S2.E99.A bit of everything to cover all human emotions Tchaikovsky Polonaise, Bach Concerto for 4 Harpsichords, Debussy Tarantelle Styrienne, Clara Schumann's Variations on a theme by Robert, Delius La Calinda

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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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If you've been following this podcast for a while, you will know that I played the music we're about to listen to before. But it was a few years ago, and when I heard it very recently, it had such an uplifting effect that I feel it's almost a duty to let you share the experience. I speak of a five-minute polynose, which opens the final act of Tchaikovsky's Union and Rabian, played here by the brotherful America Wilson conducted by Cardio Bada. It will only make you feel even better. Well, he obviously could find the time, and as to the why, well, it was probably a good way to explore the use of different solar instruments and their relationships with each other and other instruments around them as well. The Italian Antonio Vivaldi was an almost exact contemporary and provided easy pickings for this exercise, especially his violin concertos. Although Barr had written his own concertos for one, two, or three harpsichords, this is the only example of him adopting Vivaldi's concerto for four violins into a piece for four harpsichords. I don't know if it's anything to do with the two different nationalities, but there's something unquestionably more earnest than I hardly dare say academic even about arch and children. It's as if while acknowledging the genius of Vivaldi, he's at the same time demonstrating that the melodies are worthy of more serious ornamentation. And while that may be true, it doesn't take anything away from the fact that this is a very charming character in the side played by the Netherlands Art Society, performed by C.B. Hensra, Men of An Delta, with a Young Belder, and a Tennessee, which didn't care. Such energy, such vitality, such freshness. It's the momentum in Bach's music which makes so much of it so appealing. How appropriate then that the word Bach in German translates into Brook in English? I'm going through a bit of a revell thing at the moment. So speaking of transcriptions and jumping forward a couple of hundred years, here's another wonderful example of a composer using the work of one of his contemporaries. Ravel was one of the great orchestrators of the center. He and his fellow countrymen Debusie had a company, their friendship which ultimately collapsed. But after Debushi's death, Ravel was also transcribe one of his country's as a homage. Which Debussi had written in Italy at the end of the 19th century as part of his studies. So let's listen to both versions. Johnny Timon plays the piano. And Ravel's orchestration is played by the Alston Orchestra, conducted by Jan Pascal. I wonder what Debussy would have made of it. Keen ears, well notice it's a very slight shift of the key. But I think it is quite literally utterly weird. They have everything from profound intimacy and gentle lyricism to extravagant virtuosity exceptional gifts as a penis. If you have a moment to pause, it's a bit of a timeout moment. Some of the harmonies are almost unbearably hard for you. It's a lovely dream music. But will perpetuate the wistful, dreamy atmosphere with the help of Delius. His third opera, Coanga, despite it being his favourite, is not likely to be coming to a venue near you anytime soon. But this brief and charming interlude, that Calinda, may well be familiar, because it's pretty much the only passage in the hall where we can have a radio. Thank you as always for tuning in. We love hearing from you, and you will always get a reply. So if there's anything you either want to suggest or make any kind of comment or email addresses there. And ratings of comments are always great as well.

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