S2.E69 Bruch Kol Nidrei, Rachmaninoff Piano Concerto 2, Mozart La Clemenza di Tito, Beethoven Symphony 2.

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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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Before we head to the music, I must gratefully acknowledge a feed spot for ranking me number two out of a hundred in their list of UK classical music podcasts. And ten out of a hundred in their global rankings. I'm extremely grateful for this generous recognition, not to mention the greater prize. The link to their website can be found in the next episode. Many years ago, I was driving a lady who would one day become my mother-in-law, and I turned on the radio in the car. And one of the most loved of all violin concerto. Before you say oi, that's a bit rude to a lady of my mother's generation. Dumbo was the name she went by and nothing else. I can tell you that it took me some time to get used to addressing her in that way. It soon became one of her favourite pieces. And the CD I gave her was always in the car. But it wasn't like a bad luck to have been born in 1838. Because by the time he got round to composing, his sort of romanticism very much accomplished was now making way for more companies and music like Broker. I think that's one thing moving on. He wrote down 200 compositions. But the reality is I don't think we get any sort of attention these days. Although debated on the couple of Jewish things, Robert did not allow to write another Jewish piece. And how traditional world orders are actually very fragile. As we can see only too well today. Especially when played by one of the great living cellos in Chamaiski. Accompanied here by the Frankfurt Radio Symphony Orchestra, conducted by Pavo Yeah. It's now perhaps the most widely played in the whole repertoire, as well as featuring capital films and advertisements. So just like other pieces with a similar exposure, it's not always easy to pick out the star performance. Here he is playing the second movement of the concerto with the London Symphony Orchestra conducted by Andre Brevin. Unfortunately, in my opinion, anyway, that's not what you get in modest art of an ultimate opera. Like a mental di teto. It's actually rather dull visually. But the music, oh boy. It's a bit like a Verdi opera where the gorgeous melodies just keep coming at you. The music and the auras are infinitely superior to one of his more famous operas, Ilse Ario. But the plot doesn't make for great viewing, so it's not often staged. All you need to know for the purpose of this aria is that it's sung by the king's old friend, Acesed, originally played by Castrato and either a Traseral or a Counter Town. Asado is lamenting his part in a plot to assassinate the king and recalling old times. It's an aria in two distinct but equally lovely hearts. The title of the opera, The Mercy of Titus, is a bit of a spoiler, I suppose. But how could the king possibly dispatch his old friend after this? He does actually send him off to be executed, but all is forgiven. Chochilia Bartoli sings De Paraquesto istante solo. Oh, for this one moment only, remember our affection. She's accompanied by the Vienna Chamber Orchestra, conducted by Grigori Fisher. The second is especially underrated, partly echoing the reception on its first performance when it was considered to be a touch frivolous. But we shouldn't confuse frivolity with lightheartedness. This final movement has plenty of meaty Beethoven, but just as much freshness and humour too.

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