Episode 2 BBC Proms


Episode 2

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Tonight, we have two pieces from Ten Pieces. We raise our voices with a

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Child of Our Time. We meet the new leaders of the classical pack. It

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can only be Proms Extra. Hello and welcome to Proms Extra. If

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the Proms season is a designer label, we are the high street

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equivalent. Giving you the latest updates on what has been happening

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across the road. Take a look at these catwalk performances.

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# Is ground control to Major Tom # You really made the grade

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# And the papers want to know whose shirt you wear

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# Now it's time to leave the capsule, if you dare

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# We dare... # That's just a regular week in the

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life of the Proms. Overlooking the hall is our Studio in the Royal

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College of Music. Proms Extra isn't the same without guests. This is one

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of the top mezzo-soprano. She's no stranger to the Proms. She is no

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longer a stranger to Proms Extra. It's a warm welcome to Susan

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Bakeley. An award-winning multi instrumentalist, producer, writer

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and broadcaster who worked with the biggest names in pop, classical,

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dance, film and theatre. He's also a world-class DJ which will come in

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handy for the Proms Extra wrap party. Welcome. Talking of parties,

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our final guest has made his mark as a new and exciting composure. He

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invited everyone to join him for a noisy, wild party that will raise

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the roof in London. In other words, he has a world premier being

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performed at the Royal Albert Hall for the last night of the Proms.

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Welcome Tom Howard. Full-term fer forming is Oliver Castes at the end

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of the show -- performing. How was that? An exciting experience. To be

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surrounded by the choir and the BBC National Orchestra of Wales who

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played wonderfully. The choir who cushioned us with an amazing sound

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was a privilege. Moving. We will talk more about that work and 245

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Prom later. Just, you are no Strangers to the Proms. You had your

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own back in 2017. The Human Planet Prom. It's quite something? Amazing.

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I performed at the Royal Albert Hall many times. It's my favourite venue

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in the world. It has a sense of occasion performing there. Actually,

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for the Human Planet series I originally also recorded with the

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National Orchestra of Wales as well. It was great to see them performing

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on Saturday in Child of Our Time. That was our great. Tom, how

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terrified are you about last night of Proms? Terrified is not the right

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word. Extremely excited. An incredible opportunity and

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incredible gig to get. I'm looking forward to hearing what the Proms

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Youth Ensemble do with it. Can you give us clues about the work? It

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starts loud, stays loud and gets louder. Nice I see what you are

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aiming for. Nice to you have here. The Proms tries to have something

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for everybody. This season there is the CBeebies Proms and Ten Pieces

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made a welcome return to the hall. It's the BBC initiative to encourage

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children to be inspired by classical music. They listen to Ten Pieces and

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respond creatively. Last year was aimed at primary school children.

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This year it's the turn of the secondary kids much you are

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ambassador, were you impressed by what the kids came up with?

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Absolutely. I think it's very exciting to be engaging with young

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people who are going to be inspired by the 10 pieces. Last year I worked

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at a school, Mary Magdalene. They looked at the Wagner piece. Great to

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be involved on a practical level and encourage people to listen to those

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pieces. Let us listen to one of the featured pieces at the Prom.

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The BBC Philharmonic Orchestra there. Accompanied by dancers. You

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said you worked with young people, is it a tricky age to engage with

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classical music? Not really. They were open to it. That piece was

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powerful. It's quite an arousing piece. They can hear something they

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can identify with in terms of the, I guess, the motif that comes back. It

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feels liken an exciting piece. The energy is infectious. Overall, it

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hasn't been difficult to talk to young people about the 10 pieces.

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They have been excited when they have talked about it. It is key to

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choice the right works. There is a big story behind that. We can get

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involved in the context. When you worked with young people, have you

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found that is the way to really get them sparked up? I'm interested in

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the cross curriculum boundaries broke down for kids to know what was

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going on around that time that helped the composer write the piece.

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What art was being done at that time. Not only the historical

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context, everything that was going. The science being done. I think

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that's the way forward to encourage and inspire children. I have to say,

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they obviously had great discussions working on that dance they did. I

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thought it was fabulous. That's very important as well, that children

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understand that it's about storytelling and expression and that

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music should be an extension of your identity, feelings and thoughts and

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ideas. It's great to actually contextualise thises muse You are

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write sick. Ing a piece for the Last Night of the Proms. How will that

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work? The first rehearsal is in a week's time. What we will do is try

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and build up this working relationship together. And to really

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see... I write the piece so they can making it theirs. So they have

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ownership to it. That's important to me as composer with all the work I

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do and all the artists and groups that they have an ownership and put

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their own identity on it. I will not be precious if they want to do

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something different or have their own interpretation. It's easy to

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have an interpretation of the story and what is going on. Which is why

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it's one of the strong 10 pieces. Were you inspired in 10 pieces at

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their age. Was anyone a catalyst for you in classical music? I went to

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children's classic concerts in Glasgow much I don't know if they go

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on. It's a same vain as 10 Pieces. I saw an orchestra and being in a

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rated through what was going on. And being inspired by it. It really

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planted the seed with me, as I'm sure 10 Pieces it doing the same.

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What got you inspired? I was thinking about the fact when I was a

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child my father was a musician. A school teacher, but a musician. We

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watched Fantasia am I wrong in thinking it's a similar thing. There

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were lots of short pieces of music with a visual which helped when you

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were a young child. It's - for me, I am a film composer. I loved

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listening to and watching great film composer like Bernard Herman. I

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should have been Psycho. I watched it one night iechl was 10 or 11. I

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was blown away by it. Herman was us influenced by... More -- It put me

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off sweeping and mopping... I'm still allergic. One of the featured

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pieces, Vaughan William The Lark Ascending is about to fly high with

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Chord of the Week. The chord that underpins The Lark Ascending.

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Vaughan William gives his lark, the solo violin, only five notes of the

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scale, the mode that underlies so much of the folk music. It hes a as

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if the lark is the voice of the countryside itself.

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There is a curious emptiness about the chord. Most chords have a note

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three notes up from the base. This chord has no third. If it did, it

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would sound like this. Yet, anyone who knows this lovely piece will

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have had that low G in mind all along much you might have thought I

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was missing something out when I played our Chord of the Week.

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Vaughan William put the G in our mind at the beginning of the piece

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before the soloist comes in, down in the second violins. They play it and

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then they leave it. The colour of the harmony depends on

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us remembering that G. Remembering something that's no longer there.

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Nostalgia. Vaughan William composed nostalgia into the first moments of

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the place. He put the first draft in the draw when he signed up to the

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army and didn't finished it until he came home. Thatter ared G has come

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to signify a whole lost world. Tom, seeing those young lads there

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in uniform, it really does make that piece of music feel even more

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powerful it was always a beautiful listen, always charming, it sets

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that dark and political tone to it as well, doesn't it? How could it

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get more poignant. What a contrast this beautiful music and the

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absolute horrors of war. It's seen as Mel conic and nostalgic but very

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pastoral. How do you respond to it? He wrote it when staying on holiday

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in Margate down the coast from where I live. Looking out at the sky over

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the sea, I can well see how he was inspired because, when we can, we do

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that every single night, go out and look at the unis set. There is a

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dark side. A boy saw him on that occasion writing and thought he was

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writing secret messages and reported him as being a German spy. He was

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arrested on that occasion. It's interesting all of this because

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after that, after the war, he revise is advised the piece much he had

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been a stretcher bearer during the course of the war. You wonder how

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those experiences would have impacted on the revision of the

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music. I find it very powerful because it

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reminds me a lot of those... The pentatonic scale, which is known by

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a different name in India. Yehudi Menuhin performed with rubbish and

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grow. -- Dubai. It has a drone sound come

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in the same way as an Indian classical piece. -- Ravi Shankar.

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The fact he stays so harmonically consistent all the way through, it

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almost makes it more poignant he has created this soundscape. Which draws

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you in. Over which the violin can do its thing. It's interesting hearing

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you talk about the influences on different composers. We know how

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much Vaughan Williams loved folk music, he and his colleagues went

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uncollected old English tunes, which one could argue you could hear in

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that. How much do you come in your work, put up on music of the people,

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if you like? It's very important to me to drop on all kinds of different

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forms. For example I'm a flamenco guitarist, play a lot of classical

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and jazz piano, different forms of guitar. Flamenco for me is a form of

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music that has been elevated over time to almost a classical form. It

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was originally a folk form from Rajasthan in India. It started that

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way and developed and picked up Moorish traditions. In the hands of

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other people it became a much more elevated form. Originally, there was

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a lot of protest from people, Andrei Segovia, who said he wanted to take

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the guitar away from the noisy hands of the flamenco guitarist. It's

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interesting when you see a folk form that rises above those initial

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prejudices against the musicians. I think it's wonderful. You can find

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the Ten Pieces from online. A look at Child of Our Time from Tippett

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and a performance by cellist Oliver Coates. When you started composing

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did you feel like you were breaking down boundaries, Nitin? When you're

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composing a piece you don't think about the aftermath of what happens

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when you've composed it all when it heard, you're thinking about the

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feeling at the time, you have to be very present minded and follow the

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flow of what you feel. It's different if you are writing for a

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commission. If you're writing for yourself it's just about flow of

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feeling, channelling what is around you, trying to give it a voice. Do

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you label yourself as a certain type of composer? Classical-

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contemporary? I hate labels, but I suppose I've worked in so many

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different genres, I work in film, television, I work as a composer for

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classical orchestras as well. I've done lots of different things. I

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don't really like labels, I like working as a DJ Haswell. The labels

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just restrict your imagination and possibility. You'll like the next

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film. There continues to be a new wave of young contemporary composers

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emerging, making classical music their own way. We had the decks with

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one composer in particular. Classical music is such an important

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part of human culture. In the whole world now. Often it feels like it's

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hiding itself in a bit of a bubble and has become a kind of historical

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art form for some people, a highbrow academic art form for others.

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I see myself as a classical composer. I'm writing music that

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reflects the world I live in, I want to share with my peer group. The

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solution for me was to put it on in clubs and bars where most people go

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for music. Instantly, the public's more relaxed, they don't feel they

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have to behave in any particular way. And if they don't like the

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piece they are not stuck in a seat, they can go to the bar and get a

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drink. When you bring in electronics to

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classical music it's important you make it interactive with the live

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performance. With the cello multi-tracks, a school has freed a

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minute, it tells the cellist to play certain phrases, which is imitating

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sounds of recorded cello, I then imitate the live cello bag, a

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secular feedback loop between us. -- imitate the live cello back. -- a

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circular feedback loop. I'm not trying to make pop music dressed up

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with classical instrumentation, I'm more interested in the deeper

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essence or energy of contemporary culture, taking that on board into a

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serious classical composition. People always ask me, would your

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grandfather approve of you using electronic instruments? Do you think

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he would have made electronic music? When we look at the history of

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farcical music you see technology evolving. Mozart wrote his clarinet

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concerto for early models of the clarinet. We are always looking for

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new sounds. It's totally natural that second user, when there is a

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new way of making sounds, they take that on board. They think there is

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this new strand of classical music connecting with electronic music. It

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perhaps has a closer connection with contemporary life as well, and

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contemporary culture. That was composer Gabriel Prokofiev,

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whose work is also featured in the Ten Pieces from. One of many

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classical composers doing it their way. Tom, did it resonate with you,

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hearing Gabriel talk about his inspiration and what he's trying to

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achieve? It's really important for composers to stay current, stay

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engaged in your community, to demystify the compositional process.

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It's really important for us to do this. I have utmost respect for

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Gabriel to be doing this. I know a of my colleagues from the Royal

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College of music have similar nights, where they put on

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contemporary music in pubs, clubs and venues where you wouldn't expect

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contemporary music to be. I think it's absolutely fantastic, I think

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it is the future. Nitin, do you feel there is an actor to -- appetite for

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it? If you decontextualised classical music, you hear it in a

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different way, come to it in a different perspective. If you make

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it more accessible to people who wouldn't come across it otherwise...

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Years ago I had written a piece for the Britten symposium. I played it

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at a club called Tim Ferri. A man had seen me a few days ago, there

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was somebody who had come to see something totally different. -- a

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club called Fabric. People have preconceptions that music, certain

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types of music can only be for a certain audience. They understand

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you studied electronic music back in the day. That in the day. It was in

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the day, the late 70s. I went to city University. The degree there

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included an element of electronic music. There was nothing digital

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about it at that point. We're talking tapes and cutting tapes and

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splicing tapes and that. There were some really cutting edge composers

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at the time. An Argentinian composer was there. Simon Emmerson was one of

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our tutors. All very involved in the contemporary music scene. I got very

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involved in the contemporary music scene, not necessarily electronic.

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We did work alongside them at the time. You do a lot of contemporary

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repertoire, you were constantly with composers on new works. I have done

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a lot of contemporary music, yes. It's a huge challenge. Sometimes I

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think, maybe I won't... Yes, I will, actually. Because it's great to feel

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you're part of a new history of music. Do you notice an evolving

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sound world? Do you think there are real changes you could sort of

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document, if you like? In recent times, it's come back to being more

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melodic contemporary music, I find, I don't know whether you think the

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same thing? There was a point when it became quite obscure and not very

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helpful to listeners, really. Now, I think, there are elements... It

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doesn't mean it's easier for listeners, but the challenge is in a

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different way. I also like it when people like Gabriel Prokofiev, he's

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mixing electronic music with classical music and live players. I

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really like that because it's a natural evolution from people who

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compose with no packages on computer, called Logic or sieve

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alias, you use these to compose for orchestras. -- or Sibelius.

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Sometimes you want to blend the two. I find myself doing that more and

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more. It's nice to see something active as well. They used to be a

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time electronic music, you sit in the audience and listen. There is

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more to see, people working at it and doing it live, which I think is

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incredibly exciting and much more involving for the audience. It must

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be because technology is so incredible now. From the tape you

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were doing. I dabbled in it a bit. You can do anything with

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electronics, anything. That's why it's such a good Ten Pieces piece,

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you are showing young people how kind of cool and orchestra can be. I

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use that word in the best possible way. You can show the crossover

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between the two works so well, it's why it's such a good piece for Ten

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Pieces. From new pieces to a piece that is a modern classic, Tibet's A

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Child of Our Time. Let's have an excerpt. -- Tippett.

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A Child of Our Time, shown on BBC for last Sunday. Use one of the five

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spirituals Tippett included in his setting. I wish I'd been in the

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hall, it looks tremendous, very moving. How did you prepare yourself

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to immerse yourself in such a very moving work? Well, you don't need to

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go very far from reading what's going on in the newspapers these

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days to make that contextual contact. It was an incredibly tense

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evening, you can almost tell how engaged audiences are by how quiet

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they are. There was no coughing, anything like that. It was

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incredibly intense. In that extraordinary, amazing acoustic, it

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reverberate even more. You were there, weren't you, Nitin? It was

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wonderful giving you think you sounded incredible, the whole piece

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was so moving. I found, it's interesting, originally TS Eliot was

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going to be writing the libretto and turned it down. It ended up being

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Tippett writing himself. It's such a powerful libretto. There is one

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phrase I've got here, described in part two of the piece as corners of

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the self-righteous. It says, we cannot have them in our empire, they

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shall not work, nor draw dole. Let them starve in no man's land.

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Incredibly powerful, still pertinent, still very poignant. What

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I find is the way Tippett is able to build up tension and use the five

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spirituals to release the tension, everybody size, like they are almost

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home. I find that incredibly fantastic to deal with such a

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horrible subject matter. -- everybody sighs. It adds five points

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of focus, then carry on with the Yanks to. It was strange seeing that

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but I thought it was brilliant to have these spirituals, they seemed

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out of context, but they worked. They had this allegorical power to

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them. It's interesting Tippett went on to go to New York and studied

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jazz more, and get into lots of different forms of music later on in

:30:52.:30:55.

life. It was interesting, this felt like something that just worked,

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that you wouldn't expect to work. If if you take the aria for Ain't

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Got No Money for Bread. He was influenced by bread. You have to do

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performance with everybody in the hall singing the spirituals. It

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wasn't a them and then us as well. The chorus, it's a safety in numbers

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thing. We will prevail. We are here. That's what the spirituals are

:31:29.:31:31.

about, I think. We will get through the dark side and we'll come

:31:32.:31:36.

through. Despite the world turning, which is one of the texts. Despite

:31:37.:31:40.

the fact that this will happen again. This will happen again. We

:31:41.:31:44.

will prevail. It would be wonderful to do a performance with everybody -

:31:45.:31:49.

maybe one day in the future. It's a good idea much I trust our new

:31:50.:31:53.

Director of the Proms is listening and make a note. You can watch this

:31:54.:31:58.

performance of Child of Our Time on the BBC iPlayer. Last night there

:31:59.:32:11.

was a Prom dedicated to Dudley Boys. Here is a clip from the Dudley Boys

:32:12.:32:27.

-- David Bowie Prom. -- David Bowie. .

:32:28.:32:35.

#, I will be king # And you, you will be Queen

:32:36.:32:52.

# Nothing, nothing can drag them away

:32:53.:32:58.

# We can be heroes # Just for one day... #

:32:59.:33:06.

The Proms own tribute there to the late, David Bowie? He was a hero of

:33:07.:33:14.

yours? The one rock concert I went to was ziggy star dust, what more

:33:15.:33:18.

can I say. I adored him. That is most of my age group. Huge numbers

:33:19.:33:22.

of my age group. It's a perfect tribute to have a Prom about him.

:33:23.:33:28.

Across generations. You are 25, loads of people in your age group

:33:29.:33:33.

love David Bowie too? I came to him quite late. It's a shame. I love his

:33:34.:33:41.

collaborations with Brian. They are dark and powerful. So the time, so

:33:42.:33:45.

unusual. I find it so powerful and so exciting. Yeah, I mean, I

:33:46.:33:49.

wouldn't say that he's on my desk all the time, but he's definitely

:33:50.:33:56.

ticking away in the background. What I love about Bowie every single

:33:57.:34:00.

decade was different. He changed totally. When you're making albums

:34:01.:34:05.

they are like diary entries, they are who you are at the time much you

:34:06.:34:09.

don't go back and fix what you did then. It's who you were, it's pure

:34:10.:34:14.

expression. He was constantly evolving in so many different

:34:15.:34:19.

directions. It's very difficult to say exactly who Bowie was. I was

:34:20.:34:25.

lucky recently to be in the company of his producer, Tony, he told me a

:34:26.:34:30.

lot about the passion and the feeling of Bowie for his work, but

:34:31.:34:38.

also the fact, with his last album, it wasn't a requiem as many people

:34:39.:34:43.

thought he believe he was going to be making another album later on. It

:34:44.:34:46.

was sad it turned out to be his last. You can be a hero for one day

:34:47.:34:53.

are or even longer, by viewing the Proms tribute to Davided Bowie on

:34:54.:35:01.

the Prom website or iPlayer. There are concerts shown on BBC Four on

:35:02.:35:04.

Fridays and Sundays evening and every Prom goes out live on BBC

:35:05.:35:11.

Radio 3. Join us next week when we will look at the David Bowie

:35:12.:35:19.

problem. We will have Mahler and Romeo and Juliet. You bring the

:35:20.:35:24.

popcorn, we'll bring the ice-cream. Thank you to my guests tonight. Good

:35:25.:35:30.

luck and I hope the rehearsals go well. We talked about new music.

:35:31.:35:46.

Oliver Coates is one of these, here he is performing a piece of his own

:35:47.:35:51.

work. Goodbye.

:35:52.:35:53.

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