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Music. | 0:00:11 | 0:00:12 | |
I love it. | 0:00:14 | 0:00:16 | |
It's in our lives all the time. | 0:00:16 | 0:00:19 | |
One big playlist. | 0:00:23 | 0:00:26 | |
On our phone, | 0:00:26 | 0:00:28 | |
at home, | 0:00:28 | 0:00:30 | |
on the bus, | 0:00:30 | 0:00:31 | |
on the street. | 0:00:31 | 0:00:33 | |
A world of music, coming at us from the radio, films, games, | 0:00:39 | 0:00:43 | |
computers, tablets, TV shows, gigs... | 0:00:43 | 0:00:47 | |
and right now, | 0:00:47 | 0:00:49 | |
I want to throw ten more tracks into the mix. | 0:00:49 | 0:00:51 | |
Ten pieces of music. | 0:00:51 | 0:00:54 | |
Classical music. | 0:00:54 | 0:00:55 | |
Music where you let an orchestra play. | 0:00:56 | 0:00:59 | |
Play with your imagination. | 0:00:59 | 0:01:01 | |
And there's no right or wrong way to listen. | 0:01:03 | 0:01:05 | |
There's no secret language you need to know, there's just the choice. | 0:01:05 | 0:01:09 | |
The choice of where to start. | 0:01:11 | 0:01:14 | |
Something peaceful, something gentle? | 0:01:14 | 0:01:16 | |
No, Clara, I fancy something a bit bigger. | 0:01:16 | 0:01:19 | |
And this is music from some of the biggest battles of all. | 0:01:19 | 0:01:24 | |
METAL HITS THE GROUND | 0:01:28 | 0:01:29 | |
Battles like hope versus despair, | 0:01:30 | 0:01:33 | |
good versus evil. | 0:01:33 | 0:01:35 | |
Life versus death. | 0:01:37 | 0:01:39 | |
MUSIC: Ride Of The Valkyries by Wagner | 0:01:39 | 0:01:43 | |
And when Death's around, his cavalry are never far behind. | 0:01:46 | 0:01:50 | |
Norse legend tells of warrior women who search | 0:01:56 | 0:01:59 | |
the battleground for heroic soldiers. | 0:01:59 | 0:02:01 | |
The souls they want, they take away to guard Valhalla, home of the gods. | 0:02:05 | 0:02:10 | |
These are grim reapers on horseback. | 0:02:23 | 0:02:26 | |
They have a name... | 0:02:26 | 0:02:27 | |
Valkyries! | 0:02:30 | 0:02:31 | |
This is the sound of the Valkyries - a musical stampede | 0:02:36 | 0:02:40 | |
full of flying, galloping rhythms, and a run-for-your-life fanfare. | 0:02:40 | 0:02:45 | |
And the Valkyries' main theme, or leitmotif, is just one of the | 0:02:45 | 0:02:48 | |
ingredients in a musical blockbuster by German composer Richard Wagner. | 0:02:48 | 0:02:53 | |
For his story, Wagner raided all his favourite folklore, | 0:02:55 | 0:02:59 | |
and assembled a cast of gods, | 0:02:59 | 0:03:01 | |
goddesses, dwarves, | 0:03:01 | 0:03:03 | |
and dragon slayers! | 0:03:03 | 0:03:04 | |
All of them caught up in battle to possess a ring. | 0:03:06 | 0:03:11 | |
A ring that has power over all mankind. | 0:03:11 | 0:03:13 | |
I think it might be time to pass this on! | 0:03:22 | 0:03:24 | |
MUSIC: Ride Of The Valkyries | 0:03:27 | 0:03:30 | |
Music's always changing, evolving, you can't stop it. | 0:06:54 | 0:06:57 | |
And why would you want to? | 0:06:57 | 0:06:59 | |
Orchestral music's always on the move, | 0:06:59 | 0:07:01 | |
that's thanks to lots of great new composers. | 0:07:01 | 0:07:04 | |
By the look of this, | 0:07:04 | 0:07:06 | |
Clara is out with one of those composers right now. | 0:07:06 | 0:07:10 | |
MUSIC: Concerto For Turntables And Orchestra by Gabriel Prokofiev | 0:07:10 | 0:07:14 | |
'Continue, straight ahead.' | 0:07:14 | 0:07:16 | |
Gabriel, you wrote this music, | 0:07:17 | 0:07:18 | |
-it's like we're actually inside of your head. -Yeah, I guess so. | 0:07:18 | 0:07:21 | |
It's like we're inside my head, inside your car. | 0:07:21 | 0:07:25 | |
I know I can definitely hear an orchestra, | 0:07:25 | 0:07:27 | |
but there's something else going on, right? | 0:07:27 | 0:07:29 | |
Yeah, I'm really into orchestral music and composing classical music. | 0:07:29 | 0:07:32 | |
But I'm a fan of hip-hop, dance music, electro, reggaeton, | 0:07:32 | 0:07:36 | |
grime - you name it. | 0:07:36 | 0:07:38 | |
And also I'm really into scratching and turntablism. | 0:07:38 | 0:07:41 | |
So I thought, why can't we bring these styles together? | 0:07:41 | 0:07:44 | |
RECORD SCRATCHES AS CAR MOVES | 0:07:47 | 0:07:49 | |
Whoa. | 0:07:51 | 0:07:52 | |
Turntables are an instrument, | 0:07:58 | 0:07:59 | |
but they don't have any sound of their own | 0:07:59 | 0:08:02 | |
until a DJ gives them one. | 0:08:02 | 0:08:03 | |
And in Gabriel's piece, every single sound is sampled from the orchestra. | 0:08:03 | 0:08:08 | |
It's like the orchestra creates the road ahead. | 0:08:08 | 0:08:10 | |
The DJ, using the same sounds, fires back out new melodies, | 0:08:13 | 0:08:16 | |
making different routes and crazy detours on the journey. | 0:08:16 | 0:08:19 | |
'You have deviated from your route, please turn around. | 0:08:19 | 0:08:22 | |
'Please turn around.' | 0:08:22 | 0:08:24 | |
Ooft! | 0:08:24 | 0:08:25 | |
I have to say, Gabriel, | 0:08:25 | 0:08:26 | |
being inside your head is a very fun place to be! | 0:08:26 | 0:08:30 | |
That's how the story of music goes, really, isn't it? | 0:08:30 | 0:08:32 | |
Music's always reinventing itself, | 0:08:32 | 0:08:34 | |
travelling in loads of different directions. | 0:08:34 | 0:08:37 | |
'Continue, straight ahead.' | 0:08:37 | 0:08:39 | |
-Erm, the opposite of that. -Exactly. | 0:08:39 | 0:08:41 | |
So all we need now is the DJ. | 0:08:46 | 0:08:47 | |
Hey, wake up, man! | 0:08:47 | 0:08:49 | |
MUSIC: Concerto For Turntables And Orchestra | 0:08:58 | 0:09:02 | |
You know what I think inspires great music? | 0:13:11 | 0:13:13 | |
Great stories. | 0:13:13 | 0:13:15 | |
-I reckon this is it! -Stories of love, jealousy and revenge. | 0:13:15 | 0:13:20 | |
MUSIC: Habanera by Bizet | 0:13:20 | 0:13:23 | |
Love is a rebellious bird. | 0:13:30 | 0:13:32 | |
Ah, that no-one can tame. | 0:13:32 | 0:13:34 | |
-Great idea for a lyric. -Already taken. | 0:13:34 | 0:13:37 | |
Belongs to a gypsy named Carmen. | 0:13:37 | 0:13:40 | |
She sings it in an opera named after her, composed by Georges Bizet. | 0:13:40 | 0:13:44 | |
She looks fiery. Dangerous! | 0:13:49 | 0:13:52 | |
She's got every man and woman in here watching. And she knows it. | 0:13:52 | 0:13:57 | |
A young soldier, already with another girl. But he's lost it. | 0:14:01 | 0:14:05 | |
Lost his heart to her. | 0:14:05 | 0:14:08 | |
She's cast a spell. | 0:14:08 | 0:14:10 | |
Carmen's story is set under a sizzling Spanish sun. | 0:14:10 | 0:14:13 | |
Her music makes me think of a cat, stretching out in the heat. | 0:14:13 | 0:14:18 | |
Slow, enchanting, but with deadly claws. | 0:14:18 | 0:14:22 | |
Ready to pounce. | 0:14:23 | 0:14:25 | |
Well, you were warned! | 0:14:33 | 0:14:35 | |
In opera, the music tells you what you need to know. | 0:14:35 | 0:14:38 | |
MUSIC: Chanson Du Toreador by Bizet | 0:14:38 | 0:14:40 | |
What about this, then? | 0:14:40 | 0:14:43 | |
It's more music from Carmen. | 0:14:43 | 0:14:45 | |
Sounds brave, proud, charming. | 0:14:45 | 0:14:48 | |
It belongs to Escamillo, and he deserves it. | 0:14:50 | 0:14:53 | |
CHEERING | 0:14:53 | 0:14:56 | |
A big celebrity. | 0:14:56 | 0:14:58 | |
Bullfighter. | 0:14:58 | 0:14:59 | |
You can hear the fanfare, think of him, strutting around the bullring. | 0:14:59 | 0:15:04 | |
This is music for a guy who loves being a star. | 0:15:04 | 0:15:08 | |
We all know the story. | 0:15:08 | 0:15:09 | |
Boy loves girl. | 0:15:09 | 0:15:11 | |
But girl loves another boy. | 0:15:11 | 0:15:14 | |
-And then what? -I don't know! | 0:15:14 | 0:15:16 | |
But Escamillo kills bulls, Carmen kills hearts! | 0:15:16 | 0:15:20 | |
I am sticking around to find out. | 0:15:20 | 0:15:22 | |
MUSIC: Habanera | 0:15:26 | 0:15:28 | |
MUSIC: Chanson Du Toreador | 0:17:29 | 0:17:32 | |
Some songwriters or composers just know how to produce a hit. | 0:20:08 | 0:20:12 | |
MUSIC: Trumpet Concerto (3rd Movement) by Haydn | 0:20:15 | 0:20:18 | |
Those composers are just like superstar strikers, | 0:20:22 | 0:20:25 | |
shooting for goal - they just know how to write | 0:20:25 | 0:20:27 | |
a piece of music that's going to hit the back of the net every time. | 0:20:27 | 0:20:31 | |
Joseph Haydn, 18th-century Austrian composer, | 0:20:39 | 0:20:42 | |
used to have to write melodies for the orchestra he managed | 0:20:42 | 0:20:45 | |
that were memorable and bang on target, | 0:20:45 | 0:20:47 | |
otherwise he would get the boot from the prince who employed him. | 0:20:47 | 0:20:50 | |
Come on! | 0:20:50 | 0:20:51 | |
Luckily, Haydn had an ear for a catchy tune, | 0:20:51 | 0:20:54 | |
the kind that his boss could hum to for weeks and weeks | 0:20:54 | 0:20:58 | |
while wallowing in his posh bath. | 0:20:58 | 0:21:00 | |
His record speaks for itself. | 0:21:01 | 0:21:03 | |
Take this concerto, | 0:21:07 | 0:21:09 | |
where the trumpeter takes the role of superstar striker | 0:21:09 | 0:21:12 | |
and plays a real crowd-pleaser of a melody all of their own. | 0:21:12 | 0:21:15 | |
CROWD GROANS | 0:21:19 | 0:21:21 | |
Haydn knows that's not enough, | 0:21:21 | 0:21:22 | |
so he opts for a rondo formation for this piece. | 0:21:22 | 0:21:26 | |
That's a musical structure where the main melody keeps returning. | 0:21:26 | 0:21:30 | |
Like a chorus, but alternates through different musical interludes | 0:21:30 | 0:21:33 | |
so the rest of the players aren't sitting about doing nothing. | 0:21:33 | 0:21:36 | |
They are providing the interludes, picking up the tempo, | 0:21:36 | 0:21:39 | |
and creating variety. | 0:21:39 | 0:21:41 | |
But in the end, always passing the ball back to the star striker, | 0:21:41 | 0:21:44 | |
who only has eyes for goal. | 0:21:44 | 0:21:46 | |
CROWD CHEERING | 0:21:48 | 0:21:50 | |
MUSIC: Trumpet Concerto | 0:21:53 | 0:21:56 | |
Most of us can listen to and create whatever music we like. | 0:24:22 | 0:24:26 | |
We've got that freedom. | 0:24:29 | 0:24:30 | |
Not everyone is so lucky. | 0:24:39 | 0:24:42 | |
Joseph Stalin, dictator of the Soviet Union. | 0:24:42 | 0:24:46 | |
From the 1930s, for over two decades, the Russian composer | 0:24:46 | 0:24:49 | |
Dmitri Shostakovich lived in fear of this man. | 0:24:49 | 0:24:53 | |
Stalin decided what music his people should listen to. | 0:24:53 | 0:24:57 | |
Everyone was watched. | 0:24:57 | 0:24:59 | |
Any composer who didn't conform risked joining the millions of other | 0:24:59 | 0:25:03 | |
people that Stalin had thrown into prison or unmarked graves. | 0:25:03 | 0:25:08 | |
"If they cut off both my hands, | 0:25:09 | 0:25:11 | |
"I will compose with the pen between my teeth." | 0:25:11 | 0:25:16 | |
That was Shostakovich's answer. | 0:25:16 | 0:25:20 | |
And so he kept on composing. | 0:25:20 | 0:25:22 | |
And when his music was praised, he was a national hero. | 0:25:22 | 0:25:25 | |
When it offended Stalin's regime, he slept with his bags packed, | 0:25:25 | 0:25:29 | |
waiting for the secret police to knock at his door. | 0:25:29 | 0:25:32 | |
In 1953, Stalin died. | 0:25:34 | 0:25:36 | |
And Shostakovich was able to finish this piece, his 10th Symphony. | 0:25:36 | 0:25:41 | |
And to me it feels as if the music and emotion that had | 0:25:43 | 0:25:46 | |
been hidden away in his head suddenly came flooding out. | 0:25:46 | 0:25:50 | |
Some people think this is actually an orchestral portrait | 0:25:52 | 0:25:55 | |
of Stalin himself. | 0:25:55 | 0:25:57 | |
But whatever it is, it sounds full of panic and terror and anger. | 0:25:57 | 0:26:04 | |
What can you hear? | 0:26:04 | 0:26:05 | |
Is it the knock on the door in the dead of night, | 0:26:05 | 0:26:07 | |
knives sharpening, bursts of gunfire? | 0:26:07 | 0:26:09 | |
Hearts racing faster? | 0:26:09 | 0:26:11 | |
Stalin's death didn't bring complete musical freedom for Shostakovich. | 0:26:13 | 0:26:18 | |
But it was a moment in his life where he could say what he wanted | 0:26:18 | 0:26:23 | |
out loud in music. | 0:26:23 | 0:26:24 | |
MUSIC: Symphony No. 10 (2nd movement) by Shostakovich | 0:26:25 | 0:26:30 | |
In the middle of all the music we listen to, sometimes there's | 0:29:27 | 0:29:30 | |
one band, one singer, one composer that cuts through. | 0:29:30 | 0:29:35 | |
One musical voice that seems to be speaking just to us. | 0:29:35 | 0:29:38 | |
MUSIC: Toccata And Fugue In Dmin by Bach | 0:29:38 | 0:29:42 | |
When I was about six years old, my dad bought a new record player. | 0:30:01 | 0:30:05 | |
And it came with a free record. | 0:30:05 | 0:30:07 | |
It was an album of organ music by Johann Sebastian Bach. | 0:30:07 | 0:30:12 | |
I must have listened to it hundreds of times. | 0:30:12 | 0:30:15 | |
To be honest, it was the only record we had for a while. | 0:30:15 | 0:30:18 | |
And I sort of fell in love with it. | 0:30:18 | 0:30:21 | |
I went on to learn the piano, and the flute and the saxophone, | 0:30:21 | 0:30:24 | |
and eventually the harpsichord. I studied music at university. | 0:30:24 | 0:30:29 | |
I suppose today I can't really imagine my life without | 0:30:29 | 0:30:33 | |
a classical music soundtrack. | 0:30:33 | 0:30:35 | |
And that's all down to a free Bach record. | 0:30:35 | 0:30:37 | |
This piece is probably one of Bach's most famous. | 0:30:43 | 0:30:47 | |
It was written about 1706. And he, of course, | 0:30:47 | 0:30:50 | |
would not have known that would eventually be used in gaming or... | 0:30:50 | 0:30:53 | |
TINNY TOCCATA AND FUGUE RINGTONE | 0:30:53 | 0:30:55 | |
Or as a ringtone. | 0:30:55 | 0:30:58 | |
Or indeed as a form of shorthand meaning, | 0:30:58 | 0:31:00 | |
something well spooky's about to happen. | 0:31:00 | 0:31:03 | |
That's probably for the best. | 0:31:03 | 0:31:05 | |
It's called Toccata And Fugue In D Minor, | 0:31:08 | 0:31:11 | |
and it's a piece of two parts. | 0:31:11 | 0:31:13 | |
The first part, the toccata, | 0:31:13 | 0:31:15 | |
is basically an opportunity for the musician to show off a bit. | 0:31:15 | 0:31:19 | |
To grab everyone's attention, to get them | 0:31:22 | 0:31:24 | |
ready for this amazing ride ahead. | 0:31:24 | 0:31:27 | |
Hold on a minute. | 0:31:27 | 0:31:28 | |
I reckon the orchestra's itching for a go now. | 0:31:29 | 0:31:32 | |
MUSIC: Toccata And Fugue in Dmin | 0:31:32 | 0:31:34 | |
That was the section of the toccata, but now we come to part two - | 0:32:56 | 0:33:00 | |
the fugue. | 0:33:00 | 0:33:02 | |
Do you mind if I have a go? | 0:33:02 | 0:33:03 | |
Yeah, sure. Be my guest, please. | 0:33:03 | 0:33:07 | |
Cheers. | 0:33:07 | 0:33:08 | |
A fugue is like a sort of perfect musical pattern. | 0:33:08 | 0:33:12 | |
Bach would start off with a fairly straightforward, | 0:33:12 | 0:33:14 | |
simple little melody. | 0:33:14 | 0:33:16 | |
HE PLAYS | 0:33:16 | 0:33:19 | |
Like that one. Then he might repeat it, higher up. | 0:33:22 | 0:33:25 | |
Or maybe lower. | 0:33:32 | 0:33:34 | |
And then he might turn it upside down, | 0:33:36 | 0:33:38 | |
break it up into fragments, and so on. | 0:33:38 | 0:33:40 | |
But gradually, this incredible piece of music emerges. | 0:33:40 | 0:33:44 | |
Bach's brain could work out these patterns better than any | 0:33:44 | 0:33:48 | |
brain before or since. Apparently he could improvise this stuff. | 0:33:48 | 0:33:52 | |
He could make it up as he went along. | 0:33:52 | 0:33:54 | |
But remarkably, this never created chaos, | 0:33:56 | 0:33:59 | |
it just created incredible, beautiful music. | 0:33:59 | 0:34:03 | |
And in fact, the word fugue means flight in Italian. | 0:34:06 | 0:34:10 | |
And that's what this music seems to do, to me. | 0:34:10 | 0:34:12 | |
It does take flight, it takes off on a journey, an incredible one. | 0:34:12 | 0:34:17 | |
And it's a different journey every single time you listen to it. | 0:34:17 | 0:34:20 | |
That's what's so amazing about it. | 0:34:20 | 0:34:23 | |
MUSIC: Toccata And Fugue in Dmin | 0:34:23 | 0:34:25 | |
So you might want to stick some Bach on your playlist if life | 0:35:42 | 0:35:45 | |
seems pretty good, or maybe some Wagner if you need an energy boost. | 0:35:45 | 0:35:48 | |
And then, there's other music that can give us time to breathe. | 0:35:50 | 0:35:55 | |
Some space to think, and stop the world for a while. | 0:35:55 | 0:35:58 | |
Do you have those days that have gone wrong? | 0:36:03 | 0:36:05 | |
When you lie back on your bed, put some music on - any music - | 0:36:05 | 0:36:10 | |
and imagine you're just floating away from it all? | 0:36:10 | 0:36:13 | |
MUSIC: The Lark Ascending by Vaughn Williams | 0:36:13 | 0:36:16 | |
On those days, I want to be that lark up there, | 0:36:18 | 0:36:21 | |
belting out a beautiful song, high up in the sky. | 0:36:21 | 0:36:24 | |
And up there, just like when you look down from a plane | 0:36:25 | 0:36:29 | |
or tall building, the world seems different. | 0:36:29 | 0:36:32 | |
We become smaller. Maybe our worries do, too. | 0:36:32 | 0:36:36 | |
An English composer called Ralph Vaughan Williams was | 0:36:41 | 0:36:44 | |
walking along the coast near Margate | 0:36:44 | 0:36:46 | |
when he imagined a violin melody that would capture this feeling, | 0:36:46 | 0:36:50 | |
of a bird singing as it makes its steep, vertical flight. | 0:36:50 | 0:36:53 | |
And he called it, The Lark Ascending. | 0:36:55 | 0:36:57 | |
It was September, 1914. | 0:37:10 | 0:37:12 | |
Britain had just entered the First World War. | 0:37:14 | 0:37:17 | |
And soon, Vaughn Williams joined the army and left for France. | 0:37:17 | 0:37:21 | |
In the trenches during that war, some of the few birds | 0:37:21 | 0:37:24 | |
the soldiers ever saw or heard were skylarks, | 0:37:24 | 0:37:27 | |
flying high over their heads. | 0:37:27 | 0:37:29 | |
That birdsong must have sounded like an escape, freedom, | 0:37:30 | 0:37:35 | |
like a different world they'd left behind. | 0:37:35 | 0:37:38 | |
When he came back from the war, | 0:37:41 | 0:37:42 | |
Vaughan Williams returned to his violin piece with its melody. | 0:37:42 | 0:37:46 | |
Fragile, peaceful, out of reach. Like the bird. | 0:37:46 | 0:37:51 | |
And he created this music. | 0:37:52 | 0:37:54 | |
Music that, for me, really can take you to another place. | 0:37:54 | 0:37:58 | |
Wherever you want that to be. | 0:37:58 | 0:38:00 | |
MUSIC: The Lark Ascending | 0:38:03 | 0:38:05 | |
So, where do musical ideas come from? | 0:42:18 | 0:42:21 | |
Most of us aren't going to get very far staring at a blank screen | 0:42:29 | 0:42:32 | |
or an empty page. | 0:42:32 | 0:42:33 | |
But ideas, inspiration, can come from sounds around us. | 0:42:36 | 0:42:41 | |
Memories, stories, poems, photos - | 0:42:41 | 0:42:45 | |
or a picture. | 0:42:45 | 0:42:47 | |
Like the image of a dark, turbulent wave. | 0:42:47 | 0:42:49 | |
That's what composer Anna Clyne saw in her head back in 2012. | 0:42:50 | 0:42:55 | |
And the first thing she did was to paint it. | 0:42:55 | 0:42:57 | |
Then she went over to her piano and started to improvise. | 0:42:57 | 0:43:00 | |
Notes, melodies, rhythms - any music that the image made her think of. | 0:43:02 | 0:43:07 | |
To do this you don't need to know how to read or write music, | 0:43:07 | 0:43:10 | |
you just need to want to make it. | 0:43:10 | 0:43:13 | |
Anna's music grew, the images grew. | 0:43:13 | 0:43:15 | |
Both took on a life of their own. And soon, a Night Ferry emerged. | 0:43:15 | 0:43:20 | |
Charcoal, ribbon, gauze, illustrations - | 0:43:25 | 0:43:27 | |
all went on to the painting. | 0:43:27 | 0:43:29 | |
The ice was here, the ice was there | 0:43:29 | 0:43:33 | |
The ice was all around | 0:43:33 | 0:43:35 | |
Scratched in pencil or thick paint, and lines from poems like | 0:43:35 | 0:43:39 | |
The Rime Of The Ancient Mariner and the tale of his cursed ship. | 0:43:39 | 0:43:42 | |
It cracked and growled | 0:43:42 | 0:43:44 | |
And roared and howled | 0:43:44 | 0:43:45 | |
Like noises in a swound. | 0:43:45 | 0:43:47 | |
You know, our minds are mysterious places. | 0:43:49 | 0:43:53 | |
Where our moods can suddenly turn from light and clear | 0:43:53 | 0:43:56 | |
to dark and stormy. | 0:43:56 | 0:43:58 | |
And that's what Night Ferry is, the journey of a ship, | 0:43:58 | 0:44:02 | |
struggling through the night. | 0:44:02 | 0:44:03 | |
But also a journey through the whirlwind of our own minds! | 0:44:03 | 0:44:08 | |
And that whole musical voyage started in Anna's mind | 0:44:08 | 0:44:11 | |
with one single idea, one image. | 0:44:11 | 0:44:14 | |
One wave. | 0:44:14 | 0:44:15 | |
MUSIC: Night Ferry by Anna Clyne | 0:44:17 | 0:44:20 | |
Today, film and games are jam-packed with orchestral music. | 0:46:37 | 0:46:42 | |
You know why? | 0:46:42 | 0:46:43 | |
Because you name any emotion, any feeling, | 0:46:44 | 0:46:47 | |
and the orchestra can create it in music. | 0:46:47 | 0:46:50 | |
From heartache and pain, to fear and dread. | 0:46:50 | 0:46:53 | |
MUSIC: Dies Irae by Verdi | 0:46:56 | 0:46:59 | |
Welcome to the end of the world. | 0:47:00 | 0:47:02 | |
This is what it sounds like. | 0:47:07 | 0:47:09 | |
The sky seems to be ripping open with the sound of those drums. | 0:47:09 | 0:47:13 | |
And those voices. | 0:47:13 | 0:47:15 | |
I can't seem to get them out of my head! | 0:47:15 | 0:47:17 | |
They're singing, dies irae. | 0:47:21 | 0:47:23 | |
That's Latin for, day of judgement. | 0:47:23 | 0:47:26 | |
And they sing it over and over and over again. | 0:47:26 | 0:47:29 | |
It isn't a question, it's a statement. | 0:47:29 | 0:47:32 | |
Life IS over. | 0:47:32 | 0:47:34 | |
It's like disaster movie music. An orchestral storm, | 0:47:37 | 0:47:41 | |
destroying everything in its path. | 0:47:41 | 0:47:43 | |
Including me! | 0:47:43 | 0:47:44 | |
That's because the day of judgement, according to some people, | 0:47:48 | 0:47:51 | |
is the time when everyone that's ever lived | 0:47:51 | 0:47:53 | |
will be brought before the throne of God. | 0:47:53 | 0:47:55 | |
They're summoned by a fanfare. | 0:47:57 | 0:48:00 | |
A fanfare loud enough to wake the dead. | 0:48:00 | 0:48:02 | |
And then, each person's soul either rises up to heaven | 0:48:02 | 0:48:05 | |
or descends into the fiery pits of hell. | 0:48:05 | 0:48:07 | |
Ahh! | 0:48:07 | 0:48:09 | |
There's the trumpets! It's starting! Oh, no! | 0:48:09 | 0:48:13 | |
This Dies Irae is by Italian composer Giuseppe Verdi, | 0:48:13 | 0:48:16 | |
who knew that for believers listening to his music in 1874, | 0:48:16 | 0:48:20 | |
the day of judgement was no story - | 0:48:20 | 0:48:23 | |
it was real. | 0:48:23 | 0:48:24 | |
So Verdi brings that terrible day to life for his audience. | 0:48:25 | 0:48:28 | |
It's his warning in music of incredible power, | 0:48:28 | 0:48:31 | |
far greater than us. | 0:48:31 | 0:48:34 | |
And right now, it still makes me feel small, fragile. | 0:48:34 | 0:48:38 | |
Scared. | 0:48:38 | 0:48:39 | |
Or maybe, because there's another vast power that we're | 0:48:39 | 0:48:42 | |
all at the mercy of - nature. | 0:48:42 | 0:48:44 | |
And this music sounds to me like a warning - | 0:48:47 | 0:48:49 | |
if we don't respect nature - of our own possible dies irae. | 0:48:49 | 0:48:52 | |
MUSIC: Dies Irae | 0:48:52 | 0:48:55 | |
THEY SING IN LATIN | 0:49:05 | 0:49:07 | |
Music is for listening to. Definitely. | 0:52:59 | 0:53:02 | |
But when I hear music, I don't want to just listen. | 0:53:06 | 0:53:08 | |
MUSIC: Mambo by Bernstein | 0:53:08 | 0:53:11 | |
I want to move! | 0:53:14 | 0:53:16 | |
I want to dance! | 0:53:19 | 0:53:20 | |
A dance can be romantic. It can be frenetic. | 0:53:23 | 0:53:26 | |
It can be a party or a battleground. | 0:53:27 | 0:53:30 | |
Romeo and Juliet, perhaps the most famous lovers of all, | 0:53:32 | 0:53:36 | |
meet during a dance at a masked ball. | 0:53:36 | 0:53:39 | |
A moment of happiness before their two warring families - | 0:53:42 | 0:53:45 | |
the Montagues and the Capulets - tear them apart. | 0:53:45 | 0:53:49 | |
And if you update Shakespeare's tragic love story, what do you get? | 0:53:49 | 0:53:53 | |
West Side Story, a stage musical composed by Leonard Bernstein. | 0:53:55 | 0:54:00 | |
Shakespeare's Verona in Italy becomes New York City in the 1950s, | 0:54:00 | 0:54:05 | |
where a turf war is underway. | 0:54:05 | 0:54:07 | |
The Montagues and the Capulets become two rival street gangs, | 0:54:07 | 0:54:10 | |
the Sharks and the Jets. | 0:54:10 | 0:54:12 | |
And Romeo and Juliet make way for Tony and Maria. | 0:54:14 | 0:54:18 | |
Bernstein had seen Latin dance music when he visited Puerto Rico. | 0:54:19 | 0:54:23 | |
And now he watched as one particular dance craze swept | 0:54:23 | 0:54:27 | |
through New York City in the '50s. | 0:54:27 | 0:54:29 | |
And so for his musical, out went Shakespeare's masked ball, | 0:54:29 | 0:54:32 | |
and in came mambo. | 0:54:32 | 0:54:34 | |
Bernstein's mambo's got fast rhythms packed with semi-quavers | 0:54:37 | 0:54:40 | |
and great melodic lines. | 0:54:40 | 0:54:42 | |
It's full of passion and danger, | 0:54:43 | 0:54:45 | |
just like the emotions on those hot city streets. | 0:54:45 | 0:54:48 | |
It's music to make you move. | 0:54:48 | 0:54:50 | |
MUSIC: Mambo | 0:54:53 | 0:54:55 | |
# Mambo! | 0:55:31 | 0:55:32 | |
# Mambo! # | 0:55:46 | 0:55:47 | |
Ten pieces. Ten! | 0:57:12 | 0:57:13 | |
It's only a start. A few tracks from a playlist. | 0:57:13 | 0:57:16 | |
A MEDLEY OF THE TEN PIECES PLAYS | 0:57:16 | 0:57:19 | |
It's a playlist that's never-ending. | 0:57:28 | 0:57:30 | |
From fugues to film scores... | 0:57:30 | 0:57:32 | |
..fantasylands to dance floors. | 0:57:32 | 0:57:34 | |
The awesome power of the crowd. | 0:57:34 | 0:57:36 | |
A single voice, brave and loud. | 0:57:36 | 0:57:39 | |
From consoles to concertos... | 0:57:39 | 0:57:40 | |
..mambos, big shows... | 0:57:40 | 0:57:43 | |
..jaw-dropping solos... | 0:57:43 | 0:57:45 | |
..heartaches, DJ breaks - what's next? | 0:57:45 | 0:57:48 | |
Who knows? | 0:57:48 | 0:57:50 | |
It's a playlist where classical, orchestral sounds go | 0:57:52 | 0:57:55 | |
side-by-side with pop, hip-hop and whatever else you've got. | 0:57:55 | 0:58:00 | |
Because they're all part of one big, unfolding musical story. | 0:58:00 | 0:58:04 | |
So go hear it, see it, live and online. | 0:58:04 | 0:58:08 | |
Make it, | 0:58:09 | 0:58:11 | |
play it, | 0:58:11 | 0:58:12 | |
and see where the music takes you! | 0:58:12 | 0:58:14 | |
MUSIC: Habanera by Bizet | 0:58:17 | 0:58:21 |