0:00:50 > 0:00:54I draw these things because I really like the physicality of the world.
0:00:54 > 0:00:57I'm not making paper cups or refrigerators.
0:00:57 > 0:01:01I'm making pictures, I'm making paintings, I'm making sculptures.
0:01:01 > 0:01:04I'm making something that isn't anything like the actual thing
0:01:04 > 0:01:06that I picture but I'm making a different object.
0:01:06 > 0:01:09So, we've got two objects here.
0:01:09 > 0:01:11We've got the one I'm making and the one you see
0:01:11 > 0:01:13and they're not the same.
0:01:55 > 0:01:57'It never occurred to me, of course,
0:01:57 > 0:01:59'in the beginning that what I was doing
0:01:59 > 0:02:02'would last me so much of my life,
0:02:02 > 0:02:04'that I would spend so much of my life
0:02:04 > 0:02:10'devoted to doing this strange thing, er, drawing objects.'
0:02:10 > 0:02:13But every time I think there can't possibly be another thing to do,
0:02:13 > 0:02:15I think of another thing to do.
0:02:21 > 0:02:25It's like stake your claim on the whole world, on everything.
0:02:25 > 0:02:28And I'm kind... You know, I have my own way of doing that
0:02:28 > 0:02:31but I'm accounting for every single object on the Earth.
0:02:31 > 0:02:34That's what I'm going to do, I'm going to draw all of them.
0:02:34 > 0:02:37MUSIC: "Allegro from Piano Sonata No.16" by Mozart
0:03:24 > 0:03:26The reason I came to Britain and I was able to come
0:03:26 > 0:03:28was because I was offered a job
0:03:28 > 0:03:31teaching at the Bath Academy of Art,
0:03:31 > 0:03:33which was located in Corsham, in Wiltshire,
0:03:33 > 0:03:35so quite a small town in Wiltshire.
0:03:35 > 0:03:40I had sent slides to about ten British art schools,
0:03:40 > 0:03:42none of which I had never even visited
0:03:42 > 0:03:47and the only one that wrote back was Corsham, and they offered me a job.
0:03:47 > 0:03:51- That's why I came to England. - Did they interview you?- No.
0:03:51 > 0:03:53I was...there was no interview. I arrived on the doorstep.
0:03:53 > 0:03:56They must have been so pleased.
0:03:56 > 0:03:58Well, they were horrified when I actually turned up...
0:03:58 > 0:04:01They were horrified and tried to dissuade me in the end.
0:04:01 > 0:04:03I was stunned because I'd just come from America
0:04:03 > 0:04:08where I had been at Yale, which was the grandest art school in America,
0:04:08 > 0:04:12and here I was in this countryside
0:04:12 > 0:04:16in Britain in a school that was very...
0:04:16 > 0:04:20similar...similarly sophisticated.
0:04:20 > 0:04:23And one of the things that happened when I got to Britain
0:04:23 > 0:04:26was that I discovered
0:04:26 > 0:04:29how incredibly interesting the British art world was
0:04:29 > 0:04:32and how much richer it was in people,
0:04:32 > 0:04:35and in what was going on and the depth of what was going on.
0:04:35 > 0:04:40And I also started to understand that rather than being
0:04:40 > 0:04:44a second-class version of American art,
0:04:44 > 0:04:46it was something quite different.
0:04:51 > 0:04:53ALARM BLARES
0:04:56 > 0:04:58CHATTER
0:05:07 > 0:05:13I first came across your work, I was reading a book one day,
0:05:13 > 0:05:15a sort of history of art book.
0:05:15 > 0:05:22And I got to The Oak Tree and that was a big moment for me.
0:05:22 > 0:05:26Of course, when it's called The Oak Tree,
0:05:26 > 0:05:30you can't possibly think about the fact it's a glass of water, you know.
0:05:31 > 0:05:37And it was a big moment in thinking about art in a more conceptual way.
0:05:44 > 0:05:46I had been working with...
0:05:46 > 0:05:49First I started with making objects myself
0:05:49 > 0:05:51but the first pieces were box pieces.
0:05:52 > 0:05:56Then I moved on to using a mixture of made things
0:05:56 > 0:05:58and ready-made objects.
0:05:58 > 0:06:01I was trying to find a way of making a work
0:06:01 > 0:06:04that in a sense contained its own proof.
0:06:06 > 0:06:09And then, of course, I grew up as a Roman Catholic
0:06:09 > 0:06:13so, of course, I knew about transubstantiation
0:06:13 > 0:06:16and that, in a way, this was key to an understanding of art -
0:06:16 > 0:06:20that you see one thing and it is another.
0:06:33 > 0:06:35After William and I got married,
0:06:35 > 0:06:42his parents suggested that we think about
0:06:42 > 0:06:45getting a portrait of me,
0:06:45 > 0:06:48which I was...
0:06:50 > 0:06:54..I think I was slightly reticent about!
0:06:54 > 0:06:56I found it very difficult to think,
0:06:56 > 0:07:01with our interest in contemporary art and conceptual art,
0:07:01 > 0:07:05to then start thinking about sitting
0:07:05 > 0:07:08for a staid oil painting.
0:07:08 > 0:07:11I wanted the portrait to be
0:07:11 > 0:07:14an interesting work of art,
0:07:14 > 0:07:17as opposed to just a representation.
0:07:21 > 0:07:23I'm very fond of it.
0:07:23 > 0:07:25As fond as you can be...
0:07:27 > 0:07:30..of a portrait of yourself.
0:07:32 > 0:07:35I remember you came in and the two of us sat
0:07:35 > 0:07:37- and watched it for about half an hour.- I know.
0:07:37 > 0:07:39I couldn't take my eyes off it!
0:07:39 > 0:07:41I just thought it was beyond fantastic!
0:07:41 > 0:07:47I opened the door and there I was - illuminated and moving continuously
0:07:47 > 0:07:50and it really wasn't what I was expecting at all.
0:07:52 > 0:07:55And we did, we sat down and watched it for half an hour and then
0:07:55 > 0:07:58you said, "Do you want to change something?"
0:07:58 > 0:08:01And I said no. That was that!
0:08:12 > 0:08:18I think it's very interesting how if you can be bothered to sit
0:08:18 > 0:08:22and watch it for a few minutes, you...
0:08:22 > 0:08:26It says a lot about how you feel about colour
0:08:26 > 0:08:31and when I sort of go red-eyed and angry,
0:08:31 > 0:08:36you really do feel like I'm quite menacing and angry and other times,
0:08:36 > 0:08:42you look incredibly calm and placid and sweet natured and...
0:08:44 > 0:08:46But nothing has changed.
0:08:46 > 0:08:52Nothing. Just the different colours coming in and fading out.
0:09:12 > 0:09:14CLOCK CHIMES
0:09:27 > 0:09:30Let's see.
0:09:30 > 0:09:33This is, I suppose, the last time that I will be able to have a look
0:09:33 > 0:09:36at the drawings before they get framed because the next time
0:09:36 > 0:09:39- when I come they'll all have been... - Absolutely.
0:09:39 > 0:09:41They'll all be framed and they'll be on the wall
0:09:41 > 0:09:43actually in the old Master Drawings Cabinet.
0:09:43 > 0:09:45They'll actually be in place when I see them next.
0:09:45 > 0:09:48OK. Let's have a reminder about what we've got here.
0:09:48 > 0:09:53So, you've got your Romano, there, of Leo X.
0:09:53 > 0:09:57And then you're going into the Northern with the Holbein.
0:10:02 > 0:10:05And I'm glad you chose him because he's not in the best
0:10:05 > 0:10:07of conditions but I still think he works so well.
0:10:07 > 0:10:11I think that's just a wonderful drawing
0:10:11 > 0:10:15and I thought when I first looked at the drawings of these faces,
0:10:15 > 0:10:20although the faces are from so long ago, you recognise half the people.
0:10:20 > 0:10:23- You can see somebody, you see him on the street someplace.- Exactly.
0:10:23 > 0:10:25Yeah. No, completely.
0:10:25 > 0:10:29And then that wonderful character which we will come to in a minute
0:10:29 > 0:10:32- of the shoemaker. Do you remember his face?- Yes. Extraordinary.
0:10:32 > 0:10:36Just fantastic. And then, again, another Pope but this time Julius.
0:10:37 > 0:10:40The other thing that was so wonderful was finding
0:10:40 > 0:10:45that there were drawings, really, from children to old age -
0:10:45 > 0:10:50men and women, people that had youth and people growing older.
0:10:50 > 0:10:53Very, very extraordinary mix.
0:10:53 > 0:10:55Because I never asked you at the time whether that was something
0:10:55 > 0:10:58you are doing consciously or whether it just happened.
0:10:58 > 0:11:03I was very struck by the fact that if I just chose the portrait heads
0:11:03 > 0:11:07that you ended up with a kind of history of a lifetime
0:11:07 > 0:11:09because the drawings tended,
0:11:09 > 0:11:13in the collection, to go from infancy to old age
0:11:13 > 0:11:15and we have got that all reflected in this group.
0:11:15 > 0:11:18And then this is your last one, isn't it?
0:11:18 > 0:11:23Which is just, again, a most wonderful drawing of a child's face.
0:11:26 > 0:11:29- Wicked, as they say. - THEY LAUGH
0:11:33 > 0:11:39Basically, the head was the closest thing to a close-up
0:11:39 > 0:11:43and a close-up is really a kind of modern concept.
0:11:43 > 0:11:45The heads nearly fill the page,
0:11:45 > 0:11:48which pulls in very close to the surface of the paper.
0:11:48 > 0:11:52I think it will give the room a very, very particular ambience.
0:11:56 > 0:12:00These are amazingly closely observed faces.
0:12:00 > 0:12:04Every face has an entirely different character.
0:12:04 > 0:12:07This is drawing on an extremely grand level.
0:12:07 > 0:12:12This is such extraordinary observations in the drawings
0:12:12 > 0:12:15and that seems to always be the key to drawing.
0:12:18 > 0:12:21I thought because I had been using ready-made objects, I thought
0:12:21 > 0:12:25I could find ready-made images of the same things.
0:12:25 > 0:12:27I thought these drawings existed so I went into the world
0:12:27 > 0:12:31to look for them and to my absolute amazement, they don't exist.
0:12:31 > 0:12:33Everybody thinks they already exist but they don't.
0:12:33 > 0:12:36I had to draw them myself because they weren't there.
0:12:38 > 0:12:43I only really draw fabricated, mass-produced objects -
0:12:43 > 0:12:47the objects of everyday life.
0:12:47 > 0:12:51When most of these drawings were made, there were no objects
0:12:51 > 0:12:56in the sense that we have objects because all objects were handmade.
0:12:56 > 0:12:59The closest thing you came to having something mass-produced
0:12:59 > 0:13:03was in pottery, where people made a lot of pots.
0:13:03 > 0:13:07But it wasn't mass production in the sense where we think of it...
0:13:07 > 0:13:10where you have the identical thing made again and again
0:13:10 > 0:13:12and they are distributed around the world.
0:13:12 > 0:13:14They are ubiquitous things.
0:13:14 > 0:13:18And so I wanted the character of my drawings to have the same
0:13:18 > 0:13:24character of neutrality that the objects had and for that,
0:13:24 > 0:13:26I needed to draw in a certain kind of way.
0:13:26 > 0:13:29But I'm still trying to make the same kind of
0:13:29 > 0:13:33close observation of the things and to take things as close
0:13:33 > 0:13:38to what they are as the artists in the Renaissance did.
0:13:38 > 0:13:40And although my drawing,
0:13:40 > 0:13:44because I have taken away the sense of hand inflection
0:13:44 > 0:13:47and personal inflection in the drawing,
0:13:47 > 0:13:53the objects themselves resonate with personal meaning.
0:13:53 > 0:13:58'So that if I draw something like an iPhone, well, you know,
0:13:58 > 0:14:01'an iPhone is a common object and there's an awful lot of them
0:14:01 > 0:14:05'around but when I refer to my phone, it's my phone.
0:14:05 > 0:14:08'You may have an iPhone but that's your phone
0:14:08 > 0:14:11'so it's deeply personal and it's interesting how we'
0:14:11 > 0:14:15personalise these apparently impersonal objects.
0:14:38 > 0:14:41'I do drawings of individual objects.
0:14:41 > 0:14:43'Sometimes, but not always,
0:14:43 > 0:14:46'I bring them together to make another drawing
0:14:46 > 0:14:48'but that drawing is on the computer.
0:14:48 > 0:14:52'In the old days, I used to make slides, transparencies.
0:14:52 > 0:14:55'Now, of course, I use a digital projector.
0:14:55 > 0:14:57'I project the image on the canvas or on the wall.
0:14:57 > 0:15:01'For the wall drawing, I would just project it on the wall
0:15:01 > 0:15:06'and then in the film of me doing the wall drawing,
0:15:06 > 0:15:09'you can see that there's a projection on the wall
0:15:09 > 0:15:13'and that I'm tracing it with tape on the wall.
0:15:13 > 0:15:16'Once I've completed doing the drawing, you take away...
0:15:16 > 0:15:19'obviously, you take away the projection and you have the image.'
0:15:29 > 0:15:32The way I use colour has nothing to do with the way I do the drawing.
0:15:32 > 0:15:35I mean, the drawings are as precisely like the thing
0:15:35 > 0:15:39'as I can make it and the colour is as artificial as I can make it.
0:15:39 > 0:15:42'I can play with the colour in different ways.
0:15:42 > 0:15:46'It is, in a way, subverting the drawing.
0:15:46 > 0:15:48'It's not playing the same game as the drawing.
0:15:48 > 0:15:54'The colour represents all the things about the specificity
0:15:54 > 0:15:57'of objects, about our own relationships with them,
0:15:57 > 0:15:59'our emotions about them, our feelings about them.
0:15:59 > 0:16:03'All these things, to me, are represented in the colour.'
0:16:03 > 0:16:05'The colour is what introduces all of the stuff
0:16:05 > 0:16:08'that the drawing doesn't account for.'
0:16:37 > 0:16:41- There are the scissors. Hannah. - Yes?- Can you see the scissors?
0:16:41 > 0:16:46Originally I had them further away but they are not very big.
0:16:46 > 0:16:51It could definitely go to the left and how much? Like, two feet.
0:16:53 > 0:16:55Yeah, at least.
0:16:59 > 0:17:03The further back you put it, the smaller it gets.
0:17:04 > 0:17:08- Because that looked great coming round that corner.- Did they...
0:17:08 > 0:17:12Have they turned the angle? Didn't we...
0:17:12 > 0:17:14I think it was at more of an angle
0:17:14 > 0:17:17than it is now but I think this looks good.
0:17:26 > 0:17:31I always wanted the light bulb to look like a figure
0:17:31 > 0:17:33reclining by the side of the pond.
0:17:34 > 0:17:40Surprisingly, it does give that sense of a figure. Very nice.
0:17:41 > 0:17:45- It looks like a nude.- That's what...a reclining nude by the...
0:17:45 > 0:17:47A kind of nymph or something by the pond.
0:17:49 > 0:17:52This piece has been before previously
0:17:52 > 0:17:55in the garden at Number 10 Downing Street
0:17:55 > 0:17:57for about six months before it came here.
0:17:59 > 0:18:02- And how did it... - It looks better here...
0:18:02 > 0:18:05in this very, very big landscape, big, complex landscape,
0:18:05 > 0:18:08I had been worried that the pieces would be...
0:18:08 > 0:18:11look very small and they would be very diminished
0:18:11 > 0:18:14by the scale of everything here.
0:18:14 > 0:18:16But actually they look fine
0:18:16 > 0:18:19and it's interesting how the colour
0:18:19 > 0:18:21really picks up in the greenery of the landscape.
0:18:23 > 0:18:25You really see the pieces very clearly
0:18:25 > 0:18:27and you can see them from quite a distance.
0:18:27 > 0:18:30I think cos we've got umbrellas going down the side,
0:18:30 > 0:18:32- it would be better if the heel was on this side.- Do you?
0:18:32 > 0:18:34OK? We just reverse it around.
0:18:34 > 0:18:36Put the orange one where the blue one is, OK?
0:18:36 > 0:18:38Except there should be more distance apart
0:18:38 > 0:18:40cos I don't want to see one through the other.
0:18:40 > 0:18:42And the other thing would be to...
0:18:42 > 0:18:45I think the one that's by the lake, there should be one separate,
0:18:45 > 0:18:47- which would be the blue one. - The blue one.
0:18:47 > 0:18:52Turn it around so its handle is closer to the water.
0:18:52 > 0:18:55I'm going to take the furthest one and we'll do that first and then
0:18:55 > 0:18:58we'll put...the other two are going to come someplace in the foreground.
0:18:58 > 0:19:02- OK.- On top of down there is the tracking that's at the end of it.
0:19:02 > 0:19:04No, that doesn't make any difference. We'll stop before that.
0:19:04 > 0:19:07- Yeah, but I need to be able to get at them.- Oh, OK.
0:19:46 > 0:19:48Amazing operation!
0:19:50 > 0:19:55I had no idea...I had no idea really how complicated it was going to be.
0:20:01 > 0:20:03They look so tiny out there.
0:20:04 > 0:20:07The scale of everything is so enormous.
0:20:08 > 0:20:12I think that looks fine. OK.
0:20:27 > 0:20:30Will you try and make the angle a bit different from that one?
0:20:34 > 0:20:38I mean, the question now is where do we put the purple one?
0:20:38 > 0:20:41- That looks lovely, though.- Yes, beautiful. OK.
0:20:41 > 0:20:45It's absolutely fine. This is where it's going to go. That's excellent.
0:20:45 > 0:20:47- We'll just put the blocks under. - Put the blocks under, fine.
0:20:50 > 0:20:56And the purple one...kind of here.
0:20:56 > 0:20:59Having them with the angles different
0:20:59 > 0:21:01and set back from each other at slightly different angles,
0:21:01 > 0:21:05it all activates the space between them
0:21:05 > 0:21:08and there's so much space here, it's very...
0:21:08 > 0:21:12It's possible to articulate but it's very difficult.
0:21:12 > 0:21:15And, of course, because there's going to be three of them,
0:21:15 > 0:21:18as you're walking they're always shifting in relation to each other.
0:21:18 > 0:21:21There's no... I can stand here and say they're perfect
0:21:21 > 0:21:24but it's going to be completely different five feet away.
0:21:28 > 0:21:30Just like that. Just like that.
0:21:30 > 0:21:33The angle is right. Don't turn it any more.
0:21:33 > 0:21:35Back a little bit. Back.
0:21:35 > 0:21:38Yeah. Like that. Like that. Down.
0:21:41 > 0:21:45That's it. OK. OK.
0:21:45 > 0:21:47It's very, very exciting.
0:21:47 > 0:21:50It's amazing to see them here and the thing that's been particularly
0:21:50 > 0:21:54pleasing here is that the works are transparent,
0:21:54 > 0:21:57they're just a line drawing, really, in space,
0:21:57 > 0:21:59and yet they're holding their own.
0:21:59 > 0:22:02You can read the images from a distance.
0:22:02 > 0:22:07They work here and in a way that I was worried they might not.
0:22:07 > 0:22:11I thought they might be just overwhelmed by the space.
0:22:11 > 0:22:15Thank you very, very much. Yeah. Thank you very, very much. OK.
0:22:15 > 0:22:17The gadget is fantastic with the straps.
0:22:17 > 0:22:20It's perfect because it doesn't hurt the things and they can move...
0:22:20 > 0:22:24- They really move very easily.- Yeah. - It's amazing how quickly you did it.
0:22:24 > 0:22:26I thought we'd never get through it.
0:22:27 > 0:22:30I like very much the idea of making something that,
0:22:30 > 0:22:33making an artwork that exists in a public space.
0:22:33 > 0:22:36I like the idea that it can be very big scale.
0:22:36 > 0:22:37If you want to do things
0:22:37 > 0:22:39on a big scale as an artist, you have to enter
0:22:39 > 0:22:43the world of architecture because that's the enabler of such things.
0:22:43 > 0:22:47I'm very interested in the idea of people finding
0:22:47 > 0:22:50works of art in circumstances which are not in a gallery.
0:22:50 > 0:22:54They are not purposefully going to look at a work of art.
0:22:54 > 0:22:59I've done a work at the Laban dance centre in Deptford,
0:22:59 > 0:23:02where I worked with the architects for a long time on that.
0:23:02 > 0:23:06I've done other ones in the Docklands Light Railway station
0:23:06 > 0:23:09in Woolwich Arsenal.
0:23:09 > 0:23:11I've done something there.
0:23:11 > 0:23:14And the idea is to make something that people engage with
0:23:14 > 0:23:16without self-consciously thinking.
0:23:16 > 0:23:20Most of the people who see it would probably never go to a museum
0:23:20 > 0:23:24but they're in touch with art through what I've done.
0:23:24 > 0:23:27That seems like a very interesting thing to be able to do.
0:24:04 > 0:24:07GENTLE APPLAUSE
0:24:07 > 0:24:09And we are thrilled, of course, naturally,
0:24:09 > 0:24:11and I'm sure you are too,
0:24:11 > 0:24:14that Michael Craig-Martin himself is here and indeed,
0:24:14 > 0:24:17he's going to not only say a few words but take you through
0:24:17 > 0:24:20his amazing three exhibitions.
0:24:20 > 0:24:23When you go around the house, the first thing that you will see
0:24:23 > 0:24:26is the digital portrait that our son and daughter-in-law,
0:24:26 > 0:24:28William and Laura Burlington,
0:24:28 > 0:24:31commissioned as an addition to the permanent collection here
0:24:31 > 0:24:34three or four years ago.
0:24:34 > 0:24:36We said it would be lovely to have an...
0:24:36 > 0:24:38We probably said painting of Laura,
0:24:38 > 0:24:40cos that's what we normally have here.
0:24:40 > 0:24:42And then this wonderful digital object appeared and it's just
0:24:42 > 0:24:45around the corner here of Laura Burlington and we're thrilled.
0:24:45 > 0:24:48It's a real step forward in the collection
0:24:48 > 0:24:51and a great deal more interesting than most...
0:24:51 > 0:24:54- well, virtually all of the... - LAUGHTER DROWNS SPEECH
0:24:54 > 0:24:56..the two-dimensional objects we have on show,
0:24:56 > 0:24:58of which there are a great many.
0:25:01 > 0:25:04Doing an exhibition at Chatsworth, it's not like doing it in a gallery,
0:25:04 > 0:25:06it's not like doing it in a museum.
0:25:06 > 0:25:08Something different happens here
0:25:08 > 0:25:13and part of that that's happened is because this is a family home.
0:25:13 > 0:25:16The Devonshires live here.
0:25:16 > 0:25:19And all the things that are here matter to the family
0:25:19 > 0:25:22and they are interested in contemporary life
0:25:22 > 0:25:25and as the Duke has said to me, he does what his forebears did -
0:25:25 > 0:25:29he collects things and those things are mixed in.
0:25:29 > 0:25:31The modern things that are in the house are not nominal things
0:25:31 > 0:25:35that are in the corner or something, they are integrated everywhere.
0:25:35 > 0:25:37As you will see going through the house,
0:25:37 > 0:25:39they're integrated everywhere
0:25:39 > 0:25:41and this is an amazingly unique thing.
0:25:57 > 0:26:02What I wanted to do was to recognise something that I saw,
0:26:02 > 0:26:04which was that the normal plinths that were here
0:26:04 > 0:26:06are incredibly over decorated and 19th-century
0:26:06 > 0:26:09elaborate objects in themselves
0:26:09 > 0:26:14and to me, they distracted from my ability to look at the sculptures.
0:26:15 > 0:26:19The pink plinths are to eliminate visual information
0:26:19 > 0:26:21in order to concentrate your attention someplace.
0:26:21 > 0:26:25As a matter of fact, concentrate your attention in the sculptures,
0:26:25 > 0:26:27which is where it should be.
0:26:34 > 0:26:37MUSIC: "Overture from Water Music Suite No.1 in F Major" by Handel
0:27:00 > 0:27:05If you go back to, say, the books that children are taught words in,
0:27:05 > 0:27:10you will have a picture of a ball and then there is the word "ball"
0:27:10 > 0:27:14and the reason for the book is to teach the child, you know,
0:27:14 > 0:27:16the word ball but it is based on the idea they already
0:27:16 > 0:27:19know what the picture of the ball is because there isn't a ball there.
0:27:19 > 0:27:22There's a picture of the ball.
0:27:22 > 0:27:26So the child already has learned how to read pictures of things
0:27:26 > 0:27:29as though they were the things.
0:27:29 > 0:27:31Now, we do that so early we're probably doing that
0:27:31 > 0:27:34at about two or three months.
0:27:34 > 0:27:37That is the foundation of language, not the words.
0:27:37 > 0:27:40It's the pictures of things that are the basis of our understanding,
0:27:40 > 0:27:44of our way of formulating how do we get what's around us,
0:27:44 > 0:27:46how do we understand.
0:27:46 > 0:27:49MUSIC: "Overture from Water Music Suite No.1 in F Major" by Handel