- 4 months ago
Joseph Cooper invites viewers to match their musical wits against Patricia Owen, Brian Redhead and John Julius Norwich.
Category
📺
TVTranscript
00:00Hello, everyone, and welcome to another edition of Face the Music.
00:21We have a newcomer on the panel tonight.
00:23She's the lady who last year won the Mastermind competition on BBC One
00:27with Byzantine art.
00:30And she also gave us an impressive sample of her musical knowledge.
00:34Her name, Patricia Owen.
00:36Good evening.
00:38Also on the panel are John Julius Norwich.
00:41Good evening.
00:42And Brian Logan.
00:43Good evening.
00:45Our first round we've called Children's Corner.
00:48Here are three pieces of music that are associated with children.
00:52Can you identify them?
00:52First, John Julius.
00:59Well, we all know it's boys and girls come out to play, but I suppose that isn't quite good enough, is it?
01:21Quite enough, no.
01:23It's English.
01:24Yes, very, very English.
01:26And it's very, very English.
01:28Uh, a curious voice in the back of my mind is saying Roger Quilter.
01:33And it's saying right.
01:34Is it saying right?
01:35Yes, it is.
01:41Yes, do you want to go any further than that, John Julius, or are you leaving it at that?
01:45Can you go any further than Roger Quilter?
01:47Uh, well, you could perhaps give the name of the piece.
01:51Oh, uh, connected with children.
01:54It's the children's overture.
01:56Right.
02:02Inspired by a volume of nursery rhymes called Baby's Opera.
02:06Now, Patricia, your Children's Corner piece.
02:08Uh, fun and games.
02:38Fun and games.
02:39Jeu d'enfant.
02:40Yes.
02:40Visé.
02:41Yes, absolutely right.
02:47Do you know the name of that actual one?
02:50No.
02:51Uh, they're marching around.
02:52Yes, it's a march, actually.
02:54And it's subtitled, Trompette et Tambour.
02:57But, uh, absolutely right.
02:58They were originally written for a piano duet and orchestrated afterwards.
03:02Very good, indeed.
03:03Now, Brian, one for you.
03:04Uh, I wish you'd ask me about Roger Quilter.
03:30I knew about him.
03:31Um, it's something awful and sort of Swiss family Robinson.
03:35But, um, Heidi the something or other.
03:39No.
03:40No, not quite there.
03:42No?
03:42Um, I have no idea, to be honest.
03:44Um, has anybody else on the panel any idea?
03:47It's terribly wholesome, isn't it?
03:49Isn't this the original Engelbert Hamperding?
03:53Yes, it is.
03:55It is.
03:56Hansel and Gretel, at all.
03:57Yes, yes, yes, yes.
03:58Yes, quite right.
03:59It's Hansel and Gretel.
04:01And it's the beginning of the opera.
04:03And the parents are out selling brooms, if you remember, if you've seen it.
04:06And the little boy, he's supposed to be binding brooms, and the girl is knitting, and they're
04:12bored, and he says, she says to him, come, let's dance.
04:15And he dances very badly, and she roars with laughter, and that's what it's all about.
04:19So, you're quite right.
04:20It's Humperdink, but the old Humperdink.
04:23Yes.
04:24Right.
04:26Now, as a variation on consequences and the travelogues, several viewers have suggested
04:31that we have a little story with blanks that you fill up from musical clues.
04:36So, here's this game.
04:38It's partly derived from viewers' suggestions, and we've called it a robbery.
04:43You have the outline in front of you.
04:44Can you fill up the blanks from the musical clues?
04:49On the way to...
04:54The Best Man Dropped
05:19The Best Man Dropped
05:49Swooping Down
06:03Swooping Down
06:03Swooping Down
06:19Snatched it and flew to...
06:29Snatched it and flew to...
06:33...
07:03And gave it to...
07:22He said, what a...
07:33That's very missing.
07:43Right, now, how did you get on?
07:45I thought I saw consternation occasionally.
07:47Ah. Yes. Really? You did.
07:49Yes, we flew into a blank, I think, but apart from that we...
07:52Well, on the way to... We all flew into a blank.
07:54The Marriage of Figaro. Yes, good.
07:56Very good indeed, on the way to the Marriage of Figaro, well done.
07:59Then we had the best man dropped...
08:01The Ring. The Ring, yes.
08:02I thought he dropped the Flying Dutchman, I think.
08:06Well, that was from Rheingale, C3.
08:08And, um, where did we get to from there?
08:11Swooping down...
08:13La Gazzaladra. Yes.
08:15The thieving magpie. The thieving magpie, yes.
08:18Snatched it, flew to...
08:20Into a very thick bank of cloud at this point.
08:22One of the unknown regions.
08:24Well, if we went on and we... It gave it to...
08:27King Arthur. Yes.
08:28Now, what...
08:30Uh, place is there? Camelot. Camelot.
08:33Ah, you're very near. Tintagel? Yes, Tintagel.
08:35Oh. Yes.
08:36It was Tintagel by Bax, yes.
08:38Ah.
08:39And gave it to, as you said, King Arthur.
08:41And he said, what a...
08:43Surprise!
08:45I'll just recap those.
08:47On the way to The Marriage of Figaro, Mozart's Overture.
08:51The best man dropped the ring.
08:53Wagner, Rheingold, scene three.
08:57Swooping down, the thieving magpie, Rossini Overture, or La Gazzaladra.
09:01Snatched it, flew to Tintagel by Arnold Bax,
09:05and gave it to King Arthur.
09:07That's personal, fairest isle.
09:09And he said, what a surprise.
09:11The Haydn Symphony, G major number 94, second movement.
09:15Okay.
09:17APPLAUSE
09:19Now, the face, the composer.
09:25Here are the faces of three composers,
09:27all of them 20th century Russians.
09:30Please note, Russians.
09:32Can you say whether the face you see
09:34belongs to the composer whose music you hear?
09:37First, John Julius.
09:39Yes.
10:09Well, the composer is Igor Stravinsky.
10:23Yes.
10:24But the piece of music...
10:29I ought to know.
10:30I don't think it is.
10:31You have the right to know.
10:32I know I ought.
10:33I know I have the right...
10:34Oh, I have the right to know.
10:36Yes.
10:37It's the right music.
10:38Spring to it.
10:39Oh, it's the right.
10:40It's the right.
10:41It's the right of spring.
10:42Well, how much.
10:43You took the words out of my mouth.
10:50Patricia probably knows the actual number.
10:53No, never.
10:54I never know any numbers.
10:55Well, it's the dance of the adolescence.
10:56Numerous.
10:57Right.
10:58Okay.
10:59So, in fact, you saw Stravinsky
11:01and you were listening to Stravinsky.
11:03It was a yes.
11:04It was a yes.
11:05It fitted.
11:06Just as I told you all the time.
11:07Now, Patricia, a face, the composer, for you.
11:10I'm in the same boat.
11:11The face is Prokofiev.
11:12Yes.
11:13A little prompting.
11:14Yes, please.
11:15A little prompting.
11:16Yes, please.
11:17A little prompting.
11:18Yes, please.
11:19Oh, I saw.
11:20Duh-da-da-da-da-da, da-da-da, dee-da-da-ra-pa-pa.
11:22Rahmaninov.
11:23Yes.
11:36Yes, please.
11:42Rachmaninoff? Yes. Third Symphony.
11:45Rachmaninoff Third Symphony, yes.
11:47So you got it half right.
11:49So it wasn't a fit. It wasn't a fit, no.
11:52Right. Now, Brown, one for you.
12:06Well, now, I thought that that was Rachmaninoff looking at me.
12:28He was looking rather grimly at you, I thought, too.
12:31Yes, by the Politburo.
12:33It sounded too pretty to be his music.
12:35I didn't recognise the music.
12:37I mean, you couldn't have reversed them
12:39and that couldn't have been Prokofiev in his classical mood.
12:42How right you are. How right you are.
12:50You saw a picture of Rachmaninoff
12:52and you heard the second movement of Prokofiev's classical symphony.
12:56Now, initially speaking, this is the next round,
12:59we've had this question only once before
13:02and it's rather complicated.
13:04The object is for you to guess the initials of a composer's name.
13:07You will each hear a piece of music
13:09and from its title or its composer's name,
13:12you take one initial letter.
13:14Say we had a Beethoven symphony, you'd have B and S.
13:18And you note down these options.
13:21After three pieces, you should have at least six initials in the kitty.
13:26Three of them will form the initials of a composer's name.
13:30We then play a fourth piece,
13:32which is actually by the composer in question,
13:34to clinch the matter, which I'm sure is all as clear as mud.
13:37Yes.
13:38Now, John Julius, here's the first piece.
13:42That's the first piece.
13:44Number 1
13:465
13:475
13:495
13:515
13:526
13:536
13:547
13:556
13:588
13:598
14:007
14:0110
14:028
14:039
14:05Do we say as we go?
14:24Yes, we say as we go.
14:25Well, Daphnis and Chloe.
14:26Absolutely right.
14:27Ravel.
14:27Yes.
14:28So that gives us...
14:29So we've got three letters already.
14:30R, D, and C.
14:31Yes.
14:32R, D, and C.
14:32Splendid.
14:33Right.
14:34Now, Patricia, a piece for you.
14:35Right.
15:02Villa Lobos, V, L, but...
15:05Yes.
15:06Now, wait a moment.
15:07Another V, vocalese, is it?
15:08No, no.
15:09A most long name, a very long name.
15:12Brazilians...
15:13Yes, yes, yes.
15:14Bacchianas...
15:15Yes, Bacchianas Brasileiras.
15:19Yes, very well answered.
15:20B or V or...
15:21So you've got V and B, that would be enough, I think.
15:24Good.
15:25Excellent.
15:26V and B.
15:26Now, Brian, your piece.
15:28Now, Brian, your piece.
15:28Thanks for off of this.
15:29See you next time.
15:31Its presentation.
15:32Yes, sir.
15:32Yes, sir.
15:33Have a great day.
15:35Now, can you listen?
15:35No, I won't.
15:37I won't.
15:37No, no.
15:39No, no.
15:40No, no.
15:40Yes, sir.
15:41No, no.
15:42You win, no.
15:42No, no.
15:43No, no.
15:43No, no it.
15:44It's like being on In Town Tonight, isn't it?
16:03It's one of those sort of Crown Imperial William Walton.
16:08Right, right, right.
16:08Crown Imperial William Walton.
16:10That's it, absolutely.
16:11I've now got every letter in the alphabet other than Z.
16:18Well, it was Walton's Crown Imperial which gives you W, C and I.
16:22So you've now got R, D, C, V, B, W, C, I.
16:28Right, now, here's the last piece which should clinch the letters
16:33because we shall give you the initials you need.
16:36Now, here by the composer in question.
16:41Here we go.
16:48Here we go.
16:50MUSIC PLAYS
17:16Right. Who's going to be spokesman?
17:18Patricia will be our spokesman. She will.
17:20It's the Antarctica Symphony, the Scott film one,
17:25that was made into a symphony afterwards.
17:27Right. Absolutely right. And the initials...
17:29You worked out the spelling, didn't you?
17:31It's R-V-W, Ralph Vaughan Williams.
17:34Yes, Ray Vaughan Williams.
17:35Ray Vaughan Williams.
17:37APPLAUSE
17:39Well, now, it's interval time for you
17:42while our guest faces the music,
17:44and tonight he's a celebrated flute player
17:46who comes originally from Belfast.
17:49He recently retired from his position
17:51as principal flute in the Berlin Philharmonic Orchestra
17:54in order to concentrate as soloist and chamber music player.
17:58And we give a hearty welcome to James Galway.
18:01APPLAUSE
18:14Jimmy, your first question is,
18:15who is the Liverpudlian here?
18:18MUSIC PLAYS
18:20Well, it's dead easy.
18:23I didn't know Joan M.
18:24...
18:25...
18:26...
18:27...
18:29...
18:30...
18:31...
18:32...
18:33...
18:36...
18:37...
18:38...
18:39...
18:40...
18:41...
18:43...
18:44...
18:45...
18:46...
18:47...
18:49Why you,
18:51...
18:52Donnezetti.
18:53Donnezetti.
18:54Donnezetti.
18:55SOOTHERLAND
19:10Ah but...
19:12YI
19:14...
19:15in the Sutherland, because that's an early recording, actually.
19:18Oh, she's one of my favourite singers.
19:19Don Zetti actually had a meaning for you in your early life.
19:22He sure did.
19:24When I was very young, I was in a flute band,
19:27and we used to have these competitions.
19:29Where was this?
19:30In Belfast.
19:30Yes.
19:31And every year we'd have a competition,
19:34and we'd have the competition for children between 10 and 13,
19:38then 13 to 16, and then anything on.
19:42And the first time I did one of these competitions,
19:45I went in all three.
19:46I actually cheated, because I was too young
19:48to be in the 13 to 16 one, but I got in it anyway.
19:52And I remember the pieces.
19:55The one for the 10 to 13 or whatever it was,
20:00was Melody and F, and the one for 13 to 16
20:04was this Donizetti.
20:09Selection?
20:10Yeah.
20:11With all really difficult things in it,
20:13I practised it like mad.
20:14How did you come to learn the flute in the first place, Jimmy?
20:17Well, my dad taught me to play the flute.
20:20Yeah.
20:21And then my uncle taught me to play the flute,
20:23and then I learned with Muriel Don in my hometown,
20:27and then I went to college and learned with John Francis.
20:29What was your first major job, actually?
20:33Can you look back and think?
20:34With an orchestra?
20:35Yep.
20:35My first major job was with the Sadler's Wells Opera in 1960.
20:40Now, another question.
20:41How does this music avoid the generation gap?
20:44Well, this is which there is not as good for the people that can't.
20:52Hallelujah.
20:53How does this music?
20:54How do youства people come to you in the middle?
20:57What does this music include?
20:59How does this music avoid the phon performing mean?
21:01Александ and Rolle
21:03Well, this is Mozart's Flute and Harp Concerto,
21:17which was written for a Frenchman and his daughter who played the harp.
21:20I believe he still hasn't paid Mozart for it.
21:23That's why Mozart hates the flute.
21:25He doesn't really hate the flute, he just hates his gentleman who didn't pay.
21:28Didn't he pay? No.
21:30But he was a duke, wasn't he? The Duke de Guine.
21:32Well, perhaps he had a reason for not playing.
21:35I mean, he probably had a big castle, you know.
21:37Now, that was... Anyhow, you got the answer right.
21:40That was fine, and that was the generation gap, father and daughter.
21:43But what we haven't said, that delightful playing was you yourself on the flute
21:48with, was it Fritz Helmers?
21:50That's right.
21:51On the harp, and that with the Berlin Philharmonic.
21:53That's right.
21:54And Carian.
21:55Yep.
21:56Which brings me to the leading question of the scene.
21:58How did you get into the Berlin Philharmonic?
22:01Don't ask me.
22:02Well, I came from Cardiff to Munich, where they were having an audition.
22:09And when I got to Munich, I met Dr. Stresemann, who was the intendant of the orchestra.
22:15Mm-hmm.
22:16And he said, oh, Mr. Galway, it's much too late.
22:20The audition was at 9 o'clock today.
22:21We sent you a telegram.
22:22Why did you not come at 9?
22:24I said, oh, well, there's a strike on with a GPO.
22:26It's their week out.
22:27And, uh...
22:28He then said, of course, there's no point in you playing.
22:33The players are so fantastic.
22:34The standard is so high, we've asked three of them to remain because we just can't decide.
22:38And eventually, I coaxed him to go and ask von Karajan if he would hear me.
22:44So, suddenly, he came back and said, come, quick, quick, quick, the maestro will hear you.
22:47So, I walked on the stage and said to the piano player, I'd like to play the Ebert flute concerto.
22:52So, he said, oh, look, this is a flute audition, not a piano audition.
22:56Can't you play some Mozart?
22:57So, I then got out a Mozart concerto and read through it.
23:01And, halfway down the first page, Karajan said, okay, cadenza.
23:07So, I just turned over the page and read another cadenza, which I hadn't played since I was a kid,
23:12because I learned this when I was 13 or 14, and I hadn't really played this cadenza,
23:16but it was written down there, so I just read through it.
23:19And he said, right, fine, play Daphnis and Chloe.
23:23So, I played Daphnis and Chloe, you know.
23:25I sort of wanted to keep in with him a bit.
23:30He then said, right, La Primae, so I played La Primae.
23:33Then he said, Brahms 1, Brahms 1, Brahms 4, right, Midsummer Night's Dream, all this without your music.
23:41And then, after I played most of the things, I think he actually ran out of pieces.
23:50He then said, right, fine, thank you very much.
23:52So, I went outside, and then Dr. Stresemann came again and said, right, Mr. Galway, we'd like you to play again.
23:59So, there were four of us this time, standing in the front of the stage in the Deutsches Museum in Munich,
24:04with the Berlin Philharmonic sitting in the stalls, and Karajan saying, right, Brahms 1, from left to right.
24:11Brahms 4, from right to left.
24:13Midsummer Night's Dream the other way.
24:14So, I'd never come across this life in Germany before, you know.
24:21I was used to a sort of easier attitude, you know, that we have in London.
24:25And if you can't do it, send a Depp.
24:28And it was really funny, because they said, right, thank you very much.
24:33I went outside, and Stresemann came again and said, Mr. Galway, you are now a solo flutist in the Berlin Philharmonic.
24:39Congratulations.
24:40When can you start?
24:42So, I said, and as a matter of fact, I have a concert tonight in the Festival Hall, and I've got to catch a plane, but I'll think about it.
24:48So, I actually did go away and think about it.
24:51And then, I went back and played with the orchestra for a month, just to see if I liked them, before they had the chance of seeing if they liked me.
24:58And you stayed for?
25:00Six years.
25:00Well done.
25:08Thank you so much for just staying with us.
25:10Now, back to the panel for the funny opera.
25:14This is where you see a scene from one opera, or operetta, and you hear the music of another.
25:19And you have to guess both, and it's a free for all.
25:22And you have to guess both, and it's a free for all.
25:36If you don't know.
25:49What I will say to myself, I will say to myself, and to me again, I will not be able to hear the song.
26:05Right. What were you looking at?
26:26Well, for a long time we thought it was the Pirates of Penzance.
26:30Then we decided it was the Mikado.
26:34And you decided you were actually looking at the Mikado himself.
26:37That's what we decided we were looking at. Daryl Fancourt we thought the performer was.
26:41It was actually Richard Angus in a BBC television.
26:43Well, we thought it was either Richard Angus or...
26:47And then what did we think about the...?
26:50Patricia will tell us what we thought the music was.
26:52We thought it was Cherubino singing in Marriage of Figaro.
26:55Yes, and the aria...
26:57Absolutely right.
27:06So, just to recap, you saw the Mikado and you heard the Marriage of Figaro.
27:11And now for The Hidden Melody.
27:18Now, this is where I wrap up a tune in the style of a composer.
27:21And you have to guess the tune and the style.
27:24And also say what scale I'm using.
27:28So, in the style of the piano, I would say it is a note.
27:29That's my perspective.
27:30Thank you very much.
27:31And the way of depositing and thinking with this...
27:33So, I'm doing a great place.
27:35And that's how I...
27:36Let me know the keys...
27:37And here's what song I am.
27:38So, I think the title is...
27:39The special taste.
29:10That one was so clever and so beautiful.
29:12We're not sure whether you were doing one in terms of the other.
29:15Well, it was all in the style of Debussy.
29:18Yes.
29:19The tune that you'd taken was the girl with the flaxen hair.
29:21That was the Debussy tune.
29:22Yes.
29:23What's behind it all was?
29:25I think Danny Boye, the Londondrie air.
29:37Hebridean loves lit.
29:40Ah, yes.
29:42Full, won't you?
29:47Yes.
29:48Beautiful.
29:48The Eriske Lovelift.
29:50And the scale?
29:52All right.
29:53Let me say...
29:53Pentatonic?
29:54Yes.
29:54Pentatonic?
29:55The pentatonic scale, which is simply another name for five notes.
29:58And if you'll play the five black notes...
30:00That's the pentatonic scale, which it's written in.
30:03And time's up, so it's goodnight from Patricia Owen,
30:10John Julius Norwich, Brian Redhead, James Galway,
30:13and me, Joseph Cooper.
30:14APPLAUSE
30:15From recent encounters to more memorable moments from the archives,
30:34famous faces in conversation,
30:37choosing their Desert Island discs.
30:39Listen now on BBC Sounds.
30:40APPLAUSE
Comments