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-KIDS: -Something's coming. | 0:00:06 | 0:00:08 | |
It's music. | 0:00:09 | 0:00:10 | |
-Exciting. -Enchanting. -Magical. -Mysterious. -Beautiful. | 0:00:10 | 0:00:14 | |
Brilliant music. | 0:00:14 | 0:00:16 | |
It's our music. | 0:00:17 | 0:00:18 | |
And it's here now, in the Royal Albert Hall. | 0:00:20 | 0:00:23 | |
Because this is... | 0:00:23 | 0:00:24 | |
-ALL: -The Ten Pieces Prom! | 0:00:24 | 0:00:27 | |
APPLAUSE | 0:03:20 | 0:03:22 | |
That was Bach's Toccata played for us | 0:03:24 | 0:03:26 | |
by the wonderful Wayne Marshall. | 0:03:26 | 0:03:29 | |
What a fantastic way to open our concert. | 0:03:32 | 0:03:35 | |
Well, welcome, everyone, to our very special Ten Pieces Prom. | 0:03:35 | 0:03:40 | |
I'm Naomi Wilkinson | 0:03:40 | 0:03:41 | |
and I'm sure lots of you will recognise the orchestra behind me. | 0:03:41 | 0:03:45 | |
They are, of course, the stars of the Ten Pieces film. | 0:03:45 | 0:03:48 | |
And as you can see, they are poised, | 0:03:48 | 0:03:50 | |
ready to play their musical socks off for you once again. | 0:03:50 | 0:03:54 | |
The BBC Philharmonic with leader Yuri Torchinsky | 0:03:54 | 0:03:56 | |
and their conductor, the amazing Alpesh Chauhan. | 0:03:56 | 0:03:59 | |
APPLAUSE | 0:03:59 | 0:04:02 | |
So, are you all ready to hear this brilliant orchestra? | 0:04:10 | 0:04:14 | |
-AUDIENCE: -Yes! | 0:04:14 | 0:04:16 | |
Well, what if you couldn't? | 0:04:17 | 0:04:19 | |
What if you couldn't listen to the music you wanted to | 0:04:19 | 0:04:23 | |
or make the music you loved? | 0:04:23 | 0:04:26 | |
Imagine that? | 0:04:26 | 0:04:28 | |
Imagine you're the composer of our next piece, Dmitri Shostakovich. | 0:04:28 | 0:04:33 | |
From the 1930s, for two decades, like all Russians, | 0:04:33 | 0:04:38 | |
he's ruled over by an evil dictator, | 0:04:38 | 0:04:41 | |
Joseph Stalin. | 0:04:41 | 0:04:43 | |
Imagine waiting in the night, your heart racing, | 0:04:45 | 0:04:48 | |
waiting for the fist knocking on the door, | 0:04:48 | 0:04:51 | |
waiting to be taken away or killed | 0:04:51 | 0:04:54 | |
because you've dared to write the music that you believed in, | 0:04:54 | 0:04:59 | |
because Shostakovich did dare. | 0:04:59 | 0:05:02 | |
ORCHESTRA PLAYS | 0:05:03 | 0:05:05 | |
APPLAUSE | 0:06:52 | 0:06:54 | |
Shostakovich's Symphony Number 10, choreographed and performed | 0:06:54 | 0:06:58 | |
by these incredible dancers from Wildern School in Southampton. | 0:06:58 | 0:07:01 | |
Time for the next of our ten pieces. Alpesh, which one do you fancy? | 0:07:03 | 0:07:07 | |
Ahem! | 0:07:07 | 0:07:09 | |
If one were to be asked... | 0:07:09 | 0:07:12 | |
Joseph Haydn, JH at your service. | 0:07:12 | 0:07:16 | |
The late Joseph Haydn? | 0:07:16 | 0:07:18 | |
I thought I was spot on time, actually. | 0:07:18 | 0:07:21 | |
-Composer Joseph Haydn? -The very same. | 0:07:21 | 0:07:24 | |
So excited to be back in London again after, | 0:07:24 | 0:07:26 | |
well, 220 years, to be precise. | 0:07:26 | 0:07:29 | |
So...what do you fancy? | 0:07:29 | 0:07:33 | |
I've got over 100 symphonies, 68 string quartets, | 0:07:33 | 0:07:37 | |
47 keyboard sonatas, 398 folk song arrangements, | 0:07:37 | 0:07:41 | |
-a techno rap... -Techno rap? | 0:07:41 | 0:07:44 | |
Yes, to be honest, that one's still in development. | 0:07:44 | 0:07:47 | |
Do you know what, Haydn? I think I'd better go and check | 0:07:47 | 0:07:49 | |
and see if we've actually got time for this. | 0:07:49 | 0:07:51 | |
Oh. Ah, would you like to hear a little something new | 0:07:51 | 0:07:54 | |
that I've been working on this morning? | 0:07:54 | 0:07:56 | |
-AUDIENCE: -Yes! -Fantastic. | 0:07:56 | 0:07:59 | |
We'll all learn the melody together. So... | 0:07:59 | 0:08:02 | |
-Now you. -HE SINGS MELODY | 0:08:05 | 0:08:09 | |
Very good. | 0:08:10 | 0:08:12 | |
HE SINGS MELODY | 0:08:13 | 0:08:15 | |
OK, and... | 0:08:15 | 0:08:17 | |
THEY SING MELODY | 0:08:20 | 0:08:22 | |
Now, let's hear them all together. | 0:08:22 | 0:08:24 | |
HE PLAYS Match Of The Day Theme | 0:08:25 | 0:08:30 | |
-Now you! -THEY SING | 0:08:30 | 0:08:33 | |
Ah! | 0:08:36 | 0:08:38 | |
You already seem to know it. Well, orchestra, take it away. | 0:08:39 | 0:08:44 | |
-Ah! -AUDIENCE CHEER | 0:09:17 | 0:09:19 | |
OK, OK. | 0:09:19 | 0:09:21 | |
Ah, I think I might have another hit on my hands. | 0:09:21 | 0:09:24 | |
I'm not too sure, I think that piece might have been written already. | 0:09:24 | 0:09:28 | |
Let me introduce myself. Mr Dion Dublin. | 0:09:28 | 0:09:30 | |
Used to play a bit of football | 0:09:31 | 0:09:33 | |
when I was a lot younger. | 0:09:33 | 0:09:34 | |
Played for...Leicester City? | 0:09:34 | 0:09:36 | |
SOME CHEERS | 0:09:36 | 0:09:38 | |
-Norwich City? -SOME CHEERS | 0:09:38 | 0:09:40 | |
There's one in. | 0:09:40 | 0:09:42 | |
-England? -AUDIENCE CHEER | 0:09:42 | 0:09:44 | |
That's amazing! | 0:09:45 | 0:09:47 | |
You've scored almost as many goals for those teams | 0:09:47 | 0:09:50 | |
as the number of symphonies I've written. | 0:09:50 | 0:09:52 | |
Joseph Haydn, JH at your service. | 0:09:52 | 0:09:54 | |
I know your name, I know that name. Haydn, Haydn, hold it. | 0:09:54 | 0:09:58 | |
You've got an amazing track record. | 0:09:58 | 0:10:00 | |
Always on the top of the list when it comes to composers. | 0:10:00 | 0:10:03 | |
There you are. | 0:10:03 | 0:10:05 | |
To get those kinds of results | 0:10:05 | 0:10:06 | |
takes great players, Mr Dublin. | 0:10:06 | 0:10:08 | |
And today, my new signing | 0:10:08 | 0:10:10 | |
will be making her first team debut here at the Proms. | 0:10:10 | 0:10:14 | |
THEY CHEER | 0:10:15 | 0:10:17 | |
I think it's time to kick off. | 0:10:19 | 0:10:20 | |
Our brand-new superstar striker, Matilda Lloyd. | 0:10:20 | 0:10:24 | |
APPLAUSE | 0:12:13 | 0:12:15 | |
Our Premier League trumpeter, the fabulous Matilda Lloyd. | 0:12:20 | 0:12:24 | |
Right, so, Alpesh, next, I think we should have something big. | 0:12:27 | 0:12:32 | |
Something epic, something by Richard Wagner. | 0:12:32 | 0:12:36 | |
ORCHESTRA PLAYS OUT OF TUNE | 0:12:47 | 0:12:51 | |
Is there a problem? Sorry, I'm not quite sure. | 0:12:54 | 0:12:56 | |
For some reason, we can't seem to make the Wagner work. | 0:12:56 | 0:13:00 | |
It seems to be broken. | 0:13:00 | 0:13:02 | |
Oh, I'm really sorry, everybody, about this. | 0:13:02 | 0:13:04 | |
I've just been told Newsround's Leah Boleto is on the case | 0:13:04 | 0:13:08 | |
trying to find out why it is we have this Wagner breakdown on our hands. | 0:13:08 | 0:13:12 | |
I think we can join her right now. Leah, are you there? | 0:13:12 | 0:13:16 | |
Yes, Naomi. | 0:13:17 | 0:13:18 | |
I'm in central London, where reports are coming through | 0:13:18 | 0:13:22 | |
that rings of golden light are appearing throughout the city. | 0:13:22 | 0:13:26 | |
They seem to be forming on round objects | 0:13:26 | 0:13:29 | |
like this shop sign in Hackney. | 0:13:29 | 0:13:30 | |
These bicycles near Piccadilly have also been affected. | 0:13:30 | 0:13:34 | |
Now, it's too early to know if there's a connection | 0:13:34 | 0:13:37 | |
between this strange activity | 0:13:37 | 0:13:39 | |
and the Wagner breakdown | 0:13:39 | 0:13:40 | |
that you're experiencing, | 0:13:40 | 0:13:42 | |
but I'll be investigating this story | 0:13:42 | 0:13:44 | |
and I'll bring you the very latest | 0:13:44 | 0:13:46 | |
developments as I get them. | 0:13:46 | 0:13:47 | |
Well, let's hope we hear more news from Leah quickly. | 0:13:49 | 0:13:52 | |
Meanwhile, we've got some young musicians | 0:13:52 | 0:13:54 | |
from the Greater Manchester Music Hub joining us. | 0:13:54 | 0:13:57 | |
They're going to be playing side-by-side | 0:13:57 | 0:13:59 | |
with the BBC Philharmonic and they're going to whisk us away | 0:13:59 | 0:14:02 | |
to the sizzling sun of southern Spain. | 0:14:02 | 0:14:05 | |
That's where Georges Bizet wrote his opera Carmen, | 0:14:05 | 0:14:09 | |
a story with more love, death and betrayal in it | 0:14:09 | 0:14:12 | |
than a whole year of EastEnders. | 0:14:12 | 0:14:14 | |
LAUGHTER | 0:14:14 | 0:14:16 | |
Let's say a massive thank you to our super-talented young musicians | 0:16:19 | 0:16:22 | |
from the Greater Manchester Music Hub. | 0:16:22 | 0:16:24 | |
Naomi, I'm here by the river | 0:16:29 | 0:16:30 | |
because this is where a whirlwind has just swept through. | 0:16:30 | 0:16:34 | |
I've never seen anything like it in my life. I was just metres away. | 0:16:34 | 0:16:38 | |
A figure covered in golden light rushing by in a blur of noise. | 0:16:38 | 0:16:44 | |
I'm also told of sightings of mysterious creatures quite similar | 0:16:44 | 0:16:49 | |
coming up all over London. | 0:16:49 | 0:16:51 | |
In fact, they've just been seen near here, at Big Ben. | 0:16:51 | 0:16:55 | |
Now, according to one expert I've been speaking to, | 0:16:55 | 0:16:57 | |
these creatures are actually mistaking all these round objects | 0:16:57 | 0:17:01 | |
for something else that they're looking for. | 0:17:01 | 0:17:03 | |
A ring, but not any ring. | 0:17:03 | 0:17:05 | |
This ring gives the owner | 0:17:05 | 0:17:07 | |
the power to rule the world. | 0:17:07 | 0:17:09 | |
But I'm getting reports that | 0:17:09 | 0:17:11 | |
that ring is now missing. | 0:17:11 | 0:17:12 | |
Surely this can't be a coincidence, | 0:17:12 | 0:17:14 | |
happening at the same time | 0:17:14 | 0:17:16 | |
as your Wagner breakdown. | 0:17:16 | 0:17:18 | |
It was Wagner who wrote four operas | 0:17:18 | 0:17:20 | |
in which dwarves, giants, dragon slayers and gods | 0:17:20 | 0:17:24 | |
all battle it out, Lord Of The Rings style, | 0:17:24 | 0:17:27 | |
to be the owner of this very same ring. | 0:17:27 | 0:17:29 | |
Now, we can't say for certain - thank you - | 0:17:29 | 0:17:31 | |
but I've just been handed this. | 0:17:31 | 0:17:33 | |
Yes, telling me that the authorities | 0:17:33 | 0:17:35 | |
are giving these mysterious creatures a name. | 0:17:35 | 0:17:39 | |
One word, Valkyries. | 0:17:39 | 0:17:40 | |
CRACKLING NOISE | 0:17:40 | 0:17:43 | |
Some very strange sounds in that news report from Leah. | 0:17:43 | 0:17:46 | |
We'll keep our fingers crossed | 0:17:46 | 0:17:48 | |
we'll be able to play that Wagner piece for you soon. | 0:17:48 | 0:17:51 | |
Meanwhile, we need some music. | 0:17:51 | 0:17:53 | |
It's got to be big, exciting... | 0:17:53 | 0:17:56 | |
And on the violin! | 0:17:56 | 0:17:57 | |
In fact, actually, it's the music by Giuseppe Verdi. | 0:17:57 | 0:18:01 | |
-Oh, fiddlesticks. -It's called Dies Irae. | 0:18:01 | 0:18:05 | |
Yes, two little words, huge consequences. | 0:18:05 | 0:18:09 | |
"Dies" means day in Latin, "Irae" is wrath or anger. | 0:18:09 | 0:18:15 | |
Day of judgment! | 0:18:15 | 0:18:17 | |
It's almost impossible to explain how powerful this song is. | 0:18:18 | 0:18:22 | |
You don't stop and think about it, it just instinctively... | 0:18:22 | 0:18:25 | |
You feel it in your body. | 0:18:25 | 0:18:26 | |
It will really make you feel small and insignificant | 0:18:26 | 0:18:30 | |
in a really good way. | 0:18:30 | 0:18:32 | |
It's going to be big and it's going to be scary | 0:18:32 | 0:18:34 | |
and it's going to be great. | 0:18:34 | 0:18:36 | |
-ALL: -# Dies irae! Dies irae! | 0:18:41 | 0:18:50 | |
# Dies irae, dies illa! | 0:18:56 | 0:19:04 | |
# Solvet saeclum in favilla | 0:19:07 | 0:19:13 | |
# Teste David cum Sibylla | 0:19:13 | 0:19:19 | |
# Dies irae, dies irae | 0:19:19 | 0:19:25 | |
# Dies illa | 0:19:25 | 0:19:27 | |
# Solvet saeclum | 0:19:27 | 0:19:30 | |
# Solvet in favilla | 0:19:30 | 0:19:34 | |
-# Dies irae, dies illa -# Dies! Dies! | 0:19:34 | 0:19:37 | |
# Solvet saeclum in favilla, teste David cum Sibylla | 0:19:37 | 0:19:44 | |
# Dies irae, dies illa | 0:19:44 | 0:19:51 | |
# Solvet saeclum in favilla | 0:19:51 | 0:19:57 | |
-# Solvet saeclum in favilla -# Dies irae! | 0:19:57 | 0:20:03 | |
-# Teste David cum Sibylla -# Dies irae | 0:20:03 | 0:20:09 | |
# Dies illa | 0:20:09 | 0:20:11 | |
# Dies irae | 0:20:12 | 0:20:15 | |
# Dies irae | 0:20:19 | 0:20:21 | |
# Dies irae | 0:20:24 | 0:20:26 | |
# Quantus tremor est futurus | 0:20:34 | 0:20:39 | |
# Quando judex est venturus | 0:20:39 | 0:20:45 | |
# Cuncta stricte discussurus! | 0:20:45 | 0:20:51 | |
# Tuba mirum spargens sonum! | 0:21:53 | 0:21:57 | |
-# Tuba mirum -# Tuba | 0:21:57 | 0:22:04 | |
# Spargens | 0:22:04 | 0:22:08 | |
# Sonum! | 0:22:08 | 0:22:12 | |
-# Tuba mirum -# Spargens sonum | 0:22:16 | 0:22:21 | |
# Spargens sonum | 0:22:21 | 0:22:24 | |
# Per sepulcra regionem | 0:22:24 | 0:22:28 | |
# Coget omnes ante thronum! # | 0:22:28 | 0:22:36 | |
APPLAUSE | 0:22:37 | 0:22:40 | |
The incredible Ten Pieces Choir! | 0:22:43 | 0:22:46 | |
Now, music's always evolving, it's never standing still, | 0:22:52 | 0:22:56 | |
and our next piece proves that 100%. | 0:22:56 | 0:22:58 | |
It was written just a few years ago | 0:22:58 | 0:23:01 | |
by English composer Gabriel Prokofiev. | 0:23:01 | 0:23:04 | |
To play Gabriel's Concerto For Turntables And Orchestra, | 0:23:04 | 0:23:09 | |
please give a Royal Albert warm welcome | 0:23:09 | 0:23:12 | |
to the four-time world champion DJ, Mr Switch. | 0:23:12 | 0:23:16 | |
APPLAUSE | 0:26:15 | 0:26:19 | |
BIRDS CHIRP | 0:26:24 | 0:26:27 | |
Listen! Can you hear something? | 0:26:27 | 0:26:30 | |
Look up. Up to the roof. | 0:26:32 | 0:26:34 | |
Imagine it fading away, opening up to a beautiful blue sky | 0:26:35 | 0:26:41 | |
over rolling green fields and there... | 0:26:41 | 0:26:44 | |
-..can you hear... -SOLO VIOLIN PLAYS | 0:26:47 | 0:26:49 | |
..a lark? | 0:26:49 | 0:26:51 | |
And there's a composer, Vaughan Williams, too, | 0:26:53 | 0:26:56 | |
walking in the fields, | 0:26:56 | 0:26:58 | |
dreaming of a melody he'll write for the violin, | 0:26:58 | 0:27:01 | |
that'll soar and climb just like the bird. | 0:27:01 | 0:27:05 | |
And he will write it. | 0:27:05 | 0:27:07 | |
But not yet. | 0:27:11 | 0:27:12 | |
The First World War interrupts his dream | 0:27:12 | 0:27:15 | |
and Vaughan Williams goes to help on the battlefields in France. | 0:27:15 | 0:27:20 | |
And as the soldiers look up from the trenches, sometimes, | 0:27:20 | 0:27:24 | |
one of the few birds they can see high, higher, | 0:27:24 | 0:27:29 | |
higher on the breeze is the lark. | 0:27:29 | 0:27:32 | |
They can hear its song, reminding them of happier days. | 0:27:33 | 0:27:39 | |
APPLAUSE | 0:30:49 | 0:30:51 | |
Marvellous! That one lark could inspire all that beautiful music. | 0:31:01 | 0:31:07 | |
A memory, a poem, a story, a feeling, | 0:31:07 | 0:31:11 | |
they can all inspire you to make music. | 0:31:11 | 0:31:14 | |
Or what about a picture? | 0:31:14 | 0:31:18 | |
A few years ago, English composer Anna Clyne | 0:31:20 | 0:31:24 | |
saw an image in her mind of a dark, turbulent wave. | 0:31:24 | 0:31:30 | |
And the first thing she did was to paint it. | 0:31:30 | 0:31:33 | |
But Anna soon found herself wanting to turn that painting into music, | 0:31:33 | 0:31:38 | |
and soon, there emerged a night ferry. | 0:31:38 | 0:31:42 | |
APPLAUSE | 0:33:08 | 0:33:11 | |
Dion, Naomi, things are moving | 0:33:12 | 0:33:14 | |
really fast out here at the moment. | 0:33:14 | 0:33:16 | |
We know that there are Valkyrie sightings all across London. | 0:33:16 | 0:33:19 | |
We just don't know where they will appear next. | 0:33:19 | 0:33:22 | |
I've spoken to one Wagner expert who has told me | 0:33:22 | 0:33:25 | |
normally in Wagner's opera, | 0:33:25 | 0:33:28 | |
the role of the Valkyrie is to search the battlefields | 0:33:28 | 0:33:31 | |
to find fallen heroes, to take them away | 0:33:31 | 0:33:34 | |
to guard the home of the Gods. | 0:33:34 | 0:33:36 | |
But today, I'm getting reports that the search is only | 0:33:36 | 0:33:40 | |
for that missing ring, to try to return it to its home in the river. | 0:33:40 | 0:33:44 | |
And what I'm being told is that unless the ring is returned there, | 0:33:44 | 0:33:48 | |
this strange activity and your Wagner breakdown is set to continue. | 0:33:48 | 0:33:53 | |
So, this is able to track the heat signals given off by the Valkyries. | 0:33:53 | 0:33:58 | |
The thing is, for most of the day, | 0:33:58 | 0:33:59 | |
the Valkyries have been scattered all over London. | 0:33:59 | 0:34:02 | |
But now, they're all heading in the same direction | 0:34:02 | 0:34:05 | |
to what actually looks like a ring on the map. | 0:34:05 | 0:34:07 | |
I think it's quite close... | 0:34:07 | 0:34:09 | |
..to where I'm standing. | 0:34:10 | 0:34:12 | |
Nao... | 0:34:14 | 0:34:15 | |
We seem to have lost Leah there. | 0:34:15 | 0:34:17 | |
We will try and get back to her. | 0:34:17 | 0:34:19 | |
Meanwhile, in the nick of time, | 0:34:19 | 0:34:21 | |
our special guests have arrived on stage. | 0:34:21 | 0:34:23 | |
Yes, we're all here because of you. | 0:34:23 | 0:34:27 | |
All over the country, you've been creating your own digital art, | 0:34:27 | 0:34:30 | |
animation, performance poetry, dance and a lot of music | 0:34:30 | 0:34:34 | |
in response to the ten pieces that we're hearing today. | 0:34:34 | 0:34:37 | |
APPLAUSE | 0:37:10 | 0:37:12 | |
Thank you to our brilliant young musicians and performers today, | 0:37:12 | 0:37:16 | |
all inspired by the Ten Pieces. | 0:37:16 | 0:37:18 | |
Is that just me, Lemn, or did you see those lights flickering? | 0:37:19 | 0:37:23 | |
Naomi, I'm here in the Royal Albert Hall | 0:37:23 | 0:37:26 | |
because reports are coming in now that the missing ring, | 0:37:26 | 0:37:29 | |
the ring that Wagner's music is all about, is in fact here. | 0:37:29 | 0:37:33 | |
It's the perfect-shaped building for it to hide in | 0:37:33 | 0:37:36 | |
and it would explain why the music has been behaving so strangely. | 0:37:36 | 0:37:40 | |
Keep your eyes open for the Valkyries. | 0:37:40 | 0:37:43 | |
They can appear anywhere at any minute. | 0:37:43 | 0:37:46 | |
ORCHESTRA PLAYS | 0:37:46 | 0:37:48 | |
That was the amazing Ride Of The Valkyries | 0:41:12 | 0:41:15 | |
by Richard Wagner. | 0:41:15 | 0:41:18 | |
And as the Valkyries head home, | 0:41:18 | 0:41:20 | |
so soon must we, because our musical adventure is almost over for today. | 0:41:20 | 0:41:24 | |
Hopefully, yours is just beginning. | 0:41:24 | 0:41:26 | |
We've only had time for ten pieces today | 0:41:26 | 0:41:28 | |
but there's thousands more out there. | 0:41:28 | 0:41:30 | |
So, stick some classical music on your phone or your tablet, | 0:41:30 | 0:41:35 | |
listen to it online or live. | 0:41:35 | 0:41:37 | |
All you need to do is hit play and see where the music takes you. | 0:41:37 | 0:41:42 | |
We've still got time for one more piece, number ten. | 0:41:42 | 0:41:46 | |
-Ahem! -Joseph. | 0:41:46 | 0:41:48 | |
Now, I really am sorry. | 0:41:48 | 0:41:49 | |
Don't worry, I'm not here with another piece, | 0:41:49 | 0:41:52 | |
although I still have plenty, all very reasonably priced. | 0:41:52 | 0:41:56 | |
No, I wanted to say one little word. | 0:41:56 | 0:41:58 | |
I've waited 284 years to say it. | 0:41:58 | 0:42:02 | |
Mambo! | 0:42:04 | 0:42:05 | |
-ALL: -Mambo! | 0:42:43 | 0:42:45 | |
-ALL: -Mambo! | 0:42:59 | 0:43:00 |