Catch up TV

Series 1: Episode 3

From the films Brief Encounter and Bridge on the River Kwai, to the glamorous classical stars Jacqueline du Pré and Daniel Barenboim, this is the story of how classical music thrived in post-war Britain and found vast popular audiences. Suzy Klein and broadcaster and music lover Joan Bakewell explore a new world of musical collaborations with classical music – from Yehudi Menuhin and Ravi Shankar, Rick Wakeman and David Bowie, and Deep Purple and the Royal Philharmonic. \n\nElizabeth II’s coronation was a remarkable showcase for British classical music. It was watched by millions on their new TV sets. Suzy explores how the BBC transformed the Last Night of the Proms into a live TV extravaganza under the baton of the dynamic ‘Flash Harry’, Malcolm Sargent. Joan Bakewell meets Sylvia Darley, his private secretary for 20 years, who reveals the ‘love affair’ between Sir Malcolm and the promenaders.\n\nTV was one medium that had grasped the potential of classical music – now film did too. David Lean had already co-opted Rachmaninov’s 2nd Piano Concerto to unforgettable effect in Brief Encounter. Suzy reveals how Lean commissioned the piece which brought Oscar glory for Best Score to British composer Malcom Arnold in 1958, for Lean’s cinematic tour de force Bridge on the River Kwai. Arnold – an eclectic, dynamic and prolific composer - produced a powerful score for this film about prisoners in a Japanese camp building a bridge for the Burma Railway. Composer Neil Brand reflects on Arnold’s ability to conjure the pain and hardship of wartime imprisonment and forced labour.\n\nAs the Sixties began, a piece deeply inspired by the wartime experience - The War Requiem - helped seal the reputation of composer Benjamin Britten. It was written for Coventry, a city devastated by WW2 bombing. An experiment in the healing power of music, it was a controversial choice for the reopening of Coventry Cathedral, as Britten was a conscientious objector. Against the backdrop of the Cold and fears of apocalyptic nuclear war, Britten created a piece that resounded with his deeply held opposition to war. Joan Bakewell visits the Red House in Aldeburgh where Britten wrote the piece, and examines Britten’s hand-written score that warns of the inhumanity and consequences of war. Suzy meets a member of the original 1962 audience who recalls the stunned silence that greeted its first performance, and Roderick Williams sings a powerful extract. \n\nAs the Sixties arrived and classical music thrived on TV, in cinemas, on records – a glamorous new classical star for a new age burst onto the scene – the dynamic, virtuoso Jacqueline du Pré. With cellists Moray Welsh and Julian Lloyd Webber, Joan Bakewell explores the secrets of du Pré’s magnetic style and the piece that she made her own: the Elgar Cello Concerto. Written in the aftermath of WW1, Du Pré invested the piece with a virtuosic romanticism that sold millions of records. Acclaimed young cellist Sheku Kanneh-Mason plays excerpts and reveals the impact Du Pré’s version had on him as a young player. \n\nThe sixties saw a new era of musical collaborations, one famously involving Yehudi Menuhin of whom Albert Einstein said, \

Source: BBC 4