6. The only. Hang. Ravishingly beautiful music from 120 of the file the 1st 2 movements of the Violin Concerto the major nicknamed la moto So how fantastic Lee beautiful played from Andrew Manze He was also leading the wiz concert. That piece was written in 729 when the father in Cornwall he thought he was in his mid fifty's and he's mellowed it seems to me it's so lyrical and so beautiful but I miss a little bit the wild energy that characterized the music of the fall he was writing say 20 years before say around 710 or so let's hear some music from that period here's pádraig and Tony will evolve the setting the world on fire. And you. Look at you would At. The end. They are losing your cool they are. A lot. In a in a. Low end a. I am. Oh. Look. You. Eh. Eh. Eh eh. Eh eh. Eh eh. Eh eh eh. For wonderful violin soloist you can count the money 100 Catherine Mackintosh Elizabeth macaca my old friend John Holloway there was Christopher Hardwick leading the Academy of ancient music concerto in b. Minor for 4 violins around 23 volley from a set called at least 4 or more nickel which was published in me just look here 1711. Not in Venice which was a traditional publishing center but in Amsterdam in the 17th century it seemed as if Venice was leading the world in publishing but by the 18th century technical advances had made Amsterdam the publishing capital of the world so all of these pieces from Venice comporting out of I'm sure them and they go all over Europe and nowhere did these pieces straight with Reader resonance than in the German city of Weimar which had a wonderful orchestra the whole capella of Weimar are famous all the way back to late 15th century but early in the 18th century here say 712-1314 young fellow from Eisenstadt was in town initially he was a violinist in the whole capella later became the organist it was j.s. Bach and the Weimar of Capella was famous for its performance of all those wild Italian baroque music and j.s. Bach said to studying it in the only way possible it was so expensive to buy music he copied it by hand here's a piece of your body that he copied we have the manuscript and box hand where the final movement of another controller from it is through our money go this is the computer Opus 3 Number 82 soloists Elizabeth Wilcock and Simon standards with the English concert so imagine Parker listening to this music studying it and now it's in his head let's listen with him. Thank you thank you. They are a low end. Lua. Lua. Lua you. Know you lose. A way Ok. Let's. Say a. Live So could you imagine back here in New York after play this maybe playing harpsichord on the performances of it and then taking his own copy of that music we just heard up to his room and ruminating on it because he Valby he heard the concerto for through violence in a minor Opus 3 number 8 you know composer has that kind of music in his head I suppose it's like a young player who spends a summer playing in Shakespeare Company you have to memorize Shakespeare's lines you have to take them into you it's got to change the way you use the language and that's what happened with Bach It started out he actually imitated a volley he took that same piece we just heard play for strings and to sort of balance and put it all by himself on the organ. As the cradle conductor Cromer if they're playing the organ music of j.s. Bach It says right here on the score but it's actually the follies No it's. Bach didn't publish this in his lifetime it's not a question of police or isn't he just wanted to play the music he wanted to learn it from the inside out so he made a transcription and took it with him where he went. To do exploring music our theme this week again at Paris. We're listening to the wonderful almost miraculous handoff of a tired inspiration from Vivaldi going to the chairman profundity of j.s. Bach drop us a line and let us know he like the show write to us via our website which is exploring musical one word typo r g r 8 So here's j.s. Bach with all of this Italian baroque music racketing around in his head. And it starts to take over she one of the great things that evolved he was doing and the value of course was also standing on the shoulders of giants people like Corelli before him and cardio Castello and wonderful time composers going back to the time when the violin was just getting invented those Italian composers invented a form which they call country across or which we usually translate as concerto for more than one solo instrument but the word concerto is very interesting we talk about doing things in concert and we think that means we do things in harmony but the word Concha tare the root of that word means to have an argument to strive with to contend with and that's where all of the energy comes from that makes this Italian concerto Grosso such a potent form in the 18th century So now let's listen to Bach with all of this Italian emotion swirling around in his German soul sitting down to write his own notes his own version of the Italian concerto in fact that's exactly what he called this piece for solo keyboard in 3 d. Movements at how he and concerto we're going to hear it on the modern piano played brilliantly by Cypriots are as. The. The the. The the. The all. The poor. Of all. the 'd of. The of this. Hour with the of our or the old. the 'd the. RINGBACK BUSY the the. The the. Whole. The phone. 'd the the. The view the role. Of if you're. The is. The vote. The vote the old the old. The or or the the. The the the the the. All. The the. The the. The the. the 2 RINGBACK the. The of. 'd RINGBACK the of. RINGBACK The you. 'd the the. 'd the for. Or like the Iran or Wonderful performance from pianist supreme kits are as box Italian Concerta because originally written for harpsichord of course we're playing it on the modern history . So there we have Bach writing very much in the Italian style but adding a kind of profundity any kind of counterpoint which comes from his own background the Italian writing to did toward future was sick display and the Germans traditionally less show off the sort of music and more profound here we get them both together it's fantastic it's a tremendous leap it's that handoff I talked about between the foggy and Bach. The real triumph I think of the Italian style of the music of j.s. Bach comes in 6 orchestral pieces which he wrote nearly 17 twenty's we call these 6 pieces the Brandenburg concerti and they are real at talian concerti Grossi in style in energy but with box counterpoint spectacular pieces of course talk about that energy you hear the phrase the celestial piano some people seem to think when they look at Bach's music that it just sort of chugs along and I suppose when you 1st start looking at a page of Bach's music in her kid it's just filled with 16th notes they can look like a black page and all of those notes look alike I want to play a tiny bit of the opening of this 2nd Brandenburg Concertos and I'm going to try to make it like a celestial piano which is to say stiff and very even mechanical. Immediately would give you some things going on there that 1st f. Natural is a pickup and it goes on. If I were to give a little spring to these 216th notes or I could get something like this. A little more style a little more energy listen to the great conductor Publica saws work with one of the finest orchestras on exactly that point he wants more energy and more ethical ation more intelligence and he starts with an orchestra that already plays this brilliantly it gets better Let's listen a couple minutes a public assault her sing the Marber orchestra this is the opening a box 2nd Brandenburg you know. About It divided by a close by in the. 2 middle one above. Some fun and I'm quite a bum bum bum bum bum. Pretty clear. That around the lot not necessary to lug not a lot of love a long long long 'd night I love love love love the last month long let alone that I love not that I don't start off the 2nd sight unless one long not a lot I love love love love love love love love I'm not alone no this is a question long lonely let alone gotta love and light like a little. I'm going to the the no not the 1st time does a long long lonely life long not alone a long long long let alone this why do I choose a new position on this. Which is not this that is love love love it I love I don't love Buck the lead I. Love. Love love love the idea that they're getting out of there rather than. They gotta go the question is No no John very very easy to blame. The banks that let the the little. To. The it. That that was the going to get them done. And the longer they got to go there they go they got it. Like the right. Thing got on. The you. There is the old man laying it out for them it's a fantastic orchestra I mean the concert Minister is no less than I was under Snyder for the good of his court that half of the ordinary quartet is in that band and here's old public assault showing in the secret to it that's not the same as to leave that's. Depends on where they are let's hear how all of this rehearsal came out here the marble Festival Orchestra under public assault and here is Box 2nd round of work concerto. It was. Move. * February playing from the marble Festival Orchestra under public his songs the brunt of The Work Number 2 great soloist Robert Blake was the trumpeter Alexander Schneider the violinist or an offical Bronson was the flutist John Mack these are legendary names was the oboist Leslie Parness the cellist and a very young Peter certain playing harpsichord this recording made in 1964 at the Marber a festival. There we heard the handoff from the Italian composer and 20 leave already to the northern composer j.s. Bach and the marshal will listen to another celestial handoff between the great Austrian composer Franz use of Haydn and his frequently grumpy people look like fun Beethoven that's a handoff that changed history it changed music and it changed us hope can join us tomorrow for another in this game of pairs in the meantime just stay put There's great stuff coming out right now don't go near the dial see tomorrow. Exploring music is produced by Jesse McWhorter's and Sidney Guillard at w.f. Mt in Chicago and engineered by Bill Sigmund that w.q. Except in New York City you know well Morris is the Session producer. Major support is provided by him and Zoho the Earl and Brenda Shapiro Foundation an anonymous gift in memory of car and for an ensign Mr and Mrs William Gardner Brown joined w Harris and the Irving Harris Foundation sent for the Nancy Colton and the listener supporters of the w f m t this program is supported in part by the National Endowment for the Arts which believes that a great nation deserves great art executive producer is Steve Robinson I'm going McLaughlin thanks for listening. Composers have a long history of adding puzzles and riddles into their music this summer exploring music met puzzle master extraordinary James Andrews a Texan raised in New Zealand James welcome the idea of creating puzzles for exploring music try your hand at solving them at exploring music dot org And please remember the motto of great puzzlers think creatively and there are no rules this is the w.f. Empty Radio Network half To resort to the plaza and Plaza corner into mine hog and us is made like no other . It's undercurrents gov You notice that I'm here with you with some great music coming up this next hour including dance to funk Robbie Robertson Jamie Drake and stare at your right and that's making in with some Reiki rock from painted King Yes I think think.