Intro and Orchestral FilmsBBC Teach > Ten PiecesLook out for our shooting stars to guide you to our new Trailblazers resources!Trailblazers: Grażyna BacewiczOvertureNaomi Wilkinson explores Morse code motifs in Grażyna Bacewicz’s triumphant Overture, teaching us how her hope for victory got her through a time of fear and terror during WWII.Watch the orchestral performance of Bacewicz’s piece Overture by the BBC Scottish Symphony Orchestra, conducted by Roderick Cox.Trailblazers: Johannes BrahmsHungarian Dance No. 5 in G minorRadzi Chinyanganya introduces Hungarian Dance No. 5, one of Johannes Brahms’ most popular pieces. Inspired by the Hungarian folk dance Czárdás, it’s lively and full of energy.Watch the full performance of Brahm’s piece by the BBC Scottish Symphony Orchestra, conducted by Roderick Cox.Trailblazers: Delia DerbyshireDoctor Who Theme (original theme by Ron Grainer)Segun Akinola introduces the Doctor Who theme. Segun became the composer for the show in 2018. We learn how he was inspired by the original work of Delia Derbyshire & Ron Grainer.Listen to the opening credits of the Doctor Who Theme arranged by Delia Derbyshire.Trailblazers: George GershwinRhapsody in Blue (excerpt)George Gershwin’s Rhapsody in Blue is full of the sounds and energy of 1920s New York. Radzi Chinyanganya introduces the piece and tells us about Gershwin’s love of Jazz and Blues.Pianist Lauren Zhang joins the BBC Scottish Symphony Orchestra to perform Gershwin’s Rhapsody in Blue.Trailblazers: Florence PriceSymphony No. 1 in E minor (3rd mvt)Naomi Wilkinson explores the West African rhythms of Florence Price’s Symphony No. 1. Price combines these rhythms with the sound of spirituals and traditional classical music.Watch the full performance of Price’s piece by the BBC Scottish Symphony Orchestra, conducted by Roderick Cox.Trailblazers: Steve ReichMusic for 18 Musicians (excerpt)Naomi Wilkinson introduces Steve Reich’s Music for 18 Musicians, a minimalist masterpiece. We explore the short motifs and repeating patterns that make Reich’s music so exciting.Watch the performance of Reich’s Music for 18 Musicians (excerpt) by members of the BBC Scottish Symphony Orchestra alongside students from The National Youth Orchestra of Scotland and The Royal Conservatoire of Scotland.Trailblazers: Ravi ShankarSymphony – finale (excerpt)Explore Ravi Shankar’s Symphony – Finale. Learn about Hindustani music, the raga (melody) and tala (rhythm) that shapes the piece, and also the Banjara people who inspired it.Sitar player Gaurav Mazumdar joins the BBC Scottish Symphony Orchestra to perform an excerpt from the finale of Ravi Shankar’s Symphony, conducted by Roderick Cox.Trailblazers: Heitor Villa-LobosBachianas brasileiras No. 2, The Little Train of the Caipira (finale)Naomi Wilkinson explores The Little Train of the Caipira by Heitor Villa Lobos. This piece is packed full of the bustling sounds of Brazil – it’s folk music and local instruments.Watch the orchestral performance of Villa-Lobos’s piece performed by the BBC Scottish Symphony Orchestra, conducted by Roderick Cox.Trailblazers: Antonio Vivaldi‘Winter’ from ‘The Four Seasons’, Allegro non molto (1st mvt)Stephanie Childress introduces trailblazer Antonio Vivaldi with one of his most famous pieces – Winter from The Fours Seasons. Stephanie also plays violin alongside the orchestra.Violinist Stephanie Childress directs the BBC Scottish Symphony Orchestra to play 'Winter' from Antonio Vivaldi's The Four Seasons.Trailblazers: Hans ZimmerEarthNaomi Wilkinson introduces this piece Earth, written especially for Ten Pieces by the world-famous trailblazer Hans Zimmer. Hans talks all about what has inspired him to write this piece.The BBC Scottish Symphony Orchestra and the Royal Scottish National Orchestra Junior Chorus perform Earth by Hans Zimmer.John AdamsShort Ride in a Fast MachineKhalil Madovi introduces John Adams's Short Ride in a Fast Machine Lively animation makes this an exciting introduction to minimalist music.Video TranscriptupdownNarrator:Listen to this music. What's it make you think of? Are you a rocket about to lift off? I'm a horse galloping across a field. I'm a rollercoaster climbing higher and higher.Khalil Madovi:Or about to ride a super fast home made car. What? You weren't really gonna expect me to stay still with this kind of music playing were you?Khalil Madovi:Can you hear that pile of sounds repeating over and over? LAUGHS Yeah, that's the rhythm. And I like to think of it like an engine, you know? It keeps pushing me along. LAUGHS Faster! Faster! LAUGHSKhalil Madovi:The musical notes become like real objects in the road. Racing towards me in a whoosh, bam. They shoot straight past my ears. Whoa!Khalil Madovi:No wonder John Adams, the composer of this piece called it "Short Ride in a Fast Machine."Khalil Madovi:LAUGHS The rhythms never stop. And now I'm picking up speed. Swerving, bucking, dodging, racing. Faster and faster. LAUGHSKhalil Madovi:This car is out of control.Watch a full orchestral performance of John Adams's Short Ride In A Fast Machine by the BBC National Orchestra of Wales, conducted by Thomas Søndergård.Kerry AndrewNo Place LikeLemn Sissay explores Kerry Andrew's song using facts and insight, beautiful animation and footage from the heart of the Ten Pieces Children's Choir.Video TranscriptupdownKerry Andrew:And my home makes me feel like me.Children:And we come from the Big Bang.Presenter:Where is your home and what does it sound like?Choir:SING My home is down the road, down the hill far way... Presenter:And what is home? This piece of music is all about finding out the answer and it's called No Place Like, and musician and composer Kerry Andrew created it especially for the Ten Pieces Project with help from lots of you.Kerry Andrew:And No Place Like is a piece for voices and it's all about home, so it's about where we're from, how we've connect, uh our home towns and our home town sounds.Choir:SINGKerry Andrew:And I wrote it with the help of children from all over the country, I asked them questions about their homes and I got hundreds and hundreds of amazing responses back.Choir:SINGPresenter:And Kerry took some of those answers and turned them into the lyrics for her piece. It's a piece that uses a musical instrument we all have, our voice.Choir:SING It's the one place we go to bed...Kerry Andrew:I am a big believer in voices not just singing in the traditional way so in No Place Like uh there's some humming, uh there's some beat boxing like this ... BEAT BOX SOUNDSChoir:SINGKerry Andrew:There's also uh some body percussion um so that's clicks and slaps and things.Choir:SINGKerry Andrew:The response to my questions uh was amazing, I got hundreds and hundreds of uh responses back, uh so many that I spent days looking through them all. Um and uh there were so many lovely answers and I couldn't use them all in my lyrics, but they all inspired the feeling of No Place Like.Choir:SINGPresenter:So what is home?Girl - orange top, long black hair:It's usually where your um favourite things are.Girl - black top:My mum's roast chicken. LAUGHSBoy - blue top, short hair:Somewhere like where you belong.Girl - orange top, pulled back hair:Pasta and pizza.Girl - orange top, ponytail:Lasagne.Boy - blue top, brown hair:And pepper.Girl - orange top, ponytail:LAUGHSPresenter:As part of her song Kerry creates a giant collage of sounds that you might hear in your home town, and all these sounds are made using the voice and ... the body.Kerry Andrew:So there are loads of different sounds being built up, so you hear things like people talking very annoyingly on their mobile phones...Choir:TALKING OVER EACH OTHERKerry Andrew:There are police sirens.Choir:TALKING OVER EACH OTHERKerry Andrew:There's a traditional May Day song.Choir:SINGKerry Andrew:There are football chants and uh they're all looping round and round making this big collage.Choir:SINGBoy - grey top, short hair:And people um call 'em repeatin' each other.Boy - grey top, black hair:Like a busy city.Choir:TALKING OVER EACH OTHERGirl - orange top, ponytail:And they all sound together and like they sound safe.Choir:SINGGirl - orange top, black hair:It sounds like they're having fun the studio or playing a game with their friend.ChoirSINGBoy - blue top, short brown hair They feel quite lucky to be in a..., they sound like they're happy that they have a home.Choir:SINGPresenter:And you could be singing this piece soon and if you don't have a choir, why not get one together.Kerry Andrew:Well I wrote No Place Like with some spaces for you to put in your own ideas uh being inspired by your own home town sound. So I can't wait to hear what you come up with using your voices and maybe also instruments as well, uh inspired by those sounds.Choir:SING No place like home.Presenter:It's a village, it's a town, it's a city. What does home sound like to you? Time to get singing.Choir:SINGWatch the full performance of Kerry Andrew's song by the Ten Pieces Children's Choir, conducted by Grace Rossiter.Video TranscriptupdownTen Pieces Choir:We come from the big bang. Ten Pieces Choir:My home is down the road, up the hill, far away. Ten Pieces Choir:My home is an estate on a farm by the sea.My home makes me feel like meThe heart of the galaxy Ten Pieces Choir:HUMSTen Pieces Choir:My hometown is my hometownWhere the root of the rhythm comes fromIt’s somewhere I know like the back of my handHUMSTen Pieces Choir:It’s the one place the only placeA hive of people busy as beesWe are a communityHome is where theHome is where theHome is where theHome is where theHome is where theHome is where the sound isHome is where the sound isHome is where the sound isHome is where the sound isHome is where the soundTweet tweet tweetTweet tweet tweetTweetUNSURE OF WORDTweetBeep beep beepCan you hear me?TweetUNSURE OF WORDCan you hear me?UNSURE OF WORDCan you hear me?TweetUNSURE OF WORDOh.It’s a village, it’s a town, it’s a cityIt’s a city, it’s a country it’s the worldIt’s a village, it’s a town, it’s a cityIt’s a city, it’s a country it’s the worldNo place like home.No place like home.No place like home.No place like home.Home is where the UNSURE OF WORD the love is.No place like.Johann Sebastian BachToccata and Fugue in D minorJames May explores the incredible details of Bach's piece, with organist Wayne Marshall.Video TranscriptupdownNarrator:In the middle of all the music we listen to, sometimes there's one band, one singer, one composer that cuts through. One musical voice that seems to be speaking just to us.James May:When I was about six years old my Dad bought a new record player. And it came with a free record. It an album organ music by Johann Sebastian Bach. And I must have listened to it hundreds of times. To be honest it was the only record we had for a while. And I sort of fell in love with it.James May:I went on to learn the piano and the flute and the saxophone and eventually the harpsichord. I studied music at University and I suppose today I can't really imagine my life without a classical music sound track. And that's all down to a free Bach record.James May:This piece is probably one of Bach's most famous. It was written about 1706 and he, of course, would not have known that it would eventually be used in gaming or...or as a ring tone. Or indeed as a form of shorthand meaning something well spooky is about to happen. That's probably for the best.James May:It's called "Toccata and Fugue In D Minor." And it's a piece of two parts. The first part of "Toccata" is basically an opportunity for the musician to show off a bit.James May:To grab everyone's attention. To get them ready for this amazing ride ahead. Hold on a minute.James May:I reckon the orchestra's itching for a go now.James May:That was a section of the Toccata." But now we come to part two. "|The Fugue." Do you mind if I have a go?Male organ player:Yeah, sure. Be my guest please.James May:Cheers. A "Fugue" is like a sort of perfect musical pattern. Bach would start off with a fairly straight forward, simple little melody.James May:Like that one. And then he might repeat it higher up.James May:Or maybe lower.James May:And then he might turn it upside down, break it up into fragments and so on. But gradually this incredible piece of music emerges. Bach's brain could work out these patterns better than any brain before or since. Apparently he could improvise this stuff. He could make it up as it went along.James May:But remarkably, this never created chaos. It just created incredible, beautiful music.James May:And in fact the word "Fugue" means "Flight" in Italian. And that's what this music seems to do to me. It does take flight. It takes off on a journey. An incredible one. And it's a different journey every, single time you listen to it. That's what's so amazing about it.The BBC Philharmonic Orchestra perform Toccata and Fugue in D minor, BWV 565, arranged by Stokowski. They are conducted by Alpesh Chauhan.Mason BatesAnthology of Fantastic Zoology – Sprite; A Bao A QuLemn Sissay explores two movements from Mason Bates' Anthology of Fantastic Zoology using facts and insight, animation and footage from the heart of the BBC Symphony Orchestra, conducted by Rafael Payare.Watch the full performance of Mason Bates' piece by the BBC Symphony Orchestra, conducted by Rafael Payare.Ludwig Van BeethovenSymphony No. 5 (1st movement)This witty clip gives a fascinating insight into one of the most famous classical tunes.Video TranscriptupdownNarrator:Let me tell you about a UNSURE OF WORD for my favourite notes.Narrator:Sound familiar? Some people say these eight notes...Narrator:...could be the most famous line of music ever written.Narrator:Not exactly a shy start, is it? This is music that lets you know it's arrived.Barney Harwood:Oh. But it also sounds to me like it could be two men arguing about who's the best dancer. The first one goes, "Hey look at me," and the second one goes, "What is it now?" And then he starts to dance. De de de de little la. De de de little la.Barney Harwood:Then he goes, "Well, that was good, but what about this?" And then he starts dancing and just when you're looking for somewhere to catch your breath, the music starts again driving forwards, it's like a whirlwind.Barney Harwood:For me, this music is full of fire and passion, just like the guy who wrote it, Ludwig van Beethoven. He didn't write music to make people feel nice, he was there to make them feel alive.Barney Harwood:Phew.Narrator:But as he continued to compose at the piano, something terrible was happening to him.Barney Harwood:Beethoven, a man who loved making music more than anything else in the world, was going deaf. Can you imagine that?Barney Harwood:Oh, that's better. But Beethoven was brave and he was determined and every day he would sit at his piano, working out his symphonies, even though he couldn't hear them.Narrator:Think about that, Beethoven had to remember the sound of the flute, he had to hear the sound of every single instrument of the orchestra in his head.Barney Harwood:How amazing is that?Watch a full orchestral performance of Beethoven's Symphony No. 5 (1st movement) by the BBC National Orchestra of Wales, conducted by Thomas Søndergård.Leonard Bernstein'Mambo' from Symphonic Dances from 'West Side Story'Pixie Lott explores romance and revenge in Bernstein's lively piece.Video TranscriptupdownPixie Lott:Music is for listening to; definitely. But when I hear music, I don't want to just listen.I want to move. I want to dance. A dance can be romantic. It can be frenetic. It can be a party or a battleground. Romeo and Juliet, perhaps the most famous lovers of all, meet during a dance at a masked ball. A moment of happiness before their two warring families, the Montagues and the Capulets, tear them apart. And if you update Shakespeare's tragic love story, what do you get? West Side Story; a stage musical composed by Leonard Bernstein. Shakespeare's Verona, in Italy, becomes New York City in the 1950s where a turf war is under way. The Montagues and the Capulets become two rival street gangs; The Sharks and The Jets. And Romeo and Juliet make way for Tony and Maria.Pixie Lott:Bernstein had seen Latin dance music when he visited Puerto Rica and now he watched as one particular dance craze swept through New York City in the '50s. And so, for his musical, out went Shakespeare's masked ball and in came mambo.Bernstein's mambos got fast rhythms packed with semi quavers and great melodic lines. It's full of passion and danger, just like the emotions on those hot city streets. Its music to make you move.The BBC Philharmonic Orchestra perform Bernstein's 'Mambo' from Symphonic Dances from 'West Side Story', conducted by Alpesh Chauhan.Georges Bizet‘Habanera’ and ‘Toreador Song’ from ‘Carmen Suite No. 2’Bizet's 'Carmen' is re-imagined as a nightclub scene, as Bobby and Naomi look on.Video TranscriptupdownNaomi Wilkinson:You know what I think inspires great music, great stories.Bobby Lockwood:I reckon this is it.Naomi Wilkinson:Stories of love, jealousy and revenge.Naomi Wilkinson:Love is a rebellious bird.Bobby Lockwood:That no one can tame, a great idea fo lyric.Naomi Wilkinson:Already taken, it belongs to a gypsy named Carmen. She sings it in an opera named after her, composed by Georges Bizet.Bobby Lockwood:She looks fiery, dangerous.Naomi Wilkinson:She's got every man and woman in here watching, and she knows it.Naomi Wilkinson:A young soldier, already with another girl, now he's lost it, lost his heart to her.Bobby Lockwood:She's cast a spell.Naomi Wilkinson:Carmen's story is set under a sizzling Spanish sun. Her music makes me think of a cut, stretching out in the heat, slow, enchanting, but with deadly claws, ready to pounce.Naomi Wilkinson:Well you were warned, in opera the music tells you what you need to know.Bobby Lockwood:What about this then? It's more music from Carmen.Naomi Wilkinson:Sounds brave, proud, and charming.Bobby Lockwood:It belongs to Escamillo, and he deserves it. A big celebrity, bull fighter.Naomi Wilkinson:He can get a fanfare, think of him strutting around the bullring. This is music for a guy who loves being a star.Bobby Lockwood:We all know the story, boy loves girl, but girl loves another boy, but and then what?Naomi Wilkinson:I don't know, but Escamillo kills bulls, Carmen kills hearts. I am sticking around to find out.The BBC Philharmonic Orchestra perform 'Habanera' from 'Carmen Suite No. 2', conducted by Alpesh Chauhan.Joseph BologneChevalier de Saint-Georges Symphony No. 1 in G major – Allegro (1st mvtNaomi Wilkinson explores the music of Saint-Georges and his incredible story using facts insight, animation and footage from the heart of the BBC Symphony Orchestra, conducted by Rafael Payare.Video TranscriptupdownInterviewer:CLOCK CHIME Can music help you time travel? MUSIC CONTINUOUS Where would this music take you and who is waiting for you there? How about meeting a superhero, because I'm pretty sure the person who wrote this music was one. Let's travel back in time to 1753 and take a journey from Guadeloupe in the Caribbean to Paris. The composer of this music did, aged just 13. His name was Joseph Bulugne Chevalier de Saint-Georges. His dad was a wealthy trader in Guadeloupe. His Mum was a slave whose family were from Africa. Together they arrived in sophisticated, fashionable, elegant Paris.Girl in white t shirt:I can imagine them wearing a big dress and going to like...Girl in yellow t shirt:The ball.Girl in white t shirt:Yeah every night.Interviewer:After arriving in Paris Saint-Georges immediately had a battle on his hands. He was part African, so imagine trying to live in Paris when most people at that time thought anyone from Africa was only fit to be a slave. Life must have been very tough. Saint-Georges had to fight racism because of the colour of his skin but he wasn't going to let anything stop him. Victory number one; he became a composer and wrote music like this piece, from 1779, the Allegro from his Symphony Number One. Victory number two; he learned to play a musical instrument and he didn't play quite well, he became a superstar performer, just ask our violinist, Anna.Anna:Saint-Georges himself was a violinist and he was one of the best violinists around at his time and he wrote all this really difficult music for himself to play so that he could really show off. So we have lots of runs like this...Interviewer:Victory number three; Saint-Georges became a fashion trendsetter. People followed him everywhere. His clothes were full of beautiful patterns and so was his music. You can almost hear him strutting into an elegant party, or onto a catwalk. Saint Georges became so good at sword fighting at school, he was made a knight, or chevalier, and before long he was beating everyone in duels all over Europe, victory number four.Girl in blue t shirt:The higher parts on the violin kind of sound like the swords clashing against each other.Boy in red t shirt:It sounds kinda like cocky and that he always wins.Dark haired girl in red:Yeah, show off, bit of a show off.Anna:You can hear that swagger and that bravado and you can imagine the clashing of swords and Chevalier de Saint-Georges prancing around after winning a fight. It's a piece full of joy and confidence.Interviewer:I keep thinking of those cellos, horns and oboes. They're helping to create a strong beat, but they also sound to me as if they're having a sword fight of their own. They jab forward and then take a few quick steps back BLOWS OUT en garde.Boy in orange t shirt:It sounds like there's some kind of battle because it's like people are jumping back and forth.Boy in yellow t shirt:The fencing's quite quick motions INTERRUPTION so it's like really quick.Girl with plaits:Kind of like people like bouncing around.Interviewer:A brilliant runner, dancer, skater, swimmer and a brave soldier, Saint-Georges fought people's prejudices about him and had many more victories. And his music takes us back to the elegant, flamboyant world of performance, fashion and sword fighting that, despite so many obstacles, Saint-Georges conquered. What an incredible life. So if you went time travelling, where would you go? Who would you meet and what would the music sound like there?Watch the full performance of Joseph Bologne, Chevalier de Saint-Georges' piece by the BBC Symphony Orchestra, conducted by Rafael Payare.Benjamin Britten‘Storm’ Interlude from ‘Peter Grimes’Benjamin Britten's depiction of a storm at sea is brought to life in this dramatic clip.Video TranscriptupdownNarrator:Time to swap our car for a boat and head far out to sea where I can hear trouble brewing.Leanne Dunstan:If all the water in the ocean can make music, would it sound like this?Leanne Dunstan:When I hear this music I'm not listening to the stormy sea. I'm in it.Sarah Rayson:I know. It's brilliant.Leanne Dunstan:This music's called 'Storm.'Sarah Rayson:What?Leanne Dunstan:'Storm.'Leanne Dunstan:I can hear the trumpetslike the wild wind whirling around me and the rumbling basses.Sarah Rayson:I can hear drums roaring like a big angry wind.Leanne Dunstan:What?Sarah Rayson:Wind.Leanne Dunstan:Benjamin Britten, the Englishman who wrote this music, loved the sea. He lived beside it. He watched it in the summer, the winter, day after day. He got to know the ocean, all it's different moves. Deadly, dangerous, calm and beautiful. On those days he saw the sunshine sparkling on the water and the sound of harps and flutes. No sign of that today.Sarah Rayson:The trumpets are getting higher.Leanne Dunstan:Trumpets mean trouble.Sarah Rayson:I love it when the trumpets get higher.Leanne Dunstan:Time to hold on tight.Watch a full orchestral performance of 'Storm' Interlude from Britten's 'Peter Grimes' by the BBC National Orchestra of Wales, conducted by Thomas Søndergård.Anna ClyneNight Ferry (extract)Doc Brown plunges into the darkest depths of the ocean with Anna Clyne's Night Ferry.Video TranscriptupdownDoc Brown:So, where do musical ideas come from?Doc Brown:Most of us aren't gonna get very far staring at a blank screen or an empty page.Doc Brown:But, ideas, inspiration can come from sounds around us. Memories, stories, poems, photos. Or a picture, like the image of dark turbulent waves. That's what composer, Anna Clyne saw in her head back in 2012 and the first thing that she did was to paint it. Then she went over to her piano and started to improvise. Notes, melodies, rhythms, any music that the image made her think of. To do this, you don't need to know how to read or write music. You just need to want to make it. Anna's music grew, the images grew. Both took on a life of their own and soon the Night Fairy emerged.Doc Brown:Charcoal, ribbon, gauze, illustrations all went onto the painting.Narrator The ice was here. The ice was there. The ice was all around.Doc Brown: (VO) And scratched in pencil with thick paint and lines from poems like the Rime of the Ancient Mariner and the tail of his cursed ship.Narrator It cracked and growled and long howls, like noises in a swound.Doc Brown:You know, our minds our mysterious places. Where our moods can suddenly turn from light and clear to dark and stormy. And that's what Night Fairy is. The journey of a ship struggling through the night, but also a journey through a whirlwind of our own minds.Doc Brown: (VO) And that whole musical voyage started in Anna's mind with one single idea. One image. One wave.The BBC Philharmonic Orchestra perform Night Ferry (extract), conducted by Alpesh Chauhan.Aaron CoplandHoe-DownLemn Sissay explores the Hoe-Down from Copland's ballet Rodeo using facts and insight, lively animation and footage from the heart of the BBC Symphony Orchestra, conducted by Rafael Payare.Video TranscriptupdownLemn Sissay:HOOVES, HORSES NEIGHING It sounds like a party's about to start. But who are the guests and where's the party? Follow the cowboy's galloping rhythm across the plains, because we're heading to the Wild West for a rodeo where cattle are running, lassoes are flying, horses are reeling. It's a chance for cowboys to show off their skills. And at the end of the day, it's time to dance. It's time for a hoe-down and this is what it sounds like. The melody's whooping about, leaping around, it can't keep still. It's as if the whole orchestra is trying to ride a bucking bronco. American composer Aaron Copland created this music to be danced to as part of a ballet all about the rodeo, and so he filled it with traditional folk songs that cowboys liked to dance to. Like this one, called McCleod's Reel. The trumpets are getting in on the party. Copland loved trumpets and brass instruments. They sound so proud don't they? You can imagine them calling across those big, open fields, calling everyone home to the dance. Aaron Copland loved using lots of percussion in his music too. There's the snare drum. Is that the sound of a cowboy cracking his whip? And what about the wood block? What does that sound like to you? Horses' hooves? And then there's the xylophone, full of energy like jumping feet that don't want to touch the floor.Musician:As you can see the the sticks are moving quite high off the instrument so I can get a nice bright sound so I can penetrate through the orchestra with the sound of the xylophone and uh these hard sticks are creating that nice, brittle, bright, energetic sound.Lemn Sissay:So what do you feel when you hear this music?Boy in orange t shirt:There's a giant parade going on in the street.Boy in blue t shirt:Very happy and--Girl in burkha:Yeah, joyful.Boy in blue t shirt:Joyful yeah.Girl in blue t shirt:Springy, uh like the countryside springy not like bouncy springy.Black boy in blue t shirt:Someone's in China and there's there's like a flying dragon.Interviewer:Do you hear flying dragons? Or are you still imagining those cowboys?Boy in yellow t shirt:I can imagine like a cowboy riding on a horse just through the desert, really fast.Girl in grey skirt:Someone's like running away on a horse FOOTSTEPSLemn Sissay:In Aaron Copland's ballet, one of the cowboys at the rodeo is actually a girl in disguise trying to impress the head wrangler with her skills. But he's ignored her, all day. At the hoe-down when she appears wearing a dress, the wrangler finally realises who she is and strolls over. Can you hear the music slowing down as he swaggers towards her? Step by step. And I think he's gonna try and kiss her. But what do you think her answer is? Sounds like a big fat no to me. She'd rather dance with the friendly roper, who's been kind to her all day, so off the brass, percussion and violins go again, leading the way, yeehah. How do you think it felt for the cowgirl? Happy ? Sad? On with the hoe-down and you decide.Watch the full performance of Copland's piece by the BBC Symphony Orchestra, conducted by Rafael Payare.Antonín DvořákSymphony No. 9 in E minor, 'From the New World’ – Largo (2nd mvt)Naomi Wilkinson explores Antonín Dvořák's music using facts and insight, beautiful animation and footage from the heart of the BBC Symphony Orchestra, conducted by Rafael Payare.Video TranscriptupdownNaomi Wilkinson:What does this melody make you think of? A person? A place? A feeling? Are you going on a long journey? Or arriving home? The cor anglais is playing, but what story is its song telling you?Naomi Wilkinson:One of this melody's stories could be about the man who composed it. Antonín Dvořák. In 1892 Dvořák took a journey by boat from Europe to New York City. He'd never been there before, he was a long way from home and America was a whole new world to him.Naomi Wilkinson:Dvořák soon discovered the songs of the African Americans who'd been brought by boat from their homes back in Africa to work as slaves. SWING LOW SWEET CHARIOT Their songs were full of sadness and longing.Naomi Wilkinson:Perhaps Dvořák was thinking of these songs as he wrote his melody for the cor anglais, but you know, he could also have been thinking about bird song. Because Dvořák loved birds, especially pigeons.Naomi Wilkinson:Or, he could've been remembering the huge open prairies he saw in America.Naomi Wilkinson:He thought they were beautiful, but lonely. Does the cor anglais sound lonely to you? How does it feel for Patrick, who's playing this music?Patrick:What I love about the solo is that it just starts from nowhere after the string introduction. And you have all the time in the world just to sit down and sing, sing through the cor anglais. I think with this solo, the voice of the cor anglais is possibly like when you're a young child and your mother sings you a lullaby to go to bed. You just have this warmth of feeling, of safety and I think that's maybe what Dvořák was going for.Naomi Wilkinson:That's one idea about Dvořák's melody, but what about yours?Girl:It makes you feel a bit like, like your stomach is churning.Boy:Yeah, makes you feel like you're in a place where you don't know anyone, it's like you're alone.Older Boy:He's discovered a new place where he's going and he's trying to remember what it's like and his old home.Girl 2:He wants to stay in America, but he really wants to go back to Europe and see his family and friends.Girl 3:When I was on holiday, like with a few friends at a camp and I felt a bit homesick.Girl 4:And like, you kind of feel like you're missing everyone and you don't really think about the positive things, you think about the things that aren't going very well when you feel homesick.Naomi Wilkinson:Have you ever felt homesick? The thing is Dvořák was happy in America, but he missed his home, the Czech Republic and his children who were still living there. He wrote them letters that were carried by boat, slowly across the ocean.Naomi Wilkinson:This music travels slowly too, it's title is Largo, which means slow. And it's one movement from Dvořák's symphony number 9. So, perhaps this beautiful tune was also like one of Dvořák's letters. A musical letter written for his friends back home, from Dvořák, far away, with love from the new world. Have you been on a journey, what would your musical letter home sound like?Watch the full performance of Antonín Dvořák's piece by the BBC Symphony Orchestra, conducted by Rafael Payare.Edward Elgar‘Enigma’ Variations – Theme (‘Enigma’), variations 11, 6 & 7Naomi Wilkinson explores Elgar's musical portraits using facts and insight, fun animation and footage from the heart of the BBC Symphony Orchestra, conducted by Rafael Payare.Video TranscriptupdownNaomi Wilkinson:GUITAR PLAYS Think about one of your friends or someone in your family... if you created a picture of them using music what would it sound like? MUSICFirst girl:This is her because like she's got brown hair and a little bit of blondie and she's sun burnt LAUGHTERFirst boy:It reflects his personalitySecond boy:I recognize, um... my hair because it's quite straight...First boy:Sometimes he can be... like one thing and then he can changeSecond girl:This is Emily because she likes smiling and she always wears shorts and she has blonde hair...Naomi Wilkinson:We're all used to making drawings and taking photos of each other, but could you turn those pictures of people you know into music? MUSIC CONTINUES In 1898 English composer Edward Elgar decided to do just that... MUSIC CONTINUES He chose 14 friends and picked out a part of their personality, the way they walked, talked or even a memory he had of them and he turned it into a musical picture... he wanted each picture to be completely different, but he also wanted them to have a tune or theme in common, so he started with a melody that he really liked... MUSIC. .. Elgar then created 14 variations of this melody, one for each of his friends, Beverly in the double basses can tell us more.Beverly:The theme starts with these four notes PLAYS DOUBLE BASS And you can hear them being used in a lot of the other variations, so perhaps in slower ones PLAYS SLOWER Or in faster variations PLAYS NOTES FASTER. So that it's all still bases around the same music MUSIC CONTINUESNaomi Wilkinson:Elgar's musical portraits start with his wife and finish with himself, kind of musical selfie... along the way we meet one of his friends who was a viola player, so it's no surprise that the violas take centre stage for this variation MUSIC CONTINUES Another of the portraits isn't about a friend but about their bulldog Dan... playing by the river, can you hear Dan? Rolling down the hill into the water? And quickly paddling off to the side? A bark, or is that a wet shake? LAUGHS And off he goes again BARKING One of the most exciting variations for the MUSIC CONTINUES double basses and the whole orchestra is about a very lively friend of Elgar's who said the music reminded him of a time they both caught in a fierce thunderstorm... MUSIC CONTINUES The tympany sound like rolling thunder to me... and the violins and trombones seem to be howling like the wind... MUSIC CONTINUES But Elgar's musical portraits might make you think of many different people or stories...Third girl:It kind of sounds like... um superhero music because it's so fast and vividFourth girl:It's like a true love story sort ofFifth girl:YeahSixth girl:Like a nice person LAUGHSSeventh girl:I think it's a nice person too and I think he's... rich MUSIC CONTINUESNaomi Wilkinson:Elgar loved playing games so he put the people's initials or secret nickname at the top of each variation and left all his friends puzzling about who was who... he'd created an enigma, that's a mystery that's really tough to crack, and that gave Elgar an idea for the perfect title for his piece... the Enigma Variations... I'm trying to imagine what a musical portrait of me would sound like, Beverly is puzzling over the same thingBeverly:I think people would say... I'm always busy, I'm always doing a lot of things and seem to find it very easy and be very comfortable but I think actually I'm more like a swan so they might see me gliding along but underneath my feet might be going a bit crazy just to... keep afloat so if I used the four notes that Elgar bases the theme upon at the beginning I might do something like this PLAYS DOUBLE BASSNaomi Wilkinson:ENIGMA VARIATIONS CONTINUE Why not create your own musical portrait of yourself or someone you know? Will anyone be able to crack your enigma? MUSIC ENDS. ..Watch the full performance of Elgar's music by the BBC Symphony Orchestra, conducted by Rafael Payare.Edvard GriegIn the Hall of the Mountain King from 'Peer Gynt'Grieg's music is brought to life with a mysterious animated introductionVideo TranscriptupdownDan Starkey:Psshhh. WHISPERS I have got to be going. That's why I'm tippy toeing.Dan Starkey:Draws and beasties all about, time for me to get out. GASPSDan Starkey:If they catch me I will be, in the pot for their tea.Dan Starkey:WHISPERS Every sound that I hear makes me think something's near.Dan Starkey:This music by Edvard Grieg is about escaping from a mountain king. But it is no ordinary king. He's revolting King Troll. Music brings the tale of love but do you think I'll survive? Is this just a little dream or is it time for me to scream?Watch a full orchestral performance of Grieg's In the Hall of the Mountain King from 'Peer Gynt' by the BBC National Orchestra of Wales, conducted by Thomas Søndergård.George Frideric HandelZadok the PriestThe history behind this familiar piece is explained by singer Laura Mvula.Video TranscriptupdownNarrator Classical music can be mischievous, mysterious and magical. And it can also be magnificent, mighty and majestic.Laura Mvula:I don't know where I am but I have a feeling something really important is about to happen, because this is the music that George Frideric Handel wrote for a very special occasion, the day that George II was crowned King. Which means something really important is about to happen. Crowds line the street outside Westminister Abbey that day. Inside the Abbey people would've heard the violins playing, listen to them, one musical step at a time, leading us towards the big moment. So it's not surprising is it that the version of this piece is used as a theme for all the Champions League football matches.Laura Mvula:This is music to get you ready, to cheer on your team, as they run onto the pitch. And for the Coronation in 1727, Handel created the same atmosphere. As the orchestra began to play in Westminister Abbey, everyone held their breath, waiting for one man, the new King.Watch a full orchestral performance of Handel's Zadok The Priest by the BBC National Orchestra of Wales, conducted by Thomas Søndergård.Joseph HaydnTrumpet Concerto (3rd movement)Dion Dublin heads to the football pitch to explore the details of Haydn's clever concerto.Video TranscriptupdownDion Dublin:Some songwriters or composers just know how to produce a hit.Dion Dublin:Those composers are just like superstar strikers shooting for goal. They just know how to write a piece of music that's going to hit the back of the net every time.Dion Dublin:Joseph Haydn, 18th century Austrian composer who used to have to write melodies for the orchestra he managed that were memorable and bang on target, otherwise he'd get the boot from the prince who employed him... Luckily Haydn had an ear for a catchy tune, the kind that his boss could hum to for weeks and weeks while wallowing in his posh bath. His record speaks for itself.Dion Dublin:Take this concerto where the trumpeter takes the role of superstar striker and plays a real crowd-pleaser of a melody all of their own.Dion Dublin:Haydn knows that's not enough, so he opts for a rondo formation for this piece. That's a musical structure where the main melody keeps returning, like a chorus but alternates with different musical interludes, so the rest of the players aren't sitting about doing nothing. They are providing the interludes, picking up the tempo and creating variety. But in the end, always passing the ball back to the star striker who only has eyes for goal.The BBC Philharmonic Orchestra and trumpet soloist Alison Balsom perform Trumpet Concerto (3rd movement), conducted by Alpesh Chauhan.Gustav Holst'Mars' from 'The Planets'Dick and Dom explore Holst's piece about war from the cockpit of a spaceship.Video TranscriptupdownDom:Destination site, input hyper speed system quarters. Engage rear rockets. And activate thrusters. Activating...Dick:Ever wanted to travel through time and space? Well, you don't need a lovely spaceship like mine. All you need is some fantastic classical music. And you're imagination. See? Classical music is a little bit like having a spaceship. It can take you anywhere you want. So when a man called Gustav Holst wanted to explore the planet...Dom:Destination up head.Dick:...he went into space, using his imagination. Destination right there! And he dreamt up music about Venus, Jupiter, Mercury and Mars. SCREAMSDom:Oh, this music, it's beautiful. It's big and it's making my bones rattle. Ah, um, I forgot to mention that Holst actually called this piece of music Mars, bringer of war. Why didn't you tell me that before? And it sounds like a battle's about to begin. Has this thing got... reverse buttons. I'm afraid not. Holst is taking us to Mars whether we like it or not.Watch a full orchestral performance of 'Mars' from Holst's 'The Planets' by the BBC National Orchestra of Wales, conducted by Thomas Søndergård.Anna MeredithConnect ItAnna Meredith composed Connect It specially for BBC Ten Pieces.Video TranscriptupdownNarrator:Classical music and composing isn't something that only happened in history, new music is being created in our time, today. In fact, one of our ten pieces has been written especially for you. SKAT NOISESDev:This is Anna Meredith. Hey Anna, how are you doing?Anna Meredith:Hey Dev, just trying out some musical ideas.Dev:Where are the instruments?Anna Meredith:You're looking at them. My piece is made up only using sounds from our bodies and our voices.Dev:Ah, so, we are the instruments.Anna Meredith:Exactly. I've worked with a dancer called David to create musical patterns, and the piece starts with a big push like this. Shhh.Dev:Can I have a go?Anna Meredith:Sure.Dev:Shh.Dev:And that's just one movement. When you build it all up together you get a pattern like this. Shh ka ss, shh ka ss.Dev:Oh wow, and suddenly I can hear a rhythm, it's like energy being passed on from one person to another.Anna Meredith:And when you gets lots of people performing the movements and patterns you can create all sorts of shapes and musical rhythms, rippling waves, cogs and spokes. Handel and Mozart and Beethoven are all incredible composers, but music is a living art form, and I've discovered it's something that we can all be part of.Dev:Yeah.Anna Meredith:And that's how my piece ends, with a sound like this, yeah!Dev:Yeah!Choir/Dance Troop:MUSICAL NOISES Yeah! CLAPPING yeah. Yeah, yeah. Yeah. Yeah, yeah. Yeah. Yeah yeah, yeah. MUSICAL NOISES Yeah CHANTING YEAHWatch the full body percussion performance of Anna Meredith's Connect It, which features in the Ten Pieces I film.Wolfgang Amadeus MozartHorn Concerto No. 4 (3rd movement)A chase through a maze makes an accessible introduction to this recognisable piece.Video TranscriptupdownNarrator Most of the time all of the orchestra perform very happily together. But sometimes one instrument gets to have a little more fun.Katy B:You haven't seen a French horn have you? It's the start of this great piece by Mozart. He composed it for his friend, Joseph... who was a brilliant horn player.Katy B:This piece, to me, sounds like a musical chase, as if the orchestra is running after Joseph and his French horn.Katy B:But the horn is always one step ahead and just replies, "Catch me if you can."Katy B:I love a good pop song, one where you can't get the tune out of your head, and Mozart knew how to write music like that too. I just can't stop singing this tune. Good job, 'cause this chase isn't over yet. Got to run.Watch a full orchestral performance of Mozart's Horn Concerto No. 4 (3rd movement) by the BBC National Orchestra of Wales, conducted by Thomas Søndergård.Modest MussorgskyA Night on the Bare MountainWith cackling witches and animation, this clip brings 'Night on a Bare Mountain' to life!Video TranscriptupdownDan Starkey:BREATHES HEAVILY Escaping from a mountain, packed full of trolls. I don't recommend it. Especially if... wait a minute. What's that strange music heading this way? It's midnight. And all things evil are coming out to play. This music is by a man called Modest Mussorgsky. He composed a piece about a mysterious mountain too. My Mussorgsky's mountain isn't full of terrible trolls. His is the meeting place for a wild and wicked party. This is a party that takes place just one night a year. That night is tonight. And the guests are arriving. Hundreds of them. Witches. It's midnight now but in Mussorgsky's story when the sun comes up in the morning party time is over. The bell in the village church rings and every witch and creepy creature must vanish as fast as they can. So listen out for that bell and wish me luck.Watch a full orchestral performance of Mussorgsky's A Night On The Bare Mountain by the BBC National Orchestra of Wales, conducted by Thomas Søndergård.Carl OrffCarmina Burana - 'O fortuna'As fortune spins her wheel, Naomi Wilkinson takes a chance to explore Carl Orff's most popular piece 'O fortuna', using facts and insight, beautiful animation and footage from the heart of the BBC Symphony Orchestra and Ten Pieces Children's Choir.Video TranscriptupdownNaomi Wilkinson:BIRD CROWING Are you sitting comfortably? O FORTUNA Any butterflies in your stomach... tingles up your neck?... Shudders down your spine?... Because you're listening to a warning from nearly 800 years ago... MUSIC CONTINUESFirst boy:Oh it's giving me shivers LAUGHSNaomi Wilkinson:The words are medieval Latin, not words we know today, but words we can still feel...First girl:There's a storm happening and it's about to crash down the house...Second girl:Sounds like something really horrible is gonna happenThird girl:Makes me feel like threatened and stuffFourth girl:It sounds like some someone's... just died right now...Fifth girl:Kind of makes me feel like kind of just... eaten my lunchSixth girl:It kind of reminds me of the devil...Naomi Wilkinson:What will your life be like? What does fate have in store for you? None of us can control everything that happens to us. Medieval people thought one person did have that power, Fortuna the Roman Godess of Fortune MUSIC CONTINUES. .. All of us are at her mercy and depending on Fortuna... our good luck and bad keeps changing like the moon... MUSIC CONTINUES Because Fortuna has a wheel she's forever spinning and your life depends on where you are on the wheel, sometimes you're up and life is good and sometimes you're down, down, down... MUSIC CONTINUES So pound the tympany, summon the Goddess, praise her, sing to her with all your strength, very loudly or Fortissimo... Is this the sound of worship... or terror? Or both?Interviewer:O FORTUNANaomi Wilkinson:Suddenly the choir is singing softly or Pianissimo, what does it sound like? A frightened whisper? A terrible secret?... The pizzicato or plucked violins echo the voices keeping the rhythm going... time ticking, like the world turning fortune's wheel spinning...Seventh girl:It's stormy outsideEight girl:Sounds like it's angrySecond boy:It's a bit of sadness and yeah...Third boy:And and some happiness as wellNinth girl:Oh what's gonna happen next?Naomi Wilkinson:It was a German composer Carl Orff who set this medieval poem to music as part of his musical extravaganza called Carmina BuranaMUSIC CONTINUES First sung in 1937 it's now one of the most performed choral pieces in the world... and of course it's great music for competitions when we get to be Fortuna and decide who will win and who will loseInterviewer:O FORTUNANaomi Wilkinson:Towards the end and choir and orchestra begin their crescendo... all the voices and instruments sending up their message to Fortuna in the sky... O Fortuna we know we're small... we know the universe is huge... take care of us... MUSIC CONTINUES Still sitting comfortably? Fortuna's wheel is turning again, where do you think it will stop? MUSIC ENDS. ..Watch the full performance of Carl Orff's 'O fortuna' by the BBC Symphony Orchestra and the Ten Pieces Children's Choir, conducted by Rafael Payare.Gabriel ProkofievConcerto for Turntables and Orchestra (5th movement)Clara and Gabriel take a ride through Gabriel's mind to see how he composed his concerto.Video TranscriptupdownChristoper Eccleston:Music's always changing, evolving. You can't stop it. And why would you want to? Orchestral music's always on the move. That's thanks to lots of great new composers.Christoper Eccleston:By the look of this, Clara: is out with one of those composers right now.Satellite Navigation:Continue straight ahead.Clara:Gabriel, you wrote this music. It's like we're actually inside of your head.Gabriel:Yeah, I guess so. It's like we're inside my head, inside your car.Clara:I know I can definitely hear an orchestra, but there's something else going on, right?Gabriel:Yeah. I'm really into orchestral music and composing classical music, but I'm a fan of hip-hop, dance music, electro, reggaeton, grime - you name it - and also I'm really into scratching and turntablism, so I thought why can't we bring these styles together?Gabriel:Whoa.Clara:Turntables are an instrument but they don't have any sound of their own until a DJ gives them one, and in Gabriel's piece every single sound is sampled from the orchestra. It's like the orchestra creates the road ahead.Clara:The DJ, using the same sounds, fires back out new melodies making different routes and crazy detours on the journey.Satellite Navigation:We have deviated from you route, please turn around. Please turn around.Clara:Ooph. I have to say, Gabriel, being inside of your head is a very fun place to be.Clara:That's how the story of music goes really, isn't it? You know, music's always reinventing itself, travelling in loads of different directions.Satellite Navigation:Continue straight ahead.Clara:The opposite of that.Gabriel:Exactly.Clara:So all we need now is a DJ.Gabriel:Hey, wake up man.The BBC Philharmonic Orchestra perform with DJ Mr Switch, conducted by Alpesh Chauhan.Henry PurcellAbdelazer – RondeauLemn Sissay explores Purcell's piece using facts and insight, spooky animation and footage from the heart of the BBC Symphony Orchestra, conducted by Rafael Payare.Video TranscriptupdownLemn Sissay:Music is story telling in sound... so what kind of story are you listening to now? MUSIC What about a grizzly tale of betrayal, poison and murder? The play Abdelazer or The Moor's Revenge is full of it. And if in the year 1695 you were at a performance of the play... you'd have heard this music by English composer Henry Purcell CROWD TALKING It's played early in the story when life is happy at the Royal Court before all the evil skulduggery kicks in. MUSIC These evenings at the theatre called masks were full of poetry, drama and music... they were films of the seventeenth century and Purcell like film composers today wrote brilliant, atmospheric THUNDER music to draw the audience into the story they were watching. MUSIC Purcell creates a story in his music too. His main melodies like a character in a movie and so once we've got to know the melody, Purcell sends it off on an adventure. MUSIC And you need an engine to drive that adventure forward that's why for Purcell and seventeenth century composers it is all about the base...Cellist:The cellos and bases have this great descending base line that starts low... climbs up and then climbs straight back down again to the note we started on PLAYS CELLO. MUSIC You can hear the kind of strength in that, the regular rhythm and we're the thing that keeps the music driving forward.Lemn Sissay:That regular rhythm and the base line climbing and falling like steps drives the story of the music, but what route will the story take? Because there are loads of different directions the melody and base line could go in... MUSIC And that's why Purcell can surprise us suddenly changing the key from minor to major. How does the melody sound to you now? MUSIC Now Purcell changes the dynamics, time for a second quieter strain and also to meet another character in the story, the harpsichord. MUSIC It was a big star in seventeenth century baroque music, before the piano was invented, what other stories can you hear in the music?Boy:I don't know why but it makes me think of flowers...Girl:Um... trees LAUGHSSecond Boy:Makes me think of a a war or a fight or somethingThird Boy:Like tense music in a film...Second Girl:I would thought it's kind of alien because... it makes you think of something strangeLemn Sissay:MUSIC But how does Purcell's musical story finish? OWL Well Purcell was using a pattern or plot called a French Rondeau to create his piece MUSIC. But that Rondeau structure is only revealed when we finish listening and get to the end an end, we then discover, is the same as the beginning... MUSIC. So like lots of great characters from the theatre and movies, Purcell's melody has set off an adventure had some exciting experiences and ends up back home where they started! MUSIC Why not write a simple tune yourself... and then take it for an adventure, wonder where you'll end up...Watch the full performance of Henry Purcell's piece by the BBC Symphony Orchestra, conducted by Rafael Payare.Dmitri ShostakovichSymphony No. 10 (2nd movement)Lemn Sissay investigates what it was like writing music under Stalin's oppressive regime.A performance of Symphony No. 10 (2nd movement) by the BBC Philharmonic Orchestra, conducted by Alpesh Chauhan.Jean SibeliusFinlandiaNaomi Wilkinson explores Sibelius's music using facts and insight, atmospheric animation and footage from the heart of the BBC Symphony Orchestra, conducted by Rafael Payare.Video TranscriptupdownNARRATOR:WIND NOISE Can music change the way you feel? MUSIC CONTINUOUS Well, how are you feeling right now? In Finland in 1899 people were feeling threatened. Their beautiful land of lakes, forests and mountains was being ruled over by another country, Russia. Those deep growling notes on the trombones and the rumbling timpani must have sounded like an angryNARRATOR:Russian storm brewing.Girl in blue t shirt:I can hear the storm INTERRUPTION and the wind.Boy in white t shirt:It might be building to lightning or something.Fair boy in white:Oh it's getting, INTERRUPTION it's getting darker.NARRATOR:But listen. A more gentle sound. A sound of hope. Those flutes seem to be opening a little window don't they, to a different place, a happier place. The composer of this music, Jean Sibelius, was from Finland. He loved its beautiful landscape and he didn't want to be ruled by Russia. He wanted to be free. He wanted Finnish people to be brave and believe in Finland. But could he inspire them using just music? Can you hear that fanfare in the distance? It's being played by Nick, our French horn player. And there's a reason this strange shaped instrument is perfect for an inspiring rallying cry.Nick:The reason it's shaped like this is for riding a horse. You'd be riding a horse and you'd put your horn on your shoulder and you'd play some kind of signal. Quite rough really, very much an outdoor instrument.NARRATOR:What do you think the horns are saying? Have courage? Stand up for yourselves?Nick:Maybe similar to actually being in a battle, that feeling of naked aggression and you have to keep that in check so that the sound STUTTERS there's still a good quality to the sound, but it is very exciting to play.NARRATOR:Sibelius loved the countryside. When he was a boy he would spend days walking in the forests, fishing by the lake and skiing in the mountains. That's what he loved about Finland and he wanted to share that with everyone. So he turned that landscape into music. What music would you write to describe where you live?Boy in red t shirt:Happy INTERRUPTION and quite colourful.Girl in white t shirt:Somewhere nice and peaceful.NARRATOR:Sibelius's music is majestic and strong like the giant mountains, the never ending forests and the proud people who live among them. So how are you feeling now?Girl in orange t shirt:I think the thunder's probably finished now and the sun is coming out a bit but it's still cloudy.Fair girl in blue t shirt:It's like really peaceful, it's like if you're sitting on top of a hill and then you're watching the sun rise.NARRATOR:Finland did become independent, in 1917. Sibelius had played his part and helped to make people feel strong and feel free. And by the end of the piece the whole orchestra seems to be fighting back and looking to the future.Girl in white t shirt:Sounds like everyone's excited.Boy in white t shirt:It sounds quite grand when the sun finally bursts through the cloud.NARRATOR:I feel ready to climb a mountain. Has this music changed you? How did you feel at the start and how does Sibelius make you feel now?Watch the full performance of Sibelius's piece by the BBC Symphony Orchestra, conducted by Rafael Payare.Igor StravinskyThe Firebird — suite (1911) (Finale)Learn the story behind Stravinsky's Firebird in this beautiful clip with animation.Video TranscriptupdownNarrator:Music connects all of us together because every single one of us can make music and the moment you start making music, is the moment a new adventure begins.Claudia Winkleman:Music is a magic ingredient because when you add a little music... a poem, a picture, a dance, a story, even a creature can come to life in a whole new way. GASPSClaudia Winkleman:Like this fire bird, she's flown out of a very old Russian folk tale. What a dancer, we don't need any judge's scores for her. I say she's brilliant. She's fabulous. Is it a happy dance? An angry dance? What do you think? And what comes first, does this wild tune make the fire bird whirl and spin? Or does the dazzling dance create this fiery music?Claudia Winkleman:For me, it's a mixture of both, a magical music potion. A potion stirred up by Russian composer, Igor Stravinsky, he wrote a ballet about the story of the fire bird and like in all ballets, there are no words, the story is told through music and movement.Claudia Winkleman:So, in the story it's the fire birds dancing that lifts the curse from the magical garden, saving the prince and many princesses from the horrible clutches of a hideous demon, it's impressive stuff.Claudia Winkleman:But listen, can you hear the music changing? It sounds to me like a blazing golden sunrise, the fire bird is being set free. That magic ingredient again, music, when you crank up the volume on the radio, when you pick up an instrument or a paintbrush, when you step out onto that dance floor, it's music that can send our imagination flying.Watch a full orchestral performance of Stravinsky's The Firebird by the BBC National Orchestra of Wales, conducted by Thomas Søndergård.Pyotr Ilyich TchaikovskyThe Nutcracker – Russian DanceLemn Sissay explores two extracts from Tchaikovsky's The Nutcracker using facts and insight, beautiful animation and footage from the heart of the BBC Symphony Orchestra, conducted by Rafael Payare.Video TranscriptupdownLemn Sissay:This is music to dance to. But what kind of dance would you do? How about marching like a soldier? Spinning like a snowflake, or flying like a sugar plum fairy?Lemn Sissay:A little girl called Clara discovers all these dances when she goes on a magical adventure one cold and frosty Christmas Eve. Russian composer, Pyotr Ilyich Tchaikovsky tells Clara's story in his dance fantasy ballet that's stuffed full of musical treats and it all begins with a little wooden solider called the nutcracker.Lemn Sissay:A mouse king and his army, snow maidens, Arabian princesses, fairies and the nutcracker that turns into a handsome prince. Clara's Christmas Eve is soon full of surprises. Off she flies away to the Kingdom of Sweets, where sugary goodies from all over the world come to life and dance. The Russian sweets can't wait to perform a dance called a Trepak for Clara. So, bring on the cossacks. The timpani and tambourine are working their socks off to create that energetic two-beat rhythm. The strings are leaping and jumping through their lively melody. Phew, but after all that, Clara is ready for a gentler dance. So was Tchaikovsky, so am I. How about a waltz, danced by flowers.Lemn Sissay:The waltz is a dance with three beats, created by the double bases and the violins working together, one-two-three. And the strings are in a very different mood now, elegant, graceful, flowing like a sparkling river. What do you imagine when you hear this music?Girl I imagine like girls with really long dresses that like spin, when they, like, turn.Girl 2 Joyful.Girl 3 Yeah, happy.Girl 4 It sounds quite peaceful.Girl 5 It sounds nice and calm.Boy It sounds like the kind of music you'd put on when you're having like a Christmas lunch.Girl 6 Um, maybe when everyone's doing their Christmas shopping.Girl 7 It kind of has, like, some twinkles, it's a bit like, maybe there's a fairy there.Lemn Sissay:Fairies, that might be because Tchaikovsky has got another musical trick up his sleeve. He sprinkles a bit of stardust on his waltz by using the instrument that always makes me think of fairytale castles, mysteries and magic spells. The harp.Harpist For the ballet, the harp is actually accompanying the dancer on stage and it's very important that you play at the same speed as the dancer is dancing. It's important to match her steps. I think Tchaikovsky thought that the harp was a lovely instrument to use, because it's a very young sound and it fits very well with movement that the flowers create in the waltz.Lemn Sissay:Clara wakes up later that night under the family Christmas tree, the nutcracker still in her hand. Did Clara really see snowflakes dancing? Did she see flowers waltzing? She can still hear the music, but was it a dream? What do you think? Can music and dance make you feel like you're dreaming?Watch the full performance of Tchaikovsky's piece by the BBC Symphony Orchestra, conducted by Rafael Payare.Pyotr Ilyich TchaikovskyThe Nutcracker – Waltz of the FlowersLemn Sissay explores two extracts from Tchaikovsky's The Nutcracker using facts and insight, beautiful animation and footage from the heart of the BBC Symphony Orchestra, conducted by Rafael Payare.Video TranscriptupdownLemn Sissay:This is music to dance to. But what kind of dance would you do? How about marching like a soldier? Spinning like a snowflake, or flying like a sugar plum fairy?Lemn Sissay:A little girl called Clara discovers all these dances when she goes on a magical adventure one cold and frosty Christmas Eve. Russian composer, Pyotr Ilyich Tchaikovsky tells Clara's story in his dance fantasy ballet that's stuffed full of musical treats and it all begins with a little wooden solider called the nutcracker.Lemn Sissay:A mouse king and his army, snow maidens, Arabian princesses, fairies and the nutcracker that turns into a handsome prince. Clara's Christmas Eve is soon full of surprises. Off she flies away to the Kingdom of Sweets, where sugary goodies from all over the world come to life and dance. The Russian sweets can't wait to perform a dance called a Trepak for Clara. So, bring on the cossacks. The timpani and tambourine are working their socks off to create that energetic two-beat rhythm. The strings are leaping and jumping through their lively melody. Phew, but after all that, Clara is ready for a gentler dance. So was Tchaikovsky, so am I. How about a waltz, danced by flowers.Lemn Sissay:The waltz is a dance with three beats, created by the double bases and the violins working together, one-two-three. And the strings are in a very different mood now, elegant, graceful, flowing like a sparkling river. What do you imagine when you hear this music?Girl I imagine like girls with really long dresses that like spin, when they, like, turn.Girl 2 Joyful.Girl 3 Yeah, happy.Girl 4 It sounds quite peaceful.Girl 5 It sounds nice and calm.Boy It sounds like the kind of music you'd put on when you're having like a Christmas lunch.Girl 6 Um, maybe when everyone's doing their Christmas shopping.Girl 7 It kind of has, like, some twinkles, it's a bit like, maybe there's a fairy there.Lemn Sissay:Fairies, that might be because Tchaikovsky has got another musical trick up his sleeve. He sprinkles a bit of stardust on his waltz by using the instrument that always makes me think of fairytale castles, mysteries and magic spells. The harp.Harpist For the ballet, the harp is actually accompanying the dancer on stage and it's very important that you play at the same speed as the dancer is dancing. It's important to match her steps. I think Tchaikovsky thought that the harp was a lovely instrument to use, because it's a very young sound and it fits very well with movement that the flowers create in the waltz.Lemn Sissay:Clara wakes up later that night under the family Christmas tree, the nutcracker still in her hand. Did Clara really see snowflakes dancing? Did she see flowers waltzing? She can still hear the music, but was it a dream? What do you think? Can music and dance make you feel like you're dreaming?Watch the full performance of Tchaikovsky's piece by the BBC Symphony Orchestra, conducted by Rafael Payare.Giuseppe Verdi‘Dies Irae’ and ‘Tuba Mirum’ from ‘Requiem’Vikki Stone travels to the end of the world with Verdi's dramatic music.Video TranscriptupdownNarrator:Today, film and games are jam packed with orchestral music. You know why? Because you name any emotion, any feeling and the orchestra can create it. In music. From heartache and pain, to fear and dread.Vikki Stone:Welcome to the end of the world. This is what it sounds like. The sky seems to be ripping open with the sound of those drums and those voices. I can't seem to get 'em out of my head. Oh. They're singing dies irae, that's Latin for day of judgment and they sing it over and over and over again. It isn't a question, it's a statement. Life is over. It's like disaster movie music. An orchestral storm. Destroying everything in its path. Including me. GASPS That's because the day of judgment, according to some people, is the time when everyone that's ever lived will be brought before the throne of God. They're summoned by a fanfare, a fanfare loud enough to wake the dead and then, each person's soul either rises up to heaven, or descends into the fiery pits of hell. GASPS There's the trumpets, it's starting. PANTS This dies irae is by Italian composer Giuseppe Verdi who knew that, for believers listening to his music in 1874, the day of judgment was no story, it was real. So Verdi brings that terrible day to life for his audience. It's his warning, in music, of an incredible power far greater than us. And right now it still makes me feel small. PANTS Fragile. Scarce. Or maybe, because there's another vast power that we're all at the mercy of. Nature. GASPS And this music sounds to me like a warning, if we don't respect nature, of our own possible dies irae.Choir SINGSA performance of Verdi's 'Dies Irae' and 'Tuba Mirum' by the BBC Philharmonic Orchestra, conducted by Alpesh Chauhan.Richard Wagner‘Ride of the Valkyries’ from ‘Die Walküre’Christopher Eccleston goes head-to-head with the grim reaper's cavalry in Wagner's piece.Video TranscriptupdownChristopher Eccleston:This is music from some of the biggest battles of all.Christopher Eccleston:Battles like hope versus despair. Good versus evil. Life versus death.Christopher Eccleston:And when death's around, his calvary are never far behind.Christopher Eccleston:Norse legend tells of warrior women, who searched the battleground for heroic soldiers.Christopher Eccleston:The souls they want, they take away to guard Valhalla, home of the Gods.Christopher Eccleston:These are grim reapers on horseback. They have a name... Valkyries!Christopher Eccleston:This is the sound of the Valkyrie. A musical stampede full of flying, galloping rhythms, and a run for your life fanfare. And the Valkyries main theme, or light motif, is just one of the ingredients in a musical blockbuster by German composer, Richard Wagner.Christopher Eccleston:For a story, Wagner raided all his favourite folklore and assembled a cast of gods, goddesses, dwarfs, and dragon slayers. All of them caught up in a battle to possess a ring. A ring that has power over all mankind.Christopher Eccleston:I think it might be time to pass this on.A performance of Wagner's 'Ride of the Valkyries' from 'Die Walküre' by the BBC Philharmonic Orchestra, conducted by Alpesh Chauhan.Vaughan WilliamsThe Lark AscendingMolly explores this piece - from peaceful fields to the horror of the World War One trenches.Video TranscriptupdownNarrator:Do you have those days that have gone wrong? When you lie back in your bed, put some music on, any music, and imagine you're strutting away from it all?Molly Rainford:On those days, I want to be that lark up there, belting out a beautiful song high up in the sky. And up there, just like when you look down from a plane, or tall building, the world seems different. We become smaller. Maybe our worries do too.Molly Rainford:An english composer called Ralph Vaughan Williams was walking along the coast near Margate when he imagined a violin melody that would capture this feeling of a bird singing as it makes a steep vertical flight. And he called it The Lark Ascending.Molly Rainford:It was September 1914. Britain had just entered the First World War and soon Vaughan Williams joined the army and left for France. In the trenches during that war, some of the few birds the soldiers ever saw or heard were starlings, flying high over their heads. That bird song must have sounded like an escape, freedom, like a different world they had left behind. When he came back from the war, Vaughan Williams returned to his violin piece with its melody, fragile, peaceful, out of reach. Like the bird. And he created this music, music that, for me, really can take you to another place, wherever you want that to be.A performance of The Lark Ascending by the BBC Philharmonic with violin soloist Nicola Benedetti, conducted by Alpesh Chauhan.