not a note of it.

1
38
00:00:02,040 --> 00:00:04,840
00:02:40,120 --> 00:02:42,440 75
In the early 21st century, we take it for granted that the vast
You may think that music is a luxury, 00:05:20,240 --> 00:05:24,240
A few ancient instruments have been dug up, mind.
2
39
00:00:04,840 --> 00:00:07,360
00:02:42,440 --> 00:02:45,640 76
and diverse world of music that's all around us can be
a plug-in to make human life more enjoyable. 00:05:24,240 --> 00:05:27,920
HORNS RESONATE
3
40
00:00:07,360 --> 00:00:09,360
00:02:45,640 --> 00:02:47,080 77
summoned at the flick of a switch.
It's fine if you think that, 00:05:31,160 --> 00:05:33,480
These ones are called lurs.
4
41
00:00:09,360 --> 00:00:12,720
00:02:47,080 --> 00:02:50,400 78
But not that long ago, music was a rare
but our hunter-gatherer ancestors wouldn't agree with you. 00:05:36,280 --> 00:05:41,760
A set of six lurs were excavated in a field in Denmark in 1797,
5
42
00:00:12,720 --> 00:00:16,200
00:02:50,400 --> 00:02:53,920 79
and feeble whisper in a wilderness of silence.
To them, music was much more than mere ear candy. 00:05:41,760 --> 00:05:46,320
now known as the Brudevaelte Lurs. They were perfectly preserved in a
6
43
00:00:16,200 --> 00:00:18,840
00:02:53,920 --> 00:02:57,160 80
How on earth did that miracle happen?
ANIMALS ROAR 00:05:46,320 --> 00:05:50,920
peat bog for 2,500 years, and are still playable today.
7
44
00:00:18,840 --> 00:00:22,760
00:02:58,440 --> 00:03:00,560 81
MUSIC: Instrumental version of "Poker Face" by Lady Gaga
It was a matter of life and death. 00:05:50,920 --> 00:05:52,880
These two are replicas.
8
45
00:00:22,760 --> 00:00:25,880
00:03:03,640 --> 00:03:08,680 82
Music, one of the dazzling fruits of human civilisation,
You don't believe me? Let me take you back to 32,000 BC, 00:05:52,880 --> 00:05:56,440
Lurs are so famous in Denmark they've even had a butter
9
46
00:00:25,880 --> 00:00:29,000
00:03:08,680 --> 00:03:12,080 83
has become a massive global phenomenon.
to the Stone Age cave paintings in Chauvet, France. 00:05:56,440 --> 00:05:58,280
named after them.
10
47
00:00:29,000 --> 00:00:32,560
00:03:14,320 --> 00:03:17,440 84
And so it's hard for us to imagine a time when, in centuries
The people who painted them may have used singing as a life-saving 00:05:59,800 --> 00:06:02,360
These lurs may look a tad unwieldy
11
48
00:00:32,560 --> 00:00:36,680
00:03:17,440 --> 00:03:22,560 85
gone by, people could go weeks without hearing any music at all.
form of sat nav, a bat-like type of sonar to help you find where 00:06:02,360 --> 00:06:05,720
but in terms of technology, they're a long way from being some
12
49
00:00:36,680 --> 00:00:39,880
00:03:22,560 --> 00:03:25,240 86
Even in the 19th century, you might hear your favourite symphony
you were in the labyrinth of caves. 00:06:05,720 --> 00:06:09,920
hollowed-out piece of fruit, or a drum knocked up from a clay pot.
13

00:00:39,880 --> 00:00:42,680 50

four or five times in your whole lifetime, 00:03:31,360 --> 00:03:34,560 87
In 2008, acoustic scientists made the extraordinary 00:06:11,440 --> 00:06:13,360
14 What they tell us is this...
00:00:42,680 --> 00:00:45,000 51
in the days before music could be recorded. 00:03:34,560 --> 00:03:37,160 88
discovery that the Chauvet paintings, 00:06:13,360 --> 00:06:16,720
15 It's a grave error to describe what musicians were up to
00:00:49,720 --> 00:00:53,560 52
The story of music, successive waves of discoveries, breakthroughs 00:03:37,160 --> 00:03:41,480 89
which lie within huge, inaccessible, pitch-black networks of tunnels, 00:06:16,720 --> 00:06:19,680
16 in 800 BC as primitive.
00:00:53,560 --> 00:00:56,400 53
and inventions is an ongoing process. 00:03:41,480 --> 00:03:45,480 90
are located at the points of greatest resonance in the networks, 00:06:19,680 --> 00:06:22,560
17 Making these elaborate brass instruments could only have
00:00:57,760 --> 00:01:01,000 54
The next great leap forward may take place in a backstreet 00:03:45,480 --> 00:03:48,640 91
so that singing would carry throughout the whole subterranean 00:06:22,560 --> 00:06:25,680
18 been the handiwork of culturally sophisticated people.
00:01:01,000 --> 00:01:04,600 55
of Beijing or upstairs in a pub in South Shields. 00:03:48,640 --> 00:03:53,160 92
system from these special points, echoing and ricocheting. 00:06:25,680 --> 00:06:29,920
19 Remember, these lurs were made and played nearly a thousand years
00:01:14,600 --> 00:01:20,360 56
# Can't read my, can't read my No, he can't read my poker face 00:03:53,160 --> 00:03:58,080 93
HORN ECHOES 00:06:29,920 --> 00:06:32,360
20 before the building of Hadrian's Wall.
00:01:20,360 --> 00:01:22,680 57
# She's got me like nobody... # 00:04:00,680 --> 00:04:03,360 94
We also now know that music played an important part 00:06:32,360 --> 00:06:35,040
21 We don't know what the Bronze Age Scandinavians
00:01:22,680 --> 00:01:24,240 58
Whatever music you're into, 00:04:03,360 --> 00:04:06,120 95
in Palaeolithic rituals, since whistles 00:06:35,040 --> 00:06:39,000
22 played on their lurs but it was probably meant to be scary.
00:01:24,240 --> 00:01:30,160 59
Monteverdi or Mantovani, Mozart or Motown, Machaut or mashup, 00:04:06,120 --> 00:04:10,280 96
and flutes made out of bones have been found in many of these caves. 00:06:44,520 --> 00:06:47,640
23 Around the time the Brudevaelte Lurs were intimidating
00:01:30,160 --> 00:01:33,760 60
the techniques it relies on didn't happen by accident. 00:04:11,680 --> 00:04:15,640 97
From these dusty artefacts would one day grow Duke Ellington's 00:06:47,640 --> 00:06:50,760
24 the neighbours, much further south, in the sunshine,
00:01:33,760 --> 00:01:36,440 61
Someone, somewhere thought of them first. 00:04:15,640 --> 00:04:19,720 98
horn section and the massed ranks of the Dagenham Girl Pipers. 00:06:50,760 --> 00:06:54,480
25 the Ancient Greeks were laying the foundations of western civilisation.
00:01:44,800 --> 00:01:47,400 62

Music can make us weep or make us dance. 00:04:24,200 --> 00:04:28,040 99

HORN BLARES 00:06:58,280 --> 00:07:01,560
26 The Greeks believed music to be both a science and an art,
00:01:47,400 --> 00:01:51,320 63
It's reflected the times in which it was written. It has delighted, 00:04:39,920 --> 00:04:43,560 100
By the time that tribal communities began settling in one place 00:07:01,560 --> 00:07:03,320
27 and took it extremely seriously.
00:01:51,320 --> 00:01:53,840 64
challenged, comforted and excited us. 00:04:43,560 --> 00:04:47,520 101
and farming, between 9000 and 7000 BC, 00:07:03,320 --> 00:07:07,480
28 It's worth noting what their seven compulsory subjects in school were -
00:01:55,360 --> 00:01:58,520 65
In this series, I'm going to trace music's extraordinary 00:04:47,520 --> 00:04:50,960 102
we know that music had become an essential activity. 00:07:07,480 --> 00:07:12,520
29 grammar, rhetoric, logic, arithmetic, geometry, astronomy
00:01:58,520 --> 00:02:00,440 66
journey from scratch. 00:04:50,960 --> 00:04:53,320 103
As well as helping along the rhythm of work, 00:07:12,520 --> 00:07:13,840
30 and music.
00:02:00,440 --> 00:02:03,880 67
They'll be no fancy jargon nor misleading labels. 00:04:53,320 --> 00:04:56,160 104
music was seen as something potent, magical, 00:07:13,840 --> 00:07:18,160
31 What they loved best about music were talent contests. No, really.
00:02:03,880 --> 00:02:07,400 68
Terms like baroque, impressionism or nationalism 00:04:56,160 --> 00:04:58,640 105
and, if the mood required, seductive. 00:07:21,200 --> 00:07:24,920
32 Everyone knows that the Ancient Greeks invented the Olympic Games.
00:02:07,400 --> 00:02:09,480 69
are best put to one side. 00:05:02,960 --> 00:05:06,240 106
And yet, we've absolutely no idea what the music of these 00:07:24,920 --> 00:07:28,240
33 For the Greeks, though, it wasn't just nude running, wrestling
00:02:09,480 --> 00:02:12,560 70
Instead, try to imagine how revolutionary 00:05:06,240 --> 00:05:09,400 107
ancient societies actually sounded like. 00:07:28,240 --> 00:07:30,600
34 and throwing the javelin that was important.
00:02:12,560 --> 00:02:15,600 71
and how exhilarating many of the innovations 00:05:09,400 --> 00:05:11,720 108
Because they couldn't write their music down, 00:07:30,600 --> 00:07:32,840
35 They were mad about singing competitions.
00:02:15,600 --> 00:02:19,040 72
we take for granted today were to people at the time. 00:05:11,720 --> 00:05:14,280 109
it has disappeared completely. 00:07:32,840 --> 00:07:36,160
36 Yes, The X Factor is a 3,000-year-old format,
00:02:19,040 --> 00:02:22,240 73
There are a million ways of telling the story of music. 00:05:14,280 --> 00:05:18,560 110
There's no surviving video, no sheet music, no Pythagorean MP3, 00:07:36,160 --> 00:07:40,440
37 the Epsilon Factor, one might say, or Sparta's Got Talent.
00:02:22,240 --> 00:02:23,640 74
This is mine. 00:05:18,560 --> 00:05:20,240 111
00:07:44,040 --> 00:07:47,920 148
Contestants would appear before a live audience and a panel of judges. 00:10:11,560 --> 00:10:14,160 185
They are singing together in unison. 00:13:29,840 --> 00:13:33,960
112 so boring to perform they also used to play it on instruments instead,
00:07:47,920 --> 00:07:51,080 149
The winners were awarded cash prizes. 00:10:44,400 --> 00:10:47,080 186
Plainchant stayed the same for centuries. 00:13:33,960 --> 00:13:37,360
113 an organ, perhaps, or now almost forgotten instruments
00:07:51,080 --> 00:07:53,720 150
This is the beginning of music as a profession. 00:10:47,080 --> 00:10:51,040 187
But then, sometime before the 8th century, someone, somewhere had 00:13:37,360 --> 00:13:40,480
114 like the psaltery, the hurdy-gurdy or the symphony.
00:07:55,360 --> 00:07:59,760 151
The Greeks also invented European drama and the musical. 00:10:51,040 --> 00:10:54,440 188
the bright idea of adding some young lads to the choir. 00:13:40,480 --> 00:13:43,840
115 I'm not making this up, they really did have an instrument that played
00:07:59,760 --> 00:08:03,680 152
It's thought that the comic dramas of Aristophanes, for example, 00:10:57,760 --> 00:11:01,160 189
HIGHER VOICES JOIN THE SINGING 00:13:43,840 --> 00:13:47,720
116 just one continuous note. They even had a name for the long-held note.
00:08:03,680 --> 00:08:05,480 153
were mostly sung. 00:11:07,680 --> 00:11:10,280 190
It sounds fuller and brighter with higher 00:13:47,720 --> 00:13:49,480
117 It's a drone.
00:08:05,480 --> 00:08:08,160 154
I wish I could sing you a number from a Greek musical drama 00:11:10,280 --> 00:11:12,720 191
and lower voices combined, doesn't it? 00:13:49,480 --> 00:13:52,240
118 INSTRUMENT DRONES
00:08:08,160 --> 00:08:10,720 155
at this point - Thank You For The Moussaka 00:11:17,440 --> 00:11:20,920 192
The boys sang an octave higher than the men. 00:13:52,240 --> 00:13:54,640
119 VOICES JOIN, SINGING ONE NOTE
00:08:10,720 --> 00:08:13,440 156
or Greece Is The Word, perhaps - but I can't. 00:11:20,920 --> 00:11:24,440 193
It's called an octave because in church music at the time 00:14:17,160 --> 00:14:20,720
120 This drone-plus-tune-type of plainchant is still
00:08:13,440 --> 00:08:17,040 157
The tunes are all lost to us, even if we know what the words mean. 00:11:24,440 --> 00:11:26,920 194
there were only eight notes to choose from. 00:14:20,720 --> 00:14:23,200
121 remembered today on bagpipes.
00:08:22,240 --> 00:08:24,880 158
The Greeks passed on their passion for theatre, 00:11:30,600 --> 00:11:32,600 195
On the white notes of a modern keyboard, 00:14:23,200 --> 00:14:26,640
122 The perforated tube you play the melody on is still called
00:08:24,880 --> 00:08:26,880 159
poetry and music to the Romans, 00:11:32,600 --> 00:11:35,800 196
the two lines of voices are eight notes apart. 00:14:26,640 --> 00:14:28,240
123 the chanter.
00:08:26,880 --> 00:08:31,000 160

who exported it, along with their legions, all over the Mediterranean. 00:11:38,760 --> 00:11:43,640 197
Having men and boys sing an octave apart prompted a further thought. 00:14:28,240 --> 00:14:30,520
124 BAGPIPES MUSIC
00:08:33,240 --> 00:08:37,200 161
But the Romans, too, never got round to writing their music down, 00:11:45,600 --> 00:11:49,520 198
What if we had two notes together that weren't octaves, 00:14:32,320 --> 00:14:35,120
125 By the 9th century, the most adventurous musicians had
00:08:37,200 --> 00:08:40,160 162
and so, when Rome fell in the 5th century, 00:11:49,520 --> 00:11:53,000 199
but completely different notes taken from the choice of eight? 00:14:35,120 --> 00:14:38,800
126 started to mix the two available styles together.
00:08:40,160 --> 00:08:43,240 163
the music of the ancient past was lost to us. 00:11:53,000 --> 00:11:55,880 200
What if they added this note, for example? 00:14:38,800 --> 00:14:42,240
127 Parallel organum and drone organum.
00:08:43,240 --> 00:08:45,080 164
It's as silent as the grave. 00:11:55,880 --> 00:11:58,280 201
TWO NOTES OF A FIFTH INTERVAL 00:14:42,240 --> 00:14:46,360
128 THEY SING IN HARMONY ABOVE A DRONE
00:08:46,560 --> 00:08:47,960 165
Almost. 00:11:58,280 --> 00:12:02,120 202
THEY SING THE INTERVAL 00:14:52,120 --> 00:14:56,080
129 One such adventurer was Kassia of Constantinople.
00:08:52,480 --> 00:08:56,160 166
MALE CHOIR SINGS 00:12:04,040 --> 00:12:06,160 203
Genius. 00:14:56,080 --> 00:15:00,000
130 She is the first female composer whose name has come down to us.
00:09:07,000 --> 00:09:10,720 167
Our one remaining link to the music of the late Roman world is 00:12:06,160 --> 00:12:09,440 204
THEY SING IN HARMONY 00:15:05,160 --> 00:15:09,760
131 What makes her music intriguing is its unusual mix of simple
00:09:10,720 --> 00:09:15,800 168
Christian plainchant, which dates from at least the 3rd century AD. 00:12:11,120 --> 00:12:14,680 205
They didn't go too far, mind. The new line wasn't independent 00:15:09,760 --> 00:15:12,480
132 but unpredictable harmonies.
00:09:15,800 --> 00:09:19,760 169
The singing of chant has always been central to Christian worship. 00:12:14,680 --> 00:12:17,560 206
but stayed exactly in parallel to the original. 00:15:40,440 --> 00:15:43,880
133 Harmony was the first giant step our medieval ancestors
00:09:19,760 --> 00:09:23,760 170
It was a sung version of the Latin words of the Psalms 00:12:23,120 --> 00:12:25,320 207
This parallel lines technique, 00:15:43,880 --> 00:15:46,360
134 took as the year 1000 drew near.
00:09:23,760 --> 00:09:25,800 171
and of the Eucharist, or Mass. 00:12:25,320 --> 00:12:29,320 208
which began in around the 9th century, was called organum, 00:15:47,960 --> 00:15:51,600
135 The other was to alter the course of music history dramatically.
00:09:26,920 --> 00:09:31,040 172
It's, by default, often been described as Gregorian Chant, after 00:12:29,320 --> 00:12:33,160 209

because, to them, it sounded like an organ, which it does. 00:15:51,600 --> 00:15:54,040
136 It was the invention of musical notation.
00:09:31,040 --> 00:09:35,280 173
Pope Gregory the Great, who was pope at the end of the 6th century. 00:12:35,080 --> 00:12:38,920 210
ORGAN PLAYS SAME MUSIC 00:15:55,960 --> 00:15:59,440
137 When a monk or nun sang plainchant in the centuries
00:09:35,280 --> 00:09:38,280 174
It's beautiful, ancient and mysterious. 00:12:40,880 --> 00:12:44,280 211
What we're hearing is the first experiment in what we'd call 00:15:59,440 --> 00:16:03,280
138 before about 800 AD, what they had in front of them was the text,
00:09:38,280 --> 00:09:42,880 175
What it is not, we now know, is anything to do with Pope Gregory. 00:12:44,280 --> 00:12:47,920 212
harmony, the simultaneous sounding of more than one note. 00:16:03,280 --> 00:16:07,000
139 in Latin, of what they were singing. Just the text.
00:09:42,880 --> 00:09:46,160 176
This is one of the worst branding mistakes in cultural history. 00:12:47,920 --> 00:12:50,600 213
THEY SING IN HARMONY 00:16:07,000 --> 00:16:10,200
140 They had to memorise the melody. All this!
00:09:46,160 --> 00:09:48,960 177
It would be like discovering the Wellington boot had nothing 00:13:00,680 --> 00:13:04,080 214
Bland and unadventurous it may seem to us now, 00:16:11,560 --> 00:16:14,800
141 This is one of the most spectacular feats of memory in the history
00:09:48,960 --> 00:09:50,160 178
to do with the Duke, 00:13:04,080 --> 00:13:08,280 215
but then, in the early 100s, it was audio dynamite. 00:16:14,800 --> 00:16:18,400
142 of the human race. But it's also a bit mad.
00:09:50,160 --> 00:09:53,520 179
or that the Earl of Sandwich had nothing to do with a BLT. 00:13:09,480 --> 00:13:13,680 216
The heady excitement of singing two notes at once had another spin off. 00:16:18,400 --> 00:16:22,280
143 It might take ten years of daily repetition and practice
00:09:53,520 --> 00:09:59,320 180
HE SINGS 00:13:13,680 --> 00:13:16,000 217
This time, they went crazy. 00:16:22,280 --> 00:16:26,760
144 to memorise the entire plainsong repertoire for the church year.
00:09:59,320 --> 00:10:02,160 181
THEY SING IN UNISON 00:13:16,000 --> 00:13:18,680 218
They stopped one of the lines moving around. 00:16:26,760 --> 00:16:30,960
145 So it was deemed highly desirable to find a way of reminding
00:10:02,160 --> 00:10:04,200 182
In the earliest form of plainchant, 00:13:22,480 --> 00:13:24,480 219
In this form of organum, 00:16:30,960 --> 00:16:35,320
146 yourself what the tunes for any bit of text might be.
00:10:04,200 --> 00:10:07,440 183
musical monks would sing a meandering tune with no 00:13:24,480 --> 00:13:27,840 220
one singer just stays put on one note all the time. 00:16:37,960 --> 00:16:42,160
147 This is a 3rd-century Christian hymn written in Ancient Greek.
00:10:07,440 --> 00:10:11,560 184
accompaniment, no discernible rhythm and no harmonising. 00:13:27,840 --> 00:13:29,840 221
I say singer, but this technique is 00:16:42,160 --> 00:16:44,520
Above the words, tantalisingly, 00:18:48,840 --> 00:18:50,800
If the note goes up, the blob goes up. 295
222 00:21:04,000 --> 00:21:06,320
00:16:44,520 --> 00:16:46,880 259 MALE CHORAL SINGING
is a fledgling attempt at writing the tune down. 00:18:50,800 --> 00:18:52,040
- HIGHER: 296
223 - # La. # 00:21:10,600 --> 00:21:12,280
00:16:48,080 --> 00:16:49,840 His name was Perotin,
Alas, so far at least, 260
00:18:52,040 --> 00:18:57,120 297
224 And if it goes down, the blob goes down, step by step. 00:21:12,280 --> 00:21:16,560
00:16:49,840 --> 00:16:53,120 and he composed music for the newly-built cathedral of Notre Dame.
no-one can agree on what exactly it's meant to sound like. 261
00:18:57,120 --> 00:19:02,200 298
225 # Ole, ole, ole, ole, ole, ole. # 00:21:16,560 --> 00:21:19,720
00:16:55,440 --> 00:16:58,920 What he did, was ask a seemingly simple question -
Hundreds of years went by until squiggles came along. 262
00:19:09,920 --> 00:19:13,760 299
226 Before Guido, you'd think up a tune and then teach it to everyone 00:21:19,720 --> 00:21:22,840
00:16:58,920 --> 00:17:01,400 what would happen if you had more than two voices
That's not their real name, which is neumes, 263
00:19:13,760 --> 00:19:17,040 300
227 you know and hope they pass it on without mucking it up. 00:21:22,840 --> 00:21:24,520
00:17:01,400 --> 00:17:03,280 singing at the same time?
but squiggles are what they are. 264
00:19:17,040 --> 00:19:20,240 301
228 After Guido, music could be fixed on a page 00:21:26,760 --> 00:21:28,120
00:17:06,880 --> 00:17:09,240 What if you had three?
This is a page from the Winchester Troper, 265
00:19:20,240 --> 00:19:24,080 302
229 and could be reproduced by someone who'd never heard the tune before. 00:21:28,120 --> 00:21:30,400
00:17:09,240 --> 00:17:13,880 THREE VOICES SING IN HARMONY
the oldest surviving manuscript of organum anywhere in the world. 266
00:19:24,080 --> 00:19:27,800 303
230 Guido's method has been refined over the years by indicating 00:21:30,400 --> 00:21:32,600
00:17:13,880 --> 00:17:17,280 Or even, God forbid, four?
It's the painstaking work of Anglo-Saxon monks. 267
00:19:27,800 --> 00:19:29,520 304
231 the duration of notes, for example, 00:21:32,600 --> 00:21:36,840
00:17:18,480 --> 00:17:22,280 FOUR VOICES SING IN HARMONY
What it shows is the Latin text that was intended to be sung, 268
00:19:29,520 --> 00:19:34,760 305
232 but it's essentially the same system we still use to notate music today. 00:21:36,840 --> 00:21:39,880
00:17:22,280 --> 00:17:26,480 This might not sound momentous now, but believe me,
with squiggles above the words and in the margin. 269
00:19:34,760 --> 00:19:38,120 306
233 # But every time she asks me Do I look OK? 00:21:39,880 --> 00:21:43,440
00:17:26,480 --> 00:17:29,360 it was nothing short of a revolution in music.
The idea of the squiggles was to give some indication of 270

00:19:38,120 --> 00:19:41,000 307

234 # I say 00:21:49,880 --> 00:21:54,600
00:17:29,360 --> 00:17:33,040 Perotin strikes us even today as an irrepressibly adventurous
whether the note of the melody went up or down over any given 271
00:19:41,000 --> 00:19:45,040 308
235 # When I see your face 00:21:54,600 --> 00:21:57,440
00:17:33,040 --> 00:17:35,440 creative force, a fire cracker of a composer
syllable, so they're better than nothing. 272
00:19:46,240 --> 00:19:50,680 309
236 # There's not a thing that I would change 00:21:57,440 --> 00:21:59,360
00:17:35,440 --> 00:17:37,480 who conceived and wrote down
But the squiggles had a major flaw. 273
00:19:50,680 --> 00:19:53,920 310
237 # Cos you're amazing 00:21:59,360 --> 00:22:03,360
00:17:37,480 --> 00:17:40,200 the most complex simultaneous note clusters ever yet heard.
They're essentially a way of jogging your memory 274
00:19:53,920 --> 00:19:58,400 311
238 # Just the way you are 00:22:03,360 --> 00:22:06,280
00:17:40,200 --> 00:17:41,680 A cluster of simultaneous notes is called a chord.
of a tune you already know. 275
00:19:58,400 --> 00:20:01,880 312
239 # And when you smile... # 00:22:09,640 --> 00:22:12,000
00:17:41,680 --> 00:17:44,760 Here are some of Perotin's chords.
They're rubbish at teaching you a new tune from scratch. 276
00:20:01,880 --> 00:20:05,480 313
240 The ability to lay out multiple lines of melody on a kind of 00:22:22,120 --> 00:22:26,640
00:17:46,840 --> 00:17:50,560 Perotin also blazed the way forward in another area of music.
That's because they're not very good at indicating just how high 277
00:20:05,480 --> 00:20:09,360 314
241 musical spreadsheet allowed composers to plot out 00:22:26,640 --> 00:22:29,440
00:17:50,560 --> 00:17:53,760 He may not have been the first composer to bring rhythm
or low successive notes are supposed to be, 278
00:20:09,360 --> 00:20:12,400 315
242 far more complicated musical structures. 00:22:29,440 --> 00:22:31,840
00:17:53,760 --> 00:17:56,400 into church music, but he's the first one to find
like a map without longitude or latitude. 279
00:20:12,400 --> 00:20:15,120 316
243 This was to set music on a course towards greater 00:22:31,840 --> 00:22:36,240
00:17:59,320 --> 00:18:03,200 a way of notating rhythm, using a system whereby shorter notes are
The breakthrough came in around 1000 in the Italian city of Arezzo, 280
00:20:15,120 --> 00:20:16,680 317
244 and greater sophistication, 00:22:36,240 --> 00:22:41,480
00:18:03,200 --> 00:18:07,080 bracketed together with a horizontal bar, what he called a ligature.
and it was the brainchild of a musical monk called Guido, 281
00:20:16,680 --> 00:20:20,120 318
245 all thanks to the bright idea of a monk from Arezzo. 00:22:41,480 --> 00:22:44,320
00:18:07,080 --> 00:18:10,440 He was particularly fond of one rhythmic pattern,
known nowadays of Guido of Arezzo. 282
00:20:21,640 --> 00:20:23,880 319

246 The ability to formulate musical ideas on a page 00:22:44,320 --> 00:22:46,240
00:18:10,440 --> 00:18:13,200 a pattern that you can easily remember
Guido's methods were simple and clear. 283
00:20:23,880 --> 00:20:25,240 320
247 enabled a musical approach 00:22:46,240 --> 00:22:49,400
00:18:13,200 --> 00:18:16,080 because it's the rhythm of the theme tune to the Archers.
First of all, he gave these squiggles, or neumes, 284
00:20:25,240 --> 00:20:29,160 321
248 that was far more ambitious than anything that had preceded it. 00:22:49,400 --> 00:22:53,920
00:18:16,080 --> 00:18:19,120 # Dum-de-dum de-dum-de-dum, dum-de-dum de-dum dum. #
a standardised, easy-to-read form. 285
00:20:29,160 --> 00:20:30,800 322
249 A story that has to be remembered 00:22:53,920 --> 00:22:58,040
00:18:19,120 --> 00:18:22,680 Perotin made that pattern his own, as you can hear in his hymn
So each note had its own symbol, or blob. 286
00:20:30,800 --> 00:20:35,440 323
250 and spoken out loud is necessarily less complex than a novel, which 00:22:58,040 --> 00:23:02,240
00:18:22,680 --> 00:18:26,600 composed for Christmas Day 1198, Viderunt Omnes.
He then drew four straight lines onto which the notes, 287
00:20:35,440 --> 00:20:39,200 324
251 can be written down and unfolded over a much greater length of time. 00:23:04,720 --> 00:23:08,600
00:18:26,600 --> 00:18:28,520 MALE CHOIR SINGS RHYTHMICALLY
or blobs, would be placed. 288
00:20:39,200 --> 00:20:42,200 325
252 So it was, with the invention of musical notation. 00:23:34,360 --> 00:23:36,080
00:18:31,120 --> 00:18:35,120 In this remarkable piece of music
One of the lines he made red to give you a fixed bearing 289
00:20:43,280 --> 00:20:45,720 326
253 Now you could have multiple lines of music, 00:23:36,080 --> 00:23:38,440
00:18:35,120 --> 00:18:38,440 you can hear not only the jaunty rhythm
as against all other tunes, a bit like the musical equivalent 290
00:20:45,720 --> 00:20:50,440 327
254 dazzling new possibilities for harmony began to suggest themselves. 00:23:38,440 --> 00:23:42,880
00:18:38,440 --> 00:18:41,040 but the weirdly effective harmonies, amazingly advanced for their time.
of the equator, or the Greenwich Meridian. 291
00:20:50,440 --> 00:20:53,280 328
255 What was needed to realise this potential was for a musician 00:23:45,160 --> 00:23:49,280
00:18:41,040 --> 00:18:43,360 THEY SING DIFFERENT RHYTHMS IN HARMONY
So wherever the note, or blob, is placed, 292
00:20:53,280 --> 00:20:57,480 329
256 to go a bit mad, and in his creative madness open up the harmony idea 00:24:08,800 --> 00:24:12,200
00:18:43,360 --> 00:18:47,160 It's important to remember that before Perotin's time, most people
represents its pitch position, that is, whether it's an A, B, or C. 293
00:20:57,480 --> 00:20:59,640 330
257 to a thousand new possibilities, 00:24:12,200 --> 00:24:16,800
00:18:47,160 --> 00:18:48,840 would rarely have heard any music at all, unless they heard it in church.
# La. # 294
00:20:59,640 --> 00:21:04,000 331
258 which, helpfully, is what a bloke from Paris did in the 12th century. 00:24:16,800 --> 00:24:20,520
But around the 12th century, secular music began to step out 00:26:46,880 --> 00:26:49,640 405
when composers layered notes on top of each other 00:29:22,680 --> 00:29:27,120
332 The fact that the third can be either major or minor,
00:24:20,520 --> 00:24:21,920 369
into the limelight. 00:26:49,640 --> 00:26:53,680 406
they only chose a very limited menu of possible note combinations. 00:29:27,120 --> 00:29:29,480
333 depending on where you start counting from,
00:24:23,400 --> 00:24:26,080 370
The pathfinders were the Bob Dylans of the day, 00:26:53,680 --> 00:26:55,440 407
There was the basic octave. 00:29:29,480 --> 00:29:33,640
334 might sound like only a slight technical difference, but it's not.
00:24:26,080 --> 00:24:27,960 371
the trouveres or troubadours, 00:26:58,840 --> 00:27:02,120 408
And there were two other note combinations, both of which medieval 00:29:33,640 --> 00:29:37,880
335 The pivot between the major third and the minor third is the pivot
00:24:27,960 --> 00:24:30,880 372
travelling singer-songwriters who usually accompanied 00:27:02,120 --> 00:27:05,880 409
musicians called perfect, because they were thought to be Godly. 00:29:37,880 --> 00:29:40,280
336 upon which all western music balances.
00:24:30,880 --> 00:24:33,520 373
themselves on the early instruments available. 00:27:05,880 --> 00:27:08,880 410
The perfect fourth. 00:29:45,800 --> 00:29:48,960
337 Very broadly speaking, one is happy and one is sad,
00:24:35,640 --> 00:24:39,040 374
At the peak of the troubadour craze, several hundred of them 00:27:08,880 --> 00:27:10,880 411
And the perfect fifth. 00:29:48,960 --> 00:29:53,280
338 and harmony's using these thirds make the music richer, more subtle
00:24:39,040 --> 00:24:41,320 375
plied their trade across Europe. 00:27:13,640 --> 00:27:16,640 412
And before 1400, that's more or less it. 00:29:53,280 --> 00:29:54,880
339 and more affecting.
00:24:41,320 --> 00:24:43,480 376
Where did this troubadour phenomenon 00:27:19,880 --> 00:27:23,240 413
In this famous piece, for example, all the harmonies are sung 00:29:54,880 --> 00:29:58,480
340 FEMALE CHORAL SINGING
00:24:43,480 --> 00:24:47,400 377
with its songs of noble, elegant love originate from? 00:27:23,240 --> 00:27:27,200 414
either four or five notes apart from the basic melody line. 00:30:10,840 --> 00:30:14,080
341 But allowing the leans-both-ways third into music
00:24:47,400 --> 00:24:51,840 378
The answer may surprise you. It came from al-Andalus, Muslim Spain. 00:27:28,320 --> 00:27:33,080 415
# Gaudete, gaudete Christus est natus 00:30:14,080 --> 00:30:17,880
342 had one other big by-product. Let's start with C again.
00:24:51,840 --> 00:24:55,000 379
MALE SINGS ACCOMPANIED BY STRINGED INSTRUMENT 00:27:33,080 --> 00:27:38,280 416
# Ex Maria Virgine, gaudete... # 00:30:17,880 --> 00:30:22,480
343 We'll count up three steps and find ourselves at E, a major third.
00:24:59,040 --> 00:25:01,800 380
In the music of the troubadours, you can still hear 00:27:38,280 --> 00:27:43,000 417

To our ears, accustomed to the subsequent 600 years of harmony, 00:30:22,480 --> 00:30:25,800
344 Then if we carry on up another three steps to G,
00:25:01,800 --> 00:25:04,320 381
traces of the Arabic originals. 00:27:43,000 --> 00:27:46,160 418
there's something missing, which makes the music sound bare 00:30:25,800 --> 00:30:27,840
345 we've created a minor third.
00:25:04,320 --> 00:25:06,360 382
MALE SINGS ACCOMPANIED BY STRINGED INSTRUMENT 00:27:46,160 --> 00:27:47,920 419
and a little cold. 00:30:27,840 --> 00:30:31,760
346 But what happens if we play all of these three notes together?
00:25:19,400 --> 00:25:23,400 383
Muslim Spain also provided Christian Europe with more sophisticated 00:27:47,920 --> 00:27:51,840 420
# Tempus adest gratiae Hoc quod optabamus 00:30:31,760 --> 00:30:35,120
347 All these three notes played together are called a triad,
00:25:23,400 --> 00:25:27,200 384
musical instruments that were to become central to secular music - 00:27:51,840 --> 00:27:55,640 421
# Carmina laetitiae Devote reddamus 00:30:35,120 --> 00:30:38,520
348 and triads are the bread and butter of all western music.
00:25:27,200 --> 00:25:30,320 385
the rebab, a precursor to the violin, 00:27:55,640 --> 00:27:56,840 422
DRUMS START 00:30:38,520 --> 00:30:40,920
349 PIANO PLAYS
00:25:30,320 --> 00:25:34,440 386
the al'Ud, which became the lute and later, the guitar, 00:27:56,840 --> 00:28:00,640 423
# Gaudete, gaudete Christus est natus 00:30:46,880 --> 00:30:50,320
350 Here's a song you may recognise which is built on triads.
00:25:34,440 --> 00:25:37,600 387
and the qanun, an early type of zither. 00:28:00,640 --> 00:28:05,240 424
# Ex Maria Virgine, gaudete. # 00:30:50,320 --> 00:30:54,480
351 # Morning has broken
00:25:37,600 --> 00:25:41,160 388
And instruments weren't the only important thing that European 00:28:06,440 --> 00:28:09,200 425
What's missing is a combination of notes that, 00:30:54,480 --> 00:30:58,840
352 # Like the first morning
00:25:41,160 --> 00:25:43,920 389
composers inherited from the culture of Islam. 00:28:09,200 --> 00:28:13,680 426
before 1400, composers had virtually ignored. 00:30:58,840 --> 00:31:02,960
353 # Blackbird has spoken
00:25:43,920 --> 00:25:46,440 390
The other was a flair for rhythm. 00:28:13,680 --> 00:28:16,840 427
FEMALE CHORAL SINGING 00:31:02,960 --> 00:31:06,320
354 # Like the first bird
00:25:46,440 --> 00:25:48,920 391
STRING INSTRUMENTS PLAY RHYTHMICALLY 00:28:23,320 --> 00:28:26,480 428
The man who did use this note combination set things up 00:31:07,680 --> 00:31:11,600
355 # Praise for the singing
00:25:54,880 --> 00:25:57,800 392
The troubadour songs, like their Arabic originals, 00:28:26,480 --> 00:28:29,640 429
for what was to be a giant leap for harmony. 00:31:11,600 --> 00:31:15,880

356 # Praise for the morning... #

00:25:57,800 --> 00:26:00,800 393
were shaped by the poetic metre of their lyrics, 00:28:29,640 --> 00:28:32,960 430
He was an English composer called John Dunstaple. 00:31:15,880 --> 00:31:19,560
357 15th-century musicians discovered that triads had an important
00:26:00,800 --> 00:26:04,800 394
so most of these songs have at least a gentle, foot-tapping pulse, 00:28:37,440 --> 00:28:41,960 431
Dunstaple introduced the mighty but imperfect third. 00:31:19,560 --> 00:31:22,320
358 effect on each other when they were mixed together.
00:26:04,800 --> 00:26:07,600 395
which is where Perotin got his rhythms from. 00:28:43,840 --> 00:28:46,240 432
Why is the third imperfect? 00:31:22,320 --> 00:31:25,520
359 It's to do with the constituent notes of the chords.
00:26:16,080 --> 00:26:19,240 396
By the end of the 14th century, nearly all music's vital 00:28:46,240 --> 00:28:50,680 433
If you count just three notes up from your starting point, C, 00:31:27,200 --> 00:31:32,520
360 The C major triad, for example, contains two of the same notes
00:26:19,240 --> 00:26:23,120 397
components had been discovered - notation, both melodic and rhythmic, 00:28:50,680 --> 00:28:54,320 434
you arrive at E. Why isn't this third a perfect distance? 00:31:32,520 --> 00:31:36,680
361 as the E minor triad, and is therefore closely related to it.
00:26:23,120 --> 00:26:25,040 398
the layering of voices on top of each other, 00:28:54,320 --> 00:28:57,760 435
The reason is that the third, unlike the fourth and fifth, 00:31:36,680 --> 00:31:40,120
362 Similarly the E minor triad shares two of its notes with
00:26:25,040 --> 00:26:29,120 399
and a basic selection of instruments to complement the human voice. 00:28:57,760 --> 00:29:01,640 436
has two different versions, what we'd call now a major version 00:31:40,120 --> 00:31:43,880
363 the G major triad, and they are closely related.
00:26:29,120 --> 00:26:33,280 400
One final piece of the jigsaw still needed to click into position. 00:29:01,640 --> 00:29:04,920 437
and a minor version. It is Mr Ambiguous. 00:31:46,160 --> 00:31:49,400
364 Mixing together chords that are closely related to each other
00:26:33,280 --> 00:26:37,760 401
In around 1400, harmony took a huge leap forward, 00:29:04,920 --> 00:29:08,360 438
You can see just how ambiguous by counting further up the keyboard. 00:31:49,400 --> 00:31:52,240
365 creates a mood of harmonious smoothness,
00:26:37,760 --> 00:26:40,560 402
a leap that was to change the way music sounded for ever. 00:29:08,360 --> 00:29:13,280 439
If I count three notes from D for example, I come to F, 00:31:52,240 --> 00:31:55,160
366 like melding adjacent colours in the spectrum.
00:26:40,560 --> 00:26:43,200 403
We still live with that change today. 00:29:13,280 --> 00:29:16,280 440
creating a minor third, ditto E to G. 00:31:58,720 --> 00:32:01,120
367 Triads have another great benefit.
00:26:43,200 --> 00:26:46,880 404
Before 1400, despite Perotin's adventurousness, 00:29:18,080 --> 00:29:22,680 441
But F to A, like C to E, is a major third. 00:32:01,120 --> 00:32:05,640
368 They can also create the sense of home in a piece of music.
 centuries, so too, the refining of musical instruments was a slow burn. 00:36:41,720 --> 00:36:45,280
442 MUSIC: Instrumental version of "Good Christian Men Rejoice"
00:32:05,640 --> 00:32:08,960 479
Let me demonstrate with a famous spiritual song from a few 00:34:21,880 --> 00:34:25,800 516
But by the 16th century, a new breed of instruments had been invented, 00:36:48,480 --> 00:36:52,200
443 One reason these 500-year-old carols are still easy on the modern ear
00:32:08,960 --> 00:32:11,440 480
hundred years later - Amazing Grace. 00:34:25,800 --> 00:34:29,280 517
and they were to bring in a golden age of folk or popular music. 00:36:52,200 --> 00:36:55,200
444 is because of a significant shift that was taking place
00:32:11,440 --> 00:32:13,280 481
In the first phrase of the song, 00:34:34,560 --> 00:34:38,360 518
In Tudor England, if you went to the barbershop for a haircut, 00:36:55,200 --> 00:36:58,560
445 in the musical structure at this time.
00:32:13,280 --> 00:32:16,560 482
we start on one chord under the words "amazing grace". 00:34:38,360 --> 00:34:42,840 519
or some form of crude walk-in surgery, while you were waiting 00:36:58,560 --> 00:37:01,040
446 It's to do with the positioning of the melody.
00:32:16,560 --> 00:32:20,560 483
# Amazing grace. # 00:34:42,840 --> 00:34:47,200 520
you could pull down one of these off the wall and have a sing-song. 00:37:07,160 --> 00:37:09,400
447 When, in around 900 AD,
00:32:20,560 --> 00:32:23,720 484
Then we shift to another one on the word "sweet". 00:34:47,200 --> 00:34:52,160 521
Yes, every self-respecting 16th-century barber had a cittern 00:37:09,400 --> 00:37:13,680
448 chanting monks started to add extra voices to plainsong melodies,
00:32:23,720 --> 00:32:25,280 485
# How sweet. # 00:34:52,160 --> 00:34:55,400 522
hanging around for the use of his customers, many of whom would 00:37:13,680 --> 00:37:16,520
449 beginning the process that became polyphony,
00:32:25,280 --> 00:32:27,160 486
Then home again to where we started. 00:34:55,400 --> 00:34:58,880 523
then accompany themselves whilst singing a jolly folk song. 00:37:16,520 --> 00:37:19,920
450 the layering of many voices, it was always assumed that
00:32:27,160 --> 00:32:29,840 487
# The sound. # 00:34:58,880 --> 00:35:01,920 524
# Sing no more of dumps So dull and heavy... # 00:37:19,920 --> 00:37:24,480
451 the principal tune, the red bricks in our diagram, was the bottom one,
00:32:29,840 --> 00:32:33,080 488
That safe landing back to the chord we think of as home 00:35:01,920 --> 00:35:03,360 525
I'm not making this up. 00:37:24,480 --> 00:37:27,040
452 and the added tune was on top of it.
00:32:33,080 --> 00:32:35,760 489
is called a cadence, or ending. 00:35:03,360 --> 00:35:06,640 526
# Was ever so Since summer first was leavy 00:37:27,040 --> 00:37:31,440
453 Gradually, as two lines became three and then four,
00:32:35,760 --> 00:32:39,280 490
# Amazing grace 00:35:06,640 --> 00:35:11,560 527
# And sigh no more, but let them go And be you blithe and bonny 00:37:31,440 --> 00:37:35,680

454 this principal melody got buried inside the four voices.
00:32:39,280 --> 00:32:42,720 491
# How sweet the sound. # 00:35:11,560 --> 00:35:13,920 528
# Converting all your sounds of woe 00:37:35,680 --> 00:37:39,840
455 That's why the third line down in any four-part piece of choral music
00:32:42,720 --> 00:32:46,240 492
Everything feels right about that little journey of chords. 00:35:13,920 --> 00:35:16,600 529
# Into hey nonny nonny... # 00:37:39,840 --> 00:37:42,880
456 got to be known as the tenor, because this was the part
00:32:46,240 --> 00:32:49,960 493
We felt good returning to where we started, at the end of the phrase. 00:35:16,600 --> 00:35:19,600 530
New instruments were changing the texture of music. 00:37:42,880 --> 00:37:47,760
457 that held the main tune, tenir being the French verb to hold.
00:32:49,960 --> 00:32:53,760 494
In the second phrase, we go on another short chord journey. 00:35:19,600 --> 00:35:21,800 531
Along with the cittern came the lute. 00:37:47,760 --> 00:37:51,480
458 We take it for granted that the tune of a piece of music sits on
00:32:53,760 --> 00:32:59,040 495
# That saved a wretch like me. # 00:35:22,960 --> 00:35:26,880 532
Related to the lute was the stringed instrument known as the viol, 00:37:51,480 --> 00:37:55,720
459 top of the texture, but this wasn't the case before the 16th century.
00:32:59,040 --> 00:33:02,200 496
And we have another little cadence by moving to a new chord 00:35:26,880 --> 00:35:31,160 533
and by the 1560s, the viol's young offspring, the violin, 00:37:55,720 --> 00:37:58,120
460 Gradually, in all forms of music,
00:33:02,200 --> 00:33:04,320 497
on the word "me". 00:35:31,160 --> 00:35:33,400 534
had been developed in Italy. 00:37:58,120 --> 00:38:00,880
461 the tune worked itself up to the top.
00:33:04,320 --> 00:33:07,440 498
Again, this journey feels logical and satisfying, 00:35:33,400 --> 00:35:37,840 535
The 16th century also saw rapid advancements in keyboard technology, 00:38:00,880 --> 00:38:07,640
462 # In dulci jubilo Let songs and gladness flow
00:33:07,440 --> 00:33:10,000 499
we're being led from one place to another. 00:35:37,840 --> 00:35:42,280 536
so at home, if you had a few bob, you might have a virginal. 00:38:07,640 --> 00:38:15,520
463 # All our joy reclineth In praesepio
00:33:10,000 --> 00:33:13,560 500
# I once was lost 00:35:42,280 --> 00:35:44,520 537
But for sheer technological complexity, 00:38:15,520 --> 00:38:17,880
464 # And like the sun he shineth... #
00:33:13,560 --> 00:33:18,080 501
# But now I'm found 00:35:44,520 --> 00:35:47,600 538
no instrument of the 16th century comes near to the organ. 00:38:17,880 --> 00:38:21,040
465 Once the tune was sitting pretty on the top of the texture,
00:33:18,080 --> 00:33:23,600 502
# Was blind but now I see. # 00:35:47,600 --> 00:35:50,920 539
# Then sigh not so, but let them go And be you blithe and bonny 00:38:21,040 --> 00:38:23,880
466 you were more likely to be able to hear the words clearly.

00:33:26,080 --> 00:33:28,400 503

You can quite clearly hear that there's nothing 00:35:50,920 --> 00:35:55,640 540
# Converting all your sounds of woe Into hey nonny nonny 00:38:23,880 --> 00:38:27,520
467 And the words were about to acquire a thrilling new significance.
00:33:28,400 --> 00:33:32,920 504
haphazard about the choice of chords under the tune, it's meant to be. 00:35:55,640 --> 00:36:00,360 541
# Then sigh no more, but let them go And be you blithe and bonny 00:38:27,520 --> 00:38:32,040
468 # Alpha es et O. #
00:33:32,920 --> 00:33:36,360 505
What's at work here is a logic in the chords, they're obeying 00:36:00,360 --> 00:36:05,920 542
# Converting all your sounds of woe Into hey nonny nonny. # 00:38:32,040 --> 00:38:36,280
469 In 1450, in the German city of Mainz, one of the most
00:33:36,360 --> 00:33:40,240 506
strict laws like the laws of gravity, or the orbit of planets, 00:36:05,920 --> 00:36:09,040 543
APPLAUSE 00:38:36,280 --> 00:38:39,400
470 important technological breakthroughs of our civilisation
00:33:40,240 --> 00:33:44,400 507
whereby some chords exert more power and influence than others. 00:36:09,040 --> 00:36:12,800 544
Hand in hand with this expansion of purely instrumental music 00:38:39,400 --> 00:38:44,120
471 was invented - Johannes Gutenberg's movable type printing press.
00:33:48,120 --> 00:33:50,360 508
Discovering the power of triads 00:36:12,800 --> 00:36:14,560 545
was a wealth of popular song. 00:38:44,120 --> 00:38:48,480
472 Within 50 years or so of the arrival of Guttenberg's wondrous machine,
00:33:50,360 --> 00:33:53,000 509
was like discovering a chemical reaction. 00:36:14,560 --> 00:36:18,360 546
Often, the exact same tunes were used for both church music 00:38:48,480 --> 00:38:50,600
473 music was being printed.
00:33:53,000 --> 00:33:55,920 510
Composers immediately sensed that something massive 00:36:18,360 --> 00:36:21,760 547
and secular music, with different words, of course. 00:38:50,600 --> 00:38:55,000
474 Now, new musical ideas could spread further and faster than ever.
00:33:55,920 --> 00:33:57,920 511
and transformative had happened. 00:36:21,760 --> 00:36:24,200 548
PIPE MUSIC 00:38:55,000 --> 00:38:58,240
475 It's shown in the career of the most influential composer
00:34:00,480 --> 00:34:03,280 512
From now on, the basic chord - the triad, 00:36:32,520 --> 00:36:35,840 549
The first religious songs to get catchy tunes were the ones 00:38:58,240 --> 00:39:01,600
476 of the period, Josquin Des Prez.
00:34:03,280 --> 00:34:06,320 513
one, three, five - was king. 00:36:35,840 --> 00:36:38,040 550
associated with Christmas. 00:39:01,600 --> 00:39:05,920
477 Josquin was born on what is now the Franco-Belgian border
00:34:13,200 --> 00:34:17,080 514
Just as the development of harmony up to this point had taken several 00:36:38,040 --> 00:36:41,720 551
Some of the early carols were derived from jaunty folk dances. 00:39:05,920 --> 00:39:08,920
478 but by his middle age, he was in Ferrara in Italy,
00:34:17,080 --> 00:34:21,880 515
552 the words progress syllable by syllable,
00:39:08,920 --> 00:39:13,240 589
working as a resident composer for a rich and powerful duke. 00:41:32,680 --> 00:41:35,320 626
So in the first few bars of Josquin's motet, 00:45:02,080 --> 00:45:05,560
553 note by note, with a clear tune on top of the sound.
00:39:13,240 --> 00:39:17,680 590
In terms of pure sound, Josquin could not be described as a radical. 00:41:35,320 --> 00:41:39,320 627
each voice utters the simple phrase, Miserere mei, Deus, 00:45:05,560 --> 00:45:09,680
554 This is what hymns were to sound like for the next 500 years.
00:39:17,680 --> 00:39:21,040 591
But in one key respect, Josquin made a departure from what 00:41:39,320 --> 00:41:42,240 628
"Have mercy on me, Lord," one by one. 00:45:09,680 --> 00:45:13,320
555 # Mit ernst ers jetzt meint
00:39:21,040 --> 00:39:24,880 592
went before that was to become a hallmark of the music of the age. 00:41:42,240 --> 00:41:50,240 629
# Miserere mei, Deus 00:45:13,320 --> 00:45:17,880
556 # Gross macht und viel list
00:39:27,520 --> 00:39:30,160 593
Josquin is the first composer in history for whom 00:41:53,760 --> 00:42:01,760 630
# Miserere mei, Deus. # 00:45:17,880 --> 00:45:22,160
557 # Ein grausam ruestung ist
00:39:30,160 --> 00:39:32,680 594
the meaning of the words is paramount, and who tried to 00:42:02,760 --> 00:42:07,400 631
Josquin repeats those words, "Miserere mei, Deus," 00:45:22,160 --> 00:45:29,400
558 # Auf erd ist nicht seingleichen. #
00:39:32,680 --> 00:39:36,960 595
bring out and express that meaning in the way he set words to music. 00:42:07,400 --> 00:42:11,440 632
throughout the piece like a mantra. He also finds ways of highlighting 00:45:31,400 --> 00:45:33,960
559 What followed the Reformation was more than
00:39:36,960 --> 00:39:39,720 596
Small wonder that the majority of pieces he composed 00:42:11,440 --> 00:42:13,520 633
the words that were to be imitated 00:45:33,960 --> 00:45:37,840
560 100 years of religious intolerance and state-sponsored terror.
00:39:39,720 --> 00:39:44,400 597
for the church were called motets, which means, literally, the words. 00:42:13,520 --> 00:42:16,000 634
by other composers time and time again. 00:45:37,840 --> 00:45:41,560
561 In the midst of this blood bath, perhaps not surprisingly,
00:39:44,400 --> 00:39:48,400 598
One such motet is Miserere Mei, have mercy on me. 00:42:16,000 --> 00:42:21,320 635
One, is to have the voices cascade downwards, like falling tears. 00:45:41,560 --> 00:45:45,880
562 the mood of sacred music was overwhelmingly one of penitence,
00:39:48,400 --> 00:39:54,160 599
MALE CHORAL SINGING # Miserere mei 00:42:22,800 --> 00:42:27,240 636
VOICES CASCADE DOWNWARDS, OVERLAPPING EACH OTHER 00:45:45,880 --> 00:45:47,720
563 remorse and lamentation.
00:39:54,160 --> 00:40:00,560 600
# Deus... # 00:42:47,200 --> 00:42:49,360 637
Another is to stop all activity 00:45:47,720 --> 00:45:50,960
564 SOMBRE CHORAL SINGING

00:40:00,560 --> 00:40:05,280 601

Miserere Mei was composed in 1503. Josquin's employer, 00:42:49,360 --> 00:42:53,960 638
and have the voices sing together identical syllables of block chords. 00:46:05,840 --> 00:46:08,640
565 But the dark cloud of agony and sorrow
00:40:05,280 --> 00:40:08,680 602
the Duke of Ferrara, was a friend of the most notorious 00:42:53,960 --> 00:42:59,000 639
THEY SING TOGETHER 00:46:08,640 --> 00:46:10,920
566 wasn't going to last for ever.
00:40:08,680 --> 00:40:12,400 603
preacher of the age, the Dominican friar, Savonarola, 00:43:36,760 --> 00:43:41,520 640
In 1517, only 17 years after Savanorola's execution, 00:46:10,920 --> 00:46:15,240
567 UPLIFTING STRING MUSIC
00:40:12,400 --> 00:40:16,960 604
a firebrand who constantly attacked the excesses of the Catholic Church. 00:43:41,520 --> 00:43:44,520 641
Martin Luther set in train the Reformation. 00:46:16,360 --> 00:46:20,440
568 As the 16th century drew to a close, serious religious music,
00:40:16,960 --> 00:40:18,840 605
He was eventually arrested 00:43:44,520 --> 00:43:48,400 642
Not only did religion change, religious music changed, too. 00:46:20,440 --> 00:46:23,520
569 though it was still commissioned both by the Church and by rich
00:40:18,840 --> 00:40:22,040 606
and in prison, he wrote a prayer asking God's forgiveness 00:43:52,360 --> 00:43:56,000 643
In Lutheran churches, for the first time, the congregation played 00:46:23,520 --> 00:46:28,480
570 patrons, was about to lose its role as the dominant form of new music.
00:40:22,040 --> 00:40:26,320 607
for falsely confessing to crimes under the agony of torture. 00:43:56,000 --> 00:43:57,600 644
a major role in music, 00:46:31,440 --> 00:46:35,880
571 In the 1570s and '80s, a new wave of secular music swept up
00:40:26,320 --> 00:40:29,680 608
The text of this prayer, essentially proclaiming his innocence, 00:43:57,600 --> 00:44:02,320 645
taking the lion's share of the singing in their own language. 00:46:35,880 --> 00:46:40,280
572 like a warm summer wind from Italy into the rest of Europe.
00:40:29,680 --> 00:40:32,240 609
spread rapidly across Europe. 00:44:02,320 --> 00:44:05,400 646
Luther, as well as being a theologian, scholar, 00:46:40,280 --> 00:46:42,560
573 It seemed to contain the seeds of something quite
00:40:32,240 --> 00:40:36,520 610
So Josquin's task was to make this highly political statement 00:44:05,400 --> 00:44:08,040 647
writer and preacher, was a composer. 00:46:42,560 --> 00:46:46,320
574 different from the angry certainties of the religious squabble.
00:40:36,520 --> 00:40:40,480 611
completely clear. How he did so was new. 00:44:08,040 --> 00:44:11,440 648
He fervently believed music should belong to everyone, 00:46:46,320 --> 00:46:49,920
575 Not for the last time in musical history, art music,
00:40:40,480 --> 00:40:42,480 612
Quite simply, Josquin made sure that 00:44:11,440 --> 00:44:14,160 649
not just priests and trained choirs. 00:46:49,920 --> 00:46:51,560
576 the music of posh people,
00:40:42,480 --> 00:40:46,080 613

the words were always clearly audible, and that was revolutionary, 00:44:14,160 --> 00:44:17,800 650
He wanted the congregations in his churches to be able to 00:46:51,560 --> 00:46:55,560
577 was to be saved from itself by popular folk song traditions.
00:40:46,080 --> 00:40:48,160 614
because up till then, believe it or not, 00:44:17,800 --> 00:44:21,320 651
join in hymn-singing with confidence and enthusiasm, 00:46:58,000 --> 00:47:01,680
578 The pioneering figure in this new wave of secular music was
00:40:48,160 --> 00:40:51,120 615
the words in a piece of music were anything but audible. 00:44:21,320 --> 00:44:24,880 652
and this meant having easy-to-pick-up tunes to sing. 00:47:01,680 --> 00:47:05,200
579 a Franco-Flemish composer called Jacques Arcadelt.
00:40:51,120 --> 00:40:54,280 616
For centuries, song lyrics had been the poor relation. 00:44:24,880 --> 00:44:29,040 653
Luther, accordingly, collected lots of popular folk songs of the time 00:47:05,200 --> 00:47:08,680
580 The lute player in Caravaggio's picture here, is playing
00:40:54,280 --> 00:40:58,200 617
In folk music, audiences were as likely dancing, drinking themselves 00:44:29,040 --> 00:44:31,240 654
and gave them holy words. 00:47:08,680 --> 00:47:11,600
581 some of his music, he was that famous.
00:40:58,200 --> 00:41:02,160 618
into oblivion, or having their hair cut as listening to the words. 00:44:31,240 --> 00:44:35,240 655
He also caused loads of new tunes to be written for the purpose. 00:47:11,600 --> 00:47:16,200
582 Everything about his songs cocked a snook at pomposity and authority.
00:41:02,160 --> 00:41:05,000 619
And in church, texts had been sung in Latin. 00:44:35,240 --> 00:44:40,480 656
This is one Luther himself wrote, Ein Feste Burg Ist Unser Gott - 00:47:16,200 --> 00:47:19,040
583 His lyrics are concerned with human pleasures,
00:41:05,000 --> 00:41:07,880 620
What's more, they'd been sung in a way that made it virtually 00:44:40,480 --> 00:44:43,240 657
"A Mighty Fortress Is Our God." 00:47:19,040 --> 00:47:22,680
584 they're full of sensuous imagery and sexual allusion.
00:41:07,880 --> 00:41:09,600 621
impossible to understand. 00:44:43,240 --> 00:44:47,760 658
# Ein feste burg ist unser Gott 00:47:22,680 --> 00:47:26,200
585 He worked for a while in Italy where he wrote madrigals,
00:41:12,720 --> 00:41:16,600 622
This is a technique called melisma, whereby long stretches of melody 00:44:47,760 --> 00:44:52,320 659
# Ein gute wehr und waffen... # 00:47:26,200 --> 00:47:30,000
586 then moved to France, where he wrote their equivalent - chansons.
00:41:16,600 --> 00:41:19,000 623
are attached to just one syllable of text. 00:44:53,960 --> 00:44:58,080 660
What's immediately noticeable about this chorale, or Protestant hymn, 00:47:30,000 --> 00:47:34,480
587 Typical of these is the cheeky, syncopated tale of Margot,
00:41:25,280 --> 00:41:28,400 624
The melismatic style could be musically attractive, but it 00:44:58,080 --> 00:44:59,560 661
is that as it moves along, 00:47:34,480 --> 00:47:36,480
588 the mysterious grape picker.
00:41:28,400 --> 00:41:32,680 625
destroyed any chance of the listener hearing what words were being sung. 00:44:59,560 --> 00:45:02,080 662
00:47:36,480 --> 00:47:40,520 a kind of precursor of surround sound at St. Mark's,
# Margot, labourez les vignes Vignes, vignes, vignolet 699
00:50:24,160 --> 00:50:27,160 736
663 In opera, music is at the service of the drama, and 00:52:40,480 --> 00:52:43,160
00:47:40,520 --> 00:47:43,960 achieved by placing groups of singers
# Margot labourez les vignes bientot 700
00:50:27,160 --> 00:50:31,960 737
664 so it needs to be able to express complex, even conflicting, emotions. 00:52:43,160 --> 00:52:45,880
00:47:43,960 --> 00:47:50,320 and instrumentalists in different parts of the building
- # En revenant de Lorraine et Margot 701
- En revenant de Lorraine et Margot 00:50:31,960 --> 00:50:34,920 738
Luckily, Monteverdi had already spent years 00:52:45,880 --> 00:52:48,520
665 and having them sing or play alternately.
00:47:50,320 --> 00:47:52,200 702
# Rencontrai trois capitaines 00:50:34,920 --> 00:50:36,720 739
trying to do exactly that 00:52:48,520 --> 00:52:53,680
666 The technical term for the technique is polychoral, many choirs.
00:47:52,200 --> 00:47:57,520 703
# Vignes, vignes, vignolet Margot labourez les vignes bientot 00:50:36,720 --> 00:50:39,760 740
with his sophisticated passion-filled madrigals. 00:52:53,680 --> 00:52:57,160
667 MUSIC ALTERNATES FROM LEFT TO RIGHT
00:47:57,520 --> 00:48:01,680 704
# Margot, labourez les vignes Vignes, vignes, vignolet 00:50:41,080 --> 00:50:45,280 741
To do so, he had begun to recalibrate harmony. 00:53:07,400 --> 00:53:10,280
668 Monteverdi knew and admired this polychoral style
00:48:01,680 --> 00:48:05,680 705
# Margot, labourez Les vignes bientot. # 00:50:45,280 --> 00:50:47,440 742
Let's look at just one of his madrigals, 00:53:10,280 --> 00:53:13,120
669 and thought it would work alongside his intimate,
00:48:07,400 --> 00:48:15,040 706
WOMAN SINGS # Flow, my tears fall 00:50:47,440 --> 00:50:50,760 743
which put cats among pigeons, even in his own time. 00:53:13,120 --> 00:53:16,920
670 emotionally-charged madrigal style when he came to writing opera.
00:48:15,040 --> 00:48:18,840 707
# From your springs... # 00:50:50,760 --> 00:50:53,680 744
It's from the Fifth Book Of Madrigals of 1605, 00:53:18,240 --> 00:53:20,720
671 Monteverdi didn't invent opera,
00:48:18,840 --> 00:48:23,440 708
The success of Arcadelt's songs inspired many other composers, 00:50:53,680 --> 00:50:56,840 745
and it's called O Mirtillo, Mirtill'Anima Mia, 00:53:20,720 --> 00:53:24,640
672 a Florentine composer called Peri did, in 1597.
00:48:23,440 --> 00:48:28,160 709
one of whom was a close contemporary of Shakespeare, John Dowland, 00:50:56,840 --> 00:51:00,600 746
Oh, Myrtle, Myrtle, My Soul. Listen to this bit. 00:53:24,640 --> 00:53:28,240
673 But Monteverdi did write the first good opera, Orfeo,
00:48:28,160 --> 00:48:31,480 710
who, by 1600, had become the most celebrated singer-songwriter 00:51:00,600 --> 00:51:08,160 747
# Che chiami crudelissima 00:53:28,240 --> 00:53:31,320
674 which premiered in Mantua in 1607.

00:48:31,480 --> 00:48:32,640 711

in Europe. 00:51:08,160 --> 00:51:11,360 748
# Amarilli. # 00:53:31,320 --> 00:53:34,240
675 He was aiming for maximum emotional effect,
00:48:32,640 --> 00:48:36,440 712
# ..Where night's black bird 00:51:12,640 --> 00:51:15,040 749
It's obvious Monteverdi is dipping in and out of all 00:53:34,240 --> 00:53:39,600
676 maximum narrative clarity, maximum impact, even shock, and wasn't
00:48:36,440 --> 00:48:42,880 713
# Her sad infamy sings 00:51:15,040 --> 00:51:18,440 750
kinds of chords that don't seem comfortably related to each other. 00:53:39,600 --> 00:53:43,520
677 going to obey anyone's rules about what he could or could not do.
00:48:42,880 --> 00:48:47,840 714
# There let me live 00:51:18,440 --> 00:51:22,280 751
He wants you to feel surprised or intrigued, especially if it enhances 00:53:43,520 --> 00:53:48,320
678 FEMALE OPERATIC SINGING
00:48:47,840 --> 00:48:54,960 715
# Forlorn... # 00:51:22,280 --> 00:51:24,960 752
the words of the poem. So on these words, 00:53:54,600 --> 00:53:58,120
679 What's more, Monteverdi invented a new combination of instruments
00:48:56,320 --> 00:48:59,440 716
Dowland's songs are strikingly different in tone 00:51:24,960 --> 00:51:27,520 753
"Che chiami crudelissima, Amarilli," 00:53:58,120 --> 00:54:00,360
680 never before gathered together.
00:48:59,440 --> 00:49:02,520 717
and attitude to anything that had gone before. 00:51:27,520 --> 00:51:31,440 754
"The one you call cruellest, Amaryllis," he creates a series 00:54:00,360 --> 00:54:04,040
681 He borrowed old and new styles, he used choral music,
00:49:02,520 --> 00:49:07,600 718
He's interested in people and their emotions, not gods and demons. 00:51:31,440 --> 00:51:35,560 755
of deliberate clashes of chord, called a dissonance, or suspension. 00:54:04,040 --> 00:54:06,960
682 he told the stories through characters
00:49:07,600 --> 00:49:11,680 719
A song like Flow My Tears doesn't seem out of place amongst 00:51:35,560 --> 00:51:38,800 756
# Come sta il cor di questa... # 00:54:06,960 --> 00:54:09,480
683 directly expressing themselves to the audience.
00:49:11,680 --> 00:49:13,640 720
those of our own time. 00:51:38,800 --> 00:51:41,880 757
Instead of sticking to chords that had close affinities with 00:54:09,480 --> 00:54:13,120
684 Almost everything about Orfeo was then a novelty.
00:49:13,640 --> 00:49:18,000 721
# ..Lost fortunes deplore 00:51:41,880 --> 00:51:45,200 758
each other, he deliberately mixed up unrelated chords 00:54:13,120 --> 00:54:16,080
685 It was loud, it was long and it was modern.
00:49:18,000 --> 00:49:23,400 722
# Light doth but shame 00:51:45,200 --> 00:51:49,520 759
and exploited the strange, disorientating sounds this produced. 00:54:18,520 --> 00:54:21,720
686 And let's not forget how liberating it all must have been,
00:49:23,400 --> 00:49:29,920 723

# Disclose... # 00:51:49,520 --> 00:51:53,440 760

VOCALS OVERLAP # Che chiami 00:54:21,720 --> 00:54:24,280
687 because as musical techniques had been developing,
00:49:33,760 --> 00:49:38,480 724
Music by 1600 had become a rich mix of sacred and secular, 00:51:53,440 --> 00:52:00,080 761
# Crudelissima 00:54:24,280 --> 00:54:28,960
688 century by century, so too had the ability to express more complex,
00:49:38,480 --> 00:49:41,320 725
instrumental and vocal, but almost anything you would 00:52:00,080 --> 00:52:02,440 762
# Amarilli... # 00:54:28,960 --> 00:54:32,320
689 subtle and unexpected emotions along the way.
00:49:41,320 --> 00:49:44,160 726
hear at that time was on a relatively small scale. 00:52:02,440 --> 00:52:06,240 763
It was music that could manipulate our emotions that Monteverdi 00:54:32,320 --> 00:54:35,680
690 Monteverdi was using music plus.
00:49:45,320 --> 00:49:47,720 727
The time was ripe for someone, somewhere, 00:52:06,240 --> 00:52:10,480 764
brought into opera. He also introduced another ingredient, 00:54:43,560 --> 00:54:47,280
691 Orfeo had been performed in a ducal court in front of a small,
00:49:47,720 --> 00:49:51,440 728
to start creating long, substantial forms that would last a whole 00:52:10,480 --> 00:52:13,960 765
a dramatic aural effect that had been invented in Venice, 00:54:47,280 --> 00:54:52,240
692 select audience. Monteverdi's last opera, The Coronation Of Poppaea,
00:49:51,440 --> 00:49:54,400 729
evening and leave audiences cheering for more. 00:52:13,960 --> 00:52:17,760 766
then one of the world's richest and most powerful city-states. 00:54:52,240 --> 00:54:56,320
693 was performed in a Venetian theatre, in front of a paying public.
00:49:54,400 --> 00:49:57,560 730
Which is exactly what happened. 00:52:17,760 --> 00:52:21,920 767
Its huge, cavernous basilica, St Mark's, employed some of the 00:54:56,320 --> 00:54:59,760
694 It's one of the most radical dramas of all time.
00:49:57,560 --> 00:49:59,120 731
Opera was born. 00:52:21,920 --> 00:52:26,120 768
best musicians in Europe, including, for a time, Monteverdi himself. 00:55:00,760 --> 00:55:03,120
695 Why is Poppaea so radical?
00:50:00,200 --> 00:50:02,840 732
The man of the moment, one of the ten most influential 00:52:26,120 --> 00:52:29,560 769
On top of all this, the building served as a kind of musical 00:55:03,120 --> 00:55:06,160
696 To put it simply, because it was about real people
00:50:02,840 --> 00:50:06,480 733
composers of all time, was Claudio Monteverdi. 00:52:29,560 --> 00:52:31,480 770
and acoustical laboratory. 00:55:06,160 --> 00:55:08,720
697 and their complicated, messy emotions.
00:50:06,480 --> 00:50:10,520 734
In his hands, opera went from zero to hero. 00:52:32,720 --> 00:52:36,800 771
An uncle-and-nephew team called Gabrieli had developed 00:55:08,720 --> 00:55:12,760
698 The Emperor Nero and his mistress Poppaea were actual historical
00:50:10,520 --> 00:50:14,800 735
DRAMATIC INSTRUMENTAL MUSIC 00:52:36,800 --> 00:52:40,480 772
00:55:12,760 --> 00:55:15,560 809
figures, and Monteverdi's music acts as the soundtrack 00:57:15,520 --> 00:57:20,320
# Pi non moro
773
00:55:15,560 --> 00:55:17,800 810
to their real-life passions. 00:57:20,320 --> 00:57:25,320
- # O mia vita
774 - O mia vita
00:55:17,800 --> 00:55:20,680
On the surface of it, Poppaea is about lust 811
00:57:25,320 --> 00:57:29,920
775 # O mio tesoro
00:55:20,680 --> 00:55:22,720
and ambition conquering all. 812
00:57:29,920 --> 00:57:37,120
776 - # O mia vita
00:55:22,720 --> 00:55:26,960 - O mia vita
It ends with a duet for Nero and Poppaea of unabashed eroticism,
813
777 00:57:37,120 --> 00:57:45,120
00:55:26,960 --> 00:55:32,000 # O mio tesoro... #
called Pur Ti Miro, Pur Ti Godo, "I gaze on you, I possess you."
814
778 00:57:52,960 --> 00:57:56,800
00:55:32,000 --> 00:55:36,000 Monteverdi paved the way for an explosion of musical energy.
It appears as if Nero and Poppaea are being congratulated
815
779 00:57:56,800 --> 00:58:00,160
00:55:36,000 --> 00:55:38,120 MUSIC: "Summer" by Vivaldi
for their criminal greed.
816
780 00:58:05,600 --> 00:58:08,960
00:55:38,120 --> 00:55:40,080 If innovations had come along at a snail's pace in the previous
# Pur ti miro
817
781 00:58:08,960 --> 00:58:14,160
00:55:40,080 --> 00:55:41,960 1,000 years, the next 100 in music saw them coming thick and fast.
# Pur ti godo
818
782 00:58:14,160 --> 00:58:17,880
00:55:41,960 --> 00:55:44,200 In the next programme, the era of Vivaldi, Bach and Handel
# Pur ti miro
819
783 00:58:17,880 --> 00:58:20,520
00:55:44,200 --> 00:55:46,120 and the exhilarating sound of invention.
# Pur ti godo
820
784 00:58:46,120 --> 00:58:49,680
00:55:46,120 --> 00:55:49,000 Subtitles by Red Bee Media Ltd

# Pur ti stringo

785
00:55:49,000 --> 00:55:52,320
# Pur t'annodo

786
00:55:52,320 --> 00:55:55,000
# Pur ti stringo... #

787
00:55:55,000 --> 00:55:57,400
The passion that oozes out of this duet,

788
00:55:57,400 --> 00:56:01,120
"I adore you, I embrace you, I desire you, I enchain you,"

789
00:56:01,120 --> 00:56:04,680
is so frank and sensual, it almost turns its audience -

790
00:56:04,680 --> 00:56:06,520
remember they're in the room, too -

791
00:56:06,520 --> 00:56:10,720
into voyeurs, awkwardly witnessing the private interchange of

792
00:56:10,720 --> 00:56:13,360
two weirdly uninhibited strangers.

793
00:56:13,360 --> 00:56:17,680
This was new territory indeed, the full monty.

794
00:56:19,680 --> 00:56:22,000
# O mia vita

795
00:56:22,000 --> 00:56:24,400
# O mia vita

796
00:56:24,400 --> 00:56:28,280
# O mio tesoro... #

797
00:56:29,560 --> 00:56:32,680
The most daring part of this climax is what it meant to

798
00:56:32,680 --> 00:56:35,280
Monteverdi's fellow Venetians.

799
00:56:35,280 --> 00:56:38,840
They knew what happened next in real life, that is,

800
00:56:38,840 --> 00:56:40,960
after the fall of the curtain.

801
00:56:40,960 --> 00:56:45,720
Nero killed his new Empress Poppaea and their unborn child

802
00:56:45,720 --> 00:56:50,120
and then himself, and his regime collapsed in flames.

803
00:56:51,120 --> 00:56:54,000
Monteverdi's audience would have seen the opera's ending

804
00:56:54,000 --> 00:56:59,880
for what it was - a savage attack on Venice's archrival state, Rome.

805
00:56:59,880 --> 00:57:02,680
In the light of this, the Coronation Of Poppaea can be

806
00:57:02,680 --> 00:57:07,120
seen as a scathing critique of the excesses of Roman power

807
00:57:07,120 --> 00:57:10,720
and the pressing need for humane self-restraint.

808
00:57:10,720 --> 00:57:15,520
# Piu non peno