Proms Chamber Music

As part of the BBC's focus on opera in 2010, Donald Macleod explores the operas of Verdi, beginning at the beginning with his very first operatic effort, Oberto, and contrasting it with a mature masterpiece, Rigoletto. Both are tales of honour, family and doomed love - all classic Verdi themes. The excerpt from Rigoletto includes one of the most famous tunes in all opera - 'La donna e mobile'.

Donald Macleod explores the operas of Verdi, starting with Oberto and Rigoletto.

Mark Padmore and Imogen Cooper perform Schumann's Dichterliebe and songs by Schubert.

The world's greatest classical music festival - stunning performances and collaborations.

In the first of the week's programmes, Sondheim talks about his childhood, his parents' divorce, his near-adoption by the Hammerstein family and his apprenticeship with Oscar Hammerstein, the lyricist of Oklahoma! Then there's the rollercoaster ride of his early career: his first, abortive Broadway show; two amazing breaks, when he was commissioned to write the lyrics for first West Side Story, then Gypsy; his unhappy collaboration with Richard Rogers; and his major creative breakthrough with Company, a musical with situations and characters but no conventional plot, and the first appearance of characteristic Sondheim subject-matter - the virtual impossibility of forming good relationships. As one British critic observed, 'It is extraordinary that a musical, that most trivial of forms, should be able to plunge as Company does, with perfect congruity, into the profound depths of human perplexity and misery.'.

Stephen Sondheim talks to Donald Macleod about his early life and career.

Pianist Francesco Piemontesi and the Navarra Quartet play Debussy, Haydn and Schumann.

The world's greatest classical music festival - stunning performances and collaborations.

More than a generation after her death at the venerable age of 77, Amy March Beach (n退e Cheney) is still dogged by a single phrase: 'female composer'.

Once upon a time, it was used by male critics as to criticise her supposedly 'inferior' music - now, in a postmodern, post-feminist age, Beach's life and output is endlessly reappraised for its symbolism - the achievement of a pioneering woman in a world of men - rather than for her remarkable musical abilities.

In truth, Amy Beach's life and work are extraordinary, regardless of her gender: arguably the first truly 'American' voice to emerge from a continent still struggling to break free from the shackles of the European classical tradition.

Donald Macleod explores her journey from the tranquil meadows of New England to her headline-grabbing early successes as a virtuoso piano prodigy in Boston - and her burning childhood desire to compose. We'll hear complete performances and extended excerpts from her collection of large-scale symphonic works, including her 'Grand Mass' in E Flat, and 'Gaelic' Symphony, as well as a rare performance of Beach's chamber opera, 'Cabildo'.

We'll also hear a number of works composed at the Macdowell Colony - a remarkable artists' retreat amidst the woodlands of New Hampshire where the middle-aged Mrs Beach, remarkably, assimilated a host of modern musical techniques into her expressive late-Romantic style.

Also spanning across the week are a number of Amy Beach's songs, from opus 1 to 152 - perhaps her finest and most lasting achievement, full of examples of her gift for intense, lyrical melody.

In the first episode of this week's series, Donald Macleod examines Beach's gargantuan 'Grand Mass' in E Flat - the first to be composed by an American woman - and charts the composer's journey from piano prodigy to respected composer (and 'respectable wife').

Amy Beach's journey from piano prodigy to respected composer and 'respectable wife'.

Malin Christensson (soprano) and Henk Neven (baritone) perform Brahms, Berg and Wolf.

The world's greatest classical music festival - stunning performances and collaborations.

Donald Macleod and Suzanne Aspden of Oxford University look at Handel's beginnings, his skillful ability to impress and control his employers, and his tendency to recycle existing music.

If you are in search of a good role model, an example of a life well spent, well navigated, look to George Frideric Handel's seventy-four years. From day one this divinely musical and decisive Saxon instinctively knew where to take himself and who to please.

Donald Macleod is joined by Suzanne Aspden, a Handel expert from Oxford University armed with the latest in Handel scholarship. Faced with hours of Handel's sublime music and the composer's eventful life story they've whisked up a focus on Handel the borrower of his own and others' music - with a look at Agrippina the opera that so impressed Venice, and an electric peformance of Dixit Dominus. They discuss Handel the politician, how the composer was adopted in England and found long-term favour with the new Hanoverian monarchy.

Some of the most arresting moments from Handel's operas Radamisto, Admeto, Partenope, and Ariodante dominate the third programme, a look at Handel the resourceful 'Opera divo'. And with ravishing music from his oratorios Esther, Saul, Samson and Messiah, Handel as 'Man of God' is also exposed, revealing the composer's ability to twist a ban on staging Biblical texts to his advantage.

Today the spirit of Handel lives on and in the final programme 'The Idea of Handel' Donald and Suzanne broadcast 'The Anthem for the Foundling Hospital', the Violin Sonata in D Op.1 and a saucy aria from Semele, as they exhibit how the reputation of this great composer has evolved over the centuries.

Donald Macleod on Handel's ability to impress and control his employers.

Musica ad Rhenum in music by Bach and his sons Wilhelm Friedrich and Carl Philipp Emanuel.

The world's greatest classical music festival - stunning performances and collaborations.

Wesley is largely forgotten today, but during his time he was rated highly by the likes of Gounod, Parry and Elgar, and he even got to perform duets with Rossini - his father was also a celebrated composer. Other relatives of note include his great uncle John Wesley - the preacher, and his grandfather Charles - the hymn writer. However, S. S. Wesley was illegitimate, and he and his siblings were largely shunned by their extended family.

Donald Macleod marks the bicentenary of Wesley's birth, surveying the life and music of this bad tempered composer. His career took him from London to Hereford, then on to Exeter and Leeds, moving on again to Winchester and then Gloucester. However, Wesley for most of his life wished to return to Devon where he'd been happiest in that rural landscape, fishing in the local streams and rivers. He eventually got his wish upon his deathbed, being returned to Exeter to be buried next to his baby daughter.

Throughout the week there will be a number of special recordings made for the series, including performances by the BBC National Orchestra of Wales, the BBC Scottish Symphony Orchestra, the BBC Singers, and former New Generation artist, the pianist Tom Poster.

In the first of this week's exploration of Wesley's life and music, Donald Macleod looks at the composer's childhood and early career, including rare works such as his piano Waltz, the Benedictus for voices and piano, and the orchestral Overture in E.

Donald Macleod celebrates the 200th year since the birth of Samuel Sebastian Wesley.

Catherine Bott presents Julia Fischer (violin) in music by Ysaye and Franck.

The world's greatest classical music festival - stunning performances and collaborations.

Mahan Esfahani (harpsichord) performs Bach's masterwork the Goldberg Variations.

The world's greatest classical music festival - stunning performances and collaborations.