0:00:03 > 0:00:07'Music, one of the most dazzling fruits of human civilisation,
0:00:07 > 0:00:11'is, today, a massive global phenomenon.'
0:00:11 > 0:00:15And so it's hard for us to imagine a time, when, in centuries gone by,
0:00:15 > 0:00:18people could go weeks without hearing any music at all.
0:00:18 > 0:00:20Even in the 19th century,
0:00:20 > 0:00:23you might hear your favourite symphony four or five times
0:00:23 > 0:00:26in your whole lifetime, in the days before music could be recorded.
0:00:31 > 0:00:35'The story of music, successive waves of discoveries, breakthroughs
0:00:35 > 0:00:38'and inventions, is an ongoing process.'
0:00:39 > 0:00:43The next great leap forward may take place in a backstreet of Beijing
0:00:43 > 0:00:46or upstairs in a pub in South Shields.
0:00:46 > 0:00:48ORCHESTRA PLAYS: "Poker Face" by Lady Gaga
0:00:56 > 0:00:58# Can't read my Can't read my
0:00:58 > 0:01:02# No he can't read my poker face
0:01:02 > 0:01:04# She's got to love nobody. #
0:01:04 > 0:01:06Whatever music you're into,
0:01:06 > 0:01:12Monteverdi or Mantovani, Mozart or Motown, Machaut or mash-up,
0:01:12 > 0:01:15the techniques it relies on didn't happen by accident.
0:01:15 > 0:01:18Someone, somewhere, thought of them first.
0:01:26 > 0:01:29Music can make us weep or make us dance.
0:01:29 > 0:01:32It's reflected the times in which it was written.
0:01:32 > 0:01:35It has delighted, challenged, comforted and excited us.
0:01:37 > 0:01:40In this series, I'm tracing the story of music from scratch.
0:01:40 > 0:01:43To follow it on its miraculous journey, there'll be no need
0:01:43 > 0:01:46for misleading jargon or fancy labels.
0:01:51 > 0:01:55Terms like Baroque, Impressionism or Nationalism
0:01:55 > 0:01:56are best put to one side.
0:01:56 > 0:02:01Instead, try to imagine how revolutionary and how exhilarating
0:02:01 > 0:02:04many of the innovations we take for granted today
0:02:04 > 0:02:06were to people at the time.
0:02:06 > 0:02:10There are a million ways of telling the story of music. This is mine.
0:02:26 > 0:02:29MUSIC: "Arrival Of The Queen Of Sheba by Handel
0:02:36 > 0:02:42The years 1650 to 1750 were an age of invention and rapid innovation.
0:02:47 > 0:02:50Great discoveries were made in science and in music.
0:02:50 > 0:02:54Musical structures were transformed in the hands of composers
0:02:54 > 0:02:55like Handel and Bach.
0:03:01 > 0:03:06This period also saw the rise and rise of purely instrumental music,
0:03:06 > 0:03:09and the birth of what became the modern orchestra.
0:03:11 > 0:03:14It was an age of transition where music blossomed
0:03:14 > 0:03:17from being a private affair to a public spectacle.
0:03:23 > 0:03:26Small wonder that the music of this age of invention
0:03:26 > 0:03:30is still staggeringly popular in our own 21st century,
0:03:30 > 0:03:34from the shores of Tristan da Cunha, to the concert halls of Beijing.
0:03:41 > 0:03:43We live in a technological age,
0:03:43 > 0:03:45so we can identify with what it was like
0:03:45 > 0:03:47to live in the late 17th century,
0:03:47 > 0:03:51when innovations were also coming thick and fast.
0:03:51 > 0:03:55And to understand our music today, we need to go back to a time
0:03:55 > 0:03:59when many of its now-familiar components simply didn't exist.
0:04:04 > 0:04:07Imagine a time when leaping from this chord...
0:04:07 > 0:04:09to this chord...
0:04:09 > 0:04:11was a painful experience, or from this one...
0:04:13 > 0:04:14..to this one...
0:04:15 > 0:04:17Imagine a time when an oboe and a trumpet
0:04:17 > 0:04:20struggled to play the same tune together.
0:04:20 > 0:04:22Imagine a time when no-one thought of stringing together
0:04:22 > 0:04:26a chain of chords in a pleasing sequence,
0:04:26 > 0:04:28like the one that begins this song by Keane.
0:04:28 > 0:04:31HOWARD PLAYS "Somewhere Only We Know" by Keane
0:04:39 > 0:04:43# I walked across an empty land
0:04:44 > 0:04:49# I knew the pathway Like the back of my hand... #
0:04:50 > 0:04:53What makes so much of the music we enjoy today
0:04:53 > 0:04:56sound the way it does is a series of discoveries
0:04:56 > 0:05:01that burst into life in the 17th and early 18th centuries.
0:05:01 > 0:05:04Laws governing the use of chords, which chords you could use
0:05:04 > 0:05:08and what instruments you could play them on all slid into place,
0:05:08 > 0:05:11like the parts of a magical and intricate machine.
0:05:12 > 0:05:16People of the period were obsessed with the interplay of cog and wheel,
0:05:16 > 0:05:18the laws of motion and gravity
0:05:18 > 0:05:22and the understanding of the dimension of time itself.
0:05:22 > 0:05:26No wonder it was a period that saw great advances in clock making.
0:05:41 > 0:05:45Listen to the music of this period and you hear the ticking of clocks,
0:05:45 > 0:05:48the perfectly calibrated whirring and spinning of cogs,
0:05:48 > 0:05:52the turning of wheels and the to and fro of pendulums.
0:06:07 > 0:06:11The most striking thing about this age of invention is how the
0:06:11 > 0:06:15exhilarating speed of scientific investigation
0:06:15 > 0:06:19was reflected in constant experiment and innovation in music.
0:06:21 > 0:06:24In the 100 years between 1650 and 1750,
0:06:24 > 0:06:27music underwent a massive upgrade.
0:06:27 > 0:06:28It went from this...
0:06:34 > 0:06:35..to this.
0:06:40 > 0:06:43Though nowadays it includes instruments of all shapes,
0:06:43 > 0:06:44sizes and types,
0:06:44 > 0:06:48the orchestra grew from just one leg-of-ham-sized package.
0:07:00 > 0:07:03A folk fiddle version of the violin had been around for some time,
0:07:03 > 0:07:06but the more sophisticated type we recognise today
0:07:06 > 0:07:11began its journey in Italian workshops in the late 16th century,
0:07:11 > 0:07:15only really coming in to its own as leader of the instrumental pack
0:07:15 > 0:07:17in the following century.
0:07:33 > 0:07:35The violin's rise went hand-in-glove
0:07:35 > 0:07:39with that of the extravagant absolute Kings of France,
0:07:39 > 0:07:44Louis XIII and XIV, who brought in Italian experts to play
0:07:44 > 0:07:46for their flamboyant royal ballets.
0:07:49 > 0:07:53Louis XIV, the Sun King, was a passionate fan of the ballet,
0:07:53 > 0:07:56even giving himself starring roles in them,
0:07:56 > 0:08:00no doubt to gasps of Gallic delight from the assembled courtiers.
0:08:02 > 0:08:05The ballets were on a fantastic scale,
0:08:05 > 0:08:08often performed in palace halls or outdoors,
0:08:08 > 0:08:12so the bright, edgy sound of the violin was just the ticket
0:08:12 > 0:08:13to fill the space.
0:08:14 > 0:08:18In fact, not just one violin, but loads of them.
0:08:18 > 0:08:22One violin good, 24 violins better.
0:08:30 > 0:08:35You might have 10 or 12 or even 24 violins playing the same tune.
0:08:35 > 0:08:39Similarly, when they started adding in larger, deeper-toned models
0:08:39 > 0:08:42of the violin family, like violas and cellos,
0:08:42 > 0:08:45they were also grouped together to play the same musical line.
0:08:45 > 0:08:49This, then, was the beginning of the modern orchestra.
0:09:08 > 0:09:12The musician in charge of the royal violin band for over 30 years
0:09:12 > 0:09:14was Jean-Baptiste Lully,
0:09:14 > 0:09:17who created a thicker, grander ensemble style
0:09:17 > 0:09:20especially for this beefed-up ensemble.
0:09:42 > 0:09:44There was another important innovation
0:09:44 > 0:09:46for which dance was responsible.
0:09:46 > 0:09:51Louis XIV's long colourful ballets would begin with a self-contained
0:09:51 > 0:09:53instrumental introduction, or opening,
0:09:53 > 0:09:56the French word for which is overture.
0:09:56 > 0:09:58The Italians called it Sinfonia.
0:10:01 > 0:10:05These overtures were soon borrowed by opera, too.
0:10:05 > 0:10:09They then began to develop into longer and longer orchestral pieces,
0:10:09 > 0:10:11eventually becoming the symphony.
0:10:23 > 0:10:27The symphony's basic structure was also to come from dance.
0:10:28 > 0:10:33Sections of different dance music, pavannes, sarabandes, gigues etc,
0:10:33 > 0:10:37began to be gathered together into suites, often in groups of three.
0:10:37 > 0:10:40That's right, the three-piece suite was actually invented
0:10:40 > 0:10:41by 17th century musicians.
0:10:46 > 0:10:50But the idea of linked music at different speeds came to dominate
0:10:50 > 0:10:53the symphony, and did so until the end of the 19th century.
0:11:04 > 0:11:06In the late 17th century, another crucial part
0:11:06 > 0:11:09of the musical tool-kit was put into place.
0:11:09 > 0:11:12The composer who first introduced many of the innovations
0:11:12 > 0:11:15that Vivaldi, Bach and Handel built on,
0:11:15 > 0:11:20and which we now take for granted, was Arcangelo Corelli.
0:11:20 > 0:11:23Corelli was the first violin virtuoso,
0:11:23 > 0:11:25and he built on his love of the violin
0:11:25 > 0:11:28an idea that took off spectacularly.
0:11:28 > 0:11:31He gathered stringed instruments together into groups
0:11:31 > 0:11:34and created for them a new form, the concerto.
0:11:37 > 0:11:38Now, a concerto,
0:11:38 > 0:11:42where a small group of players alternates with a larger group,
0:11:42 > 0:11:45makes its impact by contrasting loud and soft passages,
0:11:45 > 0:11:50like the juxtaposition of light and shade, chiaroscuro, in painting.
0:12:15 > 0:12:19Corelli's innovation was called the concerto grosso,
0:12:19 > 0:12:21literally the big concert,
0:12:21 > 0:12:24and in it he explored the contrast between a small group,
0:12:24 > 0:12:29just two violins and a cello, called concertino, and a bigger group
0:12:29 > 0:12:34of everyone else called the ripieno, meaning the stuffing.
0:12:50 > 0:12:55Every composer in Italy now had a stab at writing concerti grossi.
0:12:55 > 0:12:57One young Venetian admirer of Corelli
0:12:57 > 0:13:01was to make the concerto as famous as pizza.
0:13:01 > 0:13:03His name was Antonio Vivaldi.
0:13:05 > 0:13:09Vivaldi took the big group, little group idea one step further,
0:13:09 > 0:13:14casting a charismatic solo violin against the whole ensemble.
0:13:14 > 0:13:18The solo concerto announced its arrival on the musical stage,
0:13:18 > 0:13:20with a set of pieces that were to become,
0:13:20 > 0:13:24in the 20th century, deservedly ubiquitous.
0:14:34 > 0:14:39Vivaldi's concertos introduced a sense of drama and virtuosity
0:14:39 > 0:14:41that took his contemporaries' breath away.
0:14:41 > 0:14:45In effect, he was turning his violinists and cellists into divas,
0:14:45 > 0:14:47to match the opera stars of the day.
0:14:49 > 0:14:51What makes Vivaldi's music so exhilarating
0:14:51 > 0:14:54is its sense of forward momentum.
0:14:54 > 0:14:58How this was achieved was in itself a giant leap forward.
0:14:59 > 0:15:02It's all about the movement of chords,
0:15:02 > 0:15:05and it's one of the most fun things in all music.
0:15:05 > 0:15:07Whatever you're playing, just having one chord
0:15:07 > 0:15:11after another in a random succession is not really very appealing.
0:15:16 > 0:15:18Which is why hardly anyone ever does it.
0:15:18 > 0:15:22So how do you decide how to string chords together in patterns
0:15:22 > 0:15:24that don't sound like random twaddle?
0:15:25 > 0:15:28In the 17th century, by experimenting with chains
0:15:28 > 0:15:32of certain chords in a sequence, composers stumbled across a concept
0:15:32 > 0:15:36students of music call harmonic progression,
0:15:36 > 0:15:39but could just have easily be described as musical gravity.
0:15:47 > 0:15:50The laws governing actual gravity had been formulated
0:15:50 > 0:15:53in the late 17th century by Sir Isaac Newton.
0:15:53 > 0:15:56Just as he revealed the inner workings of the universe,
0:15:56 > 0:15:59so too musicians, at the same time,
0:15:59 > 0:16:02worked out the inner gravity of music.
0:16:02 > 0:16:05They made the important discovery that some chords
0:16:05 > 0:16:07have an attraction to other chords.
0:16:09 > 0:16:13So this chord, known to every guitarist as G7,
0:16:13 > 0:16:16is drawn magnetically towards the chord C.
0:16:17 > 0:16:20To put it another way, chord five yearns for chord one,
0:16:20 > 0:16:23especially when it's corrupted by the 7th note.
0:16:23 > 0:16:25Here's chord five,
0:16:25 > 0:16:28and here it is with the corrupting 7th note,
0:16:28 > 0:16:30and here is where it wants now to go.
0:16:31 > 0:16:33The same law of magnetism
0:16:33 > 0:16:37applies to every key family, no matter which one you chose,
0:16:37 > 0:16:38so A flat 7...
0:16:39 > 0:16:41..leads to D flat.
0:16:41 > 0:16:43B7...
0:16:43 > 0:16:44leads to E.
0:16:44 > 0:16:46F7...
0:16:46 > 0:16:47leads to B flat.
0:16:47 > 0:16:49And so on.
0:16:49 > 0:16:51In the 1600s, musicians became obsessed
0:16:51 > 0:16:53with these laws of attraction.
0:16:53 > 0:16:56Composers found that stringing sequences of chords together
0:16:56 > 0:16:59to trigger this attraction drove the music along.
0:17:01 > 0:17:05A master of this technique was English composer Henry Purcell.
0:17:05 > 0:17:07Born just around the corner from Westminster Abbey,
0:17:07 > 0:17:11where he later worked, Purcell survived the plague
0:17:11 > 0:17:12and the Great Fire of London,
0:17:12 > 0:17:16so he knew a thing or two about moving on.
0:17:16 > 0:17:22His music makes creating imaginative chains of chords look effortless.
0:17:22 > 0:17:25All he needed was a short sequence that repeated itself a number
0:17:25 > 0:17:29of times and he'd constructed for himself a whole song.
0:17:29 > 0:17:32In his Evening Hymn, published in 1688,
0:17:32 > 0:17:35he sets up a simple sequence of chords.
0:17:48 > 0:17:52This sequence he then repeats five times, followed by a middle bit
0:17:52 > 0:17:55where he has a second sequence, then he returns to his original chord
0:17:55 > 0:17:59sequence for another 13 times, to finish the song off.
0:17:59 > 0:18:03The amazing thing is you don't get bored with the sequence,
0:18:03 > 0:18:04despite its repetition.
0:18:04 > 0:18:09That's because Purcell overlays onto it a ravishingly beautiful melody
0:18:09 > 0:18:12that follows its own meandering path across the top.
0:18:14 > 0:18:21# Now, now that the sun
0:18:21 > 0:18:25# Hath veil'd his light
0:18:25 > 0:18:31# And bid the world good night
0:18:31 > 0:18:35# To the soft bed
0:18:35 > 0:18:38# To the soft
0:18:38 > 0:18:42# The soft bed
0:18:42 > 0:18:45# My body I dispose
0:18:45 > 0:18:48# But where
0:18:48 > 0:18:53# Where shall my soul repose?
0:18:53 > 0:18:56# Dear, dear God. #
0:18:56 > 0:19:00Look at this painting by Vermeer, which was finished in 1664.
0:19:00 > 0:19:04At first sight, the colours appear to be vivid and well-defined.
0:19:04 > 0:19:08But look closer and we discover that Vermeer creates this effect
0:19:08 > 0:19:14by layering colour upon colour, each subtly blending into the next.
0:19:14 > 0:19:18This melding of colours is like the way harmony works in music.
0:19:18 > 0:19:23Notes are laid on top of each other, to make constantly shifting chords.
0:19:23 > 0:19:26# ..praise the mercy
0:19:26 > 0:19:31# That prolongs thy days. #
0:19:38 > 0:19:41The chord progression in Purcell's Evening Hymn was to pop up
0:19:41 > 0:19:44in countless other pieces by other composers
0:19:44 > 0:19:45in the decades that followed.
0:19:45 > 0:19:50Indeed, composers went back to the same few archetypes time and again.
0:19:50 > 0:19:53The most popular sequence by far even had its own name,
0:19:53 > 0:19:55the circle of fifths.
0:19:55 > 0:19:59This sequence used the seventh note to trigger chord after chord
0:19:59 > 0:20:02to jump ship from chord five to chord one.
0:20:02 > 0:20:04On a piano keyboard you could even make a circle of fifths
0:20:04 > 0:20:08include every note and chord there is, like this.
0:20:08 > 0:20:11Starting on B, I add the seductive seventh,
0:20:11 > 0:20:12to take me to E.
0:20:12 > 0:20:15I add the seventh, to take me to A,
0:20:15 > 0:20:16and so on.
0:20:29 > 0:20:32Arriving back where I started on B.
0:20:32 > 0:20:35A chain of 10 moves like that would be excessive,
0:20:35 > 0:20:37and, in fact, not possible on the keyboard instruments
0:20:37 > 0:20:39of Corelli's time.
0:20:39 > 0:20:42But he, and all his colleagues, would happily string
0:20:42 > 0:20:45a sequence of three or four or five moves together.
0:20:45 > 0:20:49Here is the circle of fifths in a Christmas concerto by Corelli.
0:21:09 > 0:21:11Here's the same thing in a piece by Vivaldi.
0:21:19 > 0:21:21And again, in Handel.
0:21:29 > 0:21:31What may surprise you is that the dozen or so
0:21:31 > 0:21:36favourite chord sequences beloved of composers around 1700,
0:21:36 > 0:21:38are still the top dozen harmonic sequences
0:21:38 > 0:21:41mined by composers of all styles today.
0:21:41 > 0:21:44Here's just one example, a sequence that evolves
0:21:44 > 0:21:49a downward stepping bass progressing from chord one to chord five.
0:21:49 > 0:21:52MUSIC: "Air On The G String" by JS Bach
0:22:02 > 0:22:05MUSIC: "A Whiter Shade Of Pale" by Procul Harum
0:22:05 > 0:22:09# We skipped the light fandango
0:22:11 > 0:22:15# Turned cartwheels 'cross the floor... #
0:22:16 > 0:22:19MUSIC: "Go Now" by The Moody Blues
0:22:19 > 0:22:20# Go now
0:22:20 > 0:22:23# Go now, go now
0:22:23 > 0:22:25# Go now. #
0:22:26 > 0:22:28MUSIC: "No Woman, No Cry" by Bob Marley
0:22:28 > 0:22:31# No woman, no cry
0:22:33 > 0:22:38# No woman, no cry. #
0:22:38 > 0:22:39MUSIC: "Piano Man" by Billy Joel
0:22:39 > 0:22:42# Sing us a song You're the piano man
0:22:42 > 0:22:45# Sing us a song tonight
0:22:45 > 0:22:49# Well, we're all in the mood For a melody
0:22:49 > 0:22:52# And you've got us Feelin' all right. #
0:23:00 > 0:23:04The magic of these evergreen chord sequences wasn't lost on the 17th
0:23:04 > 0:23:07and 18th century composers who discovered them.
0:23:09 > 0:23:12Before long, they were able to construct whole sections of music
0:23:12 > 0:23:15without a melody at all.
0:23:15 > 0:23:18Once again, it was Vivaldi who set the gold standard.
0:23:20 > 0:23:23In the opening of one of the concertos in his best-selling
0:23:23 > 0:23:26collection published in 1711,
0:23:26 > 0:23:29unashamedly labelled L'estro armonico,
0:23:29 > 0:23:32the inspiration of harmony, Vivaldi takes us
0:23:32 > 0:23:36on a gripping suspenseful journey through chords alone.
0:24:13 > 0:24:16Vivaldi's music was in demand all over Europe,
0:24:16 > 0:24:18and he often conducted it in person,
0:24:18 > 0:24:20to great acclaim in the major cities.
0:24:25 > 0:24:30Indeed, the years from 1600 to 1700 had been completely dominated
0:24:30 > 0:24:35by Italian taste, expertise, sensuality and flair.
0:24:44 > 0:24:48Along with Corelli and Vivaldi, practically all the other composers
0:24:48 > 0:24:51who dominated the 1600s were Italian.
0:24:51 > 0:24:53What's more, they all had names ending in I.
0:24:53 > 0:24:58Vivaldi, Corelli, Albinoni, Monteverdi, Cavalli,
0:24:58 > 0:25:02Bonnoncini, Steffani, Vitali, Manelli,
0:25:02 > 0:25:06Torelli, Locatelli, Valentini, and the brothers Scarlatti.
0:25:10 > 0:25:13But then the musical world began to tilt on its axis,
0:25:13 > 0:25:17and Italy began to be eclipsed in the musical firmament.
0:25:17 > 0:25:21Vivaldi himself was to become a victim of this redrawing
0:25:21 > 0:25:22of Europe's musical map.
0:25:24 > 0:25:29The popularity Vivaldi enjoyed during his middle age did not last,
0:25:29 > 0:25:32and after living most of his life in Venice, he decided
0:25:32 > 0:25:36to move to Vienna in his 60s, where he died lonely and impoverished.
0:25:36 > 0:25:41For the next 200 years, his prolific body of music, including 500
0:25:41 > 0:25:47concertos and over 40 operas, would stay silent, his career forgotten.
0:25:48 > 0:25:49Almost.
0:25:56 > 0:26:00Vivaldi's legacy survived in the somewhat surprising influence
0:26:00 > 0:26:02he had on two other composers,
0:26:02 > 0:26:06Johann Sebastian Bach and George Frideric Handel.
0:26:06 > 0:26:10The centre of gravity of the musical world had moved north,
0:26:10 > 0:26:12over the Alps, to Germany.
0:26:12 > 0:26:14From the home of Roman Catholicism,
0:26:14 > 0:26:16to the well spring of the Reformation.
0:26:22 > 0:26:25Bach and Handel both learnt from the Italians,
0:26:25 > 0:26:27especially Corelli and Vivaldi.
0:26:27 > 0:26:30They also took what they fancied from the French violin bands
0:26:30 > 0:26:32and proto-orchestras.
0:26:32 > 0:26:34They incorporated the inventions
0:26:34 > 0:26:36and technological advances of their time,
0:26:36 > 0:26:40and created something extraordinary of their own, that grew out of
0:26:40 > 0:26:44the particular north German Lutheran culture that they were born into.
0:26:59 > 0:27:03Lutheran congregations were active participants in the church service,
0:27:03 > 0:27:06with communal hymn singing being given high status.
0:27:07 > 0:27:11Just as the Reformation swept away the elaborate decoration
0:27:11 > 0:27:14favoured in Roman Catholic Churches at the time,
0:27:14 > 0:27:18so too in Protestantism, the music was always in service
0:27:18 > 0:27:23of the message, making the Gospel radiant, unfussy and clear.
0:27:32 > 0:27:34A huge amount of what Bach wrote,
0:27:34 > 0:27:39including virtually all his 300-plus cantatas, and his vast output
0:27:39 > 0:27:43of organ music, is based one way or another on German Protestant
0:27:43 > 0:27:46hymn tunes, or chorales.
0:27:46 > 0:27:49He would weave a tapestry of sound around a hymn,
0:27:49 > 0:27:53being sung or played slowly through the centre of the work,
0:27:53 > 0:27:56as he does here in Jesus Bleibet Meine Freude -
0:27:56 > 0:27:58Jesu, Joy Of Man's Desiring.
0:28:17 > 0:28:26# Jesus bleibet meine Freude
0:28:29 > 0:28:37# Meines Herzens Trost und Saft
0:28:52 > 0:29:01# Jesus wehret allem Leide
0:29:04 > 0:29:12# Er ist meines Lebens Kraft. #
0:29:14 > 0:29:18All Bach's vocal music is focused on one thing,
0:29:18 > 0:29:22devotion to God in the human form of Jesus of Nazareth.
0:29:22 > 0:29:25Whatever he does musically, however complex,
0:29:25 > 0:29:27he does to enhance the meaning of the words.
0:29:29 > 0:29:33Take this aria from his St John Passions, Zerfliesse Mein Herze.
0:29:33 > 0:29:36If we deconstruct its opening instrumental phrase,
0:29:36 > 0:29:39we see that it's a series of exquisite chords,
0:29:39 > 0:29:41with a gently descending bass line.
0:29:58 > 0:30:02That's 15 chord changes in about 10 seconds.
0:30:02 > 0:30:06But when the voice joins in, Bach's harmonies become even more daring,
0:30:06 > 0:30:11allowing notes to clash against each other in swiftly moving discords.
0:30:11 > 0:30:15Here are the dissonances tucked into just the first short vocal phrase.
0:30:31 > 0:30:33The dissonances may be cleverly disguised,
0:30:33 > 0:30:36but they're still there, because Bach wants to create a feeling,
0:30:36 > 0:30:40subliminally, of anguish and grief,
0:30:40 > 0:30:43which is exactly what the words of this aria are trying to convey.
0:30:51 > 0:30:57# Zerfliesse, mein Herze
0:30:57 > 0:31:04# In Fluten der Zaehren. #
0:31:12 > 0:31:17If Bach's aim in his choral music is to move and inspire,
0:31:17 > 0:31:20in his instrumental music, he wants to dazzle.
0:31:20 > 0:31:25He's the undisputed master of all time of the musical technique
0:31:25 > 0:31:28of counterpoint, the interweaving of different tunes.
0:31:38 > 0:31:42And the quintessential Bachian form of counterpoint was the fugue.
0:31:42 > 0:31:45A fugue, which means flight in Italian,
0:31:45 > 0:31:48is a complicated form of canon, or round.
0:31:48 > 0:31:52So here is a round that any child in late 17th century London
0:31:52 > 0:31:54would have known only too well.
0:31:54 > 0:31:58# London's burning, London's burning
0:31:58 > 0:32:01# Fetch the engine, fetch the engine
0:32:01 > 0:32:03# Fire, fire! Fire, fire!
0:32:03 > 0:32:06# Pour on water, pour on water. #
0:32:06 > 0:32:10In a canon or round, the same tune is sung by different groups
0:32:10 > 0:32:11at different points,
0:32:11 > 0:32:14allowing each new entry to fit on top of the others.
0:32:18 > 0:32:21A fugue is essentially a more complicated version,
0:32:21 > 0:32:24with multiple lines, some coming in backwards,
0:32:24 > 0:32:26or in reverse or upside down.
0:32:28 > 0:32:30If this sounds freakishly clever,
0:32:30 > 0:32:33something Einstein might have done in a physics seminar,
0:32:33 > 0:32:36well, Bach is the closest thing music has to Einstein,
0:32:36 > 0:32:40who, by the way, was a massive fan of Bach.
0:32:40 > 0:32:44Let's look at a fugue by Bach that shows him at his Einstein-like best.
0:33:01 > 0:33:04First of all, we have the basic theme.
0:33:14 > 0:33:17It would be too easy just to have this theme repeated
0:33:17 > 0:33:20and played on top of itself, so brainbox Bach
0:33:20 > 0:33:23has it super-imposed in a number of other ways.
0:33:23 > 0:33:25One option is to have it play at double speed,
0:33:25 > 0:33:27and starting on a different note.
0:33:33 > 0:33:37Not bad, except that he manages two other tricks at the same time.
0:33:37 > 0:33:39One of them is to turn it upside down,
0:33:39 > 0:33:43known in the trade as the inverted version, also at double speed.
0:33:48 > 0:33:50And another is to play it at half the speed,
0:33:50 > 0:33:52that is, twice as slow as the original.
0:34:04 > 0:34:07There are four main voices or parts in this fugue,
0:34:07 > 0:34:11and as it progresses, all of the above techniques cascade over
0:34:11 > 0:34:14each other, upside down, reversed, speeded up,
0:34:14 > 0:34:17slowed down and played at different positions on the keyboard.
0:34:17 > 0:34:20It is a miraculous musical jigsaw.
0:34:50 > 0:34:52Now composing something as complex as this structure,
0:34:52 > 0:34:55you'd think would be hard enough when you've got it all laid out
0:34:55 > 0:34:58in front of you on the page, like a graph.
0:34:58 > 0:35:01But here's an amazing thing.
0:35:01 > 0:35:05Bach could improvise fugues like this at the keyboard.
0:35:11 > 0:35:15From just one fragment of tune, Bach has built an edifice
0:35:15 > 0:35:18of seven minutes of contrapuntal invention.
0:35:43 > 0:35:47Bach's mastery of counterpoint wasn't about solving crossword
0:35:47 > 0:35:50puzzles or cracking enigmatic codes for the sake of it.
0:35:50 > 0:35:54He believed what he was doing was the musical embodiment of God's
0:35:54 > 0:35:58master plan for humankind, a recognition of the intricate
0:35:58 > 0:36:03mathematical beauty of the natural order as ordained by the Almighty.
0:36:03 > 0:36:06The towering achievements of Bach's career are his settings
0:36:06 > 0:36:10of the trial, crucifixion and resurrection of Jesus of Nazareth.
0:36:11 > 0:36:14CHOIR SINGS "St Matthew Passion" by Bach
0:36:46 > 0:36:50At the climax of this monumental opening of The Passion,
0:36:50 > 0:36:53with two adult choirs and a double-sized orchestra
0:36:53 > 0:36:58already in full sway, he introduces a new, majestically slower tune,
0:36:58 > 0:37:00on top of the entire structure.
0:37:00 > 0:37:03Like a phalanx of trumpets announcing the arrival
0:37:03 > 0:37:08of a mighty ruler, it's a children's choir singing a hymn chorale,
0:37:08 > 0:37:12O Lamm Gottes, Unschuldig - O innocent lamb of God.
0:37:30 > 0:37:34In these Passions, Bach employs all the techniques we've encountered
0:37:34 > 0:37:38in this survey of the music of the 17th and early 18th centuries.
0:37:38 > 0:37:42Vivaldi's concerto style with large and small forces,
0:37:42 > 0:37:45juxtaposed in a musical chiaroscuro.
0:37:48 > 0:37:51Fugal counterpoint, vast choral effects,
0:37:51 > 0:37:54musical gravity driving harmonic progressions
0:37:54 > 0:37:57of which the circle of fifths is but one,
0:37:57 > 0:38:00dance rhythm patterns and a string-led orchestra made of members
0:38:00 > 0:38:04of the violin family joining forces with woodwind and brass instruments.
0:38:21 > 0:38:23The St Matthew Passion, well over three hours of it,
0:38:23 > 0:38:26is a supreme example of how the musical innovations
0:38:26 > 0:38:29worked out in the preceding 100 years could be brought to bear
0:38:29 > 0:38:33on a work of epic size, and powerful emotion.
0:38:34 > 0:38:37But there's one other invention made in this period
0:38:37 > 0:38:40we haven't yet looked at, and it's the most important appliance
0:38:40 > 0:38:43of musical science of them all.
0:38:43 > 0:38:46It could be, in fact, the single most important development
0:38:46 > 0:38:48in all western music.
0:38:48 > 0:38:51It was called Equal Temperament, and this is how it worked.
0:38:51 > 0:38:55On a modern, equal tempered keyboard I can play in any,
0:38:55 > 0:38:59or all of the available 12 key families to my heart's content,
0:38:59 > 0:39:00so I can play this...
0:39:00 > 0:39:03HE PLAYS "Ain't Misbehavin'" by Fats Waller
0:39:03 > 0:39:07..in the key that Fats Waller played it in the 1930s, E flat,
0:39:07 > 0:39:08or in the key of G.
0:39:11 > 0:39:13Or C.
0:39:16 > 0:39:18Or, for that matter, F#.
0:39:22 > 0:39:25Moving from key family to key family like that - the posh name
0:39:25 > 0:39:27is modulation - on one instrument
0:39:27 > 0:39:30is what Equal Temperament made possible.
0:39:30 > 0:39:32It also made it possible for lots of different instruments
0:39:32 > 0:39:34to play in tune with each other,
0:39:34 > 0:39:38which, believe it or not, they couldn't easily do before.
0:39:38 > 0:39:41So it's worth finding out how this happened.
0:39:41 > 0:39:45Looking again at our piano layout, we see that if we find the note C,
0:39:45 > 0:39:49for example, it occurs eight times from bottom to top of the keyboard.
0:39:53 > 0:39:57We also notice that there are 12 other notes between each of the Cs.
0:40:01 > 0:40:02This is the thing.
0:40:02 > 0:40:07As it happens, in western music there are in fact at least 19
0:40:07 > 0:40:11sub-divisions between one C and another, not 12.
0:40:11 > 0:40:12This is what they sound like.
0:40:18 > 0:40:19For some instruments,
0:40:19 > 0:40:22playing all these squashed-together notes wasn't an issue.
0:40:26 > 0:40:29Cellos, say, are flexible, because you can change a note
0:40:29 > 0:40:33by sliding your finger by tiny degrees along the string.
0:40:37 > 0:40:42But instruments like the trumpet and piano can't play them,
0:40:42 > 0:40:46because their mechanical valves, buttons, tabs and keys are fixed.
0:40:50 > 0:40:53It's like the difference between this swannee whistle,
0:40:53 > 0:40:55with its flexible pitch...
0:40:59 > 0:41:02..and this recorder, with its fixed pitch.
0:41:07 > 0:41:11What Equal Temperament did was effectively to abolish
0:41:11 > 0:41:15seven of the 19 sub-divisions, and create a standardised 12
0:41:15 > 0:41:17that would swallow up the other little notes.
0:41:17 > 0:41:21So what used to be the two separate notes, F# and G flat,
0:41:21 > 0:41:25became one all-purpose note that accommodated both.
0:41:25 > 0:41:28B#, even though it still gets written out in music,
0:41:28 > 0:41:32got gobbled up as a separate entity by the note C, and so on.
0:41:33 > 0:41:38In their natural state, the notes of the octave are not evenly spaced.
0:41:38 > 0:41:40What Equal Temperament did
0:41:40 > 0:41:44was to equalise the distance between notes.
0:41:44 > 0:41:47Thanks to this compromise, you could now jump from chord to chord
0:41:47 > 0:41:48as often as you liked.
0:42:01 > 0:42:05The new system of tempering, or tuning, worked.
0:42:05 > 0:42:10Indeed, it was JS Bach himself who, in around 1722,
0:42:10 > 0:42:13presented the most conclusive evidence that it worked.
0:42:13 > 0:42:17He composed two books of pieces to be played in all the new
0:42:17 > 0:42:2112 standardised keys, both major and minor.
0:42:21 > 0:42:25He even called the books The Well-Tempered Clavier, or keyboard.
0:42:42 > 0:42:46What followed Bach's Well-Tempered Clavier were 300 years in which
0:42:46 > 0:42:51instruments and our ears were calibrated to Equal Temperament.
0:42:56 > 0:43:00One reason the traditional music of say, Indonesia, sounds exotic
0:43:00 > 0:43:03and mysterious to western ears,
0:43:03 > 0:43:05is because it uses a different system of tuning.
0:43:08 > 0:43:10Traditional music apart, though,
0:43:10 > 0:43:13Equal Temperament has now been adopted all over the globe.
0:43:16 > 0:43:19It's hard to exaggerate the importance of the arrival
0:43:19 > 0:43:21and triumph of Equal Temperament
0:43:21 > 0:43:24as a standard across the industrialised world.
0:43:24 > 0:43:27Like the adoption of the Greenwich Meridian, which made everyone
0:43:27 > 0:43:30perceive the map and their place in the world differently,
0:43:30 > 0:43:32Equal Temperament altered the mindset
0:43:32 > 0:43:34of everyone who enjoyed music.
0:43:34 > 0:43:38The modern population of the world now hears all music
0:43:38 > 0:43:42through the filter, some would say distortion, of Equal Temperament.
0:43:42 > 0:43:47Everyone alive now has a different idea of what sounds "in tune",
0:43:47 > 0:43:51or "off key", to everyone alive in, say, 1600,
0:43:51 > 0:43:53before Equal Temperament became the norm.
0:43:55 > 0:43:56Towards the end of his life,
0:43:56 > 0:43:59Bach was involved in another new invention that was, in the next
0:43:59 > 0:44:04century, to be the emperor and empress of the whole world of music.
0:44:04 > 0:44:05The piano.
0:44:06 > 0:44:10What we now call simply the piano was invented in around 1700,
0:44:10 > 0:44:13by a Florentine instrument builder and restorer,
0:44:13 > 0:44:15called Bartolomeo Cristofori.
0:44:15 > 0:44:17The unique selling point of the new instrument,
0:44:17 > 0:44:20making it different from all the previous harpsichords,
0:44:20 > 0:44:23clavichords, spinets and virginals that went before it,
0:44:23 > 0:44:26was its ability to play soft and loud,
0:44:26 > 0:44:29or in Italian, piano e il forte.
0:44:33 > 0:44:37The harpsichord plucked its strings, and so no matter what pressure
0:44:37 > 0:44:41you exerted on the keys, the notes always came out the same volume.
0:44:49 > 0:44:52Cristofori's invention, instead of plucking the strings,
0:44:52 > 0:44:55tapped them with a gentle hammer, tipped with deer skin,
0:44:55 > 0:44:59and the harder you hit the key, the harder the hammer hit the string,
0:44:59 > 0:45:03resulting potentially in different levels of volume for every note.
0:45:06 > 0:45:09A friend of Bach's, Gottfried Silbermann, began
0:45:09 > 0:45:13manufacturing pianos, and although Bach played on a few prototypes
0:45:13 > 0:45:17and even advised on their design, he didn't seem that impressed.
0:45:22 > 0:45:26Ironically, it was Bach's son, Johann Christian, living in London,
0:45:26 > 0:45:29who was to become the champion of the new instrument,
0:45:29 > 0:45:3230 or so years later.
0:45:35 > 0:45:39Thus paving the way for the young Mozart
0:45:39 > 0:45:41and others to follow his lead.
0:45:45 > 0:45:48By the time this early piano piece was written,
0:45:48 > 0:45:52believe it or not, the music of Johann Christian's father, the great
0:45:52 > 0:45:57Johann Sebastian Bach, had already started to fall out of favour.
0:46:02 > 0:46:08For 100 years after his death, in 1750, Bach was a forgotten,
0:46:08 > 0:46:10unperformed composer,
0:46:10 > 0:46:14until Mendelssohn drew attention to his genius in the 19th century.
0:46:14 > 0:46:16If Bach had written operas rather than church music, it might
0:46:16 > 0:46:18have been a different story.
0:46:18 > 0:46:20Opera composers have always been accorded more respect
0:46:20 > 0:46:23and fame than church composers.
0:46:23 > 0:46:27Luckily for his great contemporary, Handel, opera was his thing,
0:46:27 > 0:46:28at least to start with.
0:46:30 > 0:46:33Handel and Bach were born just 80 miles
0:46:33 > 0:46:37and four weeks apart in 1685, but never met.
0:46:37 > 0:46:41Whilst Bach stayed firmly rooted his whole life in his native
0:46:41 > 0:46:45North Germany, Handel was more the adventurer and entrepreneur.
0:46:47 > 0:46:51In his long career, he took full advantage of the many technical
0:46:51 > 0:46:54and stylistic advances in music that swept across Europe
0:46:54 > 0:46:57in the early 1700s.
0:46:57 > 0:47:00And there's one other big thing that had changed by 1750.
0:47:00 > 0:47:04The arrival of you, the audience.
0:47:14 > 0:47:18And you, we, made a massive difference to the future of music.
0:47:18 > 0:47:22Before the arrival of a paying public, with its own preferences
0:47:22 > 0:47:28and appetites, music had depended on the whims of cardinals or princes.
0:47:32 > 0:47:35Now, commercial opera houses and concert halls
0:47:35 > 0:47:39opened their doors to anyone who had the price of a ticket.
0:47:44 > 0:47:48It was this new and fickle audience that Handel quickly learnt to serve.
0:47:53 > 0:47:56Though he spent some of his youth in Italy, Handel wrote
0:47:56 > 0:48:02most of his masterpieces after moving to London in 1710.
0:48:02 > 0:48:08MUSIC: Giulio Cesare in Egitto - Aria - Al Lampo Dell'armi
0:48:12 > 0:48:14Handel had two reasons for coming to London.
0:48:14 > 0:48:18One was that his former boss in Germany had become
0:48:18 > 0:48:20King George I, in 1714.
0:48:22 > 0:48:25The King and his successor, George II,
0:48:25 > 0:48:28commissioned music for royal pageants from Handel,
0:48:28 > 0:48:32including still famous works, like Zadok The Priest,
0:48:32 > 0:48:36the Water Music and Music For The Royal Fireworks.
0:48:36 > 0:48:38Handel also settled in London because it was
0:48:38 > 0:48:43already on its way to becoming the biggest and richest city in Europe.
0:48:43 > 0:48:47The rapidly rising middle class had money to spend on music,
0:48:47 > 0:48:49and for a while, they were swept up
0:48:49 > 0:48:52in a Europe-wide craze for Italian opera.
0:48:52 > 0:48:57The use today of Italian terms like aria, libretto, prima donna
0:48:57 > 0:49:00and diva began at that time.
0:49:05 > 0:49:09Handel wrote 39 operas, in Italian, for the London stage.
0:49:13 > 0:49:17In London, though, the Italian opera boom was short lived.
0:49:20 > 0:49:24Its death knell was sounded by a home-grown work,
0:49:24 > 0:49:27The Beggar's Opera, produced in 1728.
0:49:27 > 0:49:31The black musical comedy of Polly Peachum, Jenny Diver
0:49:31 > 0:49:35and MacHeath, and the underworld of Soho, was a full-on
0:49:35 > 0:49:39parody of the posh folks' mania for Italian opera.
0:49:44 > 0:49:48It was a huge, long-running success.
0:49:48 > 0:49:51It didn't do Handel any favours, though.
0:49:51 > 0:49:54His earnestly serious Italian-style operas
0:49:54 > 0:49:57now seemed out of sync with the public mood.
0:50:02 > 0:50:06Casting around for something else to do, he found an unlikely,
0:50:06 > 0:50:10unwitting ally in the shape of the Pope.
0:50:10 > 0:50:13As well as banning women from singing in church,
0:50:13 > 0:50:16the Vatican in the early 17th century had from time to time
0:50:16 > 0:50:21forbidden opera, which the Pope thought was too damned rude.
0:50:21 > 0:50:24The result was the rise of the oratorio, a kind of opera
0:50:24 > 0:50:30that didn't have costumes, or women, or lewd plots, or comedy or scenery.
0:50:30 > 0:50:32The singers didn't have to act anything out,
0:50:32 > 0:50:34they just stood there and sang.
0:50:34 > 0:50:37Oratorios were originally performed in church,
0:50:37 > 0:50:39and they drew their subject matter from the Old Testament.
0:50:39 > 0:50:41And no-one could object to that.
0:50:41 > 0:50:44So when Handel's luck with opera ran out,
0:50:44 > 0:50:47he turned to English language oratorio instead.
0:50:47 > 0:50:48It was an inspired move.
0:50:50 > 0:50:58# Jehovah crown'd with glory bright... #
0:51:00 > 0:51:04Handel's first ever oratorio in English, Esther,
0:51:04 > 0:51:07was performed in 1732.
0:51:07 > 0:51:10It was put on, not in a church, but in a West End theatre.
0:51:12 > 0:51:14Handel wrote 16 more oratorios,
0:51:14 > 0:51:20nearly all based on stories from the Old Testament, all seen in theatres.
0:51:20 > 0:51:24In these works, Handel took elements from Italian operas,
0:51:24 > 0:51:29oratorios and concertos, added in the Lutheran Church music style
0:51:29 > 0:51:33and grafted them on to the local English choral tradition,
0:51:33 > 0:51:38aiming to seduce an audience eager for musical excitement.
0:51:38 > 0:51:41He succeeded triumphantly. Hallelujah.
0:51:41 > 0:51:45# Hallelujah, hallelujah
0:51:45 > 0:51:48# Hallelujah, hallelujah
0:51:48 > 0:51:50# Hallelujah
0:51:50 > 0:51:54# Hallelujah, hallelujah
0:51:54 > 0:51:56# Hallelujah, hallelujah
0:51:56 > 0:51:59# Hallelujah
0:51:59 > 0:52:06# For the lord God omnipotent reigneth
0:52:06 > 0:52:08# Hallelujah, hallelujah
0:52:08 > 0:52:11# Hallelujah, hallelujah
0:52:11 > 0:52:17# For the lord God omnipotent reigneth... #
0:52:17 > 0:52:21Handel brilliantly brought together, in a wholly accessible way,
0:52:21 > 0:52:24all the musical idioms of the previous 50 years.
0:52:24 > 0:52:29Dramatic and stirring choruses, full-on crowd pleasers, moving and
0:52:29 > 0:52:33tuneful solos borrowed from a style that opera had made popular, and an
0:52:33 > 0:52:38orchestral bedrock owing a debt of gratitude, once again, to Vivaldi.
0:52:38 > 0:52:43# And He shall reign for ever and ever... #
0:52:44 > 0:52:48What's more, Handel's oratorios were richly allegorical stories
0:52:48 > 0:52:51with plenty of emotional impact, but without
0:52:51 > 0:52:56the need for histrionic over-acting, to embarrass the English.
0:52:56 > 0:53:03# King of kings for ever and ever, hallelujah, hallelujah... #
0:53:03 > 0:53:07And what an audience thought was now important, Handel's oratorios,
0:53:07 > 0:53:09though based on religious stories,
0:53:09 > 0:53:11were essentially commercial productions,
0:53:11 > 0:53:16mounted in theatres, not churches, aimed at a paying public.
0:53:16 > 0:53:19Unlike the St Matthew or St John Passions of Bach,
0:53:19 > 0:53:21which were aimed at a congregation who
0:53:21 > 0:53:24would have attended church anyway, Handel was trying deliberately
0:53:24 > 0:53:29to court public taste, which he did, with bells on.
0:53:29 > 0:53:36# And lord of lords for ever and ever, hallelujah, hallelujah
0:53:36 > 0:53:42# King of kings... #
0:53:42 > 0:53:46There was one other key and topical element in Handel's close
0:53:46 > 0:53:49relationship with his audience, patriotism.
0:53:50 > 0:53:54His 45 years in London coincided with Britain's rise to
0:53:54 > 0:53:58the status of world power, and her growing wealth and military
0:53:58 > 0:54:02success found their celebration in Handel's patriotic choruses,
0:54:02 > 0:54:05in which God and King were more or less
0:54:05 > 0:54:07interchangeable objects of praise.
0:54:09 > 0:54:13# King of kings and lord of lords
0:54:13 > 0:54:18# King of kings and lord of lords
0:54:18 > 0:54:24# And He shall reign for ever and ever
0:54:24 > 0:54:26# For ever and ever
0:54:26 > 0:54:29# For ever and ever
0:54:29 > 0:54:31# Hallelujah, hallelujah
0:54:31 > 0:54:33# Hallelujah, hallelujah
0:54:33 > 0:54:45# Halle-lu-jah. #
0:54:48 > 0:54:53Music showed it could become the collective voice of nationhood.
0:54:53 > 0:54:55This, for good and for ill,
0:54:55 > 0:54:58has been an important function of music ever since.
0:55:00 > 0:55:03Handel donated all the earnings from his Messiah
0:55:03 > 0:55:06and most of his considerable estate to an orphanage,
0:55:06 > 0:55:09The Foundling Hospital, gestures which give us
0:55:09 > 0:55:14a clue as to the quality that enriches every note of his music -
0:55:14 > 0:55:15compassion.
0:55:17 > 0:55:20One of his final oratorios, Solomon,
0:55:20 > 0:55:24contains towards its end an aria for the Queen of Sheba.
0:55:24 > 0:55:27Now, she is bidding farewell to her lover King Solomon,
0:55:27 > 0:55:31whom she'll never see again as he returns to Jerusalem.
0:55:31 > 0:55:35The aria, Will The Sun Forget To Streak, is no hysterical
0:55:35 > 0:55:40outburst of operatic tragedy, nor is it a plaint of sentimental,
0:55:40 > 0:55:41self-indulgent misery,
0:55:41 > 0:55:44it's the voice of rueful acceptance, as if the
0:55:44 > 0:55:49centuries have melted away, and left us with a simple, humane message.
0:55:49 > 0:55:51Time doesn't stand still,
0:55:51 > 0:55:54so cherish every moment of joy and beauty with gratitude.
0:55:54 > 0:55:57The Queen of Sheba knew she would never encounter
0:55:57 > 0:55:59a man of Solomon's wisdom again.
0:55:59 > 0:56:03It's debatable whether music has every surpassed the creative
0:56:03 > 0:56:06ingenuity and spiritual candour of the masterpieces
0:56:06 > 0:56:09of Bach and Handel either.
0:57:41 > 0:57:42In the next programme -
0:57:42 > 0:57:45the profound moral dimension that Bach
0:57:45 > 0:57:50and Handel embedded in music gives way to the pleasure principle.
0:57:50 > 0:57:53In the era of Haydn, Mozart and Beethoven,
0:57:53 > 0:57:58the composer stopped being a servant and became a kind of God, game on.
0:57:58 > 0:58:04MUSIC: "The Marriage Of Figaro" - Overture - by Wolfgang Amadeus Mozart
0:58:24 > 0:58:27Subtitles by Red Bee Media Ltd