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MUSIC: "Wedding March" by Felix Mendelssohn | 0:00:02 | 0:00:04 | |
My journey through two centuries of British music and history | 0:00:13 | 0:00:16 | |
ends in the early Victorian age, | 0:00:16 | 0:00:18 | |
with a composer who has quietly and modestly burrowed deep | 0:00:18 | 0:00:23 | |
under our national skin. | 0:00:23 | 0:00:24 | |
MUSIC: "O For The Wings Of A Dove" | 0:00:24 | 0:00:27 | |
This giant of musical Romanticism | 0:00:27 | 0:00:30 | |
was also one of the world's great melodists, | 0:00:30 | 0:00:33 | |
who wrote some of Britain's best-loved tunes. | 0:00:33 | 0:00:36 | |
# Hark! the herald angels sing | 0:00:36 | 0:00:39 | |
# Glory to the newborn King... # | 0:00:39 | 0:00:43 | |
Once again, this composer came from outside Britain. | 0:00:43 | 0:00:47 | |
Like Handel, he was German. | 0:00:47 | 0:00:49 | |
His name was Felix Mendelssohn. | 0:00:49 | 0:00:51 | |
THEY PLAY: "Wedding March" from "A Midsummer Night's Dream" | 0:00:51 | 0:00:56 | |
THEY PLAY: Overture to "A Midsummer Night's Dream" | 0:01:09 | 0:01:12 | |
Mendelssohn first came to London in 1829 | 0:01:17 | 0:01:20 | |
as a precocious 20 year old. | 0:01:20 | 0:01:22 | |
To complete his fully rounded German education | 0:01:22 | 0:01:25 | |
he was visiting Britain on the first leg of a European grand tour. | 0:01:25 | 0:01:29 | |
The great legacy of Haydn's time in London a generation earlier | 0:01:38 | 0:01:41 | |
was the foundation of the Philharmonic Society, | 0:01:41 | 0:01:44 | |
which established a regular concert season in Britain's capital, | 0:01:44 | 0:01:47 | |
and within a few months of Mendelssohn's arrival, | 0:01:47 | 0:01:50 | |
they arranged for the young composer to present his work to the public. | 0:01:50 | 0:01:54 | |
The music he conducted included this scintillating overture | 0:01:58 | 0:02:01 | |
to A Midsummer Night's Dream, written when he was just 17. | 0:02:01 | 0:02:05 | |
We're performing it for this film with my orchestra of period instruments, Army of Generals, | 0:02:05 | 0:02:10 | |
in the ornate, Victorian splendour of the livery hall of London's Drapers' Company. | 0:02:10 | 0:02:15 | |
London was astonished at the young German prodigy. | 0:02:33 | 0:02:36 | |
But for Mendelssohn, Britain had so much more to offer | 0:02:36 | 0:02:39 | |
than simply its capital city. | 0:02:39 | 0:02:41 | |
As one of the first of the new generation of Romantic artists, | 0:02:41 | 0:02:45 | |
Mendelssohn needed to feed his imagination with experience. | 0:02:45 | 0:02:49 | |
So after just four months in the capital, he headed north, | 0:02:49 | 0:02:52 | |
on a journey that was to inspire one of the world's best-loved pieces. | 0:02:52 | 0:02:57 | |
MUSIC: The Hebrides Overture | 0:02:57 | 0:03:00 | |
Tucked away in a corner of Oxford's Bodleian Library | 0:03:00 | 0:03:04 | |
is the composer's own charming record of this trip, | 0:03:04 | 0:03:06 | |
a series of sketchbooks, some mind-blowingly tiny, | 0:03:06 | 0:03:10 | |
which paint a vivid and detailed picture of his first British summer. | 0:03:10 | 0:03:13 | |
Here is a sort of conventional size drawing book, | 0:03:17 | 0:03:21 | |
-which actually starts off with a few of London. -Extraordinary. | 0:03:21 | 0:03:27 | |
-It's almost Canaletto. -Yes, it is. There's St Paul's and... | 0:03:27 | 0:03:31 | |
And then, the rest of the sketchbook records the journey up north. | 0:03:31 | 0:03:36 | |
So we've got York. | 0:03:36 | 0:03:38 | |
-Then onwards up to Durham. -That's a very leafy picture! | 0:03:39 | 0:03:42 | |
Yes, he was always very fond of trees. He drew trees everywhere. | 0:03:42 | 0:03:47 | |
Then up north, into Scotland. | 0:03:47 | 0:03:50 | |
Scotland. | 0:03:57 | 0:03:58 | |
These meticulous sketches are the first impressions of a landscape | 0:03:58 | 0:04:02 | |
that was to become hugely significant for the young composer. | 0:04:02 | 0:04:06 | |
Arriving in Oban on the west coast on August 7th, | 0:04:06 | 0:04:09 | |
he drew what's now become one of his most evocative pictures. | 0:04:09 | 0:04:13 | |
Standing on just about exactly this spot | 0:04:15 | 0:04:17 | |
and in just this sort of weather, | 0:04:17 | 0:04:19 | |
Mendelssohn caught his first glimpse, | 0:04:19 | 0:04:21 | |
beyond the castle of Dunolly, of that misty, distant grey landmass - | 0:04:21 | 0:04:25 | |
the Hebrides islands - | 0:04:25 | 0:04:26 | |
a landscape that was to have such a deep creative impact upon him. | 0:04:26 | 0:04:30 | |
And that very night, he fired off a letter to his family | 0:04:30 | 0:04:33 | |
where he said, "In order to make you understand | 0:04:33 | 0:04:35 | |
"just how much the Hebrides have affected me, | 0:04:35 | 0:04:37 | |
"I've set down the following." | 0:04:37 | 0:04:39 | |
And he sketched the first 20 bars of music | 0:04:39 | 0:04:42 | |
of a piece that was subsequently to become world famous. | 0:04:42 | 0:04:45 | |
The following morning, Mendelssohn took a tourist boat | 0:04:48 | 0:04:51 | |
deeper into the Hebrides, heading for a tiny and remote island | 0:04:51 | 0:04:54 | |
that was in all the guide books as one of the wonders of the world - | 0:04:54 | 0:04:57 | |
Staffa, so ancient, it doesn't even have fossils, | 0:04:57 | 0:05:01 | |
and with its extraordinary sea cavern crafted from basalt pillars, | 0:05:01 | 0:05:04 | |
Fingal's Cave. | 0:05:04 | 0:05:06 | |
It was a difficult journey then and it still is today. | 0:05:10 | 0:05:13 | |
We'd planned to retrace Mendelssohn's trip to Fingal's Cave, | 0:05:13 | 0:05:17 | |
but with summer storms brewing, our skipper refused to take us. | 0:05:17 | 0:05:21 | |
So, David, what conditions do you think Mendelssohn was met with | 0:05:21 | 0:05:24 | |
when he set sail on that day in 1829? | 0:05:24 | 0:05:26 | |
Er...not very good, I don't think. | 0:05:26 | 0:05:29 | |
As bad as this or worse? | 0:05:29 | 0:05:30 | |
Er...it wouldn't be as bad as this, | 0:05:30 | 0:05:33 | |
because the boats that were operating in those days weren't as big. | 0:05:33 | 0:05:36 | |
No engines. It was all either oar or sail. | 0:05:36 | 0:05:39 | |
And there's no way that you'll just take me now? | 0:05:39 | 0:05:41 | |
-No. -If we go carefully? -No. No, Charles. No. No! | 0:05:41 | 0:05:44 | |
Go on! | 0:05:44 | 0:05:46 | |
So we waited and we waited. | 0:05:46 | 0:05:51 | |
BOAT ENGINE ROARS | 0:05:51 | 0:05:52 | |
And our luck finally turned when David seized a "weather window". | 0:05:52 | 0:05:57 | |
We might not be able to land, | 0:05:57 | 0:05:59 | |
but he agreed to risk the hour-long voyage to Staffa. | 0:05:59 | 0:06:02 | |
So at last we're under way. | 0:06:02 | 0:06:05 | |
We're going to Staffa to see Fingal's Cave, this amazing place | 0:06:05 | 0:06:09 | |
which inspired Mendelssohn to write such a great piece of music. | 0:06:09 | 0:06:12 | |
It's a piece I've conducted so many times | 0:06:12 | 0:06:14 | |
without ever having seen its inspirational origin. | 0:06:14 | 0:06:18 | |
At last, I'm going there. | 0:06:18 | 0:06:20 | |
Mendelssohn also had bad weather. | 0:06:39 | 0:06:42 | |
A poor sailor at the best of times, he was miserably seasick | 0:06:42 | 0:06:46 | |
for the entire voyage. | 0:06:46 | 0:06:48 | |
We did manage to land, but soon after we heard of a new storm | 0:07:07 | 0:07:11 | |
heading our way. I had only a few minutes to get to the famous cave, | 0:07:11 | 0:07:16 | |
have a look and get back to the boat. | 0:07:16 | 0:07:19 | |
That was just a totally visceral experience! | 0:07:46 | 0:07:49 | |
Standing inside that huge, black, marble mouth, | 0:07:49 | 0:07:53 | |
the sound of the sea just crashing around! | 0:07:53 | 0:07:55 | |
This is tempestuous music! | 0:08:15 | 0:08:17 | |
But Mendelssohn's original manuscript is anything but. | 0:08:17 | 0:08:20 | |
It's incredibly fastidious. Even the corrections are measured! | 0:08:20 | 0:08:24 | |
What I love is how neat it is. For instance, the bar lines. | 0:08:26 | 0:08:29 | |
-This, I could conduct from! -You could. Oh yes! | 0:08:29 | 0:08:31 | |
It's as clear as a printed page. | 0:08:31 | 0:08:33 | |
Mendelssohn has painted a picture of our landscape in sound. | 0:08:50 | 0:08:56 | |
Fingal's Cave, the first tone poem, opened the door to a new style | 0:08:56 | 0:09:00 | |
of descriptive music which inspired composers for the next 100 years. | 0:09:00 | 0:09:04 | |
Britain became almost a second home to Mendelssohn. | 0:09:21 | 0:09:24 | |
He made nine more visits during his short life. | 0:09:24 | 0:09:27 | |
He was building on our historic bonds with Germany. | 0:09:27 | 0:09:30 | |
Britain had a Hanoverian monarch in George IV | 0:09:30 | 0:09:33 | |
and in Handel, a German national composer. | 0:09:33 | 0:09:37 | |
But Mendelssohn's principal home was in Leipzig | 0:09:37 | 0:09:39 | |
in the first-floor apartment of this building. | 0:09:39 | 0:09:43 | |
Mendelssohn's grandfather, Moses, | 0:09:51 | 0:09:53 | |
had been the leading Enlightenment philosopher of his day. | 0:09:53 | 0:09:56 | |
Pretty impressive forebear. | 0:09:56 | 0:09:58 | |
And Mendelssohn had the perfect upbringing - | 0:09:58 | 0:10:01 | |
parents, like all great parents, who created just the fertile seedbed | 0:10:01 | 0:10:06 | |
for Felix and his equally gifted sister, Fanny, to grow their talents. | 0:10:06 | 0:10:10 | |
He learnt languages, learnt to draw, he read literature voraciously, | 0:10:10 | 0:10:15 | |
both ancient and modern. | 0:10:15 | 0:10:16 | |
He danced, he fenced, he did gymnastics. | 0:10:16 | 0:10:19 | |
He became a thoroughly rounded young man. | 0:10:19 | 0:10:22 | |
And on top of all of this, his parents, Leah and Abraham, | 0:10:22 | 0:10:25 | |
chose to baptise their four Jewish children | 0:10:25 | 0:10:27 | |
into the Protestant Christian faith. | 0:10:27 | 0:10:30 | |
This was, of course, a pragmatic choice, | 0:10:30 | 0:10:32 | |
but largely driven by the belief, derived from Grandfather Moses, | 0:10:32 | 0:10:36 | |
that we're all equal - the same under God. | 0:10:36 | 0:10:39 | |
One astonishing achievement is Mendelssohn's String Octet, | 0:10:46 | 0:10:50 | |
which is by any standards a miracle piece, | 0:10:50 | 0:10:53 | |
let alone the fact that it was written by a mere 16 year old. | 0:10:53 | 0:10:57 | |
You get what I would call a kind of Mendelssohnian translucence - | 0:11:06 | 0:11:10 | |
this incredibly delicate tune just skittering along | 0:11:10 | 0:11:12 | |
over a very busy background. | 0:11:12 | 0:11:14 | |
But somehow the busy background never engulfs the theme. | 0:11:14 | 0:11:18 | |
It seems to float. | 0:11:18 | 0:11:19 | |
Mendelssohn was arguably the most prodigiously talented | 0:11:30 | 0:11:33 | |
teenage composer in history. | 0:11:33 | 0:11:35 | |
And he was also growing up at a time when German music | 0:11:39 | 0:11:42 | |
was seen as something of profound moral importance. | 0:11:42 | 0:11:46 | |
When Mendelssohn starts writing music, | 0:11:46 | 0:11:49 | |
it's not just writing music. | 0:11:49 | 0:11:51 | |
He's actually already writing music with a kind of mission behind it. | 0:11:51 | 0:11:55 | |
German composers are basically preachers, | 0:12:18 | 0:12:22 | |
teaching the community about how life and art should be. | 0:12:22 | 0:12:27 | |
This is why Johann Sebastian Bach becomes extremely important. | 0:12:34 | 0:12:37 | |
This is St Thomas's church, Leipzig, where Johann Sebastian Bach worked | 0:12:39 | 0:12:44 | |
for the last 30 years of his life. | 0:12:44 | 0:12:46 | |
The teenage Mendelssohn was the driving force | 0:12:50 | 0:12:53 | |
in the 19th century revival of Bach's music. | 0:12:53 | 0:12:55 | |
Aged just 20, he conducted Bach's masterpiece, the St Matthew Passion, | 0:12:55 | 0:13:01 | |
which hadn't been heard since the composer's death 80 years earlier, | 0:13:01 | 0:13:05 | |
and hasn't left the world stage since. | 0:13:05 | 0:13:07 | |
But this was so much more than just dusting off a great old museum piece | 0:13:11 | 0:13:14 | |
and representing it to the world. | 0:13:14 | 0:13:16 | |
Mendelssohn engaged creatively with the work, | 0:13:16 | 0:13:19 | |
cutting it, re-scoring it, re-working it, | 0:13:19 | 0:13:22 | |
to speak with optimum clarity to the people of his own time. | 0:13:22 | 0:13:26 | |
MUSIC: Opening movement of "St Matthew Passion" by JS Bach | 0:13:26 | 0:13:30 | |
Mendelssohn's early encounters with what it means to be a German artist | 0:13:36 | 0:13:40 | |
will have important implications for the British. | 0:13:40 | 0:13:43 | |
Here, Handel's revered position among composers stayed unassailable. | 0:13:47 | 0:13:52 | |
His music has formed the backbone of every British coronation | 0:13:52 | 0:13:56 | |
since George I in 1727. | 0:13:56 | 0:13:58 | |
In 1837 Victoria became Queen and Zadok The Priest rang out again. | 0:13:58 | 0:14:06 | |
# Zadok the priest | 0:14:06 | 0:14:13 | |
# And Nathan the Prophet... # | 0:14:13 | 0:14:21 | |
1837 was a highly significant year for Mendelssohn. | 0:14:21 | 0:14:23 | |
He got married to Cecile Jeanrenaud, | 0:14:23 | 0:14:26 | |
the daughter of a French pastor, | 0:14:26 | 0:14:27 | |
and after their seven-week honeymoon in the Rhineland and Black Forest, | 0:14:27 | 0:14:31 | |
he came here to Birmingham, to perform a brand-new piece | 0:14:31 | 0:14:34 | |
commissioned from him by the city's Triennial Festival. | 0:14:34 | 0:14:37 | |
Mendelssohn himself took the solo part in that first performance | 0:14:56 | 0:15:00 | |
of his Second Piano Concerto. | 0:15:00 | 0:15:02 | |
As Victoria took the throne, Britain's landscape | 0:15:25 | 0:15:27 | |
was already being transformed by industrialisation. | 0:15:27 | 0:15:31 | |
And here in Birmingham, the so-called workshop of the world, | 0:15:31 | 0:15:35 | |
the population was exploding, | 0:15:35 | 0:15:37 | |
and the canal system here, constructed over previous decades, | 0:15:37 | 0:15:40 | |
now covered more miles of waterway than Venice. | 0:15:40 | 0:15:44 | |
This music is passionate and intense. | 0:15:56 | 0:15:59 | |
But, as ever, Mendelssohn crafts it with a truly classic sense of form. | 0:15:59 | 0:16:03 | |
There's none of the dangerous, bad-boy abandon that we associate | 0:16:03 | 0:16:06 | |
with Romantic composers like Liszt or Berlioz. | 0:16:06 | 0:16:09 | |
So how appropriate that the performance took place | 0:16:09 | 0:16:12 | |
in one of the most beautifully classically proportioned buildings of its age - Birmingham's Town Hall. | 0:16:12 | 0:16:18 | |
When Mendelssohn first started coming here, the Town Hall | 0:16:19 | 0:16:23 | |
must have been pretty new. What was the area around it like? | 0:16:23 | 0:16:26 | |
The area around the Town Hall was mostly old housing | 0:16:26 | 0:16:30 | |
and poorer people living here. | 0:16:30 | 0:16:32 | |
No drains, no sewers, no refuse collection. | 0:16:32 | 0:16:35 | |
And it was making a statement, Charlie. It was saying, | 0:16:35 | 0:16:37 | |
"We might be industrial and have smoke belching from our factories, | 0:16:37 | 0:16:41 | |
"we might be dark, but we are civilised - | 0:16:41 | 0:16:43 | |
"civilised like the greatest city state in history - Ancient Rome." | 0:16:43 | 0:16:47 | |
Manchester could say they were the Athens of the North. | 0:16:47 | 0:16:50 | |
We went better in Brum. We were Rome. | 0:16:50 | 0:16:52 | |
We were the greatest city state in history. | 0:16:52 | 0:16:54 | |
So this beautiful Town Hall was designed to look like | 0:16:54 | 0:16:57 | |
-the temple of Jupiter Stator. -So it was, genuinely, for everybody? | 0:16:57 | 0:17:00 | |
It was for everybody. It was the people's hall. | 0:17:00 | 0:17:04 | |
So when Mendelssohn first come, he did a pen and ink drawing | 0:17:12 | 0:17:16 | |
of this locality. | 0:17:16 | 0:17:17 | |
And all you see is smoke belching out of chimneys. | 0:17:17 | 0:17:21 | |
It's interesting - when Mendelssohn first comes to Birmingham, | 0:17:32 | 0:17:36 | |
Charles Dickens, the people's writer, who knew what it was to be hungry, | 0:17:36 | 0:17:39 | |
who knew what it was to be poor, brought out his first great novel, | 0:17:39 | 0:17:42 | |
The Posthumous Papers Of Mr Pickwick. | 0:17:42 | 0:17:44 | |
And that sketch of Mendelssohn is matched by a compelling paragraph | 0:17:44 | 0:17:50 | |
of words, by Dickens, about Birmingham, | 0:17:50 | 0:17:52 | |
the great working town. | 0:17:52 | 0:17:53 | |
And as Sam Weller and his master, Mr Pickwick, | 0:17:53 | 0:17:55 | |
come along the Bristol road into Birmingham, | 0:17:55 | 0:17:58 | |
"..As they rattle through the narrow thoroughfares, | 0:17:58 | 0:18:01 | |
"leading to the heart of the turmoil, | 0:18:01 | 0:18:02 | |
"the sights and sounds of earnest occupation | 0:18:02 | 0:18:05 | |
"struck more forcibly upon the senses. The streets were thronged | 0:18:05 | 0:18:08 | |
"with working people. | 0:18:08 | 0:18:09 | |
"The hum of labour resounded from every house. | 0:18:09 | 0:18:12 | |
"The lights in the long casement windows of the attic storeys gleamed, | 0:18:12 | 0:18:16 | |
"and the whirl of wheels and the din of machinery | 0:18:16 | 0:18:19 | |
"shook the trembling walls. | 0:18:19 | 0:18:20 | |
"The fires, whose lurid sullen light had been visible for miles, | 0:18:20 | 0:18:24 | |
"blazed fiercely up in the great works and factories of the town. | 0:18:24 | 0:18:27 | |
"The din of hammers, the rushing of steam and the dead, | 0:18:27 | 0:18:31 | |
"heavy clanking of the engines was the harsh music | 0:18:31 | 0:18:33 | |
"which arose from every quarter." | 0:18:33 | 0:18:35 | |
That was the music, outside, that Mendelssohn, this great composer, | 0:18:35 | 0:18:39 | |
was putting music on inside, but we had our own music. | 0:18:39 | 0:18:42 | |
Manufacturing music. | 0:18:42 | 0:18:44 | |
Fantastic! | 0:18:44 | 0:18:46 | |
These days, Mendelssohn is sometimes dismissed | 0:19:08 | 0:19:11 | |
as a mere chocolate-box composer. | 0:19:11 | 0:19:13 | |
But the parallel is, in fact, slightly more revealing. | 0:19:13 | 0:19:17 | |
In that industrialising century, | 0:19:17 | 0:19:19 | |
both Mendelssohn and the chocolate manufacturers were on a similar crusade. | 0:19:19 | 0:19:24 | |
We often think of industry | 0:19:24 | 0:19:26 | |
in terms of steel, of glass, of hard, shiny things. | 0:19:26 | 0:19:30 | |
And yet, here in Birmingham, | 0:19:30 | 0:19:32 | |
chocolate was a major part of industry. How did it all begin? | 0:19:32 | 0:19:35 | |
Well, | 0:19:35 | 0:19:36 | |
chocolate was an industry the various Quaker families were interested in, | 0:19:36 | 0:19:41 | |
partly because drinking chocolate, which is what you were making until, really, the 1850s, | 0:19:41 | 0:19:46 | |
was seen as an alternative to alcohol, apart from anything else. | 0:19:46 | 0:19:50 | |
It was something they felt comfortable making and making money from. | 0:19:50 | 0:19:54 | |
And the Cadburys, here in Birmingham, | 0:19:54 | 0:19:56 | |
turned into the most successful chocolate-making dynasty of all. | 0:19:56 | 0:20:00 | |
There's a correlation here with Mendelssohn. | 0:20:00 | 0:20:03 | |
He had a very strong patrician, Victorian sense | 0:20:03 | 0:20:06 | |
that music was for the good of all - | 0:20:06 | 0:20:08 | |
that it could act as a salve to social ills. | 0:20:08 | 0:20:10 | |
It seems to me that drinking chocolate had the same ambition. | 0:20:10 | 0:20:13 | |
Yes, it did. There were places called temperance houses | 0:20:13 | 0:20:17 | |
which were alternatives to pubs, | 0:20:17 | 0:20:18 | |
where you'd have tea or chocolate or maybe coffee. | 0:20:18 | 0:20:21 | |
People were defended against the evils of alcohol. | 0:20:21 | 0:20:25 | |
The Cadburys also built on that. | 0:20:25 | 0:20:27 | |
This idealism was more than just preventing people doing things. | 0:20:27 | 0:20:31 | |
They actually tried to create a vision here in Bournville | 0:20:31 | 0:20:35 | |
of a Utopia, in a way - an ideal place for workers to live in. | 0:20:35 | 0:20:40 | |
# O for the wings, for the wings of a dove... # | 0:20:40 | 0:20:46 | |
A magnificent carillon overlooks Bournville's village green, | 0:20:46 | 0:20:49 | |
inspiring Cadbury's workforce | 0:20:49 | 0:20:51 | |
with hymns and other morally uplifting music | 0:20:51 | 0:20:55 | |
like this classic, O For The Wings Of A Dove, | 0:20:55 | 0:20:57 | |
from Mendelssohn's Christian anthem Hear My Prayer. | 0:20:57 | 0:21:00 | |
BELLS JANGLE TUNEFULLY | 0:21:00 | 0:21:02 | |
They wanted their workers | 0:21:13 | 0:21:14 | |
to be healthy and, really, morally better. | 0:21:14 | 0:21:17 | |
Richard and George Cadbury, | 0:21:17 | 0:21:19 | |
"Mr Richard" and "Mr George", as they were known to their employees, | 0:21:19 | 0:21:22 | |
every morning at 9.00 would do a Bible reading for their staff, | 0:21:22 | 0:21:26 | |
which was compulsory. | 0:21:26 | 0:21:28 | |
CARILLON CONTINUES | 0:21:29 | 0:21:31 | |
Mendelssohn had captured the popular imagination. | 0:21:35 | 0:21:38 | |
Up and down the country, he was hugely respected for his values, | 0:21:38 | 0:21:42 | |
and loved for his tunes. | 0:21:42 | 0:21:44 | |
MUSIC DRAWS TO A CLOSE | 0:21:44 | 0:21:46 | |
By this time, Mendelssohn was fast becoming | 0:21:50 | 0:21:52 | |
the absolute epitome of the Victorian gentleman - | 0:21:52 | 0:21:55 | |
quite an achievement for a foreigner. | 0:21:55 | 0:21:58 | |
What's more, this humble composer | 0:21:58 | 0:21:59 | |
was entering into an intensely intimate relationship | 0:21:59 | 0:22:02 | |
with both Queen Victoria and Prince Albert. | 0:22:02 | 0:22:05 | |
This intimacy led to a number of very small, private musical gatherings at Buckingham Palace. | 0:22:05 | 0:22:10 | |
At one of the earliest of these, Queen Victoria chose a Mendelssohn song she particularly loved, | 0:22:10 | 0:22:15 | |
and they performed it together. | 0:22:15 | 0:22:17 | |
# Schoner und schoner schmuckt sich der Plan | 0:22:19 | 0:22:23 | |
# Schmeichelnde Lufte wehen mich an! | 0:22:23 | 0:22:26 | |
# Fort aus der Prosa Lasten und Muh' | 0:22:26 | 0:22:30 | |
# Zieh' ich zum Lande der Poesie | 0:22:30 | 0:22:34 | |
# Gold'ner die Sonne, blauer die Luft | 0:22:34 | 0:22:37 | |
# Gruner die Grune, wurz'ger der Duft... # | 0:22:37 | 0:22:42 | |
But after they'd sung it, Mendelssohn, | 0:22:42 | 0:22:46 | |
rather nobly, to my mind, confessed that though the song was published under his name, | 0:22:46 | 0:22:50 | |
it had actually been written by his sister, Fanny. | 0:22:50 | 0:22:53 | |
# ..Und dies, halb Wiese, halb Ather zu schau'n | 0:22:53 | 0:22:59 | |
# Es war des Meeres furchtbares Grau'n? | 0:22:59 | 0:23:02 | |
# Hier will ich wohnen, Gottliche du | 0:23:02 | 0:23:06 | |
# Bringst du, Parthenope, Wogen zur Ruh'... # | 0:23:06 | 0:23:12 | |
Mendelssohn wrote that "Victoria sang well, | 0:23:12 | 0:23:17 | |
"hitting the last high G with more purity than any amateur". | 0:23:17 | 0:23:21 | |
# ..Wogen auch dieser Brust! # | 0:23:21 | 0:23:29 | |
Testimony to the intensely close relationship between Mendelssohn and the young Queen Victoria. | 0:23:35 | 0:23:41 | |
There's this real jewel in the British Library - a collection of seven piano duets, | 0:23:41 | 0:23:46 | |
some of his most famous songs, like Spring Song, which Mendelssohn prepared | 0:23:46 | 0:23:50 | |
and presented especially to Her Majesty. | 0:23:50 | 0:23:52 | |
THEY PLAY: "Spring Song" | 0:23:52 | 0:23:54 | |
So, like all piano duets, it's divided into two parts - | 0:24:15 | 0:24:18 | |
the primo, the first player, and the secondo, the second player. | 0:24:18 | 0:24:22 | |
The primo is clearly Queen Victoria. It is deliciously simple. | 0:24:22 | 0:24:26 | |
She obviously wasn't much of a keyboardist. It is almost playable by one finger - | 0:24:26 | 0:24:31 | |
a token of the ultimate respect and love from a composer | 0:24:31 | 0:24:35 | |
to the Queen. | 0:24:35 | 0:24:36 | |
CHARLES PLAYS WRONG NOTE | 0:24:40 | 0:24:41 | |
Mendelssohn remained a friend of both Victoria and Albert for the rest of his life. | 0:24:54 | 0:24:59 | |
Albert was an accomplished amateur composer, | 0:24:59 | 0:25:02 | |
all three spoke German as their first language | 0:25:02 | 0:25:05 | |
and they also shared a wider cultural vision, | 0:25:05 | 0:25:08 | |
where music played a powerful role. | 0:25:08 | 0:25:10 | |
BELLS PEAL | 0:25:10 | 0:25:12 | |
When our Queen Elizabeth was married, she followed a tradition established by Victoria | 0:25:12 | 0:25:17 | |
nearly a century earlier. | 0:25:17 | 0:25:19 | |
ORGAN PLAYS | 0:25:19 | 0:25:21 | |
In 1858, Victoria chose Mendelssohn's Wedding March | 0:25:21 | 0:25:25 | |
for the marriage of her eldest daughter. | 0:25:25 | 0:25:28 | |
ORGAN PLAYS: "Wedding March" | 0:25:28 | 0:25:31 | |
And to this day, the Wedding March remains | 0:25:31 | 0:25:34 | |
Mendelssohn's most popular piece of music. | 0:25:34 | 0:25:36 | |
CROWD ROARS | 0:25:36 | 0:25:38 | |
So what's its secret? | 0:25:38 | 0:25:40 | |
Weddings are about two things - | 0:25:42 | 0:25:44 | |
expectation and resolution. | 0:25:44 | 0:25:46 | |
So what does Mendelssohn give us? First, an opening fanfare gambit. | 0:25:46 | 0:25:50 | |
Remember it? | 0:25:52 | 0:25:53 | |
Where are all our eyes? Definitely on the bride. | 0:25:56 | 0:25:59 | |
And then, for the first big chord of the big tune, it could be just this. | 0:25:59 | 0:26:03 | |
-PLAYS CHORD -It's OK, but it's lacking something. | 0:26:03 | 0:26:06 | |
It needs that extra little fizz of excitement - of ecstasy, if you like. So here's that basic chord... | 0:26:06 | 0:26:12 | |
and he adds in just this note. | 0:26:12 | 0:26:14 | |
It's called an added sixth, and it gives us all the delight we need | 0:26:15 | 0:26:19 | |
to canter off down through the phrase. | 0:26:19 | 0:26:21 | |
Finally, we're at home. We've achieved resolution. | 0:26:25 | 0:26:28 | |
We've been playing it with the instruments of the day, | 0:26:28 | 0:26:31 | |
which sound quite vulgar, quite garish, in a way - | 0:26:31 | 0:26:34 | |
perhaps too much for some tastes. | 0:26:34 | 0:26:36 | |
But you can't say it's not exciting. | 0:26:36 | 0:26:38 | |
Success crowned success for Mendelssohn - | 0:27:41 | 0:27:44 | |
not just an international celebrity, but a friend of royalty, | 0:27:44 | 0:27:47 | |
a composer of hit tunes and, of course, | 0:27:47 | 0:27:50 | |
there was also his other life back in Germany. | 0:27:50 | 0:27:53 | |
Little of the Leipzig that Mendelssohn knew remains. But as I found out, | 0:27:53 | 0:27:57 | |
his pioneering spirit still survives. | 0:27:57 | 0:28:00 | |
He was famous for his phenomenal, workaholic lifestyle, | 0:28:00 | 0:28:04 | |
and he held one of the most prestigious and demanding jobs in the German musical world - | 0:28:04 | 0:28:09 | |
director of the legendary orchestra at Leipzig's Cloth Hall, or Gewandhaus. | 0:28:09 | 0:28:13 | |
I went to the new Gewandhaus building in Leipzig | 0:28:15 | 0:28:19 | |
to speak with Mendelssohn's successor. | 0:28:19 | 0:28:21 | |
Knowing his commitment as a Gewandhaus Kapellmeister | 0:28:22 | 0:28:26 | |
for 12 years, the amazement when you go through the programmes of those years | 0:28:26 | 0:28:31 | |
was the conviction and the wish of, er...let's say promotion, | 0:28:31 | 0:28:37 | |
in terms of discovering more and more | 0:28:37 | 0:28:40 | |
the greatness of Ludwig van Beethoven, for instance. | 0:28:40 | 0:28:43 | |
If you read through the programmes, you will be amazed | 0:28:43 | 0:28:46 | |
how much and how persistently he would conduct the Beethoven symphonies, | 0:28:46 | 0:28:51 | |
with some preferences. | 0:28:51 | 0:28:53 | |
The No. 7, the No. 5 and the No. 3 were always among the preferences. | 0:28:53 | 0:28:58 | |
I think the idea was to bring music to people | 0:28:58 | 0:29:01 | |
and, secondly, the educational problem - | 0:29:01 | 0:29:04 | |
how a country could be cultivated in music. | 0:29:04 | 0:29:07 | |
Mendelssohn was one of the first to invent the idea | 0:29:07 | 0:29:12 | |
of the historical concert - | 0:29:12 | 0:29:14 | |
that is, you start with a work by Johann Sebastian Bach. | 0:29:14 | 0:29:18 | |
You move along history and have a bit of Handel, then some Mozart and Haydn, | 0:29:18 | 0:29:23 | |
Beethoven, Schubert and then, of course, yourself as the composer. | 0:29:23 | 0:29:27 | |
This is the kind of concert he planned. | 0:29:27 | 0:29:29 | |
He changed the way people saw concerts, | 0:29:29 | 0:29:33 | |
so concerts become a kind of education in history. | 0:29:33 | 0:29:37 | |
MUSIC: Symphony No. 3, 3rd movt | 0:29:38 | 0:29:41 | |
Mendelssohn made perhaps his most significant contribution to that German history | 0:29:41 | 0:29:45 | |
in his five symphonies. | 0:29:45 | 0:29:47 | |
The third of these | 0:29:47 | 0:29:49 | |
was finished in 1842, but its roots lie in that famous trip to Scotland a dozen years earlier. | 0:29:49 | 0:29:55 | |
Mendelssohn wrote that he first conceived his Scottish Symphony during his visit | 0:29:55 | 0:30:01 | |
to the ruins of Holyrood Abbey in Edinburgh. | 0:30:01 | 0:30:04 | |
How does Mendelssohn summon up the brooding majesty of the scene? | 0:30:07 | 0:30:12 | |
Something he's brilliant at is painting with the orchestra, | 0:30:12 | 0:30:15 | |
so just listen to the quality of the sound at the opening - | 0:30:15 | 0:30:19 | |
a plangent and full-throated woodwind chorus, | 0:30:19 | 0:30:22 | |
rich, but without significant bass. | 0:30:22 | 0:30:25 | |
Normally, you might expect a velvety underlay of cellos and double basses, | 0:30:25 | 0:30:29 | |
but there are none. | 0:30:29 | 0:30:31 | |
The harmony rides on a much slenderer platform of horns and bassoons. | 0:30:31 | 0:30:35 | |
I think Mendelssohn | 0:30:35 | 0:30:37 | |
is looking at the sheer vastness of the sky and endless horizon, | 0:30:37 | 0:30:41 | |
brooding and stark. | 0:30:41 | 0:30:44 | |
Writing a symphony after Beethoven is a huge act for a composer. | 0:31:42 | 0:31:47 | |
The Scottish Symphony is without doubt | 0:31:47 | 0:31:51 | |
one of the best examples of Mendelssohn | 0:31:51 | 0:31:54 | |
expanding the idea of German music, paradoxically as it sounds, | 0:31:54 | 0:31:59 | |
through images of another country. | 0:31:59 | 0:32:02 | |
One of the important things about the idea of German music | 0:32:11 | 0:32:15 | |
is that it's meant to appeal to the whole of humanity. | 0:32:15 | 0:32:18 | |
This is music that's going to give all people, not just German people, | 0:32:18 | 0:32:23 | |
a kind of moral standard. | 0:32:23 | 0:32:25 | |
In 1842, | 0:32:39 | 0:32:40 | |
none other than Queen Victoria accepted the dedication of the Scottish Symphony. | 0:32:40 | 0:32:45 | |
How interesting that just three months later, | 0:32:45 | 0:32:49 | |
she made HER first trip north of the border, | 0:32:49 | 0:32:51 | |
to the country that had become one of the most potent and romantic locations in Europe. | 0:32:51 | 0:32:57 | |
"O Caledonia! stern and wild, | 0:33:02 | 0:33:05 | |
"Meet nurse for a poetic child! | 0:33:05 | 0:33:07 | |
"Land of brown heath and shaggy wood, | 0:33:07 | 0:33:09 | |
"Land of the mountain and the flood, | 0:33:09 | 0:33:12 | |
"Land of my sires! what mortal hand | 0:33:12 | 0:33:16 | |
"Can e'er untie the filial band, | 0:33:16 | 0:33:18 | |
"That knits me to thy rugged strand!" | 0:33:18 | 0:33:22 | |
Three literary giants had dominated the young Mendelssohn's world - | 0:33:25 | 0:33:30 | |
Shakespeare, who he'd set, Goethe, who he'd met, | 0:33:30 | 0:33:33 | |
and the Wizard of the North, Sir Walter Scott. | 0:33:33 | 0:33:37 | |
The day after visiting Holyrood Abbey, | 0:33:37 | 0:33:40 | |
Mendelssohn travelled out to the writer's legendary Borders home, Abbotsford. | 0:33:40 | 0:33:45 | |
This is the main library. There's the study next door, of course. | 0:33:45 | 0:33:49 | |
But as you can see, 10,000 books round about you here, | 0:33:49 | 0:33:53 | |
and artefacts of all kinds, and the bust by Chantry at the other end there. | 0:33:53 | 0:33:58 | |
Can you describe for us Mendelssohn's meeting with Scott? | 0:33:58 | 0:34:03 | |
Mendelssohn's meeting with Scott | 0:34:03 | 0:34:06 | |
is a very mysterious thing, really, because, | 0:34:06 | 0:34:09 | |
on the suggestion of various people like his mother, and given the spirit of the age, | 0:34:09 | 0:34:14 | |
he felt it was mandatory to see one of the great lions of Europe. | 0:34:14 | 0:34:18 | |
Looking into what actually happened, it does appear to be something of a disappointment, | 0:34:18 | 0:34:24 | |
because Scott - 1829 - Scott is tired, | 0:34:24 | 0:34:27 | |
he's in debt - huge debt - he's only three years away from dying, | 0:34:27 | 0:34:32 | |
and Abbotsford is being held almost in trust. | 0:34:32 | 0:34:35 | |
It's become a kind of tourist trap, too, so in fact, | 0:34:35 | 0:34:39 | |
Mendelssohn comes armed with his letter of introduction, | 0:34:39 | 0:34:42 | |
but in fact Scott really doesn't pick up on him at all. | 0:34:42 | 0:34:46 | |
And Mendelssohn says rather wryly afterwards, | 0:34:46 | 0:34:49 | |
"I've had it with great men," he says. | 0:34:49 | 0:34:52 | |
Despite this, Scott's writing had a huge impact on Mendelssohn's thinking. | 0:34:52 | 0:34:57 | |
The matrix of things that Scott gives is almost limitless. | 0:34:57 | 0:35:02 | |
New way of looking at history, | 0:35:02 | 0:35:04 | |
new way of looking at nature and landscape... | 0:35:04 | 0:35:07 | |
..all these things, plus settings of Gothic attraction | 0:35:08 | 0:35:12 | |
and the marvellous - that complex of things | 0:35:12 | 0:35:16 | |
that just caught the mood of the incipient century and launched it, | 0:35:16 | 0:35:20 | |
so that everybody in Europe, from Victor Hugo down to Turgenev, to Tolstoy, | 0:35:20 | 0:35:26 | |
they all say, "We are the children of Walter Scott." | 0:35:26 | 0:35:28 | |
For Mendelssohn, Scotland was to remain a rich well of inspiration, | 0:35:32 | 0:35:36 | |
providing a pictorial and poetic base to his musical romanticism, | 0:35:36 | 0:35:41 | |
just as it had for the poet Keats, | 0:35:41 | 0:35:43 | |
who'd made a similar trip a few years earlier. | 0:35:43 | 0:35:46 | |
The Keats-Mendelssohn comparison is rather interesting. | 0:35:48 | 0:35:52 | |
Keats wanted a home-grown version of the sublime, that's what it comes to. | 0:35:52 | 0:35:56 | |
That's why he goes to Fingal's Cave, | 0:35:56 | 0:35:58 | |
and I'm thinking particularly of Fingal's Cave because of Mendelssohn. | 0:35:58 | 0:36:02 | |
The idea was to address himself to the mightiest things he could find, | 0:36:02 | 0:36:07 | |
and to use that as a way of thinking about | 0:36:07 | 0:36:09 | |
how to crank up the imaginative scale of things, | 0:36:09 | 0:36:13 | |
and at the same time | 0:36:13 | 0:36:15 | |
to give some physical reality | 0:36:15 | 0:36:17 | |
to what drove him in almost all walks of his imaginative life, | 0:36:17 | 0:36:22 | |
which was to think about how writers might do good in the world. | 0:36:22 | 0:36:27 | |
Mendelssohn's vision was almost identical, and perhaps nowhere more so | 0:36:27 | 0:36:32 | |
than at the transformative, hymn-like conclusion to his Scottish Symphony. | 0:36:32 | 0:36:36 | |
It wasn't only his large-scale visions that touched a nerve with the British. | 0:37:10 | 0:37:15 | |
Mendelssohn's more modest music was taking a special place | 0:37:15 | 0:37:18 | |
in Victorian domestic life. | 0:37:18 | 0:37:21 | |
PIANO PLAYS | 0:37:21 | 0:37:22 | |
The piano industry was booming in Britain. | 0:37:30 | 0:37:33 | |
By 1842, the famous piano maker Broadwood | 0:37:33 | 0:37:36 | |
was one of the twelve largest employers in London. | 0:37:36 | 0:37:40 | |
Instruments were finding their way into the homes not just of the wealthy | 0:37:42 | 0:37:47 | |
but of the burgeoning middle class, | 0:37:47 | 0:37:50 | |
and all these people needed music to play. | 0:37:50 | 0:37:54 | |
In his incredibly popular series of short pieces, Songs Without Words, | 0:38:00 | 0:38:04 | |
Mendelssohn provided music to let the Victorians' imagination run free. | 0:38:04 | 0:38:10 | |
And when he did write music for a particular story, the results were more than evocative. | 0:38:17 | 0:38:21 | |
One of my most treasured possessions is this engraving of a painting by Richard Dadd. | 0:38:23 | 0:38:28 | |
It's called Puck And The Fairies - it's a scene from A Midsummer Night's Dream. | 0:38:28 | 0:38:32 | |
Puck is, relatively speaking, huge, and the spirits, | 0:38:32 | 0:38:35 | |
the fairies running around underneath him, are tiny, | 0:38:35 | 0:38:39 | |
feminine maybe, androgynous almost certainly. | 0:38:39 | 0:38:42 | |
I think Mendelssohn played a huge part | 0:38:44 | 0:38:46 | |
in how the Victorians imagined the supernatural world. | 0:38:46 | 0:38:49 | |
In 1843, he wrote more music for A Midsummer Night's Dream, | 0:38:49 | 0:38:54 | |
and here, with his magical moods | 0:38:54 | 0:38:56 | |
and evocative dreamscapes, | 0:38:56 | 0:38:58 | |
he conjures up a brand-new vision | 0:38:58 | 0:39:00 | |
of a mercurial, quicksilver fairyland. | 0:39:00 | 0:39:04 | |
'This is quintessential fairy music. | 0:39:19 | 0:39:22 | |
'You hear the sparkle of fairy dust and see the gossamer wings. | 0:39:22 | 0:39:26 | |
'But Mendelssohn's magic is always hard won, and in recording it, | 0:39:32 | 0:39:36 | |
'the orchestra and I came face to face with its fiendish difficulty.' | 0:39:36 | 0:39:40 | |
Thank you very much indeed. Thanks. You're getting slightly behind | 0:39:40 | 0:39:44 | |
at the top of that run, clarinets, bassoons, you're behind. | 0:39:44 | 0:39:47 | |
The strings and the wind start to part company. | 0:39:47 | 0:39:50 | |
-So just keep absolutely tight. -HE DEMONSTRATES RHYTHM | 0:39:50 | 0:39:53 | |
It is scaring, and I tell you this | 0:39:53 | 0:39:55 | |
because we finished playing two days ago the Midsummer Night's Dream stage music. | 0:39:55 | 0:40:00 | |
How could a so-called "modern" orchestra, of the time of Mendelssohn, | 0:40:00 | 0:40:05 | |
have played this infernal Scherzo the way it's written? | 0:40:05 | 0:40:09 | |
I mean, today, clarinets, | 0:40:12 | 0:40:14 | |
bassoons, oboes, are much improved instruments, | 0:40:14 | 0:40:18 | |
and still it's hell, I guarantee you. | 0:40:18 | 0:40:21 | |
For this orchestra, which knows even the shadow behind the notes of Mendelssohn, it's hell for them. | 0:40:21 | 0:40:28 | |
Because the modernity, | 0:40:35 | 0:40:37 | |
in the instrumental way, was so much ahead of its time, and I don't think | 0:40:37 | 0:40:42 | |
he was a man easy for slow tempi. | 0:40:42 | 0:40:46 | |
Perhaps that's part of his genius - | 0:40:57 | 0:40:59 | |
that he deliberately made it feel on the edge of possibility, | 0:40:59 | 0:41:03 | |
and I know from my own experience that there's a speed that will work very well for the clarinets | 0:41:03 | 0:41:09 | |
but it won't suit the violins. | 0:41:09 | 0:41:11 | |
-You have to find that mean, but it's always going to be on the edge. -Very tricky. | 0:41:11 | 0:41:15 | |
Getting everyone to commit to the optimum tempo is key here - it's not easy. | 0:41:19 | 0:41:24 | |
But we're there now. | 0:41:24 | 0:41:26 | |
As a conductor, Mendelssohn was renowned | 0:41:36 | 0:41:38 | |
for raising the standards of playing in his orchestras. | 0:41:38 | 0:41:41 | |
And in Britain, he captured the public imagination with his pioneering use | 0:41:41 | 0:41:46 | |
of that new conductor's tool - the baton. | 0:41:46 | 0:41:48 | |
Sadly, no images of Mendelssohn conducting exist, but the Bodleian Library can go one better. | 0:41:48 | 0:41:55 | |
SCHERZO ENDS Yes, we're fortunate | 0:41:55 | 0:41:59 | |
that two of the batons owned by Mendelssohn have survived | 0:41:59 | 0:42:03 | |
and are in this collection. | 0:42:03 | 0:42:06 | |
There's this one... | 0:42:06 | 0:42:07 | |
..which, as you can see, is an elaborate affair... | 0:42:09 | 0:42:12 | |
-Looks like a conjuror's wand. -..ebony with ivory. | 0:42:12 | 0:42:15 | |
But alongside that, we've got this...white stick, | 0:42:15 | 0:42:19 | |
which is a decidedly more utilitarian object. | 0:42:19 | 0:42:24 | |
It's of whalebone | 0:42:24 | 0:42:25 | |
-covered with white leather. -This feels very heavy. | 0:42:25 | 0:42:30 | |
Batons today are these very, very light things, | 0:42:30 | 0:42:33 | |
-essentially extensions of the arm. -Yes. | 0:42:33 | 0:42:35 | |
Whereas this feels, you know... | 0:42:35 | 0:42:37 | |
If I gave an upbeat with that, the orchestra would go BANG! | 0:42:37 | 0:42:40 | |
SCHERZO COMES TO AN END | 0:42:40 | 0:42:43 | |
Mendelssohn became Britain's favourite and most respected maestro, | 0:42:43 | 0:42:47 | |
and a fascinating connection began to spark in the Victorian imagination. | 0:42:47 | 0:42:53 | |
The baton conductor was quite interesting, because when he - and it was a he at the time - | 0:42:53 | 0:42:58 | |
would spring upon the platform, and magically control a group of people | 0:42:58 | 0:43:03 | |
by just waving his arms about, | 0:43:03 | 0:43:05 | |
the audiences and the press responded with terms such as "wizard". | 0:43:05 | 0:43:11 | |
This was tied in with mesmerism | 0:43:14 | 0:43:16 | |
in quite an interesting way, because the conductor | 0:43:16 | 0:43:20 | |
began to wear the black-tie outfit that we associate with conductors today, | 0:43:20 | 0:43:25 | |
and mesmerists took the same costume. | 0:43:25 | 0:43:28 | |
So there was this mix-up going on in the public imagination. | 0:43:28 | 0:43:31 | |
This was a connection that continued right to the end of the century, | 0:43:35 | 0:43:38 | |
so even in the novel Dracula, for instance, | 0:43:38 | 0:43:40 | |
we get Dracula raising his arms like a conductor and the wolves respond to him. | 0:43:40 | 0:43:45 | |
So there's this sense of magic in an almost occult sense - you know, raising the dead, | 0:43:45 | 0:43:52 | |
raising the spirits. | 0:43:52 | 0:43:54 | |
Victorian Britain was well aware of its dark side - | 0:43:55 | 0:43:59 | |
of the social and moral consequences of poverty in its great and crowded cities. | 0:43:59 | 0:44:05 | |
Just like today, people were desperate for a magic solution to the problems of a modern world. | 0:44:10 | 0:44:16 | |
And in the 19th century, Mendelssohn and his music would become a powerful force | 0:44:20 | 0:44:25 | |
in this struggle for reform. | 0:44:25 | 0:44:27 | |
Across the country, choral societies were bringing huge numbers of our urban populations together. | 0:44:27 | 0:44:33 | |
This great British tradition, which survives to this day, | 0:44:33 | 0:44:37 | |
provided the seedbed for Mendelssohn's last masterpiece. | 0:44:37 | 0:44:41 | |
Mendelssohn's most enduring legacy, I think, to Victorian Britain, was his oratorio Elijah, | 0:44:43 | 0:44:49 | |
a piece which tells in music the story of that grand Old Testament prophet. | 0:44:49 | 0:44:53 | |
And it took a place very quickly in the British people's hearts, | 0:44:53 | 0:44:56 | |
alongside that of Messiah. | 0:44:56 | 0:44:58 | |
It was commissioned once again by the Birmingham Triennial Festival, | 0:44:58 | 0:45:02 | |
and had its first performance here, at the Town Hall, with Mendelssohn himself conducting. | 0:45:02 | 0:45:07 | |
# I, even I, only am left... # | 0:45:07 | 0:45:14 | |
It's rather surprising that Mendelssohn, | 0:45:14 | 0:45:17 | |
who was a very sort of conservative musician, | 0:45:17 | 0:45:20 | |
should have been drawn to this fiercest of Old Testament prophets. | 0:45:20 | 0:45:23 | |
I think the point is, Mendelssohn felt | 0:45:23 | 0:45:25 | |
that the world was falling into a state of moral decay | 0:45:25 | 0:45:29 | |
and the world needed someone like an Elijah | 0:45:29 | 0:45:33 | |
to make them sit up and realise the error of their ways. | 0:45:33 | 0:45:36 | |
In the magnificently restored building that Mendelssohn knew so well, | 0:45:38 | 0:45:42 | |
we performed some of the most dramatic sections of Elijah especially for this programme, | 0:45:42 | 0:45:48 | |
working with members of six amateur choirs from right across the West Midlands. | 0:45:48 | 0:45:54 | |
So let me give you a bit of background. | 0:45:55 | 0:45:58 | |
This is a piece which tells the story | 0:45:58 | 0:46:00 | |
of that great, vengeful, and at times furious prophet, Elijah, | 0:46:00 | 0:46:04 | |
who has a prolonged attempt, effectively, to save the souls of his people. | 0:46:04 | 0:46:11 | |
So we'll explore a section today which is all about false gods. | 0:46:11 | 0:46:15 | |
You, the populace, crying for your false god. | 0:46:15 | 0:46:18 | |
And then Elijah, trying to drag you back from the abyss. | 0:46:18 | 0:46:22 | |
-PIANO BEGINS -One-two-three, one-two-three, AND... | 0:46:22 | 0:46:25 | |
# Hear us, Baal! Hear, mighty god! | 0:46:25 | 0:46:29 | |
# Baal, O answer us | 0:46:29 | 0:46:33 | |
# Hear us, Baal | 0:46:33 | 0:46:35 | |
# Hear, mighty god | 0:46:35 | 0:46:37 | |
# Baal, O answer us... # | 0:46:37 | 0:46:39 | |
HE SHOUTS | 0:46:39 | 0:46:41 | |
This is not, repeat, not polite music. | 0:46:41 | 0:46:44 | |
This not something which is prayerful. | 0:46:44 | 0:46:47 | |
What we need is a sound approaching that of the football terrace, really. | 0:46:47 | 0:46:52 | |
OK? And the other most important thing to say to you | 0:46:52 | 0:46:55 | |
ladies and gentlemen, so hopefully we can eradicate it right now, | 0:46:55 | 0:46:58 | |
is that you are wonderfully, fabulously and gloriously behind, | 0:46:58 | 0:47:02 | |
the whole time! OK? | 0:47:02 | 0:47:04 | |
Mendelssohn, I think, saw himself a little bit as an Elijah himself, | 0:47:04 | 0:47:10 | |
in a musical way, in the sense that he saw himself to be the guardian of true musical values. | 0:47:10 | 0:47:15 | |
Speak it to me... | 0:47:15 | 0:47:17 | |
One-two-three, one-two-three... | 0:47:17 | 0:47:19 | |
-SPEAKING: -Hear us, Baal. | 0:47:19 | 0:47:21 | |
Good. Now shout it at me, please. | 0:47:21 | 0:47:22 | |
One-two-three, two-two-three... | 0:47:22 | 0:47:25 | |
-SHOUTING: -Hear us, Baal! | 0:47:25 | 0:47:26 | |
That's the effect I want. | 0:47:26 | 0:47:28 | |
PIANO BEGINS | 0:47:28 | 0:47:29 | |
Now shock me...AND... | 0:47:29 | 0:47:31 | |
# Hear us, Baal... # | 0:47:31 | 0:47:33 | |
-AH-AH-AH-AH! -# Hear, mighty god | 0:47:33 | 0:47:35 | |
# Baal... # | 0:47:35 | 0:47:37 | |
There was great fear of groups of people coming together, | 0:47:37 | 0:47:41 | |
because on the one hand you had revolutionary mob activity in France, | 0:47:41 | 0:47:45 | |
at this time, and that was...rather close! You know, 30 miles across the English Channel. | 0:47:45 | 0:47:50 | |
But there was also a sense that if you could get a group of people | 0:47:50 | 0:47:55 | |
working together in the right sort of way, the nation could advance. | 0:47:55 | 0:47:59 | |
And so it touched on that great Victorian word "progress". | 0:47:59 | 0:48:03 | |
# Hear, mighty god! Baal, O answer us! | 0:48:03 | 0:48:09 | |
-# Baal, let thy flames... # -Thank you... | 0:48:09 | 0:48:12 | |
This man, Elijah, he's not a remote, mystical figure, | 0:48:12 | 0:48:16 | |
delivering platitudes from on high. | 0:48:16 | 0:48:20 | |
He's a character that people can associate with. | 0:48:20 | 0:48:23 | |
And Mendelssohn himself had now become something of an adopted national hero to the British. | 0:48:23 | 0:48:29 | |
The premiere of Elijah in Birmingham was a huge national occasion, | 0:48:29 | 0:48:33 | |
perhaps the most iconic event in our Victorian musical history, | 0:48:33 | 0:48:37 | |
and today, performing this music in the Town Hall with the BBC Concert Orchestra | 0:48:37 | 0:48:42 | |
is still a viscerally thrilling experience. | 0:48:42 | 0:48:45 | |
# Hear us, Baal! Hear, mighty god! | 0:48:49 | 0:48:52 | |
# Baal, O answer us | 0:48:52 | 0:48:57 | |
# Baal, let thy flames fall | 0:48:57 | 0:49:01 | |
# And extirpate the foe... # | 0:49:01 | 0:49:03 | |
Mendelssohn's forces for the premiere numbered over 400, | 0:49:03 | 0:49:07 | |
and somehow another 2,500 souls had managed to squeeze in to hear them. | 0:49:07 | 0:49:12 | |
# Hear us, Baal! Hear, mighty god! | 0:49:12 | 0:49:17 | |
# Hear us, Baal! Hear, mighty god! | 0:49:17 | 0:49:21 | |
# Hear us, Baal! Hear, mighty god! | 0:49:21 | 0:49:25 | |
# Hear us, Baal! Hear, mighty god! | 0:49:25 | 0:49:30 | |
-# O hear us! O hear us! -Hear us, Baal! Hear, mighty god! | 0:49:30 | 0:49:34 | |
# Baal... # | 0:49:34 | 0:49:36 | |
The great thing about Elijah is that he's got a wonderful line in sarcasm, | 0:49:36 | 0:49:42 | |
and this always very refreshing, I think, with an Old Testament prophet. | 0:49:42 | 0:49:46 | |
I love it particularly... | 0:49:46 | 0:49:49 | |
when he's challenging the worshippers of the false god, Baal, | 0:49:49 | 0:49:54 | |
to prove that their god exists. | 0:49:54 | 0:49:56 | |
He says, "Come on, call him! Call him!" | 0:49:56 | 0:49:58 | |
And there's no answer. He says, "Call him again." | 0:49:58 | 0:50:01 | |
# Hear...us... # | 0:50:01 | 0:50:08 | |
# Call him louder | 0:50:08 | 0:50:12 | |
# For he is a god | 0:50:14 | 0:50:17 | |
# He talketh, or he is pursuing | 0:50:17 | 0:50:23 | |
# Or he is in a journey | 0:50:23 | 0:50:27 | |
# Or, peradventure, he sleepeth | 0:50:27 | 0:50:32 | |
# So awaken him | 0:50:32 | 0:50:37 | |
# Call him louder | 0:50:37 | 0:50:40 | |
# Call him louder. # | 0:50:40 | 0:50:46 | |
-# Hear our cry, O Baal, -Hear our cry, O Baal | 0:50:49 | 0:50:54 | |
# Hear our cry, O Baal... # | 0:50:54 | 0:50:59 | |
When the piece was first performed, of course, this character | 0:50:59 | 0:51:03 | |
with his back-to-basics, no-frills-attached sort of religion | 0:51:03 | 0:51:08 | |
would have resonated very well with the non-conformist attitude | 0:51:08 | 0:51:12 | |
which was very prevalent, especially in the Midlands. | 0:51:12 | 0:51:16 | |
# ..Call him louder | 0:51:17 | 0:51:22 | |
# He heareth not | 0:51:22 | 0:51:25 | |
# With knives and lancets cut yourselves | 0:51:25 | 0:51:29 | |
# After your manner | 0:51:29 | 0:51:32 | |
# Leap upon the altar ye have made | 0:51:32 | 0:51:39 | |
# Call him and prophesy | 0:51:39 | 0:51:44 | |
# Not a voice will answer you | 0:51:44 | 0:51:47 | |
# None will listen, none heed you | 0:51:47 | 0:51:54 | |
# Baal! | 0:51:54 | 0:51:55 | |
# Baal! | 0:51:55 | 0:51:57 | |
# Hear and answer, Baal! | 0:51:57 | 0:52:02 | |
# Hear and answer, Baal... # | 0:52:02 | 0:52:06 | |
These massive choirs had a sound that would reach for miles. | 0:52:06 | 0:52:11 | |
But for someone to sing in it, there was actually, | 0:52:11 | 0:52:14 | |
physically represented in front of them | 0:52:14 | 0:52:16 | |
and aurally heard, a sense of national unity. | 0:52:16 | 0:52:20 | |
# ..Hear and answer, Baal! | 0:52:20 | 0:52:22 | |
# Hear and answer | 0:52:22 | 0:52:25 | |
# Hear and answer, Baal | 0:52:25 | 0:52:28 | |
# Mark how the scorner derideth us | 0:52:28 | 0:52:32 | |
# Derideth us, derideth us | 0:52:32 | 0:52:36 | |
# Hear and answer, hear and answer | 0:52:36 | 0:52:40 | |
# Hear and answer, hear and answer, Baal | 0:52:40 | 0:52:44 | |
# Hear and answer, hear and answer | 0:52:44 | 0:52:48 | |
# Hear and answer | 0:52:48 | 0:52:53 | |
# Hear and answer | 0:52:53 | 0:52:58 | |
# Baal, Baal | 0:52:58 | 0:53:03 | |
# Hear and answer, hear and answer | 0:53:03 | 0:53:06 | |
# Hear and answer | 0:53:06 | 0:53:09 | |
# Hear and answer! # | 0:53:12 | 0:53:14 | |
The task of creating this score was immense. | 0:53:19 | 0:53:22 | |
Like Elijah, Mendelssohn had taken himself to the brink. | 0:53:22 | 0:53:26 | |
When he's almost at his wits' end, there we see the private man, inside. | 0:53:29 | 0:53:37 | |
There's no-one around to hear him when he turns to God | 0:53:37 | 0:53:41 | |
and says, "Look, this is enough, I've done as much as I can, | 0:53:41 | 0:53:45 | |
"I've tried to persuade them to come back to you. | 0:53:45 | 0:53:48 | |
"They've killed all the other prophets, | 0:53:48 | 0:53:51 | |
"all your prophets, they have killed. I'm the only one left. | 0:53:51 | 0:53:56 | |
"I don't think I can go on much more." | 0:53:56 | 0:53:58 | |
# It is enough | 0:54:07 | 0:54:12 | |
# O Lord, now take away my life | 0:54:12 | 0:54:19 | |
# For I am not better | 0:54:19 | 0:54:27 | |
# Than my fathers... # | 0:54:27 | 0:54:33 | |
Exhausted, Mendelssohn suffered a series of strokes | 0:54:33 | 0:54:37 | |
and just a year after the premiere of Elijah, on 4th November 1847, | 0:54:37 | 0:54:42 | |
he died at his home in Leipzig. He was just 38. | 0:54:42 | 0:54:47 | |
# ..Take away | 0:54:47 | 0:54:52 | |
# My life. # | 0:54:52 | 0:54:58 | |
The death of Felix Mendelssohn marks the end of my journey | 0:55:13 | 0:55:16 | |
through two centuries of musical and cultural change in Great Britain. | 0:55:16 | 0:55:21 | |
His extraordinary impact here helped create a lasting vision | 0:55:21 | 0:55:25 | |
of our national musical culture - | 0:55:25 | 0:55:27 | |
the still-familiar world of conductors and concert halls, | 0:55:27 | 0:55:30 | |
of choral societies and piano practice, | 0:55:30 | 0:55:33 | |
of fantasy and imagination, of ceremony and celebration. | 0:55:33 | 0:55:37 | |
MUSIC: "Zadok The Priest" by Handel | 0:55:37 | 0:55:41 | |
Over 200 years, as Britain's political and social landscape was transformed, | 0:55:44 | 0:55:49 | |
four towering composers played their part in providing a soundtrack for our nation. | 0:55:49 | 0:55:54 | |
MUSIC: "Dido's Lament" by Purcell | 0:55:54 | 0:55:56 | |
From Purcell, Handel, Haydn and Mendelssohn, | 0:55:56 | 0:56:00 | |
we've inherited great music for the grandest and most solemn state occasions... | 0:56:00 | 0:56:05 | |
MUSIC: "Wedding March" by Mendelssohn | 0:56:05 | 0:56:09 | |
..music that inspires... | 0:56:10 | 0:56:12 | |
..and just lets us have fun. | 0:56:14 | 0:56:16 | |
# The pleasures of friendship, freedom and wine | 0:56:16 | 0:56:20 | |
# The pleasures of friendship, freedom and wine... # | 0:56:20 | 0:56:24 | |
MUSIC: "Spring Song" by Mendelssohn | 0:56:24 | 0:56:29 | |
But their music does more than just entertain us. | 0:56:29 | 0:56:32 | |
It brings our communities together. | 0:56:32 | 0:56:35 | |
# Hallelujah! | 0:56:35 | 0:56:36 | |
# Hallelujah! | 0:56:36 | 0:56:39 | |
# Hallelujah, hallelujah | 0:56:39 | 0:56:42 | |
# Hallelujah... # | 0:56:42 | 0:56:45 | |
'And as I discovered as I travelled the country in the making of these films, | 0:56:45 | 0:56:49 | |
'it celebrates our landscape... | 0:56:49 | 0:56:52 | |
'..our lives, | 0:56:53 | 0:56:55 | |
'and our language.' | 0:56:55 | 0:56:56 | |
# I know that my Redeemer liveth... # | 0:56:56 | 0:57:06 | |
And with Elijah, The Creation and Messiah, | 0:57:06 | 0:57:09 | |
these composers bequeathed us a national soundtrack | 0:57:09 | 0:57:12 | |
in a uniquely British form. | 0:57:12 | 0:57:15 | |
# The wonder of his works | 0:57:15 | 0:57:17 | |
# The wonder of his works displays, displays | 0:57:17 | 0:57:23 | |
# The firmament | 0:57:23 | 0:57:26 | |
# The heavens are telling the glory of God | 0:57:26 | 0:57:31 | |
# The wonder of his works... # | 0:57:31 | 0:57:34 | |
During this journey, we've witnessed how music | 0:57:34 | 0:57:36 | |
has always been at the heart of the transformation of British society, | 0:57:36 | 0:57:40 | |
and above all, we've celebrated the richness of British culture | 0:57:40 | 0:57:44 | |
which comes from looking beyond our borders. | 0:57:44 | 0:57:47 | |
British music is, and has always been, | 0:57:47 | 0:57:49 | |
a platform for ideas of every sort. | 0:57:49 | 0:57:52 | |
Our diversity is our strength. | 0:57:52 | 0:57:55 | |
MUSIC: Fourth Movement of Scottish Symphony by Mendelssohn | 0:57:55 | 0:58:01 | |
Subtitles by Red Bee Media Ltd | 0:58:31 | 0:58:34 | |
E-mail [email protected] | 0:58:34 | 0:58:38 |