- 3 months ago
Question master Joseph Cooper invites viewers to match their musical wits against Patricia Owen, John Julius Norwich and David Attenborough.
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00:00Hello everyone, our lady guest is last year's Mastermind winner making her second appearance
00:22on Face the Music, Patricia Owen.
00:25Good evening.
00:25She is joined by David Attenborough.
00:30Hello.
00:31And John Julius Norwich.
00:33Yes.
00:37Our first round we've called Uncle Sam.
00:40Here are three pieces of music all associated in some way with the USA.
00:44Can you identify them?
00:46First, David.
00:47Well, I think that really does come from the New World, inasmuch as it was a symphony composed
01:02by Dvorak and he gave it that name.
01:03Quite right.
01:04It's Dvorak's New World Symphony, the number nine, actually written in the United States.
01:09Now, Patricia, your Uncle Sam piece, a little harder.
01:10Ooh.
01:11Oh.
01:12Oh.
01:13Oh.
01:14Oh.
01:15Oh.
01:16Oh.
01:17Oh.
01:18Oh.
01:19Oh.
01:20Oh.
01:21Oh.
01:22Oh.
01:23Oh.
01:24Oh.
01:25Oh.
01:26Oh.
01:27Oh.
01:29Oh.
01:30Oh.
01:31Oh.
01:32Oh.
01:33Oh.
01:34Oh.
01:35ORCHESTRA PLAYS
02:02This is going to be sheer guesswork.
02:05Couldn't be something to do with Delius, could it?
02:07It is everything to do with Delius. Marvellous.
02:09One of those things he wrote in the Orange Groves.
02:11You're getting awfully close.
02:13Ah, now then. Now comes the difficult bit of actually identifying it.
02:16Well, don't be appalled.
02:18Appalachia?
02:20Yes.
02:21Very good indeed. Variations on an old slave song by Delius
02:32and called Appalachia, which incidentally is the American Indian name for America,
02:36for North America.
02:38So, absolutely correctly answered.
02:40Good. Now, John Julius, your American bit.
02:43ORCHESTRA PLAYS
03:02ORCHESTRA PLAYS
03:15Oh, why did it stop?
03:17Just as I was beginning to enjoy it.
03:23Goodness.
03:25Could it be Gershwin?
03:27It could easily be.
03:29It's not Rhapsody in blue.
03:35It's Porgy and Bess.
03:36No, it's not.
03:37Yes, it is.
03:40I suddenly saw your face.
03:42This is what my face was meant to be doing.
03:44That's what I thought it was meant to be doing.
03:46I knew it wasn't Porgy and Bess.
03:47Of course it wasn't Porgy and Bess.
03:48Ridiculous to think it could have been Porgy and Bess.
03:50No, no.
03:51It's, um...
03:52Somebody visiting somewhere.
03:53An American in Paris.
03:55Right.
04:03Now, consequences.
04:04There are blank sheets in front of you.
04:05You try filling them up with the help of our musical clues.
04:09And if you can do it,
04:10you should end up with the sort of silly story we get in Family Consequences.
04:14Right, here's the first clue.
04:16A male character...
04:18...
04:35.
04:40I can sing it.
04:55No, you must recognise me.
04:57It's certainly not one to make you feel blasey.
04:59Ah!
05:01Met a female character.
05:04By thee, and this is where they met.
05:25.
05:35.
05:39.
05:43.
05:45He said
06:13That's not the name I got from it
06:14She said I was only
06:20Her gestures, motions and her smile
06:25Her wit, her voice, my heart beguile
06:32Beguile my heart, I know not why
06:38And yet I love her till I die
06:50The consequence was they walked along the
06:54PIANO PLAYS
07:00Right, how did you get on?
07:25A male character, who was that?
07:28I think that was Rui Blas
07:30Yes, or Blas, isn't it?
07:32Is it French?
07:34No, I don't think it is
07:36Well, it's B-L-A-S
07:38And written by Mr Mendelssohn
07:39It is a Victor Hugo play, so it is French
07:41Rui Blas
07:43Rui Blas by Mendelssohn
07:45Very, very good
07:46Excellent
07:47Um, met
07:49Violetta
07:51Violetta, yes, quite right
07:53From
07:54Oh, Traviata
07:56Yes, absolutely right
07:57Yes
07:58By the, and this is where they met
08:00The sea?
08:01The sea, yes
08:02La mer
08:03La mer
08:04Anybody's, anybody's la mer?
08:06Debussy
08:07Debussy's la mer, it's too simple
08:08He said
08:09Come into the garden
08:12Maude
08:13She said I was only
08:15Passing by
08:16The consequence was they walked along the
08:19Exhibition
08:20Promenade
08:21Promenade
08:22Promenade
08:23Promenade
08:24Promenade
08:25Promenade
08:26Promenade
08:27Yes
08:28Very good, I'll just recap those answers
08:30Rui Blas
08:31Rui Blas
08:32We'll have to check on that, but it doesn't matter
08:34Mendelssohn Overture
08:36Met
08:37Violetta
08:38Verdi
08:39La Traviata
08:40You heard Victoria de los Angeles
08:41Singing the Libyamo
08:43By the sea
08:44Debussy la mer
08:45Third movement
08:46He said come into the garden
08:47Maude
08:48She said I was only
08:49Passing by
08:50And that was by Edward Purcell
08:52Not the Purcell
08:53But a much more modern Purcell
08:54And the consequence was
08:56They walked along the Promenade
08:57The recurring movement in pictures
08:59At an exhibition by Mussorgsky
09:01And orchestrated there by Ravel
09:09Now we have the place, the music
09:11You will see pictures of well-known buildings or places
09:14Can you say whether the composer whose music you hear
09:17Is associated with the place you see?
09:19First David
09:24Sanctus
09:29Sanctus
09:32Sanctus
09:36Sanctus
09:37Sanctus
09:39Sanctus
09:41Sanctus
09:44Well, how strict are you going to be about this, Joe?
09:58I mean, I'll say yes.
10:00Do I get my marks?
10:01Yes, well, you've got your marks.
10:02Now, let's have a bit more.
10:04I mean, don't be quite so mean.
10:05Well, I might go a bit astray now.
10:08But I think that was the Foley Requiem.
10:10The which Requiem?
10:12Berlioz Requiem.
10:12The Rebellion Requiem. I'm sorry.
10:14Yes.
10:15Well, it sounds a bit like Gabriel Berlioz, yes.
10:18The Berlioz Requiem.
10:19Yes.
10:20And I can't ask John Julius where that was.
10:23Was that in Paris?
10:25I think it was.
10:25I think it was.
10:26It was in...
10:27Yes, it was in Paris.
10:29And that's where Berlioz composed it.
10:31Yes.
10:32Well, I don't want to invalidate the argument.
10:34No, it was the Invalide.
10:37Was it?
10:37Yes.
10:38Oh.
10:38A gross injustice to give me a quarter of a mark from that, but thank you very much.
10:47Well, you saw a picture of Les Invalides in Paris.
10:50You heard part of the Berlioz Requiem, the Sanctus.
10:52And, of course, Berlioz was very much associated with Paris.
10:56And, actually, the Requiem was first performed in Les Invalides.
11:00Yes.
11:00So, I think you've got it all.
11:01Thank you very much.
11:02Yes.
11:03Totally unaided, I hope you noticed.
11:05Now, Patricia, your place, the music.
11:10Rejoice in the Lord all the way
11:13And again I say rejoice
11:17Rejoice in the Lord all the way
11:22And again I say rejoice
11:27Well, thank you.
11:34That's much kinder than the last one, I think, I hope.
11:37That's the other Purcell.
11:39Yes, right.
11:39Rejoice in the Lord all the way.
11:40Henry Purcell.
11:41Yes, absolutely right.
11:42And that was Westminster Abbey.
11:44Right.
11:46Was it first performed there?
11:48Well, we won't worry too much about that,
11:50but let us establish Purcell's connection with Westminster Abbey.
11:55Well, he was one of the musicians of the Chapel Royal
12:01and presumably he performed there.
12:03Yes, but he was the actual organist.
12:05He was the organist.
12:06Fine.
12:10Fine.
12:10Well, I think you did brilliantly on that, Patricia.
12:12I don't.
12:14APPLAUSE
12:14Now, John Julius, one for yes.
12:19Well, the place is Istanbul.
12:43Yes.
12:43The mosque, I think, is the Suleymaniye.
12:46The music is surely Scheherazade.
12:49Yes.
12:50By Rimsky-Korsakov.
12:51Yes.
12:52And Scheherazade lived in Arabia and not in Turkey
12:56and therefore there isn't a connection.
12:59And Rimsky-Korsakov lived in Russia, not in Turkey.
13:02So there couldn't be a connection.
13:04No.
13:04Absolutely right.
13:05APPLAUSE
13:07Right, well, now you've got to be all three
13:14very great experts in rhythm for this next item
13:17because it's beat the drum.
13:20This is where you hear the rhythm of a tune
13:22played on a drum and you have to guess the tune.
13:24You can also see the drum.
13:26It might even put you off.
13:27All three pieces tonight are on carnival themes.
13:31First, David.
13:31Well, there's Roman Carnival
13:44and there's the Carnival Overture
13:46and there's Carnival the Animals.
13:50What about that Carnival Overture bit?
13:52Berlioz?
13:53Oh, Vorschach.
13:53The Vorschach.
13:54Yes, the Vorschach.
13:55Carnival Overture, isn't it?
13:56Yes, that's right.
13:57I immediately heard it.
13:58APPLAUSE
13:59Here it is.
14:16Now, Patricia, your Carnival bit.
14:18Are there any hints coming up?
14:36I'll give you a hint.
14:37It's spelt differently from any other carnival.
14:39It's got an A instead of an I in the middle.
14:43Carnival Schumann?
14:46Yes.
14:46Yes.
14:47I don't know which bit, though.
14:49Well, it's this bit.
14:51It's the March of the Davidsbundler
15:05against the Philistines in the finale.
15:09I thought that was rather good.
15:10I mean, you did get a little hint,
15:11but I thought you did a bit.
15:12It's not a whetting thing, didn't you?
15:13Yes.
15:14APPLAUSE
15:14Lastly, John Julius.
15:19MUSIC PLAYS
15:21I think it's the Carnival of the Animals.
15:35Do you?
15:36By Saint-Saëns.
15:38Do you?
15:39No.
15:39No, I don't.
15:42It's the Berlioz.
15:44Perhaps it's Berlioz.
15:46Oh, what a good thought.
15:47David thinks it's Berlioz.
15:48What a good thought.
15:50Let's just listen and see.
15:51It's the Carnival Roma, of course it is.
16:09Yes, absolutely right.
16:10Oh, very good.
16:12APPLAUSE
16:13Now, you take your ease, because it's time for the guest.
16:18And tonight, she's a young English pianist
16:20who has herself begun to make a name for herself,
16:23not only in this country, but in Europe.
16:26And her name is Imogen Cooper.
16:28APPLAUSE
16:29Imogen, before we go any further,
16:42can we establish the fact that I am not your father?
16:45And I am not your daughter.
16:46LAUGHTER
16:46Because so many people write to me and say,
16:49how proud I must be to have a daughter like you.
16:51Yes, and so many people come to me and say
16:53how much they enjoy my father's television show.
16:55LAUGHTER
16:55So let's establish this fact that,
16:57though I'd love to have you as a daughter,
16:59I must say, you are in fact the daughter
17:01of a very famous music critic, Martin Cooper.
17:03So having cleared that up,
17:05we shall now not have any more letters about it.
17:07Indeed.
17:08So let's go to the first question, which is,
17:11why might this be called raindrops music?
17:14MUSIC
17:14MUSIC
17:14MUSIC
17:25Yes, if I may say, it's very obscure,
17:43but I do see why one way or the other.
17:45That is the last moment of the Beethoven Appassionata Sonata,
17:48it was 57.
17:48Yes.
17:50As far as I can think,
17:51I think probably the connection is that
17:53the manuscript of the Sonata is in the Bibliothèque Nationale in Paris.
17:58Correct.
17:59And it happens to have a very large rain stain all over it,
18:03which makes parts of it rather difficult to read.
18:04Quite right, yes.
18:05So I would suspect that that is the connection.
18:07It is the connection.
18:08You don't happen to know how they got there?
18:11Ah, mischance, I suppose.
18:13I can't say more than that.
18:14No, I don't.
18:14Well, it's quite a funny story,
18:16which I'll tell very, very quickly,
18:18that Beethoven was staying with a patron of his,
18:22Prince Lichnowski at his castle in the country in 1806,
18:26and there were some French officers there,
18:27and they asked Beethoven to play the piano.
18:29He was absolutely livid,
18:31and left the house in a fury,
18:33in pouring rain,
18:34and took the first coach back to Vienna,
18:36and on board the coach was the Appassionata,
18:38which got literally soaked.
18:40And right through the copy,
18:42I've seen it in Paris,
18:43are these blotches.
18:44And it does make it quite difficult to read,
18:46but it also makes,
18:47it's very moving when you see these blotches.
18:49They're still there.
18:50Particularly knowing the fury that was behind it.
18:52Yes, the fury that was behind it.
18:53Now, you won the first prize in Paris with the Appassionata,
18:57didn't you?
18:57Yes, that's right.
18:58That was in 1967.
18:59And you also trained in Paris.
19:02I was there for six years, yes,
19:03between the ages of 12 and 18.
19:0512 and 18.
19:06So you're fluent in French as well,
19:07which is lucky.
19:08Yes.
19:09Now, tell me, Imogen,
19:10what is the difference in the Paris training
19:12from the training in England, basically?
19:15Well, I think the first thing that obviously comes to mind
19:17is the difference in ages.
19:18They take one on very early in Paris.
19:20They expect one to come from about 12 onwards,
19:21whereas I think in London it happens rather later.
19:24The word that stands out in my mind above all else
19:27is a really fantastic discipline,
19:28in which they do stress very much.
19:31I mean, there's no question of turning up
19:32and saying, I've been tired this week or whatever.
19:34They look at you witheringly and say,
19:35well, why aren't you playing better?
19:36And that's it.
19:37Well, how do they manage with young people
19:38who don't have any discipline at all now?
19:40They instill it in them.
19:41I mean, and how.
19:41Oh, they do?
19:42And if you don't like it,
19:43well, you're kicked out, and that's that.
19:44Now, I want to ask you an interesting question
19:46leading on from that,
19:47because I was present at a very happy occasion
19:50when you won the Heighton-Mozart Prize
19:52at the Royal Academy in 1969.
19:54It was just after you'd finished in Paris.
19:56That's right, yes.
19:56And I was one of the judges,
19:58and I was thrilled with your playing,
19:59and you played with a two-piano accompaniment,
20:02didn't you?
20:03It wasn't an orchestra.
20:04And it was the Coronation Concerto.
20:06And you won it,
20:07and that gave you concerts with Harry Blake's orchestra
20:10and gave you all sorts of perks.
20:12Yes, quite a lot of openings.
20:13Yes, so that could have been called the turning point.
20:16Now, what are your feelings
20:17about the difficult transition stage
20:19from being a student and becoming a professional?
20:23Yes, that's a difficult question.
20:25I think if you use the term professional
20:26if you take the word as an adjective
20:29and not as a noun,
20:30I think the attitude of being professional
20:31can come very much from the start.
20:34Yes.
20:34I mean, one can be a professional
20:35when one's a student, I'm sure you agree.
20:36Yes.
20:37And that is an attitude that sticks for life,
20:39so therefore, for some people,
20:40the transition isn't so much.
20:42I think, basically,
20:43it's a question of when...
20:44It's a question of experience, I think, largely.
20:47When playing before a large audience,
20:49playing with a new orchestra,
20:49doesn't seem suddenly quite so overpowering
20:51as it seems at the beginning,
20:52when one's more...
20:53you sort of master of one's instrument.
20:55And when one feels quite definitely
20:56that oneself, one has a message to give
20:58for what it's worth,
20:59that you've got something personal to say.
21:01In other words, you've left teachers...
21:03Teachers' influences,
21:05teachers' state secrets and things like that.
21:07You work out the state secrets yourself.
21:09You think, well, this is...
21:10I must do my own thing.
21:11And this is starting to happen to you now
21:13in a fairly big way.
21:14I think so, yes.
21:15Yes.
21:16Fine.
21:17Now, your next question is,
21:18why is this not all of a piece?
21:20Jo, if I may say so,
21:47I didn't know there were such massacres
21:48on this programme.
21:49I'm the guilty.
21:52You're the guilty party.
21:53You may be forgiven.
21:55Those are, if I may say so,
21:57both Schubert's sonatas.
21:58There is first the A minor,
22:00opus 143,
22:00which we heard for about...
22:02I didn't count
22:03because I didn't know what was coming.
22:04A few bars.
22:06And then there was the larger A minor sonata
22:08with the variations and the slow movement,
22:10which is opus...
22:10Help me, quickly.
22:1142.
22:12Thank you very much.
22:1242.
22:13And then we reverted back to opus 143.
22:15They're both Schubert,
22:16they're both A minor,
22:17but they're not the same.
22:18Well done.
22:18Jolly good.
22:26Now, I asked you that
22:27because I know that you're giving a concert
22:29of Schubert's music in Vienna fairly soon.
22:32What are your feelings about that?
22:33Terror.
22:34Yes.
22:34Obviously, the pressures of playing Schubert in Vienna
22:38are quite enormous
22:39because there's such a tradition of it.
22:41Yes.
22:41Obviously, that goes without saying.
22:42Yes.
22:42I did do it already in March of this year
22:46and I just tried my best is all I can say.
22:50All that I remember about the concert
22:51is that the seats in the audience creaked like mad
22:53because it was in an old hall
22:54and all the seats were wooden
22:55and that I had the most terrible headache,
22:57but apart from that,
22:58it didn't go too badly.
22:59Well, I hope you don't have a headache next time.
23:01I hope so, indeed.
23:01I just want to end on a quote
23:03that Dame Myra Hess once said
23:05when she was asked
23:06what it was like being a lady concert pianist.
23:08And she said,
23:09well, it doesn't matter who you're a lady
23:10or what you are,
23:11it's really like being on the centre court
23:13at Wimbledon all the year round.
23:15Now, what are your feelings?
23:16Here you are, you're in your 20s,
23:19you're doing very well,
23:20you're getting your Halley dates
23:21and you're becoming international.
23:23What is your really,
23:24what's your feeling about it?
23:25Is it harder than you imagined?
23:28Yes, it's nothing quite like I imagined.
23:29It's definitely harder,
23:30it's definitely lonelier.
23:31One doesn't want to sound corny,
23:32but there is an element of all that.
23:36I love it.
23:37There's a lot to be taken into account,
23:39obviously, if one's a single woman,
23:40one has to also, you know,
23:41look after the actual practical business
23:43of the travelling and looking after the house
23:44and looking after the garden,
23:45which is, I think,
23:46if one's a gentleman
23:47and has a nice wife,
23:47we'll do it for one.
23:48It makes it very much easier.
23:49And if you get a nice, nice husband,
23:51couldn't you give the whole thing up
23:52and enjoy life?
23:53I, however much I would love my husband,
23:55I can't imagine giving it up possibly, no.
23:57You really do feel
23:58a tremendous ambition.
24:00Oh, ambition's rather a nasty word.
24:02I feed a tremendous urge
24:03to make music, yes,
24:04if that doesn't sound too corny.
24:06No, it doesn't.
24:07It doesn't indeed.
24:08But I just wondered
24:09if you had any sort of routines
24:10to make life a little easier.
24:13Yes, I'm beginning to sort of
24:15get to know myself
24:15and know what I can and can't do.
24:17I always like sleeping
24:17on the afternoon of a concert
24:19and like rehearsing
24:20as early on as I can in the day
24:21so as to be able to relax
24:22before the actual concert.
24:23Yes.
24:23And not to either drink brandy
24:26or eat onions after a concert
24:27because I know I won't sleep.
24:30Well, Imogen,
24:31I'm sure everybody here
24:31wishes you the greatest success
24:33in your career.
24:34You're doing marvellously.
24:35And thank you for coming on the programme.
24:36Now, back to the panel
24:47and this is the funny ballet.
24:49This is where you'll see a scene
24:51from a ballet with the wrong music.
24:53The music will also be
24:54from a ballet, another ballet.
24:56Can you identify the ballet you see
24:57and the ballet you hear?
24:58Yeah.
25:06The music will also be
25:36Yes, well...
26:03How did you get on?
26:04Let's get in quick with the easy bit
26:05and then flannel.
26:06You're a master at it, clearly.
26:08Go ahead.
26:09Well, we thought it was Firebird,
26:11you know, Katschai, the evil one.
26:13Yes, absolutely right.
26:14But we didn't see what
26:16query query Mimi
26:18was doing on points.
26:20It seemed like the first act of Boehm,
26:22didn't it?
26:22Yes.
26:23Sort of without all the lovely twillibits.
26:25Did they make Boehm into a ballet?
26:26No, not as far as I know.
26:28They were being artistic in Paris, yes?
26:31No?
26:31What's this to this model?
26:32Well, yes, he was drawing her,
26:36he was painting her.
26:36Yes.
26:37And there were a couple of pigeons
26:38in the background.
26:39Did you not see that?
26:40They're just pigeons by message.
26:41Well done.
26:42Very good, indeed.
26:42So you saw the two pigeons
26:44and you heard Stravinsky's Firebird.
26:47All right.
26:48Now we see the collection.
26:56And now for the hidden melody.
27:04This is where I wrap up a tune
27:06in the style of a composer
27:07and you guess the tune and the style.
27:09And I'll show you the tune and the style.
27:19So that's it.
27:20It's not, it's an important part.
27:29It's a few пес,
27:31but it's not one time.
27:32It's a few keys and amen.
28:34It was our delight on a shiny night.
28:37Yes, we poached in the season of the year.
28:40Lincolnshire poaching.
28:41In the style of?
28:42Scarlet star.
28:44Absolutely right.
28:44Domenico, we thought.
28:46Domenico.
28:46Did you really?
28:47Early period.
28:48Yes.
28:48Early Domenico.
28:50Well, time's up, so it's goodnight for Patricia Owen, David Attenborough, John Julius Norwich, Imogen Cooper and me, Joseph Cooper.
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