Art

Dave Grohl returns to his musical roots, while the Foo Fighters prepare to record at Seattle's Robert Lang Studio with Death Cab for Cutie's Benjamin Gibbard. Dave sets his focus on the Seattle music scene, mainly the grunge movement and its implications in American Rock Music. Interviews with Chris Cornell, Nancy Wilson, Bruce Pavitt.

The last episode of the series talks about the most important city in the States. Stories that go from the early 40s until today. Interviews with Rick Rubin, Emmylou, Chris Martin, LL Cool J and Barack Obama. And a real statement about what is happening with the studios business nowadays. The song 'I Am A River' is recorded during this episode.

The National Gallery in London is one of the great museums of the world with 2400 paintings from the 13th to the end of the 19th century. Almost every human experience is represented in one or the other of the paintings. The sequences of the film show the public in various galleries; the education programs, and the scholars, scientists and curators, studying, restoring and planning the exhibitions. The relation between painting and storytelling is explored.

Richard Stanley had a dream of making a screen adaptation of the H.G. Wells classic The Island of Dr. Moreau. In the mid nineties, he finally managed to get the project up and running, but its shooting turned into a battle between art and industry interests that ended with the director being fired from the film. This documentary examines the story of a movie that could have been a masterpiece of fantasy that ended in an epic failure.

It begins by examining the shift in the language and sound of music from the melodies and harmonies of giants such as Mozart, Haydn and Brahms into the fragmented, abstract, discordant sound of the most radical composers of the new century - Schoenberg, Webern, Stravinsky and beyond. It examines how this new music was a response to the huge upheaval in the world at the start of the 20th century, with its developments in technology, science, modern art and the tumult of the First World War. Featuring performances of some of the key works of the period, performed by the London Sinfonietta, members of the Aurora Orchestra and composer and pianist Timothy Andres, the story of this episode in music history is brought to life through the contributions of the biggest names in modern classical music, among them Steve Reich, John Adams, Michael Tilson Thomas, Pierre Boulez, George Benjamin and Alex Ross, music critic of the New Yorker.

Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century.