S2.E90 Stravinsky Firebird Infernal Dance, Haydn 'Le Matin' symphony, Beethoven Piano Sonata 27, Victor Hely-Hutchinson, The First Noel

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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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As we approach the end of another year, I'd like to share two bits of news with you which have given me particular personal pleasure. Last week, we held the last of the MS Carol concerts in aid of the Stock MS Appeal, which was set up to raise £100 million in ten years for the express purpose of research. It's been an extraordinary and astonishing experience and has far exceeded many of our expectations. The concert is available to view on YouTube. Just put MS Society Cows by Candlelight of 2025 in the search bar. And if you wait until the end, you'll be able to put a face to this voice. As I was asked to say a few words, which I hope won't put you off from listening to these podcasts in the future. And should you feel like donating, you will be seriously helping them to change people's lives. The second bit of news is that from January the 1st next year, if you should find yourself on Qatar Airways, five episodes of Perfect Picture will be the first and only classical music available on their in-flight entertainment. If you're a nervous disposition when it comes to flying, I'm sure these will help you to nod off. I can hardly believe this has happened. And it really was one of those occasions when I had to check my texts and emails when I woke up one morning just to make sure I hadn't dreamt it. Anyway, back to the matter in hand. In 1911, the Firebird Ballet was performed in the Paris Opera House. It was the first of three major collaborations between Stravinsky and Diagolev, the others being Petrushka and the Rite of the Spring. Unlike the Rite a couple of years later, which caused an uproar on its first night, the Firebird was a tremendous success. The Firebird, a little like the band of gold in Wagner's Ring, has powers and curses. Unlike Wagner, whose story was his own, giving him license to bring everything crashing down in the final instalment of the Twilight of the Gods, the Firebird is based on a Russian fairy tale where the goodness of the bird prevails and a princess is freed. The orchestration is bluntly thrilling. The infernal dance, just four and a half minutes, is demonic, threatening, and seriously loud. If you like your brass, you're in for a treat. The infernal dance from the Firebird Suite is played here by the London Symphony Orchestra conducted by Leopold Stakowski. I'm going to give you a couple of seconds to turn the volume down, because otherwise you'll be jumping out of your skin. You have been warned. The one thing that everybody gets very worked up about these days is clapping between movements. To be honest, it rarely bothers me. Although there are times when silence is preferable. If I had any advice draw from this, I would only say don't be the first to clap, just in case it really is in the wrong place. Much worse, though, is coughing in between movements. It's a sort of habit which has proven to be completely unnecessary, except in extreme cases, of course. The pandemic got rid of that for a couple of years ago, but sadly it's now back. But going back to Haydn, one of the most useful pieces of advice I can give is to try your best to stay awake. The infernal dance, which we just heard, is preceded by a quiet passage. And this is what happened a number of years ago when Scott Seaton was conducting the North State Symphony Orchestra. So let's turn to him now to bring us back to more cheerful harmony. When Mozart wrote his Sixth Symphony, he was just ten years old. But Haydn was thirty-three when he composed his sixth. The difference in maturity therefore is enormous. And you'll be forgiven for thinking that Haydn's Sixth Symphony could have been written quite a bit later. It was one of a set of three for his then patron the morning, the afternoon and the evening. Or more specifically, Le Mata and Le Soir. The opening movement of Le Mata is instantly evocative. A slow introduction with a steady crescendo to illustrate a rising sun and perhaps a slow stretch in waking up before Fred hops in announcing a new day with unbridled birthsong. The morning convey sounds a little stormy, but Haydn still manages to imbue it with his usual optimism. The first moment of Haydn's six symphony in the matter is played here by the Academy of Ancient Music and conducted by Christopher Hogwarts. But his twenty-seventh is one of those rare beasts which only has two. So we can listen to all of it. The first of them is full of anxiety, which is perhaps not surprising at this stage of Beethoven's life. But the second movement has a melody which is so utterly delicious that all you want is it to keep it going. A few notes within it remind me of the tune in the film The Wizard of Oz. There's no place like home. And that's exactly what the melody seems to do. As it drifts off and explores other toasts briefly, it always comes back to the original theme, bringing you home with comfort and reassurance. We are well into Advent in the Christian calendar, so it's a good excuse to share my favourite part of my great uncle Victor He Hutchins on the Carol Company. His take on the first Noel. Book edited by the classic Carol. It's really a very fine piece of orchestration. Covering up the scene of a quiet night, which happens more in my belief. Before Peter's record as if nothing had happened at all.

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