The Future Of The Past - Early Music Today

Fifty years ago a revolution began in classical music. Back then, there was little doubt how to play a Mozart symphony or a Bach passion - it meant big symphonic forces, heavy textures, slow speeds and modern instruments. But then along came period performance: a new generation of musicians researched and revived period instruments, performance styles and forgotten composers. With lighter forces, faster speeds and new tools, they declared war on the interventionist musical culture of the mid-19th century. To start with, they were largely dismissed as eccentrics - Neville Marriner called them 'the open-toed-sandals and brown-bread set` - and academics unable to play in tune. But throughout the 1970s and 80s they multiplied and gathered force. Along with the advent of the CD, their newfound repertory and fascinating new-old sound gave a boost to the classical recording industry. They overturned the way classical music was listened to and performed, making household names of musicians whose scholarly credentials became almost as important as their performing flair.

Nicholas Kenyon tells the story of that revolution, from the earliest pioneers to the global superstars of today. Across the series, he'll uncover the musical detective-work which went on in universities and rehearsal rooms, reliving the incredible vitality of the times through landmark recordings which took the musical world by storm.

In today's episode, Nicholas digs into where this historical impulse came from. Reviving the music of the past has long been part of the narrative for composers and certain connoisseurs, but the idea of ‘clothing music in its own fur and feathers' really became public after the war. We'll hear about the first stirrings of the movement, and the iconic soloists, ensembles and innovators that made it happen. Why did we want to reimagine the past?

Handel: Solomon (Arrival of the Queen of Sheba)

The English Concert

Trevor Pinnock, conductor

Handel, arr. Beecham: Faithful Shepherd Suite (Overture)

Royal Philharmonic Orchestra

Thomas Beecham, conductor

Monteverdi: Chiome d'oro

Hugues Cu退nod, tenor

Paul Derenne, tenor

Nadia Boulanger, piano

Scarlatti: Keyboard Sonata in G major, K 124

Wanda Landowska, piano

J. S. Bach: Brandenburg Concerto No 3 (3rd movement)

Busch Chamber Players

Adolf Busch, director

Gluck: Orfeo ed Euridice: Che faro

Kathleen Ferrier, alto

Orchestra of Netherlands Opera

Charles Bruck, conductor

Purcell: Music for a while

Alfred Deller, countertenor

Walter Bergman, harpsichord

Dowland: Fine knacks for ladies

Peter Pears, tenor

Julian Bream, lute

J. C. Bach: Quintet in D, Op 11 No 6 (1st movement)

Concentus Musicus Wien

Nikolaus Harnoncourt, conductor

Corelli: Sonata in B flat major, Op 5 No 11 (2nd movement)

Frans Bruggen, recorder

Anner Bylsma, cello

Gustav Leonhardt, harpsichord

Victoria: O vos omnes (Tenebrae Responsories)

Westminster Cathedral Choir

George Malcolm, conductor

Anon: The Play of Daniel (The Vessels Restored - Regis vasa referents)

Dufay Collective

Williams Lyons, director

Susato: Basse danse Bergeret sans Roch

Early Music Consort

David Munrow, director

Produced in Cardiff by Amelia Parker

Nicholas Kenyon tells the story of the pioneers of the period instrument revival.

Fifty years ago a revolution began in classical music. Back then, there was little doubt how to play a Mozart symphony or a Bach passion - it meant big symphonic forces, heavy textures, slow speeds and modern instruments. But then along came period performance: a new generation of musicians researched and revived period instruments, performance styles and forgotten composers. With lighter forces, faster speeds and new tools, they declared war on the interventionist musical culture of the mid-19th century. To start with, they were largely dismissed as eccentrics - Neville Marriner called them 'the open-toed-sandals and brown-bread set` - and academics unable to play in tune. But throughout the 1970s and 80s they multiplied and gathered force. Along with the advent of the CD, their newfound repertory and fascinating new-old sound gave a boost to the classical recording industry. They overturned the way classical music was listened to and performed, making household names of musicians whose scholarly credentials became almost as important as their performing flair.

Nicholas Kenyon tells the story of that revolution, from the earliest pioneers to the global superstars of today. Across the series, he'll uncover the musical detective-work which went on in universities and rehearsal rooms, reliving the incredible vitality of the times through landmark recordings which took the musical world by storm.

In today's episode, Nicholas looks at the emergence of early music as mainstream. As the 1970s began, rebellion was in the air for music, as in so much else, and Britain saw the proliferation and extraordinarily rapid success of period-instrument ensembles. Certainly, there were over-statements of claims to authenticity, rebuttals from modern instrumentalists, and a period of polarisation. But the public loved the rediscoveries - these new interpreters delved back into the middle ages, explored rare and forgotten repertory, and made ancient music irresistible.

J. S. Bach: B minor Mass (Sanctus)

Concentus Musicus Wien

Nikolaus Harnoncourt, director

Boyce: Symphony No 4 in F major (1st movement - Allegro)

Academy of Ancient Music

Christopher Hogwood, conductor

J. S. Bach: Orchestral Suite No 3 (Air)

The English Concert

Trevor Pinnock, conductor

Perotin: Alleluya pascha nostrum

Martyn Hill, tenor

The Early Music Consort of London,

David Munrow, director

Josquin des Prez: Faulte d'argent

Musica Reservata

Andrew Parrott, conductor

Machaut: Ay mi! Dame de valour

Studio der Fruhen Musik

Thomas Binkley, conductor

Tallis: O nata lux

Clerkes of Oxenford

David Wulstan, conductor

Telemann: Psalm 6, No 8: Es müssen alle meine Feinde.

Rene Jacobs, countertenor

Kuijken Consort

Hildegard von Bingen: A feather on the breath of God

Gothic Voices

Emma Kirkby, soprano

Christopher Page, conductor

Haydn: String Quartet, Op 20 No 4 (4th movement)

Esterhazy Quartet

J. S. Bach: Cantata No 79 'Gott der Herr ist Sonn und Schild', BWV 79 (Chorus)

Leonhardt Consort

Gustav Leonhardt, director

Produced in Cardiff by Amelia Parker

Nicholas Kenyon tells the story of the pioneers of the period instrument revival.

Fifty years ago a revolution began in classical music. Back then, there was little doubt how to play a Mozart symphony or a Bach passion - it meant big symphonic forces, heavy textures, slow speeds and modern instruments. But then along came period performance: a new generation of musicians researched and revived period instruments, performance styles and forgotten composers. With lighter forces, faster speeds and new tools, they declared war on the interventionist musical culture of the mid-19th century. To start with, they were largely dismissed as eccentrics - Neville Marriner called them 'the open-toed-sandals and brown-bread set` - and academics unable to play in tune. But throughout the 1970s and 80s they multiplied and gathered force. Along with the advent of the CD, their newfound repertory and fascinating new-old sound gave a boost to the classical recording industry. They overturned the way classical music was listened to and performed, making household names of musicians whose scholarly credentials became almost as important as their performing flair.

Nicholas Kenyon tells the story of that revolution, from the earliest pioneers to the global superstars of today. Across the series, he'll uncover the musical detective-work which went on in universities and rehearsal rooms, reliving the incredible vitality of the times through landmark recordings which took the musical world by storm.

In today's episode, Nicholas tells us how record companies rode the wave of the early music revival's success, embracing the arrival of the CD and using it to sell the past in a fresh new way. At first, this new medium with all its sparkling clarity provided the perfect excuse to re-record works, but then they took the excitement of the baroque and pushed it forward into the classical period. Audiences lapped up their new versions of familiar masterpieces. Was this going to be the sound of the future? And were conventional orchestras done for?

Mozart: Symphony in A major, K 134 (1st movement)

Academy of Ancient Music

Christopher Hogwood, conductor

Beethoven: Symphony No 2 (4th movement)

London Classical Players

Roger Norrington, conductor

Anonymous: O Maria stella maris

Anonymous 4

Zelenka: Trio Sonata No 4 (2nd movement)

Accent Wind Ensemble

Bach: Prelude and Fugue in A minor, BWV 543

Ton Koopman

Handel: Water Music - Appendix, HWV 331

English Baroque Soloists

John Eliot Gardiner, conductor

Vivaldi: Four Seasons (Summer, 3rd movement)

Il giardino armonico

Giovanni Antonini, director

Palestrina: Nunc dimittis (live in Rome)

Tallis Scholars

Peter Phillips, conductor

Mozart: Symphony No 40 (1st movement)

Orchestra of the 18th Century

Frans Bruggen, conductor

Produced in Cardiff by Amelia Parker

Nicholas Kenyon tells the story of the pioneers of the period instrument revival.

Fifty years ago a revolution began in classical music. Back then, there was little doubt how to play a Mozart symphony or a Bach passion - it meant big symphonic forces, heavy textures, slow speeds and modern instruments. But then along came period performance: a new generation of musicians researched and revived period instruments, performance styles and forgotten composers. With lighter forces, faster speeds and new tools, they declared war on the interventionist musical culture of the mid-19th century. To start with, they were largely dismissed as eccentrics - Neville Marriner called them 'the open-toed-sandals and brown-bread set` - and academics unable to play in tune. But throughout the 1970s and 80s they multiplied and gathered force. Along with the advent of the CD, their newfound repertory and fascinating new-old sound gave a boost to the classical recording industry. They overturned the way classical music was listened to and performed, making household names of musicians whose scholarly credentials became almost as important as their performing flair.

Nicholas Kenyon tells the story of that revolution, from the earliest pioneers to the global superstars of today. Across the series, he'll uncover the musical detective-work which went on in universities and rehearsal rooms, reliving the incredible vitality of the times through landmark recordings which took the musical world by storm.

In today's episode, Nicholas asks about the issues raised by this exploration. In reviving this music of the past, were we really recreating an original performance or were we using our imagination in different ways?

J S Bach: Brandenburg Concerto No 4/3

Musica Antiqua Cologne

Reinhard Goebel, director & violinist

Monteverdi: Selva morale - Sanctus

Taverner Consort

Andrew Parrott, conductor

Mozart: Piano Concerto No. 14 In E Flat Major, K.449

Malcolm Bilson, fortepiano

The English Baroque Soloists

John Eliot Gardiner, conductor

J S Bach: Cantata 131/1 Aus der Tiefe

The Bach Ensemble

Joshua Rifkin, conductor

Berlioz: Symphonie Fantastique mvt 2

London Classical Players

Sir Roger Norrington, conductor

Rameau: Nais - overture

Les Talens Lyriques

Christophe Rousset, conductor

Carver: Missa dum sacrum - Benedictus

The Sixteen

Harry Christophers, director

Haydn: Symphony No 86 mvt 4

City of Birmingham Symphony Orchestra

Simon Rattle, conductor

Beethoven: Symphony 8 mvt 4

Chamber Orchestra of Europe

Nikolaus Harnoncourt, conductor

Produced in Cardiff by Amy Wheel

Nicholas Kenyon explores the aim for historical accuracy in early music performance.

Nicholas Kenyon tells the story of the pioneers of the period instrument revival.

Fifty years ago a revolution began in classical music. Back then, there was little doubt how to play a Mozart symphony or a Bach passion - it meant big symphonic forces, heavy textures, slow speeds and modern instruments. But then along came period performance: a new generation of musicians researched and revived period instruments, performance styles and forgotten composers. With lighter forces, faster speeds and new tools, they declared war on the interventionist musical culture of the mid-19th century. To start with, they were largely dismissed as eccentrics - Neville Marriner called them 'the open-toed-sandals and brown-bread set` - and academics unable to play in tune. But throughout the 1970s and 80s they multiplied and gathered force. Along with the advent of the CD, their newfound repertory and fascinating new-old sound gave a boost to the classical recording industry. They overturned the way classical music was listened to and performed, making household names of musicians whose scholarly credentials became almost as important as their performing flair.

Nicholas Kenyon tells the story of that revolution, from the earliest pioneers to the global superstars of today. Across the series, he'll uncover the musical detective-work which went on in universities and rehearsal rooms, reliving the incredible vitality of the times through landmark recordings which took the musical world by storm.

Today's episode is all about the voice. How did the pioneers of period performance create a vocal sound that was just right?

Handel: Ariodante - Dopo notte

Dame Janet Baker, mezzo-soprano

English Chamber Orchestra

Raymond Leppard, conductor

Monteverdi: Orfeo - Possente spirto

Nigel Rogers, tenor (Orfeo)

London Baroque, The London Cornett and Sackbut Ensemble

Charles Medlam and Theresa Caudle - directors

Handel: Messiah - But who may abide

Emma Kirkby, soprano

The Academy of Ancient Music

Christopher Hogwood, conductor

Charpentier: Le Reniement de saint Pierre

Les Arts Florissants

William Christie, conductor

C

Fifty years ago a revolution began in classical music. Back then, there was little doubt how to play a Mozart symphony or a Bach passion - it meant big symphonic forces, heavy textures, slow speeds and modern instruments. But then along came period performance: a new generation of musicians researched and revived period instruments, performance styles and forgotten composers. With lighter forces, faster speeds and new tools, they declared war on the interventionist musical culture of the mid-19th century. To start with, they were largely dismissed as eccentrics - Neville Marriner called them 'the open-toed-sandals and brown-bread set` - and academics unable to play in tune. But throughout the 1970s and 80s they multiplied and gathered force. Along with the advent of the CD, their newfound repertory and fascinating new-old sound gave a boost to the classical recording industry. They overturned the way classical music was listened to and performed, making household names of musicians whose scholarly credentials became almost as important as their performing flair.

Nicholas Kenyon tells the story of that revolution, from the earliest pioneers to the global superstars of today. Across the series, he'll uncover the musical detective-work which went on in universities and rehearsal rooms, reliving the incredible vitality of the times through landmark recordings which took the musical world by storm.

In the last episode in this series, Nicholas looks at new discoveries and recent trends in early music performance. Where do we go next?

J. S. Bach: Sinfonia - Cantata 29

Wendy Carlos, Moog

Anon: Sanctus

Hilliard Ensemble

Jan Garbarek, saxophone

Vivaldi: The Four Seasons - Spring 0-1, Recomposed By Max Richter

Daniel Hope, violin

Konzerthaus Kammerorchester Berlin

Andr退 de Ridder, conductor

Barbara Strozzi: E pazzo il mio core

Emanuela Galli, soprano

La Risonanza

Fabio Bonizzoni, conductor

Schutz: Herr, nun la?ssest du deinen Diener in Friede fahen

Vox Luminis

Lionel Meunier, conductor

Schubert: Impromptu D 935 no 4 in F minor

Andras Schiff, piano

Wagner: Lohengrin - Act 3 Prelude

London Classical Players

Sir Roger Norrington, conductor

Lanner: Jorgel-Polka

Concentus Musicus

Nikolaus Harnoncourt, conductor

Debussy: Nocturnes - Fetes

Les Siecles

Francois-Xavier Roth, conductor

Knussen: Two Organa - No 1

London Sinfonietta

Oliver Knussen, conductor

J. S. Bach: Widerstehe doch der Sünde, BWV 54 (Transcr. by V퀀kingur Ӏlafsson)

V퀀kingur Ӏlafsson, piano

Produced in Cardiff by Amy Wheel

Nicholas Kenyon tells the story of the pioneers of the period instrument revival.