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Tonight, we have two pieces from Ten Pieces. We raise our voices with a | :00:00. | :00:11. | |
Child of Our Time. We meet the new leaders of the classical pack. It | :00:12. | :00:14. | |
can only be Proms Extra. Hello and welcome to Proms Extra. If | :00:15. | :00:44. | |
the Proms season is a designer label, we are the high street | :00:45. | :00:48. | |
equivalent. Giving you the latest updates on what has been happening | :00:49. | :00:52. | |
across the road. Take a look at these catwalk performances. | :00:53. | :02:18. | |
# Is ground control to Major Tom # You really made the grade | :02:19. | :02:34. | |
# And the papers want to know whose shirt you wear | :02:35. | :02:42. | |
# Now it's time to leave the capsule, if you dare | :02:43. | :02:48. | |
# We dare... # That's just a regular week in the | :02:49. | :02:52. | |
life of the Proms. Overlooking the hall is our Studio in the Royal | :02:53. | :02:58. | |
College of Music. Proms Extra isn't the same without guests. This is one | :02:59. | :03:09. | |
of the top mezzo-soprano. She's no stranger to the Proms. She is no | :03:10. | :03:18. | |
longer a stranger to Proms Extra. It's a warm welcome to Susan | :03:19. | :03:30. | |
Bakeley. An award-winning multi instrumentalist, producer, writer | :03:31. | :03:32. | |
and broadcaster who worked with the biggest names in pop, classical, | :03:33. | :03:38. | |
dance, film and theatre. He's also a world-class DJ which will come in | :03:39. | :03:43. | |
handy for the Proms Extra wrap party. Welcome. Talking of parties, | :03:44. | :03:52. | |
our final guest has made his mark as a new and exciting composure. He | :03:53. | :03:57. | |
invited everyone to join him for a noisy, wild party that will raise | :03:58. | :04:01. | |
the roof in London. In other words, he has a world premier being | :04:02. | :04:06. | |
performed at the Royal Albert Hall for the last night of the Proms. | :04:07. | :04:12. | |
Welcome Tom Howard. Full-term fer forming is Oliver Castes at the end | :04:13. | :04:22. | |
of the show -- performing. How was that? An exciting experience. To be | :04:23. | :04:30. | |
surrounded by the choir and the BBC National Orchestra of Wales who | :04:31. | :04:35. | |
played wonderfully. The choir who cushioned us with an amazing sound | :04:36. | :04:39. | |
was a privilege. Moving. We will talk more about that work and 245 | :04:40. | :04:44. | |
Prom later. Just, you are no Strangers to the Proms. You had your | :04:45. | :04:48. | |
own back in 2017. The Human Planet Prom. It's quite something? Amazing. | :04:49. | :04:54. | |
I performed at the Royal Albert Hall many times. It's my favourite venue | :04:55. | :04:59. | |
in the world. It has a sense of occasion performing there. Actually, | :05:00. | :05:04. | |
for the Human Planet series I originally also recorded with the | :05:05. | :05:08. | |
National Orchestra of Wales as well. It was great to see them performing | :05:09. | :05:13. | |
on Saturday in Child of Our Time. That was our great. Tom, how | :05:14. | :05:18. | |
terrified are you about last night of Proms? Terrified is not the right | :05:19. | :05:24. | |
word. Extremely excited. An incredible opportunity and | :05:25. | :05:27. | |
incredible gig to get. I'm looking forward to hearing what the Proms | :05:28. | :05:36. | |
Youth Ensemble do with it. Can you give us clues about the work? It | :05:37. | :05:42. | |
starts loud, stays loud and gets louder. Nice I see what you are | :05:43. | :05:49. | |
aiming for. Nice to you have here. The Proms tries to have something | :05:50. | :05:59. | |
for everybody. This season there is the CBeebies Proms and Ten Pieces | :06:00. | :06:04. | |
made a welcome return to the hall. It's the BBC initiative to encourage | :06:05. | :06:08. | |
children to be inspired by classical music. They listen to Ten Pieces and | :06:09. | :06:12. | |
respond creatively. Last year was aimed at primary school children. | :06:13. | :06:17. | |
This year it's the turn of the secondary kids much you are | :06:18. | :06:20. | |
ambassador, were you impressed by what the kids came up with? | :06:21. | :06:25. | |
Absolutely. I think it's very exciting to be engaging with young | :06:26. | :06:30. | |
people who are going to be inspired by the 10 pieces. Last year I worked | :06:31. | :06:42. | |
at a school, Mary Magdalene. They looked at the Wagner piece. Great to | :06:43. | :06:47. | |
be involved on a practical level and encourage people to listen to those | :06:48. | :06:51. | |
pieces. Let us listen to one of the featured pieces at the Prom. | :06:52. | :07:11. | |
The BBC Philharmonic Orchestra there. Accompanied by dancers. You | :07:12. | :07:55. | |
said you worked with young people, is it a tricky age to engage with | :07:56. | :07:58. | |
classical music? Not really. They were open to it. That piece was | :07:59. | :08:04. | |
powerful. It's quite an arousing piece. They can hear something they | :08:05. | :08:12. | |
can identify with in terms of the, I guess, the motif that comes back. It | :08:13. | :08:17. | |
feels liken an exciting piece. The energy is infectious. Overall, it | :08:18. | :08:23. | |
hasn't been difficult to talk to young people about the 10 pieces. | :08:24. | :08:26. | |
They have been excited when they have talked about it. It is key to | :08:27. | :08:31. | |
choice the right works. There is a big story behind that. We can get | :08:32. | :08:35. | |
involved in the context. When you worked with young people, have you | :08:36. | :08:38. | |
found that is the way to really get them sparked up? I'm interested in | :08:39. | :08:46. | |
the cross curriculum boundaries broke down for kids to know what was | :08:47. | :08:53. | |
going on around that time that helped the composer write the piece. | :08:54. | :08:56. | |
What art was being done at that time. Not only the historical | :08:57. | :09:01. | |
context, everything that was going. The science being done. I think | :09:02. | :09:07. | |
that's the way forward to encourage and inspire children. I have to say, | :09:08. | :09:12. | |
they obviously had great discussions working on that dance they did. I | :09:13. | :09:16. | |
thought it was fabulous. That's very important as well, that children | :09:17. | :09:20. | |
understand that it's about storytelling and expression and that | :09:21. | :09:26. | |
music should be an extension of your identity, feelings and thoughts and | :09:27. | :09:32. | |
ideas. It's great to actually contextualise thises muse You are | :09:33. | :09:36. | |
write sick. Ing a piece for the Last Night of the Proms. How will that | :09:37. | :09:40. | |
work? The first rehearsal is in a week's time. What we will do is try | :09:41. | :09:43. | |
and build up this working relationship together. And to really | :09:44. | :09:48. | |
see... I write the piece so they can making it theirs. So they have | :09:49. | :09:53. | |
ownership to it. That's important to me as composer with all the work I | :09:54. | :09:58. | |
do and all the artists and groups that they have an ownership and put | :09:59. | :10:03. | |
their own identity on it. I will not be precious if they want to do | :10:04. | :10:08. | |
something different or have their own interpretation. It's easy to | :10:09. | :10:13. | |
have an interpretation of the story and what is going on. Which is why | :10:14. | :10:20. | |
it's one of the strong 10 pieces. Were you inspired in 10 pieces at | :10:21. | :10:26. | |
their age. Was anyone a catalyst for you in classical music? I went to | :10:27. | :10:30. | |
children's classic concerts in Glasgow much I don't know if they go | :10:31. | :10:37. | |
on. It's a same vain as 10 Pieces. I saw an orchestra and being in a | :10:38. | :10:41. | |
rated through what was going on. And being inspired by it. It really | :10:42. | :10:46. | |
planted the seed with me, as I'm sure 10 Pieces it doing the same. | :10:47. | :10:51. | |
What got you inspired? I was thinking about the fact when I was a | :10:52. | :10:54. | |
child my father was a musician. A school teacher, but a musician. We | :10:55. | :11:03. | |
watched Fantasia am I wrong in thinking it's a similar thing. There | :11:04. | :11:07. | |
were lots of short pieces of music with a visual which helped when you | :11:08. | :11:15. | |
were a young child. It's - for me, I am a film composer. I loved | :11:16. | :11:23. | |
listening to and watching great film composer like Bernard Herman. I | :11:24. | :11:28. | |
should have been Psycho. I watched it one night iechl was 10 or 11. I | :11:29. | :11:31. | |
was blown away by it. Herman was us influenced by... More -- It put me | :11:32. | :12:03. | |
off sweeping and mopping... I'm still allergic. One of the featured | :12:04. | :12:09. | |
pieces, Vaughan William The Lark Ascending is about to fly high with | :12:10. | :12:18. | |
Chord of the Week. The chord that underpins The Lark Ascending. | :12:19. | :12:22. | |
Vaughan William gives his lark, the solo violin, only five notes of the | :12:23. | :12:26. | |
scale, the mode that underlies so much of the folk music. It hes a as | :12:27. | :12:30. | |
if the lark is the voice of the countryside itself. | :12:31. | :12:39. | |
There is a curious emptiness about the chord. Most chords have a note | :12:40. | :12:45. | |
three notes up from the base. This chord has no third. If it did, it | :12:46. | :12:53. | |
would sound like this. Yet, anyone who knows this lovely piece will | :12:54. | :12:57. | |
have had that low G in mind all along much you might have thought I | :12:58. | :13:01. | |
was missing something out when I played our Chord of the Week. | :13:02. | :13:05. | |
Vaughan William put the G in our mind at the beginning of the piece | :13:06. | :13:08. | |
before the soloist comes in, down in the second violins. They play it and | :13:09. | :13:10. | |
then they leave it. The colour of the harmony depends on | :13:11. | :13:25. | |
us remembering that G. Remembering something that's no longer there. | :13:26. | :13:33. | |
Nostalgia. Vaughan William composed nostalgia into the first moments of | :13:34. | :13:38. | |
the place. He put the first draft in the draw when he signed up to the | :13:39. | :13:42. | |
army and didn't finished it until he came home. Thatter ared G has come | :13:43. | :13:46. | |
to signify a whole lost world. Tom, seeing those young lads there | :13:47. | :14:45. | |
in uniform, it really does make that piece of music feel even more | :14:46. | :14:49. | |
powerful it was always a beautiful listen, always charming, it sets | :14:50. | :14:52. | |
that dark and political tone to it as well, doesn't it? How could it | :14:53. | :14:58. | |
get more poignant. What a contrast this beautiful music and the | :14:59. | :15:04. | |
absolute horrors of war. It's seen as Mel conic and nostalgic but very | :15:05. | :15:18. | |
pastoral. How do you respond to it? He wrote it when staying on holiday | :15:19. | :15:22. | |
in Margate down the coast from where I live. Looking out at the sky over | :15:23. | :15:32. | |
the sea, I can well see how he was inspired because, when we can, we do | :15:33. | :15:36. | |
that every single night, go out and look at the unis set. There is a | :15:37. | :15:40. | |
dark side. A boy saw him on that occasion writing and thought he was | :15:41. | :15:45. | |
writing secret messages and reported him as being a German spy. He was | :15:46. | :15:49. | |
arrested on that occasion. It's interesting all of this because | :15:50. | :15:52. | |
after that, after the war, he revise is advised the piece much he had | :15:53. | :15:56. | |
been a stretcher bearer during the course of the war. You wonder how | :15:57. | :16:00. | |
those experiences would have impacted on the revision of the | :16:01. | :16:02. | |
music. I find it very powerful because it | :16:03. | :16:11. | |
reminds me a lot of those... The pentatonic scale, which is known by | :16:12. | :16:18. | |
a different name in India. Yehudi Menuhin performed with rubbish and | :16:19. | :16:21. | |
grow. -- Dubai. It has a drone sound come | :16:22. | :16:41. | |
in the same way as an Indian classical piece. -- Ravi Shankar. | :16:42. | :16:47. | |
The fact he stays so harmonically consistent all the way through, it | :16:48. | :16:53. | |
almost makes it more poignant he has created this soundscape. Which draws | :16:54. | :16:57. | |
you in. Over which the violin can do its thing. It's interesting hearing | :16:58. | :17:02. | |
you talk about the influences on different composers. We know how | :17:03. | :17:05. | |
much Vaughan Williams loved folk music, he and his colleagues went | :17:06. | :17:09. | |
uncollected old English tunes, which one could argue you could hear in | :17:10. | :17:13. | |
that. How much do you come in your work, put up on music of the people, | :17:14. | :17:19. | |
if you like? It's very important to me to drop on all kinds of different | :17:20. | :17:23. | |
forms. For example I'm a flamenco guitarist, play a lot of classical | :17:24. | :17:30. | |
and jazz piano, different forms of guitar. Flamenco for me is a form of | :17:31. | :17:36. | |
music that has been elevated over time to almost a classical form. It | :17:37. | :17:40. | |
was originally a folk form from Rajasthan in India. It started that | :17:41. | :17:47. | |
way and developed and picked up Moorish traditions. In the hands of | :17:48. | :17:54. | |
other people it became a much more elevated form. Originally, there was | :17:55. | :18:00. | |
a lot of protest from people, Andrei Segovia, who said he wanted to take | :18:01. | :18:05. | |
the guitar away from the noisy hands of the flamenco guitarist. It's | :18:06. | :18:09. | |
interesting when you see a folk form that rises above those initial | :18:10. | :18:13. | |
prejudices against the musicians. I think it's wonderful. You can find | :18:14. | :18:24. | |
the Ten Pieces from online. A look at Child of Our Time from Tippett | :18:25. | :18:28. | |
and a performance by cellist Oliver Coates. When you started composing | :18:29. | :18:33. | |
did you feel like you were breaking down boundaries, Nitin? When you're | :18:34. | :18:36. | |
composing a piece you don't think about the aftermath of what happens | :18:37. | :18:40. | |
when you've composed it all when it heard, you're thinking about the | :18:41. | :18:43. | |
feeling at the time, you have to be very present minded and follow the | :18:44. | :18:47. | |
flow of what you feel. It's different if you are writing for a | :18:48. | :18:51. | |
commission. If you're writing for yourself it's just about flow of | :18:52. | :18:55. | |
feeling, channelling what is around you, trying to give it a voice. Do | :18:56. | :19:01. | |
you label yourself as a certain type of composer? Classical- | :19:02. | :19:07. | |
contemporary? I hate labels, but I suppose I've worked in so many | :19:08. | :19:12. | |
different genres, I work in film, television, I work as a composer for | :19:13. | :19:18. | |
classical orchestras as well. I've done lots of different things. I | :19:19. | :19:22. | |
don't really like labels, I like working as a DJ Haswell. The labels | :19:23. | :19:27. | |
just restrict your imagination and possibility. You'll like the next | :19:28. | :19:32. | |
film. There continues to be a new wave of young contemporary composers | :19:33. | :19:35. | |
emerging, making classical music their own way. We had the decks with | :19:36. | :19:38. | |
one composer in particular. Classical music is such an important | :19:39. | :19:58. | |
part of human culture. In the whole world now. Often it feels like it's | :19:59. | :20:02. | |
hiding itself in a bit of a bubble and has become a kind of historical | :20:03. | :20:08. | |
art form for some people, a highbrow academic art form for others. | :20:09. | :20:16. | |
I see myself as a classical composer. I'm writing music that | :20:17. | :20:22. | |
reflects the world I live in, I want to share with my peer group. The | :20:23. | :20:27. | |
solution for me was to put it on in clubs and bars where most people go | :20:28. | :20:31. | |
for music. Instantly, the public's more relaxed, they don't feel they | :20:32. | :20:35. | |
have to behave in any particular way. And if they don't like the | :20:36. | :20:39. | |
piece they are not stuck in a seat, they can go to the bar and get a | :20:40. | :20:41. | |
drink. When you bring in electronics to | :20:42. | :20:56. | |
classical music it's important you make it interactive with the live | :20:57. | :21:05. | |
performance. With the cello multi-tracks, a school has freed a | :21:06. | :21:09. | |
minute, it tells the cellist to play certain phrases, which is imitating | :21:10. | :21:15. | |
sounds of recorded cello, I then imitate the live cello bag, a | :21:16. | :21:22. | |
secular feedback loop between us. -- imitate the live cello back. -- a | :21:23. | :21:35. | |
circular feedback loop. I'm not trying to make pop music dressed up | :21:36. | :21:39. | |
with classical instrumentation, I'm more interested in the deeper | :21:40. | :21:43. | |
essence or energy of contemporary culture, taking that on board into a | :21:44. | :21:46. | |
serious classical composition. People always ask me, would your | :21:47. | :22:10. | |
grandfather approve of you using electronic instruments? Do you think | :22:11. | :22:15. | |
he would have made electronic music? When we look at the history of | :22:16. | :22:19. | |
farcical music you see technology evolving. Mozart wrote his clarinet | :22:20. | :22:23. | |
concerto for early models of the clarinet. We are always looking for | :22:24. | :22:31. | |
new sounds. It's totally natural that second user, when there is a | :22:32. | :22:35. | |
new way of making sounds, they take that on board. They think there is | :22:36. | :22:38. | |
this new strand of classical music connecting with electronic music. It | :22:39. | :22:45. | |
perhaps has a closer connection with contemporary life as well, and | :22:46. | :22:46. | |
contemporary culture. That was composer Gabriel Prokofiev, | :22:47. | :23:20. | |
whose work is also featured in the Ten Pieces from. One of many | :23:21. | :23:24. | |
classical composers doing it their way. Tom, did it resonate with you, | :23:25. | :23:27. | |
hearing Gabriel talk about his inspiration and what he's trying to | :23:28. | :23:32. | |
achieve? It's really important for composers to stay current, stay | :23:33. | :23:37. | |
engaged in your community, to demystify the compositional process. | :23:38. | :23:40. | |
It's really important for us to do this. I have utmost respect for | :23:41. | :23:44. | |
Gabriel to be doing this. I know a of my colleagues from the Royal | :23:45. | :23:49. | |
College of music have similar nights, where they put on | :23:50. | :23:54. | |
contemporary music in pubs, clubs and venues where you wouldn't expect | :23:55. | :23:57. | |
contemporary music to be. I think it's absolutely fantastic, I think | :23:58. | :24:03. | |
it is the future. Nitin, do you feel there is an actor to -- appetite for | :24:04. | :24:11. | |
it? If you decontextualised classical music, you hear it in a | :24:12. | :24:17. | |
different way, come to it in a different perspective. If you make | :24:18. | :24:20. | |
it more accessible to people who wouldn't come across it otherwise... | :24:21. | :24:27. | |
Years ago I had written a piece for the Britten symposium. I played it | :24:28. | :24:34. | |
at a club called Tim Ferri. A man had seen me a few days ago, there | :24:35. | :24:39. | |
was somebody who had come to see something totally different. -- a | :24:40. | :24:48. | |
club called Fabric. People have preconceptions that music, certain | :24:49. | :24:52. | |
types of music can only be for a certain audience. They understand | :24:53. | :24:56. | |
you studied electronic music back in the day. That in the day. It was in | :24:57. | :25:02. | |
the day, the late 70s. I went to city University. The degree there | :25:03. | :25:06. | |
included an element of electronic music. There was nothing digital | :25:07. | :25:12. | |
about it at that point. We're talking tapes and cutting tapes and | :25:13. | :25:17. | |
splicing tapes and that. There were some really cutting edge composers | :25:18. | :25:23. | |
at the time. An Argentinian composer was there. Simon Emmerson was one of | :25:24. | :25:28. | |
our tutors. All very involved in the contemporary music scene. I got very | :25:29. | :25:32. | |
involved in the contemporary music scene, not necessarily electronic. | :25:33. | :25:36. | |
We did work alongside them at the time. You do a lot of contemporary | :25:37. | :25:42. | |
repertoire, you were constantly with composers on new works. I have done | :25:43. | :25:46. | |
a lot of contemporary music, yes. It's a huge challenge. Sometimes I | :25:47. | :25:51. | |
think, maybe I won't... Yes, I will, actually. Because it's great to feel | :25:52. | :25:56. | |
you're part of a new history of music. Do you notice an evolving | :25:57. | :26:02. | |
sound world? Do you think there are real changes you could sort of | :26:03. | :26:07. | |
document, if you like? In recent times, it's come back to being more | :26:08. | :26:11. | |
melodic contemporary music, I find, I don't know whether you think the | :26:12. | :26:15. | |
same thing? There was a point when it became quite obscure and not very | :26:16. | :26:26. | |
helpful to listeners, really. Now, I think, there are elements... It | :26:27. | :26:29. | |
doesn't mean it's easier for listeners, but the challenge is in a | :26:30. | :26:34. | |
different way. I also like it when people like Gabriel Prokofiev, he's | :26:35. | :26:40. | |
mixing electronic music with classical music and live players. I | :26:41. | :26:46. | |
really like that because it's a natural evolution from people who | :26:47. | :26:51. | |
compose with no packages on computer, called Logic or sieve | :26:52. | :26:57. | |
alias, you use these to compose for orchestras. -- or Sibelius. | :26:58. | :27:08. | |
Sometimes you want to blend the two. I find myself doing that more and | :27:09. | :27:12. | |
more. It's nice to see something active as well. They used to be a | :27:13. | :27:20. | |
time electronic music, you sit in the audience and listen. There is | :27:21. | :27:24. | |
more to see, people working at it and doing it live, which I think is | :27:25. | :27:28. | |
incredibly exciting and much more involving for the audience. It must | :27:29. | :27:31. | |
be because technology is so incredible now. From the tape you | :27:32. | :27:35. | |
were doing. I dabbled in it a bit. You can do anything with | :27:36. | :27:39. | |
electronics, anything. That's why it's such a good Ten Pieces piece, | :27:40. | :27:43. | |
you are showing young people how kind of cool and orchestra can be. I | :27:44. | :27:48. | |
use that word in the best possible way. You can show the crossover | :27:49. | :27:52. | |
between the two works so well, it's why it's such a good piece for Ten | :27:53. | :27:58. | |
Pieces. From new pieces to a piece that is a modern classic, Tibet's A | :27:59. | :28:04. | |
Child of Our Time. Let's have an excerpt. -- Tippett. | :28:05. | :28:35. | |
A Child of Our Time, shown on BBC for last Sunday. Use one of the five | :28:36. | :28:42. | |
spirituals Tippett included in his setting. I wish I'd been in the | :28:43. | :28:46. | |
hall, it looks tremendous, very moving. How did you prepare yourself | :28:47. | :28:50. | |
to immerse yourself in such a very moving work? Well, you don't need to | :28:51. | :28:55. | |
go very far from reading what's going on in the newspapers these | :28:56. | :28:59. | |
days to make that contextual contact. It was an incredibly tense | :29:00. | :29:09. | |
evening, you can almost tell how engaged audiences are by how quiet | :29:10. | :29:13. | |
they are. There was no coughing, anything like that. It was | :29:14. | :29:18. | |
incredibly intense. In that extraordinary, amazing acoustic, it | :29:19. | :29:26. | |
reverberate even more. You were there, weren't you, Nitin? It was | :29:27. | :29:31. | |
wonderful giving you think you sounded incredible, the whole piece | :29:32. | :29:36. | |
was so moving. I found, it's interesting, originally TS Eliot was | :29:37. | :29:40. | |
going to be writing the libretto and turned it down. It ended up being | :29:41. | :29:45. | |
Tippett writing himself. It's such a powerful libretto. There is one | :29:46. | :29:48. | |
phrase I've got here, described in part two of the piece as corners of | :29:49. | :29:54. | |
the self-righteous. It says, we cannot have them in our empire, they | :29:55. | :29:59. | |
shall not work, nor draw dole. Let them starve in no man's land. | :30:00. | :30:03. | |
Incredibly powerful, still pertinent, still very poignant. What | :30:04. | :30:10. | |
I find is the way Tippett is able to build up tension and use the five | :30:11. | :30:13. | |
spirituals to release the tension, everybody size, like they are almost | :30:14. | :30:19. | |
home. I find that incredibly fantastic to deal with such a | :30:20. | :30:25. | |
horrible subject matter. -- everybody sighs. It adds five points | :30:26. | :30:29. | |
of focus, then carry on with the Yanks to. It was strange seeing that | :30:30. | :30:35. | |
but I thought it was brilliant to have these spirituals, they seemed | :30:36. | :30:41. | |
out of context, but they worked. They had this allegorical power to | :30:42. | :30:46. | |
them. It's interesting Tippett went on to go to New York and studied | :30:47. | :30:51. | |
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, | :30:56. | :30:58. | |
that you wouldn't expect to work. If if you take the aria for Ain't | :30:59. | :31:11. | |
Got No Money for Bread. He was influenced by bread. You have to do | :31:12. | :31:17. | |
performance with everybody in the hall singing the spirituals. It | :31:18. | :31:22. | |
wasn't a them and then us as well. The chorus, it's a safety in numbers | :31:23. | :31:28. | |
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. |