Episode 4 BBC Proms

Proms Extra really is at the Royal Albert Hall.

Tonight, we're all about Tchaikovsky, Holst and Jamie Cullum,

plus we'll be getting you in the mood for the John Wilson

Think of us as the cheeky best man to the blushing

And last week, here inside the Hall, the audience gathered

And the Proms just keep on coming, and we're only half way

Now, l'm not the only one let loose inside the Hall tonight, l have some

First up, a lady who is no stranger to the joys of performing

with the John Wilson Orchestra, and indeed the West End stage.

She's a real Northern lass, originally from Salford but now

She gets her family to bring her pudding when they come to visit

as you can't get decent pudding, chips and gravy down South.

We could only stretch to chips but she said she'll stay.

And also joining us tonight is a renowned jazz musician

and celebrated broadcaster who knows Gershwin like the back of his hand,

and feet, having performed works like Rhapsody in Blue and other

He's also part of the Proms Extra family.

And you're going to be forming here in a couple of days. I must learn my

repertoire. It is the Shakespeare Prom. And a bit of Kiss me Kate and

some orchestral pieces. That is on Thursday, we will be tuning in. And

what have you been up to, Julian M quite a few things, a lot of

educational initiatives. I'm Ambassador for the BBC and just

training young jazz musicians in the ways of jazz, helping them forward.

I have a scheme called the trio university, more on that later! Well

we have got Gershwin and the John Willesden August, a great

combination. Looking forward to it? Very much, John Wilson is a man

passionate about music. -- the John Wilson Orchestra. Especially with

Hollywood, uncovering some of the scores from the MGM films. Someone

like him delving deeply into Gershwin, I think really means that

the music is going to be done justice. We will note that you like

it if you call him a jazz cat! Well, Proms Extra will be

here watching the build up to the Gershwin Gala courtesy

of the John Wilson Orchestra, who will be on stage in about half

an hour or so to perform some Now, whilst we're here,

Proms Extra has pleaded with an Albert Hall insider to guide

us into the inner sanctum, to see who's around and smell

the excitement building up. Quite frankly, there was only

one man for the job. That's broadcaster and head

of the John Wilson fanclub, Petroc, I see you got

the memo to dress up. If ever there was a night for formal

wear at the BBC Proms this is it. One of the most eagerly awaited

events in the Proms calendar. This famous stage empty and in darkness

at the moment but very soon some of the greatest orchestral players

drawn from across the UK will be here making music with a great trio

of soloists and fantastic wire as well. Performing music by George

Gershwin, lyrics by Ira Gershwin. And let's not forget that famous

Proms audience. You do not often see the arena empty, the doors will open

very soon and I think it will be packed pretty tightly there this

evening. This is the eighth appearance at the Proms by the John

Wilson Orchestra full. John Wilson himself is passionate, enthusiastic

and incredibly energetic. But I managed to get him to sit down for a

couple of minutes after rehearsal this afternoon and we began by

talking about authenticity. If the spirit of Ira and George Gershwin we

here tonight, he would want them to improve of what he has done. --

approved. It is important that we play all the right notes! And in the

right style, which is kind of elusive these days. Not many people

are playing this music Day in and day out and there was a certain way

to play it, the depth of the sound. We have got to work at that every

time to stop but every last semi-clear is authentic to the

original motion picture sound. What she knew earlier in rehearsal,

you're tough with the orchestra but you also have a great relationship

with them. They are players that you are personally selected. We have

been learning together for 20 years now. I learn from them. I try to

guide them to the vision I have of the music. It is very much a

collaboration. So many treats coming up this evening, do have a favourite

song? The man that got away, it is a song that I wrote and dashed that

Ira wrote, it is possibly the greatest popular song of that idiom

ever written. It is your eighth appearance of the Proms and I sensed

the energy and tension and excitement, it does not get any

less. You're pretty geed up when you go out there. Yes, it is the

highlight of the year and very exciting. I would be lying if I said

anything else. A bit nervous, but the right kind of nervous. No one is

complacent. We are on the edge first team spot in the good way. We

rehearse hard and we want to do the concert, we are all excited about

it. That was John Wilson spitting immediately after rehearsal this

morning. His orchestra on BBC Two at 7:30pm and bike every prom, on Radio

3 is well this evening. Presented by, forget about the Olympics, the

only super Saturday worth considering is here at the Royal

Albert Hall. I will go backstage to try to find some solace to talk to

later in the programme. Back to you now, Katie.

You have worked with John Wilson many times. I would like to show you

my all-time favourite clip of you singing with him. Go for it.

# Tap your troubles away. # Tap your troubles away.

Every time I watch that I just laugh. Will you aware of what was

going on? I thought perhaps I had my skirt tucked into my underwear, I

could hear 5000 people laughing. And it was Dave and Maude! It was quite

amusing. I'm reliably informed that they made the early train. As you

can hear from the tannoy, we are in the Albert Hall waiting for the John

Wilson orchestra to come on stage and start their prime. Tell us what

it is like backstage, getting ready for one of the Proms? We both know

the hall so well now, and the bullring that runs around, there is

a lot of frenetic activity, people warming up, the fantastic medical

singer is getting ready. The soloists applying a lot of make-up.

And the orchestra is so large, a lot of people are back there doing their

stuff. Tom Croxton who looks after the audience -- the orchestra, make

sure everyone has their music sorted out. Those musicians are tremendous

and hand-picked. Yes, they are a community. And John has chosen them

lovingly, really. If anyone could choose an orchestra that is made up

of their favourite players and the most excellent players, then John

Wilson is making that a reality. I know everyone, the queue was

extraordinary acts out and we have had a lot of people saying one night

is not enough, I look forward to this each year. It is going to be

great. The amount of music that George and Ira Gershwin Road, there

could be three Proms! Well the audience are going to come in any

minute. Whilst we wait, with intent to a of repertoire once described as

music that sticks out the year. This is a quad piece in the

repertoire. Absolutely, every musician is sensitive about what

they write. Try Scott the scenes was quite a gentle character. --

Tchaikovsky. Many people poking their noses and especially

violinists, trying to save his unplayable or it doesn't sound

great. When it finally got performed I think two years after he wrote it,

it was like, that is how it should sound. Of course the great

violinists through the ages have caught on and it has become a staple

in the canon of violin repertoire. Would you agree with those who say

it is quintessentially Russian peace? I would agree. It is buoyant,

it is lively and gritty. But so impressive to see any great

violinist play put up and Pekka Kuusisto just does it the most

immense justice, it is beautiful. He brings out some of the third

Guinness as well, many performers do not. Yes, he enjoys every moment of

it. -- some of the folky aspect. You feel that the piece is in safe hands

when he does it and it is. He connects in a way that you really

appreciate. Well we can see him in action now. With the BBC Scottish

Symphony Orchestra. Tchaikovsky's Violin Concerto

as performed by Pekka Kuusisto. MUSIC: Tchaikovsky's Violin Concerto

performaed by Pekka Kuusisto. Pekka Kuusisto making

his debut at the Proms, and l believe on that night,

Pekka cemented his place as one That performance, safe and in the

hands of a master, but also what a showman. Absolutely, he went further

to show his connection with the audience by singing song. We will

hear a bit of that, do not give it away! He played that piece just with

immense buoyancy and love. When you watch it you can see that he is

loving every moment. He's not concerned about himself, he is just

loving the music and it comes across. Even before the fun and

games started with the encore, he had the audience eating out of his

hand. When I watched it, there was virtuosity but also how playful he

was. I thought he was just 17! So enthusiastic. And the section, where

he plays a cappella without the orchestra is unbelievable. The

finger work just stunning and he teases people with some beautiful

high notes that he takes on. Really gorgeous to watch. And also the way

he connects with the audience. I watched it. The atmosphere was

phenomenal by all accounts. He was playing with us. He's a very

personable guy, very approachable. And I did not realise it was his

debut, that is incredible. He played also with the violin players. When a

soloist can connect with the rest of the guys in the gang, that was

really lovely. Well be alluded to the encore and it was great. This is

what happened when he got the whole hall singing along.

One more time, very clear articulation, please! Great, this is

the last verse! 6000 people singing in finish in

your encore, that's not bad going. You connect with the audience, we

saw you earlier in your clip, do you learn that orders it, naturally? I

think any stand in this place or any concert hall you play, you have to

do that. It's a great thing about being a live performer. You invite

people in. Playing to a live audience you have to give it to

them. You have to lean in and find eye contact with someone, whether

it's at the top of the gallery or the guys down at the front in the

mosh pit. Watching your work, you do that as well. It's intimate, and you

have to be comfortable with yourself in order to do that. That's the

thing that comes across. That inner confidence, that self-confidence. He

thought, I'm just going to have a giggle. He trusts in what he's

doing. And he trusts the audience to get it. And nobody can not be

charmed by that. He includes people. Did it take you a while to get

confident before you could enjoy feeding off the audience? It's a

funny thing, we talked about it earlier, when you are a musician, an

entertainer, it chooses you, it calls to you. For some of us, the

ability to connect with the audience, the more people you see

either on the stage or offstage, the more comfortable you feel. It's a

very strange thing, because even before you go on, you think it will

be the opposite. Then you get out and actually, the warmth you feel

with the audience and the members of the group on the stage, it's like

you are being embraced. It feeds you and the way you want to perform. It

really does. Do you think we should see more of that sort of engagement

in classical concerts? The great thing about classical concerts, it

applies to everyone, my little girls, they are four and nine,

hello, girls! The audience for Pekka's prom was all ages. Young

children and old people. And the Holst covered all ranges as well.

Live art is very inclusive. I've got my nephew coming tonight. I don't

think you also you have to do that. What's wonderful about the Proms is

that it invites it but doesn't have to have it. It can be completely

silent and you can concentrate on the music in the most pure way. It

doesn't have to pander to a certain kind of entertainment. But that

honesty he radiates is something people really appreciate. And it's

obviously him. Do go to the BBC iPlayer to see

Pekka's amazing performance. And from one heavenly body

to another - I'm talking about Gustav Holst's inimitable

work The Planets, This seven movement work has

influenced the likes of film composer John Williams,

plus tough metal giants Iron Maiden, who apparently used the Mars

movement to get the fans going before they came

on to perform. In this performance there

were no metalheads - just the rough, tough,

and fearless National Youth Orchestra of Great Britain

giving their all. MUSIC: The Planets -

Jupiter by Gustav Holst. What a sight to behold - 164 pumped

up teenagers on a Saturday night, giving it some in a hall

in South Kensington. It could only be the NYO

of Great Britain performing Gustav Holst's

The Planets at the Proms. But after. What a combination. And

Edward Gardner, the conductor connects with them in such a great

way. Every advantage they have in terms of their energy and accuracy,

even the swaying of the strings in particular, it just connects it. You

relish every single note. This piece really suits them. Anna-Jane was

there. My sister was there, and you talk about Iron Maiden, but my

sister wanted to walk down the aisle at her wedding to Mars. The youngest

player was 14. Millie Ashton, their leader, is just 18. And they all

played like soloists, 164 of them. They blended beautifully but all

wanted to be the star and that's so exciting. What about your trumpet

player? I think her name is Zoe Perkins, remarkable, just 17 or 18.

And the gender spread was great. You usually think is the double bass or

trumpet being men, but there were women in there as well. If you were

here you could hear the roar of the doors being opened and the Proms

audience flooding in. It's like the sound of the sea. Do you ever get

the impression you are watching a youth Orchestra or could you shut

your eyes and think you are listening to professionals? It

didn't feel like you are getting any less because of the youth. In fact,

you were probably getting more. And the music connected. It spoke

powerfully. I think as powerfully as any professionally considered

orchestra might deal with it. It was impressive, and it was a sight to

behold. That enthusiasm and energy youngsters bring to any performance,

you were a child star yourself. I danced around as a small one. It's

that thing as an adult, a 44-year-old woman, I think, how do

they have that strength? But between 14 and 18 you have that bravado and

it came across. Out of the seven pieces, the two I didn't know so

well, you're a nurse and Neptune, they were my favourite because they

were so beautiful. -- Uranus and Neptune. There was the new Pluto

movement, the Conor Matthews peace, not the first time it's been heard

here, but it's about 15 years old. Did it fit in? I thought it was

absolutely perfect. In the orchestration, the skill that

matched the stuff Holst's. The style. I thought it was absolutely

in keeping with the style. It was like a revelation. And it came

perfectly at the end. Because you've got to really bring it when you are

doing the last movement. You have to really bring it, and it was brought.

Colin was there as well, and he got a nice applause. He was sat behind

me, I whispered well done to him at the end.

You are very welcome to get starry-eyed by going to the BBC

website to see The Planets by Holst as performed by the NYO

And our cosmic journey continues, from the planetary landscape

to a space odyssey as explored in Chord of the Week

by our own out of this world superstar, David Owen Norris.

The crucial cord from Richard Strauss's tone poem Also sprach

Zarathustra. Strauss uses different keys to represent different ideas in

the Frederick Meacher poem he based his piece on. The poem deals with

the relationship between mankind and nature. Strauss makes B the key of

man kind, so this is humanity dancing in B Major. And just as we

are poised to get our breath back on the cord we call the dominant, in

comes the trumpet with this, not in B, but C, Strauss's key of nature.

And that's also the theme we here at the very opening of the peace. Our

Chord of the Week is really two chords at once. A cord from the

world of mankind struggling against a cord from the world of nature.

Having set up this opposition between mankind and nature, how does

Strauss resolve it at the end? The strings and flutes play Mankind's B

Major, but the bases keep plucking away at the theme of nature in C.

And its nature that has the last word.

Strauss' Also Sprach Zarathustra, and its chord, which the NYO

of Great Britain performed in full on the same night as The Planets.

Chord of the Week and David Owen Norris will be back next Saturday.

Proms Extra is here inside the Royal Albert Hall

and we have my guests - jazz musician and broadcaster,

Julian Joseph and West End star AJ Casey.

We're patiently waiting and bursting with excitement

for the John Wilson Orchestra Prom which is a Gershwin Gala.

Julian - what is it about George and Ira Gershwin that

Trap the amazing thing about George Gershwin, he seems to encapsulate

everything that America was about at that golden time from the 1920s

onwards. Jazz, Broadway, all these things that are burgeoning, new

inventions. New creations that have come out of this new world. That was

called America. And he just captured the whole essence of it. He was

open, creative, fertile, energetic. The melodies are just to die for.

And they are timeless, like you say. Still today they have so much

relevance and power. It's really not surprised to hear a Brahmer

featuring the music of Gershwin or that John Wilson, the great

articulate of music from this period, would choose this as

something he would really celebrate. AJ, George's wonderful music and Ira

Gershwin's wonderful lyrics. What are they like to sing? Incredible,

the melody goes where you wanted to go as a singer. Sometimes you get an

interesting song that goes to replace you don't feel you want to

go with your voice Gershwin does. Someone to watch over me, you can't

believe that song is nearly 100 years old, written in 1926. Stunning

tunes. Another thing about Gershwin, I always find, and you probably find

this, there is always a counter melody. Yes. There is always a

counter melody in the way the music is written. If you take something

like Summertime. The moving of the strings under it. All these moving

parts. It's a signature thing in all his songs.

Well stay tuned, the Gershwin Prom is not far away.

Now last Thursday saw a musical giant who can veer from pop,

to rock to jazz, taking over the Albert Hall.

I'm talking about Jamie Cullum, who had a sensational Prom back

in 2010, and was back to show the crowd just what

# I've been praying from the start # I'm kicking up a storm

# In the Valley I was born # I can hear the

# I'm on the edge of something. # So I just keep calling, every

time. # I'm on the edge of something.

# So I just keep evolving, every time. Three standing ovations for

Jamie Cullum at his prom. What is it about Jamie, it just appeals to such

a wide audience. Once again he has that open face the same as Pekka

Kuusisto, a very easy nature to jump into. The plant was incredible, who

could go from that straight on till Cole Porter song. No one else would

do that, it was beautiful. And acquire and the Heritage Orchestra

were amazing and the guests that he had on. John Wilson player, John

Stokes, also played with Jamie. So beautiful performance. He is often

referred to as a crossover jazz artist but jazz is always about

collaborating with other musicians. Certainly, as a jazz musician,

because of the way that we are required to learn our craft, you can

very easily or more easily than in some situations, adopt other kinds

of music and spirals and really get to the nub of things because you

used your ears and you try to be as honest as possible. But Jamie is

also generous, he's a generous person, and a generous musician. He

had a wonderful vocalist guesting with him and he is prepared to share

the stage with whoever he loves. The Heritage Orchestra, it is a

collaborative effort. He is the architect of that wonderful show,

but he collaborates. Jules Buckley and all the various elements. It is

wonderful to see that connection and I really admire that. With any

artist you want to connect all the different facets of your life and

your art and put it together in your music. We often listen to his radio

show and he always brings in new artist. Beverley Knight, he has done

a pop single but he covers everything.

You can see the broadcast of the Jamie Cullum Prom

Now, earlier Proms presenter Petroc Trelawney was onstage in

Hello. The front of house looks so glamorous this evening with all the

lights and the dry ice. It is little scruffy backstage but just think of

the history of the score draw, the thousands of Proms artists, tens of

thousands, who have walked down here over the great history of this

festival. Three of those artists tonight with me now. Louise Dearman,

Julian Ovenden and Matthew Ford. Louise, you onstage in a short time.

I am nervous but more excited than nervous, it is an incredible venue,

my all-time favourite in the world of performance and my third year

running doing the Proms. Other concerts feature Gershwin, other

orchestras, other halls, what is so special about this John Wilson

Orchestra? There's no other orchestras in the world is good and

as dedicated as this. And have the music to play at, of one thing. John

has dedicated decades to recreating this music. And the orchestra,

they're the experts and it. They're like the SAS for this kind of music!

John is a bit like the general commanding the SES. Watching him

today at rehearsal, he's pretty tough. He is fierce, he's

marvellous, incredible. It is is his enthusiasm, players love playing

with him. Many people will know you as an actor in the West End, Julian,

but you began as a singer at the age of eight or nine. Age seven as a

chorister. At St Paul's Cathedral. And that gives you a good grounding.

You would think! I'm still nervous as hell. There is a reason why the

call at the Bull run, I always feel I'm about to go in and face a large

animal in the hall! Andrew Edis, what is it about George and Ira

Gershwin, I think it's important we remember it is both brothers. It is

phenomenal music and the programme put together by John Wilson is

stunning. The variety in the music George Gershwin is sensational. And

thrilling to listen to and thrilling to sing. I'm getting to sing some of

my all-time favourite songs. And those lyrics. There are some very

wordy tunes that you will hear later on but each of the songs is a story.

And that is why they stand the test of time, they are a story that

touches peoples hearts when they hear them. And we have plenty of

stories to tell tonight. You have and the -- particularly tough first

number. Thanks for pointing out! Tell us about the challenge that

lies ahead. It is written for an extraordinary French singer. He was

one of those incredible French tenors, extra ordinary voices, and

this song, I never heard it sung in this key before. I paid John to try

to take the key down but sadly lost! It was not authentic enough. So

tonight I will be wearing especially tight trousers! Louise, you were

here last year, just make a quick comparison with Brent style and

Gershwin? That is really hard. They're both men of theatre.

Absolutely, for me especially, by doing these Proms, these concerts

with the John Wilson Orchestra, I'm getting to explore these composers

and I have learned songs that I have to admit I have never heard before,

never performed before. It is a whole new ball game for me as well.

I know you're going to have a fantastic evening tonight. Thank you

for being with us and it will be a thrilling night here at the Royal

Albert Hall. The Hall is filling up now

for the experience that And as a little treat,

Proms Extra thought we'd remind you, and ourselves, what it is that makes

the John Wilson Orchestra # It to darned hot.

# Lets fly away! I hope that snapshot

of John Wilson and his Orchestra has got you in the mood

for what is coming at 7:30. My guests are still with me,

Anna-Jane Casey and Julian Joseph. It is a celebration of the legacy of

Gershwin, which is huge. It is huge. All the different dimensions in

which George in particular operated, he wrote Broadway shows, he wrote

piano and orchestral pieces, ballets, he wrote the iconic pieces

and to coin a phrase from Duke Ellington, he an artist and I would

apply the same terms as Duke Ellington, beyond category. And the

John Wilson Orchestra also beyond category, I would say. And you said

earlier, there is enough repertoire for plenty more Gershwin Prom. They

could do three years worth, they really cool. I'm interested to see

what songs they will have, perhaps some gems that we do not know. We

would like to see something that were not so familiar with.

And that's almost it for this evening.

Proms Extra will be back next week, where we'll be looking

at Rachmaninov's Piano Concerto, the "Proms At" concerts,

and there'll be a post-match analysis of tonight's Gershwin Gala.

Don't forget the BBC iPlayer - it's not just there to look pretty.

There are lots of Proms still online for you to catch up with.

And so there's just time for me to say thank you to my guests,

AJ Casey - good luck for next Thursday in the Shakespeare -

The Proms Extra crew are off to go and watch the concert

from their camper van, whilst I'm staying to lead

you into the Gershwin Prom, starting in a couple of minutes

Don't go too far because, in the words of Ira Gershwin -