in 2012, two of my favourite pianists, Marta Argerich and Maria Joan Perez, make up this harmonious duo in the three movement sonata. Beethoven, you might remember me saying in the earlier episode. I heard this little excerpt from the tire the other day. I just want to return to the piano for a few minutes. And this is one of those close your eyes and let your driving limits. And actually, even if you are, try and imagine that they are closed for a reason which will become apparent. Felix Bumenfeld was a Russian composer, conductor, and pianist, born in 1864. He wrote a variety of different kinds of music, but as a pianist, it's not surprising that the main body of his work is for the piano. Here is a delightful étude which has a charming lament at its heart, overlaid by this franc list like flourish and drama. The study is played by Leon Fleischer. Eyes closed. But if you aren't, you might be in for a bit of a surprise. I didn't give you its full title, which is Study for the Left Hand. There's a story of how one of Blumerfeld's pupils, Simon Barrer, was playing it in the presence of a prominent blind pianist, who apparently took instant offense because he felt he was being mocked, as he just couldn't believe that there weren't two hands at work. His doubts were dispelled when he was led to the piano, where he was invited to hold Barrer's right hand while he played it again. Which aspect will do as well. For many, the uncleasting spontaneity of Beethoven's separate symphony is what makes it their favorite. And of all the 37 movements in the whole cycle feel more direct to the second of its setting. That's the reaction. When Beethoven conducted its premium for the wood in VOD in December 1813, we demanded that it was played again before continuing with its opinion. It's not a conventional slow movement, just slower than the others. Beethoven actually marks it allegrative, which means slower and faster, but also a little lively. After the first opening chord of the woodwind, the first theme is introduced by the others and cellos. It's very clear in the score that the fourth and fifth chords are of equal duration. But for some reason, there are many big names who take it upon themselves to linger on the fourth chord, presumably to try and create some sense of longing. Here's what I mean. Listen for that fourth chord on the strings. When people who should know better take such a liberty. After this opening theme, the violins come in with their own, and the intertwining of the two, gradually introducing others in the orchestra and a steady crescendo, culminating in a triumphant affirmation of that opening theme. Well, I'm afraid it's beyond my descriptive abilities. Pavo Yevi conducts the Deutsche Kammer Philharmonie Bremen.

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