Soul Music

How Mozart's Requiem, written when he was dying, has touched and changed people's lives. Crime writer Val McDermid recalls how this music helped her after the loss of her father. Hypnotist Athanasios Komianos recounts how the piece took him to the darker side of the spirit world. And a friend of ballet dancer Edward Stierle, Lissette Salgado-Lucas, explains how Eddie turned his struggle with HIV into a ballet inspired by Mozart's music. Basement Jaxx used the Requiem in their live shows and on their album Scars - Felix Buxton reveals his love for Mozart and the divine nature of the Requiem. And Mozart expert Cliff Eisen takes us inside the composer's world: how the orchestra and choir conjure visions of funerals, beauty, hellfire and the confusion of death. He recounts how Mozart was commissioned to write the piece by a nobleman who may have intended to pass off the work as his own. The stern challenge faced by people trying to complete the piece are described by composer Michael Finnissy, who himself wr

'The Way You Look Tonight' was written by Jerome Kern and Dorothy Fields for the 1936 film 'Swing Time'. Sung by Fred Astaire to Ginger Rodgers while she was washing her hair, the song won an Oscar. It's been recorded by Frank Sinatra and Billie Holiday. Sarah Woodward, daughter of actor Edward, recalls how age seven, she watched him sing it on The Morecambe and Wise Christmas Show with his 'angelic' voice; theatre director Michael Bawtree remembers the song being his father's favourite, and being distraught when he broke the gramophone record as a five year old; and Glaswegian singer Eddie Toal describes making an album of jazz songs, including 'The Way You Look Tonight' to remember his late wife, Irene.

Memories of a prison camp in the Arizona desert, a tsunami and a plane crash are stirred by the bittersweet Japanese song Sukiyaki, a huge global hit of the 1960s. Originally released in Japan with the title 'Ue o Muite Arukou' ('I Look Up As I Walk'), the song was retitled 'Sukiyaki' (the name for a type of beef stew) for international release. It went to No 1 in the USA, Canada and Australia and placed in the top 10 of the UK singles chart. With melancholy lyrics set to a bright and unforgettable melody, it has since been covered hundreds of times in countless languages. California peach farmer Mas Masumoto tells the story of his family's internment in an Arizona relocation camp following the bombing of Pearl Harbor and explains what the song meant to him and many other Japanese-Americans in the years after WWII. Violinist and composer Diana Yukawa plays the song as a way to remember her father, who died in the same plane crash that killed Kyu Sakamoto, the original singer of 'Sukiyaki'. Michael Bourdagh

Bring Him Home, from Les Miserables, is a beautiful and moving prayer-in-song that has developed meaning and identity outside the hit musical. Taking part in the programme: The celebrated tenor, Alfie Boe, has sung this many times in the West End and on Broadway; he discusses what the song means to him. Herbert Kretzmer talks about the agonising process of writing the lyrics. The Greater Manchester Police Male Voice Choir recorded a version especially for the programme; one of their members describes singing Bring Him Home at the funeral of PC Dave Phillips in November 2015. The original Cosette, from Les Miserables, Rebecca Caine now sings this song - written for a male voice - regularly as part of international recitals. And for Becky Douglas it will forever be a reminder of her daughter whose death inspired the foundation of a leprosy charity. Jeremy Summerly, Director of Music at St Peter's College, Oxford plays through the piece and describes why it moves us emotionally. Producer: Karen Gregor.

The tragi-comic tale of love gone sour and shattered dreams eloquently depicted in the Christmas classic Fairytale of New York is the focus of this edition of Soul Music. James Fearnley, pianist with The Pogues recounts how the song started off as a transatlantic love story between an Irish seafarer missing his girl at Christmas before becoming the bittersweet reminiscences of the Irish immigrant down on his luck in the Big Apple, attempting to win back the woman he wooed with promises of 'cars big as bars and rivers of gold'. Gaelic footballer Alisha Jordan came to New York to play football aged 17 from County Meath in Ireland. Despite being dazzled by the glamour and pace of New York City, she missed her family and friends and stencilled the words 'Fairytale of New York' on her apartment wall as an affirmation of her determination to make the most of her new life in the city. When she was later attacked on the street by a stranger, the words came to signify her battle to recover and not to let the horrific

Edward Elgar's incomparable Nimrod, and the part it plays in people's lives, is explored this week: Composed as part of the Enigma Variations in the latter part of the 19th century, Nimrod was inspired by Elgar's friend and music editor, Augustus Jaeger. In an interview for this programme, Jaeger's granddaughter, Gillian Scully, talks about her grandfather and describes hearing her own granddaughter playing Nimrod at a school concert. It wasn't what Elgar intended, but Nimrod is now - and, probably, forever - associated with Remembrance. The Right Reverend Nigel McCulloch - National Chaplain to the Royal British Legion - talks about hearing it played at the Festival of Remembrance in the Royal Albert Hall stirring memories of his own father who died in WW2, and serving as a reminder of all those lost or injured in war. Margaret Evison's son, Lieutenant Mark Evison of the Welsh Guards, was killed in Afghanistan in 2009. Nimrod played an important part in his funeral which was held at The Guard's Chapel in

The Brecht/Weill song, 'Mack The Knife' first appeared in 'The Threepenny Opera' in Berlin in 1928. Sung about the criminal MacHeath, the 'play with music' is based on John Gay's 'The Beggar's Opera', who was inspired by the real-life English highwayman, Jack Sheppard. The song became a hit when performed in 1959 by Bobby Darin. Ella Fitzgerald famously forgot the words when performing live in Berlin in 1960 and her improvised version won a Grammy. Suzi Quatro talks about how she performed it with her father as a child, playing bongos to accompany him, and Lenny Kaye from the Patti Smith Group recalls how he and Patti did a version of 'Mack The Knife' at their first ever performance together at St Marks Church in New York on 10th February 1971, as it was Brecht's birthday. Film-maker Malcolm Clark tells the story of the song's first public performer, Kurt Gerron, an actor and director, who took the song into the darkest places of the Third Reich.

Nkosi Sikelel iAfrica (Lord Bless Africa) is a song that runs through the very soul of South African life. It was originally composed in 1897 by Enoch Sontonga, a Xhosa clergyman at a Methodist mission school near Johannesburg who is said to have been inspired by the melody of John Parry's 'Aberystwyth', a hymn that would've been shared by Welsh missionaries at that time. It went on to travel the African continent but most significantly it became one of the defining symbols of a united South Africa; A country that still holds this song at it's heart. Having travelled through the country's Christian congregations it soon rang out from meetings and protest rallies throughout the apartheid era eventually becoming the unofficial anthem of the ANC (African National Congress Party). At a time of great hardship and pain, it was a song that offered hope and encouragement to millions of South Africans. Having being sentenced to life imprisonment, Nkosi Sikelel iAfrica was the song that Nelson Mandela will hav

ELO's brilliantly off-beam classic, Mr Blue Sky, is explored in this week's Soul Music. It was released as a single in 1978, having first appeared on the ELO album 'Out of the Blue' in 1977. Written by Jeff Lynne, it was a no.6 hit in the UK, and has endured on the radio airwaves ever since. Contributing to the programme: Tracey Collinson whose husband, Nigel, loved the track tells of the meaning it has for her. Musicologist, Allan Moore, discusses the anomolous use of the word 'blue': usually associated with downbeat emotions, this is a peculiar subversion of that cultural norm with the word 'blue' conjuring happiness and good weather. Tremayne Crossley and his friend, Jo Milne, tell the extraordinary story of how Jo heard music for the first time. This track played an important role in that event. For Dr. Sam Illingworth, Mr Blue Sky will always take him back to the low-flying research-flights he made over the wetlands, greenlands and seas of the Arctic Circle with the shadow of the BAE146 plane benea

This much-loved hymn based on Psalm 23 has been set to music many times, including Brother James' Air and Crimond. The Queen requested the Crimond version at her wedding. Harriet Bowes Lyon's tells the story that her mother, Lady Margaret Colville, ( formerly Lady Margaret Egerton) taught the descant to the Queen and Princess Margaret, and was summoned to sing it when, two days before the wedding, the descant music could not be found. Howard Goodall, who wrote a new setting for 'The Vicar of Dibley' describes how he composed it in a taxi. Selina Scott says that the Crimond always puts her in mind of her Scottish grandmother.

"Tomorrow we're going in search of a song and in search of a dream of England which has travelled right around the world" - Will Parsons No one can be sure of the true origins of the song Scarborough Fair. It's a melody of mystery, of voices of old, of ancient days. It's travelled through land and time, drawing singers and listeners in where ever they maybe. For Will Parsons and Guy Hayward it's a song that has inspired a pilgrimage through a landscape that is embodied in the lyrics. Setting off from Whitby Abbey, they journey to Scarborough on foot, sensing the song as they go, learning to sing it, interpreting it in a new way just as thousands of traditional singers have done throughout time. This too is the landscape of Martin Carthy, the 'father of folk' who has made his home along the Yorkshire coast. It was from this legendary singer that Paul Simon first learnt Scarborough Fair, creating a version that came to represent a generation continuing its journey far and wide, weaving its spell in many diff

Long before it was a worldwide hit for Rod Stewart, the Cat Stevens song 'First Cut is the Deepest' made a name for the former Ike and Tina Turner backing singer, PP Arnold. In an interview for Soul Music she describes the emotional connection she felt to the lyrics, having emerged from an abusive marriage shortly before recording it. Also contributing to the programme is the song's original producer, Mike Hurst. He describes how he achieved the huge 'wall of sound' production using double drums, a huge string section, and a harp instead of a guitar to play the signature riff at the the start of the track. There are many personal stories associated with the track: Carsten Knauff recalls a childhood sweetheart - his first true love - and explains why the Cat Stevens' version brings back bitter-sweet memories for him. Rosemarie Purdy saw PP Arnold give an extraordinary live rendition at a club in Portsmouth in 1967. Never before had she seen such a heartfelt, emotionally charged performance. It's something s

Bach's Cello Suite No I in G major is one of the most frequently performed and recognisable solo compositions ever written for cello. Yet it was virtually unknown for almost two hundred years until the Catalan cellist, Pablo Casals discovered an edition in a thrift shop in Barcelona. Casals became the first to record it and the suites are now cherished by musicians across the globe. The world renowned cellist, Steven Isserlis describes his relationship with the piece and why it still surprises and excites him. Fellow cellists Richard Jenkinson and Jane Salmon talk about the challenge of playing it and we hear from the Dominic Martens, a member of the National Youth Orchestra and his teacher, Nick Jones as they explore the piece together. Garden designer Julie Moir Messervy, describes how Yo-Yo Ma's recording inspired her to design The Toronto Music Garden and doctor Heidi Kimberly explains why she chose the piece for her wedding and why she believes the suite to have healing powers. While historian and a

Leonard Cohen's 'Hallelujah' took him years to write. It originally had as many as 80 verses. Recorded for his 'Various Positions' album, it was almost ignored when first released in 1984. Only Bob Dylan saw its true worth and would play it live. John Cale eventually recorded a version which was heard by an obscure musician called Jeff Buckley. The song has been covered by hundreds of artists including Rufus Wainwright, K.D.Lang and Alexandra Burke. We hear from those whose relationship with the song is deep and profound: singer Brandi Carlisle listened to it over and over again as a troubled teenager; it became a sound-track to James Talerico falling in love and Jim Kullander made a connection with the song after the death of his wife.

"La Boheme is a work of genius, for me it's the perfect opera. There's not a bar or a word or anything you'd want to alter. It just gets to you" - Opera Director John Copley CBE. For the final programme in this series of Soul Music, we venture back into the Parisian winter of Puccini's beloved 'La Boheme' where legendary Opera Director John Copley CBE reflects on his 40 years of bringing this tale of friendship, love and loss to the stage of the Royal Opera House. Alongside his memories of sharing pasta with a young Pavarotti we hear the stories from those whose lives have been touched by - and often reflect - the essence of this most popular of operas. From the romantic gesture of a probationary constable serenading his soon to be bus conductress wife in 1950's Torquay to the moment that a devoted husband passed away - La Boheme has touched the lives of opera lovers around the world. Featuring interviews with author Mavis Cheek and opera devotees Ray Tabb and Nancy Rossi. Produced by Nicola Humphries.

The Smiths' 'There Is A Light That Never Goes Out' is explored through personal stories. Released in 1986 on 'The Queen Is Dead' album, it has become an anthem of hope, loss and love. As a teenager, Andy listened to it with his father, as he drove him to work. They had a moment of connection, and when his father died suddenly a few weeks later, the song took on huge significance. When her young son was ill, Sharon Woolley drew strength from this music as she sat by his bedside in the small hours of the morning. For comic artist Lucy Knisley, the song got her through a bad break-up with her long-term boyfriend - and it's meaning changed for her when unexpected events unfolded.

Gracias A La Vida - thank you to life - is a song that means a lot to many people around the world. Recorded by artists as diverse as Joan Baez and the magnificent Mercedes Sosa, the song reflects the bittersweet nature of life's joys and sadnesses. To the people of Chile where it was written in 1966 by Violetta Parra, it has become an anthem that brings people together in times of trouble. One man who was tortured and imprisoned under the Pinochet regime in 1973 recalls how playing the song on guitar in prison for other inmates helped keep their spirits and hopes alive under the most brutal circumstances. Australian writer and actor Ailsa Piper recalls being gifted the words to Gracias A La Vida by a fellow walker along one of the holy routes in Spain, and how the song has become a poignant reminder of the fragility of life. Producer: Maggie Ayre.

In this week's Soul Music Marianne Faithfull recalls the French Love song which went on to inspire Elvis's 60's hit, 'I Can't Help Falling in Love with You'. 'Plaisir d'Amour' is the classical French love song which somehow found its way through 18th century orchestration (Hector Berlioz) and 1960's folk revival, to an unexpected re-invention into the Elvis hit 'I Can't' Help Falling in Love with You'. It's been recorded by Marianne Faithfull and busked on the streets of Paris by 'The Gruffalo' author Julia Donaldson. It has also touched the lives of former American Military Academy Freshman Andrew Scott and recently married couple Henry (76) and Christine Wallace (82) who fell in love on a moonlit New Year's Eve. Written in 1784 by Jean-Paul-Égide Martini, Plaisir d'Amour muses on the pleasures and pains of love and was inspired by a poem which appears in Jean-Pierre Claris de Florian's novel 'Célestine'. For 17 year old Marianne Faithfull it was a song of innocence, recorded in a tiny booth in the old D

"Into my heart an air that kills From yon far country blows: What are those blue remembered hills, What spires, what farms are those? That is the land of lost content, I see it shining plain, The happy highways where I went And cannot come again." So wrote the poet AE Housman lamenting the loss of his brother in the Boer war in his epic poem A Shropshire Lad. It harks back to a simple idyllic rural way of life that is forever changed at the end of the nineteenth century as hundreds of country boys go off to fight and never return. George Butterworth adapted his words to music in 1913 just before the outbreak of the Great War. This edition of Soul Music hears from those whose lives continue to be touched by the loss of so many young men between 1914 and 1918. Broadcaster Sybil Ruscoe recalls visiting her Great Uncle's grave in a military cemetery in France with Butterworth's Rhapsody as the soundtrack to her journey. A concert at Bromsgrove School in Worcestershire where Housman was a pupil remembers the for

Albinoni's Adagio in G Minor, is one of the most popular and moving pieces of music but, as academic and composer Andrew Gant explains, it wasn't written by Albinoni and is now attributed to the twentieth century Italian composer, Giazotto. Award-winning veteran BBC foreign correspondent, Malcolm Brabant recalls the ' cellist of Sarajevo', Vedran Smailovic, playing it everyday for weeks amidst the wreckage of the beautiful city, as Serbian gunfire raged around. Virginia McKenna explains how the piece became so special to her and her late husband, Bill Travers, who died twenty years ago this month, the piece was played at the beginning and end of his memorial service. And TV producer, Gareth Gwenlan reveals why it was chosen as the theme for the character played by Wendy Craig, in the seventies sitcom, Butterflies. Producer: Lucy Lunt.