Can something of a survey of the music of Italy… including music of the city states, republics and kingdoms that became the nation of Italy in the late nineteenth century… be done in a little over an hour? Absolutely not. But what I have chosen does perhaps suggest a few themes that can be found in the music made on the Italian Peninsula over the last several centuries. Please enjoy… Giuseppe Verdi, Archangelo Corelli, Claudio Monteverdi, Ottorino Respighi, Carlo Gesualdo, Tomaso Albinoni, Giovanni Pierluigi da Palestrina, Gioachino Rossini,  Pietro Mascagni and Alessandro Scarlatti.

From fairy tale romances to dark psychological dramas, discover how ballet music evolved while maintaining its essential power to match the poetry of human movement with unforgettable musical expression… what I’m calling grasping towards beauty. This episode explores three centuries of ballet music, from the elegant entertainments of Gluck through the Romantic masterpieces of Adam, Delibes, and Tchaikovsky, to the revolutionary modernism of Stravinsky and Prokofiev, and finally the diverse voices of Copland and Khachaturian.

You could take almost any year of composer Wolfgang Amadeus Mozart’s life, probably from the age of fifteen onwards and be staggered by both the scale of his output… AND the quality… but his final year… 1791.. was a truly astonishing achievement… including his 27th piano concerto, his 6th string quintet, his clarinet concerto, two complete operas in wildly contrasting genres… ‘La Clemenza di Tito’ and ‘The Magic Flute’, and an unfinished Requiem Mass.

There are composers who revel in depictions of the unseen… manifestations of the darker aspects of our imaginations… creatures from realms that four centuries of science just can’t seem to eradicate from our vulnerable psyches. Then there are the composers who just can’t help but enjoy mucking about with an old fairytale or making fun of our collective gullibility. And some do all at the same time. This week it is spooky music from Grieg, Mussorgsky, Schubert, Saint-Saens, Liszt, Shostakovich, Mozart & Chopin.

Even if you have listened to a fair bit of classical music I’m quietly confident you will not have heard a note of any of what I am going to play you in this episode… unless you happen to hail from or reside in that jewel of a nation… New Zealand / Aotearoa. Trust me, if you can overcome a nervousness about the unfamiliar… you are going to hear some remarkably good music… by composers Anthony Richie, Gillian Whitehead, Martin Lodge, Tabea Squire, John Psathas, Douglas Lilburn and Claire Cowan.

Ludwig van Beethoven arrived in Vienna in late 1792 as a 22-year-old from the town of Bonn to study with Josef Haydn who was at the time undeniably Europe's most celebrated living composer. Beethoven also quickly established himself in Viennese aristocratic circles, securing patronage from nobles who recognized his extraordinary talent both as a virtuoso pianist and as a composer of startling originality. This episode is a collection of music from Beethoven’s first decade in Vienna.

This episode starts in Paris in 1909 and ends up in Buenos Aires in 1994… and the music includes a healthy dose of the influence of jazz. If you have a small voice inside saying this is going to be a little more ‘modern’ and a little less ‘enjoyable’, I hope you’ll trust me to prove that voice wrong… or more particularly that you’ll trust Clause Debussy, Malcolm Arnold, Aaron Copland, Igor Stravinsky and Osvaldo Golijov.

There’s no way around the fact that this entire corner of classical music is generally known by the term ‘chamber music’ but please don’t let that stop you from experiencing some incredible music… even if you find the term, as I do, just plain odd. This is music originally intended for smaller performance spaces… sometimes even just a dining room… and by virtue of that the connection between players and audience is more ‘intimate’. The music in the episode is by Phillip Glass, Ludwig van Beethoven, Wolfgang Amadeus Mozart, Johannes Brahms and Paul Stanhope.

No other filmmaker has used classical music to better effect than the American director Stanley Kubrick (1928-1999). Whilst composers did score some of his films, Kubrick frequently used existing classical pieces… in particular for 2001: A Space Odyssey, Barry Lyndon & The Shining. Kubrick’s choices are fascinating and did a lot to get classical music to new audiences. And, besides, how else could I get Schubert, Handel, Ligeti, Penderecki and two Strausses into the one episode of Classical For Everyone?

If you have hit play for this episode then that means you are in that part of the population who have not been entirely turned off Vivaldi by the overuse of his deservedly popular set of violin concertos… ‘The Four Seasons’. I am glad you are going to join me for an hour of exquisite music… a concerto for two violins and cello, a mandolin concerto, a song from his semi-opera Andromeda liberata, a cello sonata, a section from his Stabat Mater for solo voice and small ensemble, and because it has to be done… a concerto for violin that is all about ‘Winter’