0:00:10 > 0:00:13As the 20th century dawned over Europe,
0:00:13 > 0:00:18concert halls were a haven of tradition and emotional expression.
0:00:18 > 0:00:20The operas of Wagner and Puccini,
0:00:20 > 0:00:23the symphonies of Brahms and Beethoven,
0:00:23 > 0:00:28and both the pomp and circumstance of Elgar were delighting audiences
0:00:28 > 0:00:31who knew where they were with classical music.
0:00:31 > 0:00:34But all that was soon to change.
0:00:37 > 0:00:39In a series of shocking advances,
0:00:39 > 0:00:43classical music was transformed beyond recognition,
0:00:43 > 0:00:45mirroring the violence of world events
0:00:45 > 0:00:48and innovation of the technological age.
0:00:51 > 0:00:55In this series, we will unlock the BBC archives
0:00:55 > 0:00:59to reawaken the voices of some of the century's greatest composers.
0:00:59 > 0:01:02Dee-dee, da-ba, da-da, da-ba.
0:01:02 > 0:01:04It should crackle with sharpness.
0:01:04 > 0:01:09Together, they give a first-hand account of a revolution in sound.
0:01:09 > 0:01:12You're getting louder already. Do keep it quiet, please.
0:01:12 > 0:01:14Absolute hush.
0:01:14 > 0:01:17Four o'clock in the BLEEP morning I was up doing this.
0:01:17 > 0:01:19Why don't they deliver, these messengers?
0:01:19 > 0:01:21In this first episode,
0:01:21 > 0:01:24we encounter some of those musical giants who dared
0:01:24 > 0:01:29to take on centuries of tradition, teaching us to hear in a new way.
0:01:31 > 0:01:33And with the rise of fascism and communism,
0:01:33 > 0:01:36we'll see how music was dragged out of the concert halls
0:01:36 > 0:01:39and onto the streets into a battle ground
0:01:39 > 0:01:42where nobody could refuse to take sides.
0:01:42 > 0:01:45The music is a very extraordinary art
0:01:45 > 0:01:49and at this period it's become, you know, perhaps the art of our time.
0:02:05 > 0:02:07Paris in the early 20th century -
0:02:07 > 0:02:10a city of top hats, parasols and pagodas.
0:02:13 > 0:02:17But a revolution was stirring.
0:02:17 > 0:02:21Picasso and his fellow cubists were shaking up the art world.
0:02:21 > 0:02:23Proust was reinventing the novel.
0:02:25 > 0:02:28And impresario Sergei Diaghilev was modernising ballet
0:02:28 > 0:02:31with his company, the Ballets Russes,
0:02:31 > 0:02:36using the scores of a young Russian composer called Igor Stravinsky.
0:02:37 > 0:02:40What he did with Diaghilev and Nijinsky was to blow it up,
0:02:40 > 0:02:43rather than to gradually develop things.
0:02:43 > 0:02:46It was like throwing everything that had existed up in the air
0:02:46 > 0:02:48and it lands back, not randomly,
0:02:48 > 0:02:52but in a brilliantly new pattern that no-one had ever seen before.
0:02:55 > 0:02:59Stravinsky, seen here in rare early footage,
0:02:59 > 0:03:04may only have been five foot three, but he was a giant of modernism.
0:03:04 > 0:03:08His provocative spirit was stirring in his early works for Diaghilev,
0:03:08 > 0:03:13but it was Stravinsky's third ballet score that set the world alight.
0:03:13 > 0:03:18DRAMATIC STRING MUSIC
0:03:23 > 0:03:25Rooted in Russian folklore,
0:03:25 > 0:03:28The Rite Of Spring depicts the ritual dance to death
0:03:28 > 0:03:31of a sacrificial virgin as the Earth cracks open
0:03:31 > 0:03:33at the end of the harsh winter.
0:03:34 > 0:03:38He changed the approach to music for all composers after him
0:03:38 > 0:03:40by writing The Rite Of Spring.
0:03:40 > 0:03:41It's the rhythm that got people,
0:03:41 > 0:03:44that's the thing that really shocked people, I think.
0:03:44 > 0:03:47The concentration on rhythm above all things.
0:03:47 > 0:03:51Repetitive rhythm, irregular rhythm, harsh rhythms, superimposed rhythms.
0:03:51 > 0:03:53Rhythms which seemed to be in different tempi,
0:03:53 > 0:03:55put on top of each other.
0:03:55 > 0:03:58This sort of glorification of time, physical time,
0:03:58 > 0:04:02because it was a ballet, was absolutely striking
0:04:02 > 0:04:05and overwhelming, I think, for the audience when they first heard it.
0:04:05 > 0:04:09Remarkably, Stravinsky was captured on film in old age,
0:04:09 > 0:04:13reminiscing about those ground-breaking rhythms
0:04:14 > 0:04:15I like very much this chord.
0:04:28 > 0:04:31It was a rather new chord, you know?
0:04:32 > 0:04:34Eight-notes chord.
0:04:34 > 0:04:37The accents were even more new.
0:04:38 > 0:04:45And the accents were really the foundation of the whole thing.
0:04:47 > 0:04:50The young Stravinsky knew he was onto something,
0:04:50 > 0:04:53but Diaghilev was less than impressed.
0:04:53 > 0:04:57And I composed the first part of it,
0:04:57 > 0:05:03Diaghilev invited me to Venice and I started to play him this chord.
0:05:03 > 0:05:0959 times, the same chord. He was a little bit surprised.
0:05:09 > 0:05:13He asked me only one thing, which was very offending.
0:05:13 > 0:05:17He asked me, "Will it last a very long time this way?"
0:05:18 > 0:05:21And I said, "To the end, my dear."
0:05:23 > 0:05:25And he was silent,
0:05:25 > 0:05:30because he understood that the answer was serious.
0:05:36 > 0:05:40The funny thing is actually when you listen to Stravinsky now,
0:05:40 > 0:05:42take something like The Rite Of Spring, still there's something
0:05:42 > 0:05:48about it which has a punch and a bite that grips you
0:05:48 > 0:05:51and he really, really knows how to draw his audience in
0:05:51 > 0:05:53and then slap them round the face.
0:05:58 > 0:06:02The Rite Of Spring premiered at the Theatre des Champs-Elysees
0:06:02 > 0:06:04in Paris in 1913.
0:06:04 > 0:06:08The audience was so shocked by the music and choreography,
0:06:08 > 0:06:10that a riot broke out.
0:06:11 > 0:06:14Stravinsky returned to that very theatre later in life,
0:06:14 > 0:06:17and was caught on film reliving
0:06:17 > 0:06:20one of the most notorious nights in music history.
0:06:21 > 0:06:22It was full.
0:06:24 > 0:06:27A very noisy public.
0:06:27 > 0:06:32I went up, I said, "Go to hell. Excuse me."
0:06:38 > 0:06:40They were very shocked.
0:06:40 > 0:06:43They were very naive and stupid people.
0:06:43 > 0:06:45It's nothing to do with the art.
0:06:56 > 0:06:59He exuded confidence, knew exactly what he was doing,
0:06:59 > 0:07:01and didn't suffer fools gladly.
0:07:01 > 0:07:04If you know his music, that's also the way it is.
0:07:04 > 0:07:07It's brittle and it's precise.
0:07:10 > 0:07:15Stravinsky was completely confident. Slightly naughty twinkle in the eye.
0:07:15 > 0:07:17Wicked, actually, I would say.
0:07:19 > 0:07:20I am never seasick. Never.
0:07:23 > 0:07:27I am sea-drunk. Quite different.
0:07:27 > 0:07:29This helps.
0:07:31 > 0:07:34And I went and saw The Rite Of Spring with Stravinsky conducting.
0:07:34 > 0:07:37The minute I heard that, I thought "This is unbelievable."
0:07:37 > 0:07:40This has gone straight to the core of me.
0:07:40 > 0:07:43It was the piece that made me want to be a composer.
0:07:48 > 0:07:50When Stravinsky wrote The Rite Of Spring,
0:07:50 > 0:07:53it was just a piece of music.
0:07:53 > 0:07:58But by the time he died, it was a movement, it was a statement,
0:07:58 > 0:08:02it was a complete change in the face of music...
0:08:02 > 0:08:04throughout the world.
0:08:18 > 0:08:22While Paris was in the grip of Stravinsky's radical rhythms,
0:08:22 > 0:08:26over in Vienna, another musical breakthrough was taking place.
0:08:27 > 0:08:31Like Paris, Vienna was a hotbed of artistic upheaval -
0:08:31 > 0:08:34the home of Gustav Klimt and Sigmund Freud.
0:08:34 > 0:08:38And it was here that the other giant of musical modernism
0:08:38 > 0:08:39began his career.
0:08:42 > 0:08:46The self-taught son of an emigre shoemaker,
0:08:46 > 0:08:50Arnold Schoenberg started out orchestrating operettas.
0:08:50 > 0:08:53But his own music was far more unconventional.
0:08:57 > 0:09:00Schoenberg saw music as imprisoned by the set of chords
0:09:00 > 0:09:03composers had used for centuries.
0:09:03 > 0:09:07He wanted to change the very sound of music itself.
0:09:13 > 0:09:16The earliest atonal pieces of Schoenberg...
0:09:17 > 0:09:21..created a massive effect on the revolution of music.
0:09:21 > 0:09:25He really investigated the language of music,
0:09:25 > 0:09:28and his Austro-Germanic heritage.
0:09:28 > 0:09:32And he didn't turn it on its head, but he just made it
0:09:32 > 0:09:36evolve in an unpredictable and a very extreme direction.
0:09:39 > 0:09:42One of his early breakthroughs came with the melodramatic
0:09:42 > 0:09:46Pierrot Lunaire which, even today, has the power to shock.
0:10:03 > 0:10:06It's an absolutely unique work and it remains one.
0:10:06 > 0:10:08Pierrot Lunaire, written in 1912,
0:10:08 > 0:10:12you can't believe, because it still sounds so radical, so fresh.
0:10:12 > 0:10:14It's written uniquely for Sprechstimme,
0:10:14 > 0:10:17which is a sort of halfway house between speaking and singing.
0:10:17 > 0:10:19Schoenberg's instructions are rather confusing.
0:10:19 > 0:10:21He reckoned that you should touch the note
0:10:21 > 0:10:24and then glide away from it. That's all very well,
0:10:24 > 0:10:27but when the next note is not very far away at all, where do you go?
0:10:27 > 0:10:29Cos you ruin the contours, you see.
0:10:29 > 0:10:37O alter Duft aus Marchenzeit
0:10:37 > 0:10:43Berauschest wieder meine Sinne.
0:10:43 > 0:10:46You can hear me struggling - trying not to sing.
0:10:51 > 0:10:53As with Stravinsky,
0:10:53 > 0:10:57many of Schoenberg's bold early pieces outraged audiences.
0:10:59 > 0:11:04But, as Schoenberg explained in a lecture on Radio Frankfurt in 1931,
0:11:04 > 0:11:07that reaction was almost a badge of honour.
0:11:42 > 0:11:44To organise his atonal sounds,
0:11:44 > 0:11:49Schoenberg invented a radical new framework in which to compose music,
0:11:49 > 0:11:52called the twelve-tone technique, also known as serialism.
0:11:54 > 0:11:58He wanted to write music which was pure music.
0:11:58 > 0:12:00And in a way he felt bogged down by tonality,
0:12:00 > 0:12:03by the fact that something might be in D major.
0:12:03 > 0:12:05So he decided to get rid of that.
0:12:05 > 0:12:07And he wrote music which instead of being...
0:12:09 > 0:12:11Used all of the 12 tones.
0:12:14 > 0:12:19But not in any preconceived order.
0:12:19 > 0:12:23In other words, for each piece, he created a new system, so it might go...
0:12:27 > 0:12:31Funnily enough, I actually see a beauty in the angularity of that.
0:12:31 > 0:12:32I've just made that up straightaway.
0:12:32 > 0:12:37But I was using notes that were not related in a tonal sense.
0:12:37 > 0:12:39And what you have to do is to forget about tonality.
0:12:39 > 0:12:43You have to let this sort of sound sculpture waft over you.
0:12:47 > 0:12:50The creation of Schoenberg's twelve-tone technique
0:12:50 > 0:12:52coincided with the birth of radio.
0:12:52 > 0:12:56For the first time, music was plucked from the concert halls
0:12:56 > 0:13:00and relayed to a public hungry for this revolution in broadcasting.
0:13:00 > 0:13:04But the music they wanted was distinctly less challenging
0:13:04 > 0:13:05than what Schoenberg had to offer
0:13:05 > 0:13:07This is Henry Hall speaking.
0:13:07 > 0:13:12BBC Dance Orchestra is going to play to you Piccadilly Rye.
0:13:49 > 0:13:52I think Schoenberg is probably the most important
0:13:52 > 0:13:53composer of the 20th century,
0:13:53 > 0:13:56and that's not to say he was the best,
0:13:56 > 0:14:00or necessarily the most influential in terms of his actual music,
0:14:00 > 0:14:03but simply the invention of serialism,
0:14:03 > 0:14:08and the bravery to explore that was something that has gone on to give
0:14:08 > 0:14:11licence to composers to do something that has never been done before.
0:14:11 > 0:14:15And I think that's what marks the 20th century out in terms of music.
0:14:17 > 0:14:19This hugely-influential figure
0:14:19 > 0:14:23was caught on camera in home-movie footage that shows him
0:14:23 > 0:14:26relaxing with his wife and friends and even playing tennis.
0:14:32 > 0:14:35He liked sports a lot, he liked tennis,
0:14:35 > 0:14:37he was interested both in playing and watching.
0:14:37 > 0:14:39He was interested in almost anything.
0:14:40 > 0:14:44It's surprising for people to hear that it was a normal family,
0:14:44 > 0:14:47that Arnold Schoenberg was also a normal father.
0:14:48 > 0:14:50And we really, at least for my part,
0:14:50 > 0:14:55and I'm sure for Larry's, too, had no idea who our father was...
0:14:55 > 0:14:58until after he died, which...
0:14:58 > 0:15:02I can remember asking him, "How famous are you?"
0:15:05 > 0:15:08"Are you the greatest composer?"
0:15:08 > 0:15:10I think my mother took over and she said,
0:15:10 > 0:15:13"Yes, he is the greatest composer." I think she answered it for him.
0:15:16 > 0:15:19Under the giants of Stravinsky and Schoenberg,
0:15:19 > 0:15:21the fabric of music was transformed.
0:15:23 > 0:15:25But this new music was difficult
0:15:25 > 0:15:28and prone to alienating baffled audiences.
0:15:38 > 0:15:44One man wanted to popularise the new classical music of the 1920s.
0:15:44 > 0:15:49And he came not from old Europe, but the brave new world of America.
0:15:58 > 0:16:00The son of a Brooklyn shopkeeper,
0:16:00 > 0:16:05Aaron Copland was the pioneer who made modern music easier on the ear.
0:16:07 > 0:16:10The New York City of the 1920s danced to the beat
0:16:10 > 0:16:12of jazz and show tunes.
0:16:12 > 0:16:17The young Copland was as fascinated by these popular sounds
0:16:17 > 0:16:19as the work of his hero, Stravinsky.
0:16:19 > 0:16:23He saw no reason why the two shouldn't meet in his music.
0:16:25 > 0:16:27Decades later, he recalled just how controversial
0:16:27 > 0:16:29this approach made his early work.
0:16:44 > 0:16:48Mr Copland, today, the jazz idiom is perfectly acceptable
0:16:48 > 0:16:50in modern music. Has it always been so?
0:16:50 > 0:16:54Oh, heavens, no. I can remember in the early '20s when I first made
0:16:54 > 0:16:59use of jazz in a serious symphonic way that everyone was quite shocked.
0:16:59 > 0:17:04I think it was mostly... The shock came from such a thing being played
0:17:04 > 0:17:08in Carnegie Hall or in our big symphonic halls in America.
0:17:08 > 0:17:11Jazz seemed to have its place and serious music its place.
0:17:11 > 0:17:13But you weren't supposed to combine the two.
0:17:19 > 0:17:22Copland would ultimately become known for works such as
0:17:22 > 0:17:26the ballet Appalachian Spring and Fanfare For The Common Man,
0:17:26 > 0:17:30which captured the American spirit and inspired a nation.
0:17:33 > 0:17:36However, the man who made classical music sound American
0:17:36 > 0:17:38had a European pedigree.
0:17:38 > 0:17:42Mr Copland, as a man who is exactly the same age as the century,
0:17:42 > 0:17:46you were in your 20s in the 1920s, and in Paris at that.
0:17:46 > 0:17:50That must have been a marvellous time. I think it was, yes.
0:17:52 > 0:17:55Having come sort of cold from Brooklyn, New York,
0:17:55 > 0:17:59I didn't really know what I was going to meet up with in Paris.
0:17:59 > 0:18:01I didn't know who I was going to study with,
0:18:01 > 0:18:06but I knew I wanted to go on with my musical studies
0:18:06 > 0:18:07in France for a while.
0:18:07 > 0:18:11Be in touch with the latest thing that was going on in music then.
0:18:11 > 0:18:12And it was a good idea.
0:18:12 > 0:18:15You see, the older generation of American composers
0:18:15 > 0:18:17had all continued their studies in Germany.
0:18:17 > 0:18:21That was Beethoven, Bach's country.
0:18:21 > 0:18:23But this was just after the First World War,
0:18:23 > 0:18:27and Germany was not very popular in our minds.
0:18:27 > 0:18:30And anyhow, I heard that Stravinsky was living in Paris,
0:18:30 > 0:18:36and I thought, "Well, if Stravinsky's there, things are going to happen."
0:18:36 > 0:18:38Flight 810 from Paris.
0:18:38 > 0:18:41On-board is Aaron Copland, America's leading composer,
0:18:41 > 0:18:44arriving to conduct the world premiere of his latest composition -
0:18:44 > 0:18:46Music For A Great City.
0:18:50 > 0:18:54One of the earliest editions of the BBC's arts series Workshop
0:18:54 > 0:18:57featured Copland rehearsing and performing the premiere
0:18:57 > 0:19:01of his Music For A Great City in London in 1964.
0:19:03 > 0:19:07We were opening up new frontiers, as it were, for music lovers.
0:19:07 > 0:19:10One of the things we wanted to do was to get to the question of process -
0:19:10 > 0:19:13how music was made, which wasn't being covered at all by television.
0:19:13 > 0:19:17They had a few concerts. Music was still a bit of a mystique,
0:19:17 > 0:19:19and I wanted to break down that mystique and show musicians
0:19:19 > 0:19:23were fascinating people, but that you could get at them.
0:19:26 > 0:19:28Yes, that's very good.
0:19:28 > 0:19:30You see, that's the part where the audience
0:19:30 > 0:19:32might think we're playing wrong notes,
0:19:32 > 0:19:34so it has to be absolutely right.
0:19:34 > 0:19:37And so we got an outside broadcast camera,
0:19:37 > 0:19:39and we went down to the town hall in Walthamstow.
0:19:39 > 0:19:42Watched Copland teaching his music to the orchestra.
0:19:42 > 0:19:47Can you make those chords just as sharp and short as you possibly can
0:19:47 > 0:19:49when get to the fifth of 94.
0:19:49 > 0:19:52Dee-dee, da-ba, da-da, da-ba.
0:19:52 > 0:19:56It should crackle with sharpness and precision.
0:19:56 > 0:19:5894, please.
0:19:58 > 0:20:01I'm going to make a little accelerando
0:20:01 > 0:20:04from 94 to the five measures later.
0:20:15 > 0:20:18Aaron Copland was a wonderful subject to use,
0:20:18 > 0:20:21because he had been a broadcaster since the 1930s.
0:20:21 > 0:20:25That was part of his equipment as a composer, was to be able to
0:20:25 > 0:20:30talk about music to music lovers who weren't necessary academics.
0:20:30 > 0:20:34What was musical life like in the 1930s in America?
0:20:34 > 0:20:39The thing that I remember best about the '30s was the...
0:20:41 > 0:20:46..sudden need for our music, more than had been true in the '20s.
0:20:46 > 0:20:48It's as if in the '20s we were writing our music,
0:20:48 > 0:20:53though nobody asked us to or expected us to write any.
0:20:53 > 0:20:56But somehow in the '30s,
0:20:56 > 0:20:59music became more democratic in the United States.
0:20:59 > 0:21:03I suppose it was the invention of TV.
0:21:03 > 0:21:07I suppose the recording of serious music for the first time,
0:21:07 > 0:21:10full-length symphonies, helped a great deal.
0:21:10 > 0:21:12The radio helped a great deal
0:21:12 > 0:21:17to make a great mass public aware of serious music in a way that had never
0:21:17 > 0:21:19been true before in the world's history.
0:21:26 > 0:21:28Boy, that's an enthusiastic house.
0:21:31 > 0:21:32God, they played that well.
0:21:32 > 0:21:34What an orchestra!
0:21:45 > 0:21:47While Copland was shaking up the stuffiness
0:21:47 > 0:21:49of American classical music,
0:21:49 > 0:21:52something similar was happening in Britain.
0:21:54 > 0:21:58Lancashire lad William Walton wasn't yet 21 when he wrote
0:21:58 > 0:22:00his first significant work,
0:22:00 > 0:22:05Facade, which he can be seen here conducting, at the age of 75.
0:22:07 > 0:22:15# When Don Pasquito arrived at the seaside
0:22:15 > 0:22:19# Where the donkey's hide tide brayed, he
0:22:19 > 0:22:24# Saw the banditto Jo in a black cape
0:22:24 > 0:22:27# Whose slack shape waved like the sea
0:22:27 > 0:22:30# Thetis wrote a treatise noting wheat is silver like the sea
0:22:30 > 0:22:33# The lovely cheat is sweet as foam Erotis notices that she... #
0:22:33 > 0:22:36Facade was inspired by the dance music Walton was hearing
0:22:36 > 0:22:39in the nightclubs of 1920s London,
0:22:39 > 0:22:43where he lived with the literary Sitwell siblings.
0:22:43 > 0:22:47The Sitwells hoped Walton could create a musical scandal
0:22:47 > 0:22:49that would earn them notoriety.
0:22:51 > 0:22:54When Facade came out, it caused a bit of a stir.
0:22:54 > 0:22:56I think the Sitwells wanted it to be a scandal,
0:22:56 > 0:23:01to set aside the scandal surrounding The Rite Of Spring ten years earlier.
0:23:01 > 0:23:04A lot of press came to mock - gossip columnists came.
0:23:04 > 0:23:06So the Sitwells were celebrities
0:23:06 > 0:23:09and Walton became a celebrity through his connection with them.
0:23:12 > 0:23:15Interviewing Walton was a good excuse for a jolly to his home
0:23:15 > 0:23:17on the Italian island of Ischia.
0:23:19 > 0:23:22But interviewers had to work hard when they got there,
0:23:22 > 0:23:26as this composer was a distinctly reluctant interviewee.
0:23:26 > 0:23:31The year before Walton died, Russell Harty coaxed him into reminiscing
0:23:31 > 0:23:34about the first performance of Facade back in 1922.
0:23:36 > 0:23:40If there is anybody in the world who has never heard of Facade,
0:23:40 > 0:23:45maybe we could just explain to them that it's your music,
0:23:45 > 0:23:48and Dame Edith Sitwell's poetry.
0:23:48 > 0:23:52And she, on the first occasion, shouted through something,
0:23:52 > 0:23:57didn't she? Yes, she had a megaphone.
0:23:57 > 0:24:03So they had this curtain with a big hole for the megaphone.
0:24:03 > 0:24:08And everybody was behind this curtain - the players, everybody.
0:24:08 > 0:24:09Where were you? Also behind.
0:24:09 > 0:24:12Were you conducting? I was conducting.
0:24:12 > 0:24:14And the first performance was in a little...
0:24:14 > 0:24:19It was in a little drawing room in Chelsea in Carlyle Square.
0:24:19 > 0:24:23Now's time to listen to a piece of Facade. It's not...
0:24:23 > 0:24:26The poetry is not delivered in this case by Dame Edith Sitwell,
0:24:26 > 0:24:29who is now behind that great curtain in the sky,
0:24:29 > 0:24:33but by Fenella Fielding, and this is called Popular Song.
0:24:46 > 0:24:49# Lily O'Grady, silly and shady Longing to be a lazy lady
0:24:49 > 0:24:53# Walked by the cupolas gables in the Lake's Georgian stables
0:24:53 > 0:24:55# In a fairy tale like the heat intense
0:24:55 > 0:24:57# And the mist in the woods when across the fence... #
0:24:57 > 0:25:01'Facade, for me, was a...'
0:25:01 > 0:25:06I didn't really think anything about it at all, to be quite honest.
0:25:08 > 0:25:11And I was rather against doing it.
0:25:13 > 0:25:18And of course then one happens to do something very good by mistake...
0:25:19 > 0:25:22..which I think was the best way of doing things, really.
0:25:32 > 0:25:37Part of Facade even became the theme tune of a 1970s TV quiz.
0:25:37 > 0:25:40But Walton was still unimpressed by the work
0:25:40 > 0:25:42that launched his career.
0:25:42 > 0:25:44Do you ever turn to Facade again?
0:25:44 > 0:25:46Not if I can help it, but...
0:25:46 > 0:25:48LAUGHTER
0:25:48 > 0:25:51But you must be pleased that it gives such a lot of pleasure.
0:25:51 > 0:25:52Well, it keeps me.
0:25:52 > 0:25:56LAUGHTER
0:25:56 > 0:25:59You're able to maintain a facade! That's it.
0:25:59 > 0:26:01"Fay-sade", they call it in America.
0:26:05 > 0:26:07I don't think what you see in this screen
0:26:07 > 0:26:09is really the real William Walton.
0:26:09 > 0:26:14He projected an angry old man, and when you ask about Facade
0:26:14 > 0:26:17and he says, "Well, I didn't really think anything of it at the time,"
0:26:17 > 0:26:20I simply don't believe that he thought nothing of it at the time.
0:26:20 > 0:26:24The idea that it was all somehow flowing over him
0:26:24 > 0:26:28and he didn't care one way or the other - quite wrong.
0:26:28 > 0:26:31Walton followed Facade with more conventional pieces
0:26:31 > 0:26:36including his Viola Concerto of 1929, and the huge choral cantata
0:26:36 > 0:26:39Belshazzar's Feast in 1931.
0:26:56 > 0:26:59In the ten years since his outrageous debut,
0:26:59 > 0:27:02Walton had gone from playboy provocateur
0:27:02 > 0:27:04to Britain's number one composer.
0:27:10 > 0:27:12Indeed, following the death of Elgar,
0:27:12 > 0:27:16it was Walton who was commissioned to write the coronation march
0:27:16 > 0:27:18for George VI in 1937.
0:27:43 > 0:27:46That was the first of your coronation marches, Crown Imperial,
0:27:46 > 0:27:50wasn't it? Yes. Wasn't that rather difficult, a composer like yourself,
0:27:50 > 0:27:54associated very much with sardonic, anti-Establishment,
0:27:54 > 0:27:59humour-poking, sticking fingers in people's eyes, to swing round
0:27:59 > 0:28:03with a march like that and to come in on the side of the Establishment.
0:28:03 > 0:28:06It was very difficult to do, I thought.
0:28:06 > 0:28:09It took me a lot of trouble, at least a fortnight.
0:28:16 > 0:28:20By the end of the 1930s, Walton was a household name.
0:28:25 > 0:28:29The same could not be said of his close friend and contemporary,
0:28:29 > 0:28:31Elisabeth Lutyens.
0:28:31 > 0:28:35But, then, she was a woman trying to make it in a man's world.
0:28:37 > 0:28:41Lutyens, the daughter of architect Sir Edwin Lutyens,
0:28:41 > 0:28:44changed the sound of British classical music.
0:28:51 > 0:28:54Her Chamber Concerto of 1939
0:28:54 > 0:28:57is one of the most innovatory works of the period.
0:29:00 > 0:29:02She started to teach me when I was 16,
0:29:02 > 0:29:04and she was frightening.
0:29:04 > 0:29:06I mean, she did something that perhaps we couldn't
0:29:06 > 0:29:07say to our students today -
0:29:07 > 0:29:10she said, "You've got no talent, so we'll have to find some."
0:29:10 > 0:29:11I think it was very difficult for her.
0:29:11 > 0:29:14She always said, and there was some truth in this, that at first
0:29:14 > 0:29:18she was too avant-garde, and then she was old hat.
0:29:18 > 0:29:21She said, "I've never been in step."
0:29:21 > 0:29:23But the great works, and they are great works,
0:29:23 > 0:29:27are very individual and are supreme.
0:29:27 > 0:29:31They're intellectually superb but they're emotionally wonderful.
0:29:34 > 0:29:36I think it's only now being realised
0:29:36 > 0:29:38what an important composer Lutyens was.
0:29:38 > 0:29:42And I think she had a lot of opposition in her time.
0:29:42 > 0:29:44She was radical, she was ahead of her time.
0:29:47 > 0:29:52As the frivolity of the 1920s gave way to the gravely-serious times
0:29:52 > 0:29:56of the 1930s, the magnitude of world events forced
0:29:56 > 0:30:01its way into music and composers had no choice but to politicise.
0:30:05 > 0:30:08In a 1976 edition of Omnibus,
0:30:08 > 0:30:13Lutyens recalled the turning point when music and politics collided.
0:30:13 > 0:30:17The '30s cast a gloom over the whole country.
0:30:17 > 0:30:18This misery.
0:30:19 > 0:30:22And I think then in '33
0:30:22 > 0:30:26there was the rumble of Hitler,
0:30:26 > 0:30:29and what really had an effect on the whole of my generation
0:30:29 > 0:30:31was the Spanish Civil War,
0:30:31 > 0:30:35because it was the clearest-cut issue of my lifetime.
0:30:35 > 0:30:38An elected government overthrown by a military regime
0:30:38 > 0:30:44who calls on other powers to bomb his own innocent fellow citizens.
0:30:44 > 0:30:48And that changed us overnight to a politically aware generation,
0:30:48 > 0:30:52because it's no longer a question of the British Empire,
0:30:52 > 0:30:54this was a question of just...
0:30:54 > 0:30:55right versus wrong.
0:30:58 > 0:31:03MUSIC: "Chamber Concerto - Aria - Adagio" by Elisabeth Lutyens
0:31:04 > 0:31:10In 1938, Lutyens met BBC music programmer Edward Clark,
0:31:10 > 0:31:13who ultimately became her second husband.
0:31:13 > 0:31:16She was in love and about to make her international debut,
0:31:16 > 0:31:20but the Second World War was only months away.
0:31:20 > 0:31:23It was the best of times and the worst of times
0:31:23 > 0:31:24for Elisabeth Lutyens.
0:31:26 > 0:31:29I had my first international performance
0:31:29 > 0:31:33at the Festival of the International Society of Contemporary Music
0:31:33 > 0:31:36at Warsaw, Krakow in 1939.
0:31:36 > 0:31:41It was a very poignant time, cos going through Berlin,
0:31:41 > 0:31:44one saw all the flags going up for Hitler's birthday.
0:31:44 > 0:31:48Then we were really waiting for war, hourly, daily, weekly.
0:31:48 > 0:31:51I mean, it was obviously inevitable.
0:31:51 > 0:31:56Therefore, it added something of such anguish, and yet it was, I think,
0:31:56 > 0:32:01about the happiest time of my life because it was sort of my honeymoon.
0:32:03 > 0:32:06Four months later, war was declared.
0:32:14 > 0:32:16All musicians were instantly thrown out of work.
0:32:16 > 0:32:19I have the original cutting from the Daily Express.
0:32:19 > 0:32:22It says, "There is no such thing as culture in wartime."
0:32:23 > 0:32:26Which, of course, in the event proved wrong.
0:32:32 > 0:32:35Lutyens continued writing during the war
0:32:35 > 0:32:38and she experienced her first air raid
0:32:38 > 0:32:40at the premiere of her Three Symphonic Preludes.
0:32:42 > 0:32:45We came down and up to London for a few days,
0:32:45 > 0:32:47especially for the rehearsals and performances.
0:32:47 > 0:32:51When the performance took place, which was on a Saturday night
0:32:51 > 0:32:53and it was sold out, we couldn't understand it -
0:32:53 > 0:32:57we were suddenly pushed off the streets by the Air Raid Wardens.
0:32:57 > 0:33:00We saw these little, tiny silver planes up in the sky,
0:33:00 > 0:33:03looking too beautiful. We didn't know what it was.
0:33:03 > 0:33:07Finally, we went because you can't be late to a concert.
0:33:07 > 0:33:11The orchestra turned up, but only half the audience.
0:33:11 > 0:33:13Then we couldn't go out in the interval.
0:33:13 > 0:33:16The whole sky was blood red.
0:33:18 > 0:33:20But none of us knew what it was.
0:33:26 > 0:33:30Lutyens battled marginalisation as a female composer,
0:33:30 > 0:33:33whilst also having to fulfil her traditional duties
0:33:33 > 0:33:34as wife and mother.
0:33:35 > 0:33:38And it was a period of enormous exhaustion.
0:33:38 > 0:33:40The feeling of total lack of sleep,
0:33:40 > 0:33:43because there's four children under seven.
0:33:43 > 0:33:45I'd been spoiled in my upbringing.
0:33:45 > 0:33:49I'd never peeled a potato or been allowed near a kitchen.
0:33:49 > 0:33:53My mother quickly sent me a cookery book and she wrote,
0:33:53 > 0:33:55"Say if you want to do an Indian curry,
0:33:55 > 0:33:58"it's not necessary to have an Indian living in the house."
0:33:58 > 0:34:01Which is absolutely no help
0:34:01 > 0:34:05for bringing up four children with rationing.
0:34:05 > 0:34:09One of my daughters feels I didn't give her a cultural background.
0:34:09 > 0:34:12Considering that in six years she didn't know what hunger
0:34:12 > 0:34:15and fear was on ?5 a week in a world war, I mean,
0:34:15 > 0:34:18we were just wanting to stay alive one more day.
0:34:20 > 0:34:23MUSIC: "Also Sprach Zarathustra - Opening" by Richard Strauss
0:34:23 > 0:34:27CHANTING
0:34:32 > 0:34:36As the nations of the world squared up for total war,
0:34:36 > 0:34:39music was engulfed by the conflict
0:34:39 > 0:34:42and composers were forced to pick sides.
0:34:42 > 0:34:46This saw some musicians ushered into a problematic place
0:34:46 > 0:34:47in musical history.
0:34:53 > 0:34:56Richard Strauss was the most important German composer
0:34:56 > 0:34:58of the early 20th century,
0:34:58 > 0:35:01with works like Salome, Der Rosenkavalier
0:35:01 > 0:35:04and Also Sprach Zarathustra to his name.
0:35:10 > 0:35:15When Hitler took power in 1933, he harnessed Strauss's reputation,
0:35:15 > 0:35:18making the 69-year-old composer
0:35:18 > 0:35:20the president of the Reich Music Chamber.
0:35:21 > 0:35:25Strauss was captured on film as the face of Nazi music,
0:35:25 > 0:35:28addressing the crowds in 1934.
0:35:39 > 0:35:43Richard Strauss was born into, and always was,
0:35:43 > 0:35:47a high-bourgeois German, in fact.
0:35:47 > 0:35:52He loved German culture and German music.
0:35:52 > 0:35:55I don't think that Richard Strauss particularly had any sympathy
0:35:55 > 0:35:56with the Nazis.
0:35:56 > 0:35:59His obsession was clearly with the perpetuation
0:35:59 > 0:36:01of the German opera house and, particularly,
0:36:01 > 0:36:03his operas being performed.
0:36:05 > 0:36:09At first, Strauss embraced his ambassadorial role
0:36:09 > 0:36:11and even socialised with Hitler.
0:36:16 > 0:36:18However, by the time war broke out,
0:36:18 > 0:36:20he had been removed from his position.
0:36:21 > 0:36:23He had defied anti-Semitic orders
0:36:23 > 0:36:26by continuing to work with Jewish musicians.
0:36:27 > 0:36:32He definitely did help, or try to help, his daughter-in-law,
0:36:32 > 0:36:33who was Jewish.
0:36:33 > 0:36:37He even drove to the gates of Theresienstadt to plead
0:36:37 > 0:36:39with them to release her.
0:36:39 > 0:36:42He didn't actively collaborate, he didn't do anything wrong.
0:36:42 > 0:36:46I think that we see him as someone who was morally weak,
0:36:46 > 0:36:52because he was more concerned about his own status than really
0:36:52 > 0:36:55trying to understand what was going on around him.
0:36:57 > 0:37:00Home movie footage reveals a different side
0:37:00 > 0:37:02to the giant of German music,
0:37:02 > 0:37:06as Strauss enjoys private moments with his grandchildren.
0:37:06 > 0:37:11MUSIC: "Horn Concerto No. 2" by Richard Strauss
0:39:07 > 0:39:09Like his opponent Hitler,
0:39:09 > 0:39:13Stalin used the power of music as part of his wartime arsenal.
0:39:13 > 0:39:19MUSIC: "Symphony No. 7 - IV. Allegro Non Troppo" by Dimitri Shostakovich
0:39:21 > 0:39:26Dmitri Shostakovich was the greatest living Russian composer,
0:39:26 > 0:39:28so was the natural choice for Stalin
0:39:28 > 0:39:31to become the dictator's musical puppet.
0:39:36 > 0:39:39Born a year after the Russian Revolution of 1905,
0:39:39 > 0:39:44Shostakovich spent his early 20s playing piano at a Leningrad cinema,
0:39:44 > 0:39:46before becoming a celebrated composer.
0:39:48 > 0:39:50In the Second World War,
0:39:50 > 0:39:53Shostakovich served as a volunteer firefighter,
0:39:53 > 0:39:56but his most famous wartime contribution
0:39:56 > 0:39:58was his seventh symphony.
0:40:01 > 0:40:04The defiant piece boosted the morale of a nation on its knees
0:40:04 > 0:40:06during the Nazi invasion.
0:40:06 > 0:40:10In this remarkable, though obviously staged, footage,
0:40:10 > 0:40:14Shostakovich is seen apparently composing his seventh symphony
0:40:14 > 0:40:15in blockaded Leningrad.
0:40:55 > 0:40:59It was performed there during this terrible siege by an orchestra
0:40:59 > 0:41:01that was originally only 15 people.
0:41:01 > 0:41:04People were starving, people dying in doorways.
0:41:04 > 0:41:08The orchestra, I believe, were tempted by extra rations to turn up.
0:41:08 > 0:41:12This ragbag orchestra was actually got together.
0:41:12 > 0:41:17The performance was given, and it was broadcast, or blasted,
0:41:17 > 0:41:19through loudspeaker not only to residents of Leningrad
0:41:19 > 0:41:23during this terrifying siege, but also to the German troops.
0:41:25 > 0:41:29So it was used as a political weapon, a propaganda weapon,
0:41:29 > 0:41:32to try and make the Germans demoralised.
0:41:34 > 0:41:37So, I mean, this is an extraordinary use of a piece of music.
0:41:37 > 0:41:40It's probably unique in the history of Western music.
0:41:51 > 0:41:54To write his music, Shostakovich had to contend with
0:41:54 > 0:41:56not only the horrors of war,
0:41:56 > 0:41:59but also the tyranny of the Soviet machine.
0:41:59 > 0:42:02Stalin controlled art with such terror
0:42:02 > 0:42:04that artists lived in fear of death,
0:42:04 > 0:42:07should their work not meet with his approval.
0:42:08 > 0:42:13Shostakovich felt constrained from writing anything that could be
0:42:13 > 0:42:18construed as critical, and yet he definitely wanted to be critical.
0:42:18 > 0:42:21So he developed this way of writing music which was sort of codified.
0:42:21 > 0:42:24He used his own letters - D, S, C, H.
0:42:29 > 0:42:32If you use the way, in music, we use those letters,
0:42:32 > 0:42:35cos obviously there isn't an S, that's what it turns out.
0:42:35 > 0:42:38Variations of that turn up in everything - in the Cello Concerto.
0:42:42 > 0:42:44He uses variations of that as a kind of signature tune,
0:42:44 > 0:42:47as a way of saying, "You will never stop me.
0:42:47 > 0:42:49"I am here in my music."
0:42:49 > 0:42:56MUSIC: "Symphony No. 5" by Dimitri Shostakovich
0:43:09 > 0:43:12In 1974, an edition of Omnibus
0:43:12 > 0:43:15followed the 68-year-old Shostakovich
0:43:15 > 0:43:18as he supervised rehearsals of his fifth symphony,
0:43:18 > 0:43:20conducted by his son Maxim.
0:43:27 > 0:43:30In the film, Shostakovich discussed the impact
0:43:30 > 0:43:32world events had on his work
0:43:32 > 0:43:35and explained why he dedicated his eighth string quartet
0:43:35 > 0:43:38to the victims of Fascism and war.
0:45:20 > 0:45:24While music was being used as a weapon on the battlefields
0:45:24 > 0:45:28by Hitler and Stalin, in one German prisoner of war camp,
0:45:28 > 0:45:31it would prove a lifeline for survival.
0:45:36 > 0:45:40Before the Second World War, Olivier Messiaen was a composer,
0:45:40 > 0:45:42teacher and church organist.
0:45:43 > 0:45:47When the Nazis invaded France in 1940,
0:45:47 > 0:45:51the 31-year-old Messiaen was serving as a medical orderly.
0:45:51 > 0:45:56He was captured and interned in Stalag VIII-A, where he wrote
0:45:56 > 0:45:58Quartet For The End Of Time.
0:46:06 > 0:46:12At the age of 77, Messiaen relived the astonishing circumstances
0:46:12 > 0:46:15that led to the creation of his most iconic work.
0:48:48 > 0:48:50Messiaen was released from the camp
0:48:50 > 0:48:52a few months after the first performance of
0:48:52 > 0:48:54Quartet For The End Of Time,
0:48:54 > 0:48:59when a music-loving guard conspired to forge the necessary documents.
0:49:01 > 0:49:05Messiaen became an influential teacher of many key composers
0:49:05 > 0:49:10of the post-war period, including British composer George Benjamin,
0:49:10 > 0:49:12seen here with Messiaen in 1987.
0:49:15 > 0:49:17I think one has to remember that when he was there
0:49:17 > 0:49:20he didn't know that he was going to be freed,
0:49:20 > 0:49:25and, of course, people in 1940-41 had no idea the war would come to an end.
0:49:25 > 0:49:28And so in these terrible circumstances,
0:49:28 > 0:49:31in great loneliness and suffering, I think,
0:49:31 > 0:49:35he conceived this remarkable, unique chamber piece.
0:49:44 > 0:49:48Quartet For The End Of Time marks the first time Messiaen
0:49:48 > 0:49:51incorporated the sound of birdsong into his music.
0:49:54 > 0:49:58As if returning again and again to the time of his internment,
0:49:58 > 0:50:01Messiaen wrote birdsong into most of his subsequent work.
0:50:02 > 0:50:07The keen ornithologist and his wife were filmed in 1973
0:50:07 > 0:50:09for the BBC's Full House,
0:50:09 > 0:50:13roaming woods near Cardiff in search of rare bird sounds.
0:50:16 > 0:50:22His music rings with a form of generous,
0:50:22 > 0:50:26visionary joy that is completely unique in the 20th century.
0:50:26 > 0:50:29What's strange is that he was a religious composer
0:50:29 > 0:50:32but also a radical composer, so he changed the direction of music.
0:50:32 > 0:50:35By his teaching he influenced generations of composers.
0:50:55 > 0:50:59The Second World War had co-opted music as a tool of ideology
0:50:59 > 0:51:04and used it both as a weapon and a means of resistance.
0:51:04 > 0:51:07But one of the most celebrated pieces of the period was
0:51:07 > 0:51:11a work of protest from a composer who refused to take sides at all.
0:51:16 > 0:51:18Michael Tippett was the son of a suffragette
0:51:18 > 0:51:21who grew up in rural Suffolk.
0:51:21 > 0:51:25He used music as an expression of his deeply-held pacifist beliefs.
0:51:29 > 0:51:33Appalled by Britain's retaliation in response to the rise of Nazism,
0:51:33 > 0:51:37Tippett resisted conscription as a conscientious objector,
0:51:37 > 0:51:39ultimately going to prison for a few months
0:51:39 > 0:51:42for refusing to comply with the conditions.
0:51:47 > 0:51:52Tippet's musical response to the war was A Child Of Our Time.
0:51:52 > 0:51:55He used his major oratorio to explore the theme of
0:51:55 > 0:51:58the individual's fate under the forces of social oppression.
0:51:58 > 0:52:08# The world turns
0:52:08 > 0:52:13# On its dark... #
0:52:13 > 0:52:16Introducing a performance of the work in 1977,
0:52:16 > 0:52:21Tippett revealed how it was inspired by real-life events that led to war.
0:52:22 > 0:52:27The story that forms the centre of A Child Of Our Time
0:52:27 > 0:52:32was based on a real event of 1938.
0:52:32 > 0:52:36A young refugee, hiding in a great city,
0:52:36 > 0:52:40shot and killed a high-ranking diplomat in an embassy
0:52:40 > 0:52:43in protest against what was happening to his mother.
0:52:45 > 0:52:47This act of personal vengeance
0:52:47 > 0:52:52precipitated a public vengeance of such horror
0:52:52 > 0:52:55that the only answer, if that's the right word,
0:52:55 > 0:53:00was a third and total vengeance, the war itself.
0:53:00 > 0:53:08# My home is over Jordan... #
0:53:10 > 0:53:12It asks the question,
0:53:12 > 0:53:17"What happens when individual acts of apparently righteous protest
0:53:17 > 0:53:20"produce ensuing and colossal catastrophes?"
0:53:20 > 0:53:25A Child Of Our Time, I feel, offers no clear answers,
0:53:25 > 0:53:29yet moments of release, perhaps even of comfort.
0:53:30 > 0:53:32These moments are the five spirituals
0:53:32 > 0:53:35that come at special places in the score.
0:53:35 > 0:53:39Moments when the performers and the viewers could,
0:53:39 > 0:53:42metaphorically at least, sing together.
0:53:42 > 0:53:48# Oh, don't you want to go
0:53:48 > 0:53:53# To the Gospel feast
0:53:53 > 0:53:56# That promised land...? #
0:53:56 > 0:54:01A Child Of Our Time premiered in London in March 1944.
0:54:03 > 0:54:07The piece was a sensation, and established Tippett
0:54:07 > 0:54:10as one of the most important composers of his generation.
0:54:14 > 0:54:18'Mankind has perpetrated unimaginable horrors,
0:54:18 > 0:54:20'giving us very little ground for optimism.'
0:54:23 > 0:54:27'Can I, in my music, remake that dream?'
0:54:32 > 0:54:36Deep river, my home is over Jordan.
0:54:37 > 0:54:41I want to cross over into campground, Lord.
0:54:41 > 0:54:44I want to cross over into campground.
0:54:49 > 0:54:52Clearly when he's writing a work like A Child Of Our Time,
0:54:52 > 0:54:54he's making a plea for peace, for compassion,
0:54:54 > 0:54:56for anything other than war.
0:54:58 > 0:55:01A Child Of Our Time in some ways is the most clear-cut piece of
0:55:01 > 0:55:04political music that any British composer has written, I think.
0:55:04 > 0:55:08HE PLAYS PIANO AND VOCALISES
0:55:11 > 0:55:16For the whole of my life, my creative work has been determined
0:55:16 > 0:55:19by what is happening in the world outside,
0:55:19 > 0:55:25and by what is happening in the world inside, that is inside me.
0:55:26 > 0:55:29Michael would have got on very well with Bono.
0:55:29 > 0:55:31They both try to do the same thing with music,
0:55:31 > 0:55:35and use their platform, you know, to make political statements
0:55:35 > 0:55:39and to try and stop appalling hardship around the world.
0:55:39 > 0:55:41So he had a huge social conscience.
0:55:43 > 0:55:47Determined to spread his message as far and wide as possible,
0:55:47 > 0:55:49Tippett embraced broadcasting
0:55:49 > 0:55:52as a way of reaching an audience beyond the concert hall.
0:55:52 > 0:55:57For a 1964 edition of Workshop, Tippett got his hands dirty with
0:55:57 > 0:56:01the business of actually directing a televised performance of his work.
0:56:01 > 0:56:04Good evening, I'm the producer of Workshop, and before we get going
0:56:04 > 0:56:07with this programme, I'd just like to tell you something about it.
0:56:07 > 0:56:10It's based on the music which you can see and hear
0:56:10 > 0:56:11being played behind me,
0:56:11 > 0:56:14the Concerto for Double String Orchestra by Michael Tippett.
0:56:14 > 0:56:17Michael Tippett is upstairs somewhere...
0:56:17 > 0:56:19'That was one of the first Workshop programmes I did,
0:56:19 > 0:56:25'was to show Michael looking at how cameras photograph music
0:56:25 > 0:56:29'and getting the very best for his own work, the Double Concerto.
0:56:29 > 0:56:33My feeling as a composer at that moment is that what is
0:56:33 > 0:56:36happening is that it's been all built up from these cellos -
0:56:36 > 0:56:39# Taw-dee, taw-dee, taw-dee-daw, taw-dee... #
0:56:39 > 0:56:43And it's a feeling of growing from the cello line,
0:56:43 > 0:56:47and not a feeling of anything cross-ways, you see.
0:56:47 > 0:56:49Although that's an exciting shot,
0:56:49 > 0:56:52I think we'll have to let it go. Yes, I think so too...
0:56:52 > 0:56:55'The very fact that he was in a studio allowing us
0:56:55 > 0:56:58'to film him talking about how to film his music showed
0:56:58 > 0:57:00'just how committed he was to the democratic...
0:57:00 > 0:57:02'In a sense, rather like Copland,
0:57:02 > 0:57:05'he saw that television was a medium for good.'
0:57:05 > 0:57:07The cellos lifting the music
0:57:07 > 0:57:12until they're suddenly quite electric by the time they reach there.
0:57:12 > 0:57:14I think his music is, at its best,
0:57:14 > 0:57:17as deeply moving as anything ever written by an Englishman.
0:57:17 > 0:57:20MUSIC: "Concerto for Double String Orchestra"
0:57:36 > 0:57:38And four! 64...
0:57:41 > 0:57:43Well done, chaps.
0:57:43 > 0:57:44And fade.
0:57:46 > 0:57:48# With a click, with a shock
0:57:48 > 0:57:51# Phone'll jingle door will knock... #
0:57:51 > 0:57:52No.
0:57:52 > 0:57:54In the next and final episode
0:57:54 > 0:57:56of 20th Century Composers In Their Own Words,
0:57:56 > 0:58:00we hear from the generation of composers who came of age
0:58:00 > 0:58:03amid the devastation of post-war Europe and America.
0:58:03 > 0:58:06HANDS CLAP
0:58:06 > 0:58:09Theirs was the challenge of reclaiming music
0:58:09 > 0:58:12from the dictators who had hijacked their art,
0:58:12 > 0:58:16and wiping the musical slate clean of any reminders of the past.
0:58:16 > 0:58:19RAPID PIANO AND PERCUSSION
0:58:19 > 0:58:23Amid the popular culture explosion of the post-war world,
0:58:23 > 0:58:27these composers created a groundbreaking new musical language
0:58:27 > 0:58:30which took music to its very limits,
0:58:30 > 0:58:32before being brought back to the mainstream
0:58:32 > 0:58:34to the point where, to many,
0:58:34 > 0:58:38it felt like contemporary classical music ceased to exist at all.
0:58:38 > 0:58:40Using all of these, we can build up any sound
0:58:40 > 0:58:42we can possibly imagine, almost.
0:58:42 > 0:58:43But not the sort of melody
0:58:43 > 0:58:46that people would perhaps hum in the bath.
0:58:46 > 0:58:47There's a sort of inner humming.