Episode 7 BBC Proms


Episode 7

Similar Content

Browse content similar to Episode 7. Check below for episodes and series from the same categories and more!

Transcript


LineFromTo

We take a look at two great pianists.

:00:00.:00:07.

And we have a solo performance by a top Northern lass.

:00:08.:00:10.

If the Proms is Mary Berry, then we're Paul Hollywood.

:00:11.:00:42.

And just like Bake Off, the Royal Albert Hall

:00:43.:00:45.

Next Saturday it will all be over for this year's Proms.

:00:46.:01:39.

We're just about holding it together for our last show.

:01:40.:01:42.

Let's see who's joining me inside the Royal College of Music -

:01:43.:01:48.

and I must warn you, be prepared for a six degrees

:01:49.:01:51.

Our first guest is a leading soprano of the

:01:52.:01:55.

Next week she is off to Belfast to sing for the Last Night of

:01:56.:02:00.

When it comes to performing with the top opera houses,

:02:01.:02:05.

she's been there, done that, and most

:02:06.:02:07.

recently received glowing reviews for her role

:02:08.:02:10.

as a lavatory lady in

:02:11.:02:12.

Less lady of the lamp and more like Lady of

:02:13.:02:16.

Please welcome Lesley Garrett, who will also be performing

:02:17.:02:19.

Now our next guest is an award-winning

:02:20.:02:22.

He's had a busy old time of it this year, what with the London premiere

:02:23.:02:29.

of his piece Israfel at the Proms, and earlier in the year saw

:02:30.:02:32.

the premiere of his opera Pleasure, which starred a certain

:02:33.:02:34.

Our final guest paid a visit to Proms Extra three years ago.

:02:35.:02:39.

This week she made her Proms debut conducting

:02:40.:02:41.

the BBC Symphony Orchestra - about time.

:02:42.:02:43.

As you've just heard, Lesley Garrett starred

:02:44.:02:45.

in the opera called Pleasure, written by our guest Mark Simpson,

:02:46.:02:48.

and the concluding link in our six degrees of separation

:02:49.:02:50.

is that our final guest has been to see it.

:02:51.:02:53.

Please welcome the world-renowned conductor, Simone Young.

:02:54.:02:58.

welcome all of you. Lesley, Last Night Of The Proms and Belfast, that

:02:59.:03:10.

will fun. You are not kidding. The Northern Irish really know how to

:03:11.:03:13.

party and I am so looking forward to it. I have taken a couple of days

:03:14.:03:18.

off after because I might need time to recover. This year it was all

:03:19.:03:23.

about you as the composer, how was it? It was a thrilling experience

:03:24.:03:29.

because I could not attend the rehearsals because I was in

:03:30.:03:33.

rehearsals for another project so I had to come down and back again in

:03:34.:03:38.

the same evening and it was a surreal experience is going to see a

:03:39.:03:41.

piece you have written and not have gone to any of the rehearsals. It

:03:42.:03:49.

was quite surreal. You were a member of the public? Yes, like a member of

:03:50.:03:58.

the public and you came up with no nerves and it was quite a relaxing

:03:59.:04:03.

experience. You heard my tone earlier, I cannot believe it was

:04:04.:04:08.

your debut. How was it? The promise is a very special atmosphere and you

:04:09.:04:13.

have the public very close which is surprising at first. But the BBC

:04:14.:04:17.

Symphony Orchestra is a great orchestra and we had a wild

:04:18.:04:22.

programme of music, very well-known, completely unknown and brand-new,

:04:23.:04:27.

and it was very satisfying. I will be taking a couple of days off now

:04:28.:04:35.

to recover before the next project. We are expecting you to be a little

:04:36.:04:37.

opinionated, so do not hold back. Now let's turn to a conductor

:04:38.:04:39.

whom you cannot ignore - Daniel Barenboim -

:04:40.:04:43.

and the work that he has done with An ensemble that is deliberately

:04:44.:04:45.

comprised of Arab and Israeli members, which Daniel

:04:46.:04:49.

co-founded with his friend, the Palestinian writer

:04:50.:04:50.

and critic, Edward Said. But for once he wasn't

:04:51.:04:52.

the only star of the show. That honour went to Barenboim's

:04:53.:04:55.

childhood friend, the legendary Martha Argerich, who gave

:04:56.:04:57.

the audience this performance Shown last Sunday on BBC Four,

:04:58.:04:59.

that was pianist Martha Argerich, performing Liszt's First Piano

:05:00.:05:52.

Concerto accompanied by the West-Eastern Divan Orchestra,

:05:53.:05:53.

conducted by Daniel Barenboim. Martha is legendary, she is

:05:54.:06:08.

considered one of the finest pianists in the world. Do you feel

:06:09.:06:14.

her performance stood up to that? Completely extraordinary, as she

:06:15.:06:18.

always is every time she performs. The real chemistry between these two

:06:19.:06:24.

fantastic musicians, I think you feel it. Particularly in a work like

:06:25.:06:30.

this which is a work that Daniel Barenboim performs many times

:06:31.:06:33.

himself at the keyboard. There is a level of music-making going on that

:06:34.:06:38.

is above and beyond what most of us experience. Am I right in thinking

:06:39.:06:42.

you have conducted him playing that these? I have indeed. It was one of

:06:43.:06:49.

those round birthdays one wants to forget. But I was his assistant in

:06:50.:06:56.

the 90s and for this particular birthday Daniel came and played both

:06:57.:07:01.

piano concertos with me and Mike Orchestra in Hamburg and we did a

:07:02.:07:11.

whole programme. There is a reason why one says he is legendary and it

:07:12.:07:18.

is because he is one of the musical greats of this time. You mentioned

:07:19.:07:23.

Edward Said. That is Daniel Barenboim, he is a philosopher,

:07:24.:07:28.

thinker, musician, poet, politician, he is the consumer items. When you

:07:29.:07:35.

perform as a conductor with him as a soloist, does he say anything about

:07:36.:07:40.

how he wants it to be conducted? It must be hard for him having had both

:07:41.:07:45.

hats on. It does not matter whether it was 25 years ago it is not quite

:07:46.:07:51.

student - teacher, it is apprentice - mental relationship moved onto the

:07:52.:07:58.

next level. How did handle that? I was very nervous and he was mentally

:07:59.:08:02.

gracious and we had one of those glorious experiences that you keep

:08:03.:08:08.

for a lifetime. The beautiful thing about making music with great human

:08:09.:08:14.

beings is that it is about what they think. They stand above the

:08:15.:08:18.

technical requirements, that is a given. Then it is about what you

:08:19.:08:23.

want to say with the phrase, the work, and it is inspiring. And with

:08:24.:08:30.

somebody like him particularly with a fantastic imagination, no

:08:31.:08:35.

performance will ever be the same. He will bounce of you and you will

:08:36.:08:39.

bounce off him and it will be a new magic. It is that communication that

:08:40.:08:45.

create something very special. It is not just about the intellect, it is

:08:46.:08:49.

about the humanity and the warmth of the soul. One of the things that

:08:50.:08:55.

struck me about Martha's performance was how quiet the others were and

:08:56.:09:02.

listening to her talk about vulnerability beforehand as she says

:09:03.:09:07.

she likes to hear the music and the wrong notes and the sense that we

:09:08.:09:15.

can push that boundary to a limit. It is the vulnerability that makes

:09:16.:09:19.

the audience care about you. If you are a perfect all the time it gets

:09:20.:09:23.

pretty dull all the time. It is that vulnerability that makes an audience

:09:24.:09:29.

member want to care for you, it makes the performance come alive. It

:09:30.:09:33.

is why live performance is so special. You have to marvel at her

:09:34.:09:39.

strength, those opening chords. She has just celebrated her 75th

:09:40.:09:43.

birthday, but we will not talk about it, it does not matter. She seems to

:09:44.:09:49.

me to be at the height of her powers. Her spiritual powers, her

:09:50.:09:53.

powers of interpretation and appreciation of the music, which I

:09:54.:09:59.

like that with Daniel's, take it to this extra level. At the end of the

:10:00.:10:07.

performance came an encore which saw Daniel joined his childhood friend

:10:08.:10:10.

Martha at the piano and we can see those two old friends in action.

:10:11.:10:41.

The encore to end all encores, Martha Argerich and her childhood

:10:42.:10:43.

friend Daniel Barenboim on the piano together in harmony.

:10:44.:10:48.

Apparently they used to living together in Argentina in Buena

:10:49.:10:54.

Syriza when they are children. How does a perfect and enhance your

:10:55.:10:59.

performance when you are proper friends? I have got no friends.

:11:00.:11:09.

Billy no mates. You can slip into a little language of your own, things

:11:10.:11:14.

that only you understand, but you still have to keep the discipline if

:11:15.:11:18.

you are up on stage. People expect a performance. But in an encore

:11:19.:11:29.

situation, people do not mind. I know as a conductor we are lucky, we

:11:30.:11:34.

get to perform with our backs to the audience and you do not see all the

:11:35.:11:38.

stupid things we do with our faces a lot of times. I know when I am

:11:39.:11:43.

conducting singers who happened to be really good friends and you know

:11:44.:11:47.

what is going on in their lives and what they are going through and you

:11:48.:11:51.

know what it costs them to come out on stage and give that performance.

:11:52.:11:57.

I would do anything for them. I would just about lay down my life

:11:58.:12:00.

for them in that moment because you know what that means. Will you do

:12:01.:12:10.

that at my concept? But 5% of my brain has to say, and dammit, get it

:12:11.:12:17.

right. That was a great encore. How do you choose a an encore? I do not

:12:18.:12:28.

do many to be next. -- to be honest. We had a great experience recently,

:12:29.:12:35.

I did a concert and we had five curtain calls and we did not prepare

:12:36.:12:41.

an encore, we just had to place happening. They did not stop

:12:42.:12:46.

clapping, they wanted more. We played the movement again. You did

:12:47.:12:53.

not prepare an encore? You do have friends. It was a repeat of the

:12:54.:13:02.

things we just played. I am getting an impression you have at least one

:13:03.:13:06.

Go on to the BBC iPlayer and you can see Martha's performance,

:13:07.:13:10.

the encore and indeed the full concert with the West-Eastern Divan

:13:11.:13:12.

Now the end is near, it's time to face the final curtain

:13:13.:13:17.

as David Owen Norris gives the last Chord of the Week and

:13:18.:13:20.

This chord comes from another moment in the Barenboim concert.

:13:21.:13:27.

The illegal cord that Wagner makes when he plays three of his master

:13:28.:13:35.

singer's tunes together. This is at the top. In the middle there is a

:13:36.:13:45.

little fanfare. In the base is the dignified theme of the master

:13:46.:13:51.

singers themselves. All very see major so Wagner can put them

:13:52.:13:53.

together as counterpoint. But let's just run that passed the

:13:54.:14:12.

master of counterpoint, Johann Sebastian Bach. He would have viewed

:14:13.:14:19.

our cord of the week with great suspicion. Mr Wagner, you have

:14:20.:14:27.

broken the rules. This cord is both unprepared and exposed. We will

:14:28.:14:40.

alter the base. Oh dear, Mr Wagner, you have done it again. We will

:14:41.:14:49.

alter the melody. Oh, the tenor has already learnt it. No point doing

:14:50.:14:58.

that again. We will reinterpret the dissidents by introducing a counter

:14:59.:15:08.

melody. I think we might rescue this after all.

:15:09.:15:21.

But that was all a century before and luckily Wagner could do exactly

:15:22.:15:26.

as he liked. That was the last time we'll see

:15:27.:15:29.

David Owen Norris and his Chord Still to come on Proms Extra,

:15:30.:15:33.

we'll be taking a look at the City of Birmingham Symphony Orchestra's

:15:34.:15:37.

debut with their new Music Director, and we have a performance

:15:38.:15:40.

by our guest Lesley Garrett, who is still with me,

:15:41.:15:42.

together with composer and clarinettist Mark Simpson,

:15:43.:15:44.

and the conductor Simone Young. As you know Proms Extra likes to get

:15:45.:15:46.

close to the stars, if they let us, and we were beyond excited

:15:47.:15:50.

when the celebrated pianist Stephen Hough and Proms Extra family

:15:51.:15:52.

member opened up the doors to his world, so we could see

:15:53.:15:55.

what it takes for him So at the moment here we are in my

:15:56.:16:09.

studio. This is where the real work is done. In preparing for the Proms,

:16:10.:16:14.

I'm playing the Rhapsody on the theme of Paganini. When I sit down

:16:15.:16:18.

on the piano I usually begin by playing some chords are just to make

:16:19.:16:22.

friends again with my instrument. If you've been laying in bed for seven

:16:23.:16:26.

hours of sleep, nothing is going on here, you can't just sit down at the

:16:27.:16:31.

piano and suddenly start playing, so I rediscovered exercises when I read

:16:32.:16:35.

about Rachmaninov himself, who apparently used to spend an hour a

:16:36.:16:39.

day doing physical exercises at the piano and I thought it was rather a

:16:40.:16:43.

lot, actually. I don't think there are any pianists who would admit to

:16:44.:16:47.

doing so much, but I like to do some. This is the flexibility and

:16:48.:16:52.

agility exercise, not just how the fingers go down onto the keys, it's

:16:53.:16:56.

also the flexibility from side to side, so you are opening up the

:16:57.:17:00.

joints and tendons of the hand. Music has nothing to do with it at

:17:01.:17:04.

all, it's purely mechanical. It's just like someone about to do a

:17:05.:17:08.

sprint stretching their legs before they do it, it's physical, it's the

:17:09.:17:12.

Olympics. When we play the piano we are using muscles and tendons and

:17:13.:17:16.

joints and using our whole body when we played the piano. It's not just

:17:17.:17:21.

fingers, even wrists, even elbows, even shoulders, it's the whole back

:17:22.:17:25.

which allows you to create any kind of sound which will be heard at the

:17:26.:17:31.

back of the Albert Hall. So now I'm at Maida Vale, the orchestra is

:17:32.:17:34.

rehearsing in studio one. Once you are with the orchestra has to be a

:17:35.:17:43.

meeting of minds. There's a little, not level of anxiety, but A level of

:17:44.:17:47.

excitement. Now we're on the threshold. At home when you are

:17:48.:17:54.

practising, there is any number of thousands of possibilities. Once you

:17:55.:17:58.

are actually in a rehearsal with the clock ticking away and not much

:17:59.:18:01.

time, you have to decide on one of those possibilities and join it with

:18:02.:18:05.

the orchestra. Maybe the oboist takes a little bit more time on one

:18:06.:18:11.

solo, so I have to go with that, and maybe I want to take more time and

:18:12.:18:14.

the conductor is listening and adjusting. We are laying out the

:18:15.:18:18.

path, it's routine this afternoon. We want to save something of the

:18:19.:18:22.

excitement for tomorrow so we can turn it on and it will be the

:18:23.:18:29.

performance. You can't get out of bed and rushed down to the Albert

:18:30.:18:32.

Hall and be able to play. I need to get a couple of hours before, get

:18:33.:18:36.

the adrenaline flowing, but that whole day I want to feel at ease

:18:37.:18:41.

with myself. I like to eat sushi is my favourite lunchtime food on the

:18:42.:18:45.

concert day. It's nutritious, but not too heavy. So it's an hour to go

:18:46.:18:53.

before the concert. I'm here at the dressing room in the Royal Albert

:18:54.:18:56.

Hall, underneath the stage. I want to warm up. I'm not going to

:18:57.:19:00.

practice the piece itself very much. You can over practice, you really

:19:01.:19:05.

can. Sometimes I feel particularly nervous. There are times when you

:19:06.:19:09.

just don't want to go out and play, so that has to be overcome. I'm

:19:10.:19:17.

chewing some gum, it helps my concentration, takes away nerves and

:19:18.:19:22.

so now I just need to get changed into my concert clothes, my concert

:19:23.:19:27.

shoes. They're very night -- light pumps. I can pedal very likely and

:19:28.:19:31.

they are fun looking as well. Then really its just watching the clock

:19:32.:19:35.

until the moment they tell me I am due on stage. So when I'm standing

:19:36.:19:41.

in the wings I just tried to avoid superstitions because when they

:19:42.:19:43.

don't work then your mind starts playing other games with you. You

:19:44.:19:49.

can have that kind of frieze of the brain, just physically do start to

:19:50.:19:54.

think, oh gosh, where's middle C, oh yes, it's there, this is the joy of

:19:55.:19:58.

light music. We are all prepared and we know what Rachmaninov wants and

:19:59.:20:01.

what we want, but on the night it has to have a certain sense of

:20:02.:20:06.

spontaneity as well. It should be good. I don't really know how I'm

:20:07.:20:09.

going to play this piece tonight, completely.

:20:10.:20:12.

APPLAUSE The renowned pianist Stephen Hough,

:20:13.:20:17.

and an insight into how he prepped Simone, how did you get ready for

:20:18.:20:30.

your Proms debut? It was a little strange because of the intensity of

:20:31.:20:33.

what is going on in the Albert Hall. The dress rehearsal was in the

:20:34.:20:36.

afternoon immediately before the concert, and I'm used to the German

:20:37.:20:39.

system where the dress rehearsal is in the morning, go and have lunch,

:20:40.:20:44.

get your head on, have laid out, get ready for the evening. I had to

:20:45.:20:48.

rethink my day, which meant I was ravenous for the concert because I

:20:49.:20:51.

never had time to find the meal. But it's about the mental preparation.

:20:52.:20:57.

How about your preparation for your Belfast Proms in the Park and Last

:20:58.:21:02.

Night of the Proms, do you have a ritual? I think we probably do, I

:21:03.:21:07.

have a tea, I wouldn't say at the ritual, that's too much. The thing I

:21:08.:21:10.

am doing all the time is going over the words. The words that -- are the

:21:11.:21:16.

thing that for a sting is the most terrifying. Have you had a moment

:21:17.:21:19.

where you have had to be creative with the words? More than once!

:21:20.:21:27.

Absolutely, the things I have made rhyme! Ira Gershwin would be proud!

:21:28.:21:34.

Yes. Any rituals to you, Mark? It depends on what peace or what

:21:35.:21:37.

occasion. Last year when I did Nielsen at the Proms it was an

:21:38.:21:41.

incredibly daunting experience for me, it is relentless and nonstop.

:21:42.:21:46.

There's nothing like it. For that kind of Marathon, I mean I just

:21:47.:21:50.

spent the three hours running around the back of the Albert Hall like a

:21:51.:21:53.

headless chicken will stop LAUGHTER

:21:54.:22:00.

It was pretty scary. Last year the city.

:22:01.:22:02.

Last year the City of Birmingham Symphony Orchestra's

:22:03.:22:04.

concert with their outgoing conductor Andris Nelsons

:22:05.:22:06.

was one of the Proms highlights of the season,

:22:07.:22:08.

especially as it was his last concert with the orchestra before

:22:09.:22:10.

A lot of talk ensued as to who could or would and indeed

:22:11.:22:15.

A few names were whispered, and after an extensive search

:22:16.:22:26.

it was announced that the Lithuanian conductor, Mirga Grazinyte-Tyla

:22:27.:22:28.

That was Mirga Grazinyte-Tyla making her Proms debut conducting

:22:29.:23:13.

the CBSO in the overture from Mozart's The Magic Flute.

:23:14.:23:22.

Simone, gives the lowdown. Mirga has made everybody very excited. What is

:23:23.:23:29.

it about her that makes her want to watch? She has everything. This is a

:23:30.:23:35.

young conductor of incredible intellectual strength. She has got a

:23:36.:23:41.

seriously impressive CV. This is very, very serious and impressive

:23:42.:23:46.

musician. For me, the answer to everything is that the orchestra,

:23:47.:23:51.

the musicians, wanted her. And I think that's just brilliant. I think

:23:52.:23:54.

she follows in a very clear line, from the previous appointments at

:23:55.:23:59.

CBSO. They have a real tradition of taking as many people would say, a

:24:00.:24:05.

gamble, on somebody young. Simon Rattle. Simon, relatively

:24:06.:24:16.

inexperienced, you might say that the previous conductor was young

:24:17.:24:20.

when he got the job as well. What -- it's what make Birmingham a special

:24:21.:24:24.

orchestra. It's a fantastic appointment. I'm terribly excited

:24:25.:24:28.

that she is hitting the mainstream, because she's a world star in the

:24:29.:24:33.

making. Apparently trained as a choral conductor, I don't know if

:24:34.:24:37.

you can see that singing background? You can completely see that, she has

:24:38.:24:41.

the music in her face. That immediately impresses me, that you

:24:42.:24:45.

look at her and you see the music, you see the excitement and the

:24:46.:24:49.

passion and the way she wants you to make music. For me, when people,

:24:50.:24:53.

when kids ask me, what is the conductor for? I'll leave now... ! ,

:24:54.:25:03.

Doctor is absolutely full clarity of movement and understanding -- the

:25:04.:25:07.

conductor. It's where the music must happen and she has that. Much more

:25:08.:25:12.

importantly conductor has to show you the music, gives you the music,

:25:13.:25:16.

show you where the music is going to go, and make sure everybody involved

:25:17.:25:20.

is going on the same path. You can just see that in her face. She has

:25:21.:25:25.

obviously been choral conductor. She is conducting to the back all the

:25:26.:25:30.

time. She's inspiring the chorus behind the orchestra all the time.

:25:31.:25:35.

For me, that's just wonderful, I love to theatre. As well as.

:25:36.:25:39.

As well as core repertoire the audience had the London premiere

:25:40.:25:42.

of Hans Abrahamsen's Let Me Tell You which featured the soprano,

:25:43.:25:44.

MUSIC: Let Me Tell You by Hans Abrahamsen.

:25:45.:26:47.

Barbara Hannigan performing with the CBSO, performing an excerpt

:26:48.:26:49.

from Hans Abrahamsen's Let Me Tell You.

:26:50.:26:55.

Mark, this has won many awards, it's a wonderful new work written in 2013

:26:56.:27:03.

and I know you are big work. Tell me about it. Hans Abrahamsen is one of

:27:04.:27:07.

the most innovative composers working today. He has this brilliant

:27:08.:27:12.

kind of clarity in his harmony, in his orchestration, and this work,

:27:13.:27:16.

which was written for Barbara Hannigan and the Berlin Philharmonic

:27:17.:27:22.

in 2013 takes the novella of Paul Griffiths with the same title, let

:27:23.:27:27.

me tell you, which in itself is a novella builds on all of the words

:27:28.:27:33.

from Ophelia's speech in Hamlet, and reimagined, and so Barbara, she

:27:34.:27:40.

approached hands and asked him to do something with face and in that he

:27:41.:27:42.

extrapolates another kind of understanding of Ofili. The piece

:27:43.:27:50.

has this -- understanding of Ofili. The piece has this intoxicating and

:27:51.:27:55.

inward looking expressivity, to me. There's a calmness and beauty and I

:27:56.:27:59.

think Barbara, it was written specifically for her, she has a

:28:00.:28:03.

beautiful voice, especially these gorgeous crystalline top notes which

:28:04.:28:07.

come out of the textures from nowhere. You know, as a kind of

:28:08.:28:14.

orchestral statement, an artistic statement, it's not overbearing,

:28:15.:28:20.

it's not kind of shouting at you to say anything other than just come

:28:21.:28:25.

into this world and listen to what I have to say, and that's one of the

:28:26.:28:28.

reasons why I like this particular piece and also Hans Abrahamsen's

:28:29.:28:34.

music in general. It's a sound world that appeals to you, Lesley? Very

:28:35.:28:38.

much so. I'm particularly impressed by the way Hans has taken Ophelia's

:28:39.:28:46.

nature and imbued it into the music. Ofili, as we know, is a fragile

:28:47.:28:51.

creature, she sees the world in an otherworldly way perhaps, and you

:28:52.:28:55.

absolutely get that in the sound world. It's beautifully sonorous and

:28:56.:29:00.

filigree, you can hear so many interesting details and textures and

:29:01.:29:05.

I think Barbara thinks it beautifully. She would, because he

:29:06.:29:11.

wrote it for her. I've had the great pleasure of having a piece, a role

:29:12.:29:14.

written for me, by this fabulous composer sitting here on my left,

:29:15.:29:19.

even though it was nothing as wonderful as Ophelia! You know!

:29:20.:29:28.

There is a very special magic that happens when a composer writes a

:29:29.:29:31.

piece specifically for you. My only worry about this piece is that it's

:29:32.:29:37.

very difficult to hear the words on the first hearing. I know they were

:29:38.:29:40.

printed in the programme and I'm glad of that and I think on

:29:41.:29:44.

television it's easier to hear them because you get up close and

:29:45.:29:47.

personal to the face, but I wonder whether the people in the hall could

:29:48.:29:50.

actually hear the words and I would have liked to have seen circle --

:29:51.:29:56.

surtitles so the poetry could have been understood and appreciated but

:29:57.:30:03.

it's difficult this, because words, nothing is repeated, traditionally

:30:04.:30:06.

an opera for instance that is why things are repeated so eventually

:30:07.:30:09.

you get the words, and that would be completely inappropriate in this

:30:10.:30:14.

kind of music. And there are these beautiful filigree high notes which

:30:15.:30:18.

I'd agree are exquisite. You can't put a word on a note like that, so

:30:19.:30:22.

again it makes a problem but with modern technology we can get round

:30:23.:30:28.

that and I really love it, I'd love to have a go at it myself. I think

:30:29.:30:30.

it's gorgeous. You can see Barbara Hannigan's

:30:31.:30:32.

performance as conducted by Mirga Grazinyte-Tyla

:30:33.:30:34.

with the CBSO tomorrow Proms Extra is almost at an end,

:30:35.:30:36.

but it would be rude of us to leave without taking a reflective look

:30:37.:30:41.

at the music, the guests and the drama that make up this

:30:42.:30:44.

unique Proms season. What a great site, 164 are pumped up

:30:45.:31:07.

teenagers on a Saturday night giving it something in a hall in South

:31:08.:31:18.

Kensington. He is a genius. You are showing young people how cool and

:31:19.:31:23.

orchestra can be. It is wonderful to have music in surprising situations.

:31:24.:31:29.

One of the players said it is hard to play this when you are constantly

:31:30.:31:33.

being reminded there is a 70% discount. You are engaging in lots

:31:34.:31:40.

of different ways with music. Let's look at the David Bowie Proms and I

:31:41.:31:47.

saw this huge list of messages. I love a bit of controversy rather

:31:48.:31:53.

than everything went swimmingly. But it was great. What is going on with

:31:54.:32:02.

these cores? Is it your kind of music? Everything we drank beer too.

:32:03.:32:09.

People do not like tunes like that any more. It was brilliant to have

:32:10.:32:16.

these Scriptures, it seemed out of context, but they work. It is the

:32:17.:32:21.

safety in numbers thing, we will prevail and get through the dark

:32:22.:32:26.

side and come through. Incredibly powerful, still pertinent and still

:32:27.:32:34.

very poignant. I have never seen an official looking so happy. It is the

:32:35.:32:40.

colour of the strings and the way you slide around in the woodwind.

:32:41.:32:45.

You have a particularly tough first number. Thank you for pointing that

:32:46.:32:54.

out. Gershwin is one of the great 20th-century composers. It is the

:32:55.:32:59.

wit of gin and vodka. A lot of musicians say it is only a viola. We

:33:00.:33:09.

are going to start the viola jokes. He enjoys every moment he connects

:33:10.:33:13.

to the audience in a way that you just lap up. I thought you were

:33:14.:33:20.

going to do the moonwalk. Later. Stay tuned for that. It starts loud,

:33:21.:33:31.

stays loud and gets louder. Mine is very much a party animal cellist

:33:32.:33:38.

rather than a serious one. You can see what the Orange does to the

:33:39.:33:43.

strings. The doors are going to be open very soon and it will be packed

:33:44.:33:49.

pretty tightly. I touched the holy grail of the Proms, the rail.

:33:50.:34:06.

Seven weeks of the Proms Extra done and come this

:34:07.:34:12.

Saturday, all roads will lead to the annual pomp

:34:13.:34:14.

In Leslie will be performing for us. If you missed Simon Rattle asthma,

:34:15.:34:28.

fear not, he is a little something for you to enjoy. -- if you missed

:34:29.:34:34.

Simon Rattle last night. MUSIC: Symphony No 7 in E

:34:35.:35:10.

minor by Gustav Mahler. That was Sir Simon Rattle

:35:11.:35:27.

with the Berlin Philharmonic, Now there's just time for me to tell

:35:28.:35:29.

you that the Last Night of the Proms will be broadcast live first

:35:30.:35:36.

on BBC Two, and the second half will follow on BBC One,

:35:37.:35:38.

with yours truly at the helm. For the final time I can tell

:35:39.:35:41.

you that many of the Proms broadcasts, including Proms Extra,

:35:42.:35:44.

are online - but not indefinitely. And remember that during this

:35:45.:35:47.

last week as always, all of the Proms are broadcast live

:35:48.:35:49.

on BBC Radio Three every night. It only remains for me to say thank

:35:50.:35:52.

you to Mark Simpson and Simone Young for joining me this evening,

:35:53.:36:00.

and thank you to Lesley Garrett, who will be performing

:36:01.:36:03.

in Belfast in the Last Night Accompanied tonight by her

:36:04.:36:05.

pianist Anna Tilbrook, here is Lesley Garrett

:36:06.:36:09.

with Beat Out That Rhythm On A Drum, # It ain't the sweetness

:36:10.:37:05.

# I don't need nothin' else to start me off

:37:06.:37:37.

# Tonight we're in the groove together

:37:38.:38:36.

# Ain't gonna worry about stormy weather

:38:37.:38:38.

# Gonna kick old trouble out the door

:38:39.:38:42.

# And kick his carcass through the door

:38:43.:39:16.

CHEERING AND APPLAUSE I think they liked it.

:39:17.:39:19.

Download Subtitles

SRT

ASS