0:00:02 > 0:00:03We are a nation of enthusiasts.
0:00:03 > 0:00:06We love our dogs, our football, our green fields
0:00:06 > 0:00:08and, of course, our music.
0:00:10 > 0:00:14Across the country, thousands of people play in orchestras.
0:00:14 > 0:00:17We want to make music and we want to have a laugh at the same time.
0:00:17 > 0:00:21The percussion does help me get rid of a lot of emotion, really.
0:00:21 > 0:00:24Balancing busy lives with a passion for music-making.
0:00:24 > 0:00:26- Oh! - THEY LAUGH
0:00:26 > 0:00:27I just skipped a line there!
0:00:27 > 0:00:31They don't play for money. They do it for love.
0:00:31 > 0:00:33Once that piece of music is on that stand,
0:00:33 > 0:00:36I can't think of anything else.
0:00:36 > 0:00:40To celebrate the efforts of these unsung musical heroes,
0:00:40 > 0:00:44- we searched the length and breadth of the country.- Isn't this exciting?
0:00:44 > 0:00:48And chose five orchestras that best captured the spirit
0:00:48 > 0:00:50of British amateur music-making...
0:00:50 > 0:00:52We've got our battle-axes all sharpened up.
0:00:52 > 0:00:54Let's just go sock it to them!
0:00:54 > 0:00:57..to find one winner who'll perform at the BBC Proms in Hyde Park.
0:00:59 > 0:01:01I'm going all the way. I'm playing in Proms in the Park.
0:01:01 > 0:01:03I know you're going to win.
0:01:03 > 0:01:05CHEERING
0:01:12 > 0:01:14Over a six-month contest,
0:01:14 > 0:01:17our amateur orchestras will be set a series of challenges,
0:01:17 > 0:01:20from opera to concertos, culminating in a finale right here,
0:01:20 > 0:01:22at the Royal Albert Hall.
0:01:22 > 0:01:25'But for this first challenge, it's all about the symphony.'
0:01:25 > 0:01:28Each of the five orchestras will be given an extract from
0:01:28 > 0:01:31a symphony to work on over eight weeks,
0:01:31 > 0:01:34before coming together for a finale at BBC's Maida Vale Studios,
0:01:34 > 0:01:37where one orchestra will be eliminated.
0:01:37 > 0:01:40The judge is eminent conductor Paul Daniel.
0:01:40 > 0:01:42No stranger to the amateur scene,
0:01:42 > 0:01:46Paul conducted the Wokingham Choral Society in the late '80s
0:01:46 > 0:01:49before going on to helm the likes of the
0:01:49 > 0:01:52English National Opera and the Last Night of the Proms.
0:01:52 > 0:01:56For me, it's about finding the orchestra which actually
0:01:56 > 0:01:59has the most enthusiasm, the most joy in their music-making.
0:01:59 > 0:02:02Aiding Paul in his quest is our mentor,
0:02:02 > 0:02:04the double-bassist Chi-chi Nwanoku.
0:02:04 > 0:02:08Co-founding member of the Orchestra of the Age of Enlightenment
0:02:08 > 0:02:11and founder of the Chineke! Orchestra,
0:02:11 > 0:02:13Chi-chi is an inspiration.
0:02:14 > 0:02:17I believe passionately in the power of music and I'm going to do
0:02:17 > 0:02:21everything I can to help every orchestra reach its full potential.
0:02:24 > 0:02:27Our search for the UK's most inspiring amateur orchestra
0:02:27 > 0:02:29begins in Scotland.
0:02:32 > 0:02:34Stirling Orchestra was founded in 1983
0:02:34 > 0:02:38and has been conducted by Stephen Broad for the last 12 years.
0:02:42 > 0:02:43Hey, yum-yum!
0:02:43 > 0:02:45'The orchestra and I work together well.
0:02:45 > 0:02:48'We try really hard, but on the other hand,
0:02:48 > 0:02:50'we try not to take it too seriously.'
0:02:50 > 0:02:53Stirling Orchestra is an amazing group of people.
0:02:53 > 0:02:55Play to the end of The Peasant Wedding and stop.
0:02:55 > 0:02:59I always think of it as being like a huge, great, extended family.
0:02:59 > 0:03:00Slightly bonkers.
0:03:00 > 0:03:02There's sort of great matriarchs
0:03:02 > 0:03:07and the slightly eccentric uncles and the young Turks.
0:03:08 > 0:03:10ORCHESTRA BEGINS TO PLAY
0:03:13 > 0:03:15Paul will kick off with a masterclass
0:03:15 > 0:03:17with each individual orchestra.
0:03:18 > 0:03:21I thought we'd start with the symphony.
0:03:21 > 0:03:25It's just the orchestra playing, loving the sound it makes.
0:03:25 > 0:03:29It's all about sounding together, which is what that word means.
0:03:30 > 0:03:32He's starting with Stirling.
0:03:33 > 0:03:36For this first challenge, I thought we'd go to the summit
0:03:36 > 0:03:40of orchestra repertoire, we'd start with the symphony.
0:03:40 > 0:03:42It's one of the great symphonies
0:03:42 > 0:03:45and I hope you're going to enjoy playing it.
0:03:45 > 0:03:48It's by Dvorak, and it's the New World Symphony. It's the Finale.
0:03:48 > 0:03:51And here it is. We'll hand out the parts.
0:03:51 > 0:03:53There we go. For you.
0:03:53 > 0:03:55- Nice to meet you.- And you.
0:03:55 > 0:03:59So, why did you choose Dvorak 9 for this particular orchestra?
0:03:59 > 0:04:01Every single rhythm in every single bar
0:04:01 > 0:04:03has something very special about it.
0:04:03 > 0:04:07Dvorak was meticulous about giving incredible character
0:04:07 > 0:04:10to the rhythms and they change from bar to bar to bar.
0:04:10 > 0:04:13So to get that level of definition and clarity...
0:04:14 > 0:04:17..really brings the piece alive, and it makes it very special.
0:04:17 > 0:04:20- Are you looking forward to this? - Yes.- Excellent.
0:04:20 > 0:04:24So, with your permission, I'll conduct the first 10 minutes to...
0:04:24 > 0:04:26- Please. - LAUGHTER
0:04:26 > 0:04:28..to see us under the first bridge.
0:04:28 > 0:04:30OK, let's have a look.
0:04:32 > 0:04:35ORCHESTRA BEGINS TO PLAY
0:04:35 > 0:04:38Every one of our orchestras is going to be completely different.
0:04:38 > 0:04:41And the best way for me to find out how well they can react
0:04:41 > 0:04:44and make music together is actually to get in amongst them
0:04:44 > 0:04:46and direct them and conduct them.
0:05:00 > 0:05:03Thank you. Thank you very much. Thanks.
0:05:03 > 0:05:07You know, you're good, but you don't do what's in the parts.
0:05:07 > 0:05:09THEY LAUGH
0:05:09 > 0:05:12The sound of the orchestra's too shrill because there's no bass.
0:05:12 > 0:05:15And you're not letting the sound come from the bottom,
0:05:15 > 0:05:17which is where all great sound comes from.
0:05:17 > 0:05:19LAUGHTER
0:05:20 > 0:05:22Robin is a retired schoolteacher
0:05:22 > 0:05:25who's been playing with Stirling for over two decades.
0:05:26 > 0:05:32My role is as chairman, which is another way of saying dogsbody.
0:05:34 > 0:05:36I'm really just a kind of a go-between.
0:05:38 > 0:05:41I play double bass and I've played it...
0:05:42 > 0:05:46Excuse me a minute while I think about this.
0:05:46 > 0:05:47..for 60 years.
0:05:52 > 0:05:56Frankly, between you and me, I don't bloody practise at all.
0:05:56 > 0:05:58It takes me all my effort to get the thing out of its case.
0:05:58 > 0:06:02So my practice actually tends to be at rehearsals.
0:06:02 > 0:06:04ORCHESTRA PLAY
0:06:04 > 0:06:07I think possibly, what will help Stirling Orchestra
0:06:07 > 0:06:09to get through to the next round of the contest
0:06:09 > 0:06:13is by being better than the others.
0:06:13 > 0:06:17I still have faith in how we can sound.
0:06:17 > 0:06:20Whether nerves will have an affect on us, I don't know.
0:06:20 > 0:06:22But certainly, at our best,
0:06:22 > 0:06:25when we're kind of relaxed and comfortable, we're good.
0:06:31 > 0:06:34I'm going to get out of the way now because you're going to do
0:06:34 > 0:06:35all your great work with Stephen.
0:06:35 > 0:06:38So thank you very much and over to Stephen!
0:06:38 > 0:06:41- Bravo! - APPLAUSE
0:06:41 > 0:06:43Thank you very much.
0:06:46 > 0:06:47LAUGHTER
0:06:49 > 0:06:51They're very lively people.
0:06:51 > 0:06:54Look, the response, look how they are with each other.
0:06:54 > 0:06:57You know, the enthusiasm is boundless,
0:06:57 > 0:07:00but I'm quite concerned that the basses are
0:07:00 > 0:07:02timid beyond belief.
0:07:02 > 0:07:05And they can do it. I can see, you know, they're generous people
0:07:05 > 0:07:08and they've got lots of music in them and they just have to...
0:07:08 > 0:07:11I think they can lead the orchestra more.
0:07:12 > 0:07:15The pressure's on. Stirling have just eight weeks
0:07:15 > 0:07:17to get the music up to scratch and fix those basses.
0:07:24 > 0:07:25Around the country,
0:07:25 > 0:07:28the other orchestras are receiving their challenges.
0:07:28 > 0:07:31And our first challenge is... Drumroll, please.
0:07:31 > 0:07:34First up is London Gay Symphony Orchestra.
0:07:34 > 0:07:38- Tchaikovsky Symphony No.6.- Oooh!
0:07:38 > 0:07:41- Nice! - LAUGHTER
0:07:43 > 0:07:46- Next, North Devon Sinfonia.- OK.
0:07:47 > 0:07:49Beethoven 5.
0:07:49 > 0:07:50Yes!
0:07:52 > 0:07:55And in deepest Yorkshire, Slaithwaite Philharmonic.
0:07:55 > 0:07:56What's in the box?
0:07:56 > 0:07:58LAUGHTER
0:07:58 > 0:08:02I suppose instead of saying welcome, we should say, dobro pozhalovat!
0:08:02 > 0:08:05We have a little bit of the second symphony of Rachmaninoff.
0:08:05 > 0:08:07ALL: Oooh!
0:08:12 > 0:08:15Based in the heart of central Birmingham,
0:08:15 > 0:08:17our fifth group is the People's Orchestra.
0:08:25 > 0:08:27Oh, my God. Look who it is!
0:08:27 > 0:08:29- Oh, my God. Look at these guys! - Hello!- Look at you all!
0:08:29 > 0:08:32A symphony orchestra features four sections.
0:08:32 > 0:08:36Strings, wind, brass and percussion.
0:08:36 > 0:08:39But the People's Orchestra has a double-sized wind section
0:08:39 > 0:08:42that also includes seven saxophones.
0:08:43 > 0:08:46- You founded this orchestra. - Yes.- When? What happened? Why?
0:08:46 > 0:08:49We decided to try and set up an orchestra that did things
0:08:49 > 0:08:51a little bit differently. And that's what we've got.
0:08:51 > 0:08:53- You can definitely tell that. - I know.
0:08:53 > 0:08:56It's like no orchestra I've ever seen before. What's your policy?
0:08:56 > 0:08:57Where did you find them all from?
0:08:57 > 0:09:00We started to try and create a normal symphony orchestra,
0:09:00 > 0:09:04like it says in the book, and we got so many flute players come to audition,
0:09:04 > 0:09:06they were too good, we couldn't turn them down.
0:09:06 > 0:09:09And then Xhosa arrived with his saxophone and just blew it away.
0:09:09 > 0:09:13And we were going, "Well, that's it, we've got to change the model."
0:09:13 > 0:09:15Let's give it a go.
0:09:15 > 0:09:17For the first time, they're playing
0:09:17 > 0:09:19an extract from Berlioz's Symphonie Fantastique.
0:09:19 > 0:09:21ORCHESTRA BEGIN TO PLAY
0:09:27 > 0:09:30Symphonie Fantastique is not an easy work.
0:09:30 > 0:09:33- Why did you choose this piece for this orchestra?- You're right.
0:09:33 > 0:09:37Berlioz was ridiculously ambitious and...
0:09:37 > 0:09:41he had a hell of a time trying to get anything written and performed.
0:09:41 > 0:09:46This orchestra has a very similar kind of ambition, it seems to me,
0:09:46 > 0:09:50that they want to make the impossible possible.
0:09:50 > 0:09:52You know Berlioz? I love him.
0:09:52 > 0:09:54Because you know the film, the Shining?
0:09:54 > 0:09:57The opening scene where the car goes down the mountain? That's Berlioz.
0:09:57 > 0:10:01And he's also in Sleeping with the Enemy with Julia Roberts.
0:10:01 > 0:10:03I love Berlioz. I love him.
0:10:04 > 0:10:07- Do you want help with your packing? - I'm all right.- You sure?
0:10:07 > 0:10:11Checkout assistant Jacqueline has been in the orchestra for three years.
0:10:11 > 0:10:15We've got double bass, cello, violin, viola, flute.
0:10:15 > 0:10:18Oh, we've got so much music to rehearse, it's untrue!
0:10:20 > 0:10:22I try to practise every day.
0:10:24 > 0:10:27It's difficult because my son works nights,
0:10:27 > 0:10:31so I can't practise during the day in my own house,
0:10:31 > 0:10:33so I practise at my mum's.
0:10:35 > 0:10:37I've always practised every day.
0:10:37 > 0:10:40I need to be playing my flute all the time. I love it.
0:10:40 > 0:10:43- The orchestra means more to Jacqueline than just music.- Fab.
0:10:43 > 0:10:45What are you doing today, then?
0:10:45 > 0:10:47- JACQUELINE SIGHS - Oh, right, that bad.
0:10:47 > 0:10:51I have suffered with depression in the past.
0:10:51 > 0:10:56The People's Orchestra, it really helps to focus me and calm me down.
0:10:56 > 0:11:00Because once that piece of music is on that stand,
0:11:00 > 0:11:03I can't think of anything else.
0:11:06 > 0:11:09They're such a wonderful group of people.
0:11:09 > 0:11:12The People's Orchestra, for me personally,
0:11:12 > 0:11:15is one of the best things I've ever done.
0:11:15 > 0:11:19This is an incredible orchestra and what you're doing here's amazing.
0:11:19 > 0:11:22I can see... I mean, I would just love to have a go at this.
0:11:22 > 0:11:24- Would you mind? - LAUGHTER
0:11:24 > 0:11:27- That's an amazing baton, my...! - LAUGHTER
0:11:30 > 0:11:33Written in 1830, Berlioz's Symphonie Fantastique
0:11:33 > 0:11:36is the story of an artist who falls in love.
0:11:36 > 0:11:38Oh, yes!
0:11:38 > 0:11:41Convinced that his love is in vain, he takes opium
0:11:41 > 0:11:45and hallucinates that he's being punished for murdering his beloved.
0:11:46 > 0:11:48This is a march, a death march.
0:11:48 > 0:11:51They're taking you to the scaffold, to the guillotine.
0:11:51 > 0:11:53And you've got to go, "Stop!"
0:11:53 > 0:11:55One, two!
0:11:55 > 0:11:59Like double the amount of noise, yeah? One...
0:12:00 > 0:12:02Wind, can you play me your...
0:12:02 > 0:12:05This dee-a-ta-ta, dee-a-ta-ta-ta... Yeah?
0:12:06 > 0:12:08WIND SECTION PLAY
0:12:08 > 0:12:12This orchestra's obviously built around the strength of the wind
0:12:12 > 0:12:14and the brass and the saxophones.
0:12:14 > 0:12:16They're very, very enthusiastic.
0:12:19 > 0:12:22They're a bit like they're trying to dance with juggernauts.
0:12:22 > 0:12:26At the moment, there's power, but they need to be much more precise.
0:12:28 > 0:12:32It's a big ask to transform this music for an orchestra like this,
0:12:32 > 0:12:34with such a different set-up.
0:12:34 > 0:12:38But the spirit's there and you've got a lot of work, of course, to do.
0:12:38 > 0:12:40I wish you all the very best.
0:12:40 > 0:12:42- Yeah! - APPLAUSE
0:12:54 > 0:12:58The contest is on and the orchestras are pulling out all the stops.
0:13:01 > 0:13:04- THEY LAUGH - I skipped a line there!
0:13:04 > 0:13:08Time for mentor and double-bassist Chi-chi to enter the fray.
0:13:08 > 0:13:10So this is where we're going to rehearse.
0:13:10 > 0:13:13She's in Stirling to fix Paul's timid basses.
0:13:15 > 0:13:17I've been primed to work with the bass section
0:13:17 > 0:13:21because Paul thought it was a bit underpowered from the bottom end
0:13:21 > 0:13:23and that it should be driven by the bass.
0:13:23 > 0:13:27Because once the basses are completely together
0:13:27 > 0:13:29and empowered and strong,
0:13:29 > 0:13:32everything else can just fly over the top.
0:13:32 > 0:13:34Three and...
0:13:34 > 0:13:35BASSISTS PLAY
0:13:37 > 0:13:39OK. What's happening is
0:13:39 > 0:13:42you're leaving it a little bit too late there, Jill. Um...
0:13:42 > 0:13:45And what I'd like you to do is subdivide in your head.
0:13:45 > 0:13:48If it's one, two, three, four, I'd like you to go,
0:13:48 > 0:13:51one and two and three and four and... And!
0:13:51 > 0:13:54'All of the strings have to start with the same rhythm
0:13:54 > 0:13:57'that throws you straight into an offbeat.'
0:13:57 > 0:14:01And to get an offbeat all together can make people panic a bit.
0:14:01 > 0:14:03One, two, three, four.
0:14:03 > 0:14:06One, two, three, four. That's it. Keep going.
0:14:07 > 0:14:11By suggesting they subdivided, one-two-three-four,
0:14:11 > 0:14:14one-two-three-four, it immediately makes things easier.
0:14:14 > 0:14:17- One! - BASSISTS PLAY
0:14:19 > 0:14:21Yeah, that's amazing, isn't it?
0:14:21 > 0:14:24What finger do you use for the octave B, for high B?
0:14:24 > 0:14:26Well, actually, I move down a bit.
0:14:26 > 0:14:29Exactly. Any reason for that?
0:14:29 > 0:14:30Yes, age.
0:14:30 > 0:14:33CHI-CHI LAUGHS
0:14:33 > 0:14:3780-year-old Robin is finding the Dvorak tough-going.
0:14:37 > 0:14:39Don't move.
0:14:39 > 0:14:42For me, in the double-bass section, the trickiest part
0:14:42 > 0:14:44in the New World Symphony
0:14:44 > 0:14:48is a little kind of triplet motif,
0:14:48 > 0:14:51which is imitating what the cellos are doing.
0:14:52 > 0:14:56But that is purely and simply because I don't do enough practise.
0:14:59 > 0:15:01And... Well done.
0:15:01 > 0:15:05I mean, it's beginning to sound a bit more recognisable.
0:15:05 > 0:15:08As soon as they'd locked in together, rhythmically,
0:15:08 > 0:15:12their sound doubled and, actually, they each make quite a good sound
0:15:22 > 0:15:26- Very nice to be in London town again.- Isn't it? Indeed.
0:15:26 > 0:15:30Careful not to let the phrase grow. It slightly desolate.
0:15:30 > 0:15:33The London Gay Symphony Orchestra are preparing Tchaikovsky's
0:15:33 > 0:15:34Sixth Symphony for Paul.
0:15:34 > 0:15:38MUSIC: Sixth Symphony by Tchaikovsky
0:15:47 > 0:15:51So, why did you choose this section of this work for this orchestra?
0:15:53 > 0:15:56This orchestra is already very accomplished.
0:15:57 > 0:16:00This piece is really going to test their ability to play
0:16:00 > 0:16:01this kind of music.
0:16:01 > 0:16:05Very slow music with great intensity, with great control of the
0:16:05 > 0:16:08bows and strings, great breath control and great intonation
0:16:08 > 0:16:10in the wind.
0:16:10 > 0:16:12It's very difficult.
0:16:12 > 0:16:14- Paul, over to you.- Paul, thank you very much.- Nice to see you.
0:16:14 > 0:16:16- Lovely to see you.- Thank you.
0:16:16 > 0:16:18Please - please - take my stage.
0:16:18 > 0:16:21Well, you are already sounding pretty gorgeous, I think.
0:16:21 > 0:16:24This section of the symphony, it just comes at you.
0:16:24 > 0:16:28Paul wants to work on a moment where the strings and the trombones
0:16:28 > 0:16:29answer each other.
0:16:32 > 0:16:33That's it.
0:16:33 > 0:16:35Trombones.
0:16:35 > 0:16:38Try and make it as beautiful as the cello's were playing it.
0:16:38 > 0:16:39Ha-ha, all right.
0:16:43 > 0:16:46Nah, that's not a crescendo.
0:16:46 > 0:16:50Violin versus trombone? They've got to be completely balanced and
0:16:50 > 0:16:54matched in the way they play their lines. How smooth, how much
0:16:54 > 0:16:58crescendo, what kind of quality of sound. So, you feel like they
0:16:58 > 0:17:00couldn't exist without each other.
0:17:05 > 0:17:06Ah!
0:17:06 > 0:17:09There you are. Yeah, and let that that really dominate
0:17:09 > 0:17:11when your crescendo comes through. Yeah?
0:17:15 > 0:17:19Just nine days after Tchaikovsky's haunting Sixth Symphony
0:17:19 > 0:17:23premiered in St Petersburg in 1892, the composer died.
0:17:31 > 0:17:35The London Gay Symphony Orchestra has been running for two decades.
0:17:35 > 0:17:37Tell me a bit about the orchestra.
0:17:37 > 0:17:39What I absolutely love about the LGSO is that it is
0:17:39 > 0:17:44incredibly inclusive. So, although, obviously, it is specifically here
0:17:44 > 0:17:48for the LGBT community, it isn't just for them.
0:17:48 > 0:17:50We are welcoming and inclusive of everyone.
0:17:50 > 0:17:53It's just such a happy orchestra to work for.
0:17:53 > 0:17:55- SINGS:- We are family.
0:17:56 > 0:18:00- Which reminds me of what I was doing on Sunday.- What was it?
0:18:00 > 0:18:03Paula has been in the LGSO for three years.
0:18:03 > 0:18:04SHE PLAYS
0:18:11 > 0:18:15I've been playing the tuba since I was about 11.
0:18:17 > 0:18:20I just loved the sound of it as soon as I heard one,
0:18:20 > 0:18:23and, of course, it looks wonderful as well.
0:18:23 > 0:18:26The main thing I do for a living is gardening.
0:18:28 > 0:18:32I've got a little gardening business where I drive around and go
0:18:32 > 0:18:37into people's gardens and do all the jobs they don't want to do.
0:18:37 > 0:18:40I originally joined the London Gay Symphony Orchestra
0:18:40 > 0:18:45four or five years ago. At the time, I wasn't even sure
0:18:45 > 0:18:47whether I was transgender
0:18:47 > 0:18:49or whether I was just a cross-dresser.
0:18:49 > 0:18:51ORCHESTRA PLAYS
0:18:52 > 0:18:56The LGSO was the first place I ever actually played as Paula.
0:18:56 > 0:19:00It was a bit scary, at first, going along to the rehearsals.
0:19:00 > 0:19:03The orchestra made me feel comfortable
0:19:03 > 0:19:07and, basically, nobody cares.
0:19:07 > 0:19:10Erm, as long as I don't play loud, wrong notes.
0:19:10 > 0:19:11ORCHESTRA PLAYS
0:19:15 > 0:19:17This is me full-time.
0:19:18 > 0:19:22The greatest orchestras struggle with the challenges that
0:19:22 > 0:19:26Tchaikovsky gives us, and I know you will struggle a lot.
0:19:39 > 0:19:42Paul and I are heading off to catch up with North Devon Sinfonia.
0:19:44 > 0:19:46What do you know about this orchestra, Paul?
0:19:46 > 0:19:48What are you expecting from them?
0:19:48 > 0:19:50In this beautiful countryside,
0:19:50 > 0:19:53if you're going to set up a symphony orchestra, which is based in
0:19:53 > 0:19:56this area which of little villages and little, tiny hamlets,
0:19:56 > 0:19:59you've got to be pretty ambitious, you know.
0:19:59 > 0:20:03I'm expecting people who put that much commitment into travelling
0:20:03 > 0:20:05to get here and to playing together,
0:20:05 > 0:20:07they've got to be a pretty enthusiastic lot.
0:20:10 > 0:20:12North Devon Sinfonia were put together 12 years ago
0:20:12 > 0:20:14by schoolteacher Emma Kent.
0:20:18 > 0:20:21Obviously, there's not a huge amount of players. There are only
0:20:21 > 0:20:24two bassoonists in the whole of North Devon and they both
0:20:24 > 0:20:27play for me and if anything happens to them, I'll be stuffed.
0:20:27 > 0:20:29I do like conducting.
0:20:29 > 0:20:32I think it suits my personality, because I'm naturally
0:20:32 > 0:20:34bossy or authoritarian.
0:20:34 > 0:20:35Control!
0:20:36 > 0:20:37Too loud!
0:20:37 > 0:20:41You know, I'll often go to rehearsal and I'll either have a headache
0:20:41 > 0:20:43or I've got a bad back or I'm not in the mood,
0:20:43 > 0:20:46and by the end, all my ills are fixed.
0:20:47 > 0:20:51North Devon's challenge is Beethoven's Fifth.
0:20:51 > 0:20:53In search of bigger sounds,
0:20:53 > 0:20:56it was Beethoven who grew the orchestra from a small group
0:20:56 > 0:21:00into the large combo of strings, wind and brass we see today.
0:21:01 > 0:21:04In this movement, trombones appear for the first time in a
0:21:04 > 0:21:07renowned symphony and they've stayed ever since.
0:21:10 > 0:21:12So, why did you did you choose this piece of music
0:21:12 > 0:21:16- for this orchestra?- Every part of the orchestra has an enormous
0:21:16 > 0:21:19challenge in this piece. You know, you have to be able to jump from
0:21:19 > 0:21:21different styles of playing, from bar to bar.
0:21:21 > 0:21:24How short can you play, how really together can you play,
0:21:24 > 0:21:27how ebullient can the rhythm, the dance rhythm, be.
0:21:27 > 0:21:30There are things happening at the top of the orchestra which are
0:21:30 > 0:21:32completely different from the things at the bottom.
0:21:32 > 0:21:34They've got to complement each other.
0:21:34 > 0:21:37- Nice to meet you. - Nice to see you. Hello, hi.- Hi.
0:21:37 > 0:21:40Let's have a go. Just the beginning of it, yeah?
0:21:40 > 0:21:42The timps and the horns and the trumpets,
0:21:42 > 0:21:44let's have a look you first.
0:21:44 > 0:21:45The very beginning.
0:21:50 > 0:21:51Sorry, sorry.
0:21:51 > 0:21:52LAUGHTER
0:21:52 > 0:21:55- I'm ready now.- Don't apologise. - You may begin now.
0:21:55 > 0:21:56PAUL CHUCKLES
0:22:02 > 0:22:05OK. Now, you're being encouraged by your timpanists,
0:22:05 > 0:22:08because you're just, just ahead of the sound. Yeah?
0:22:10 > 0:22:13Timpanist Annie Hill has been a member of North Devon Sinfonia
0:22:13 > 0:22:14for five years.
0:22:18 > 0:22:19I try to visualise.
0:22:20 > 0:22:22Always have done, really.
0:22:22 > 0:22:27I'm actually rehearsing, but playing in the concert.
0:22:27 > 0:22:30I have the conductor, so, this is Emma.
0:22:30 > 0:22:33- I've got to try and watch her. - These are the audience.
0:22:33 > 0:22:36These are my friends, they make me laugh.
0:22:36 > 0:22:38And up in the box,
0:22:38 > 0:22:39is my dear Mum and Dad.
0:22:42 > 0:22:44I find that really helps me.
0:22:44 > 0:22:46On the day, I'm not quite as nervous, because I think,
0:22:46 > 0:22:50"Well, I've done this. I've already performed."
0:22:50 > 0:22:51Cup of tea.
0:22:53 > 0:22:56When I'm not playing the timps,
0:22:56 > 0:22:59I'm a full-time carer for my husband,
0:22:59 > 0:23:01who is a poorly lad, really.
0:23:02 > 0:23:06He developed multiple sclerosis when we'd been married for six months.
0:23:09 > 0:23:13The percussion does help me get rid of a lot of emotion, really.
0:23:13 > 0:23:15Especially if I'm really wound up.
0:23:16 > 0:23:20The importance of North Devon Sinfonia to me as a person...
0:23:20 > 0:23:24My goodness me, they've been a real tonic,
0:23:24 > 0:23:26and they're lovely people.
0:23:30 > 0:23:32HE SINGS ALONG WITH MUSIC
0:23:32 > 0:23:34That's better, yeah. Much better, much better.
0:23:34 > 0:23:35So, all the very best,
0:23:35 > 0:23:38and I look forward to seeing you again very soon.
0:23:38 > 0:23:39Thank you.
0:23:43 > 0:23:45Thank you.
0:23:48 > 0:23:51I been watching all your bowing. I was going to find you.
0:23:51 > 0:23:53Visit your house and make you bow properly.
0:23:53 > 0:23:57We should talk about Emma for a minute, because she's obviously
0:23:57 > 0:24:00hugely loved by all the orchestra, but, you know, she's an amateur.
0:24:00 > 0:24:01She's a very, very bright musician.
0:24:01 > 0:24:05It's her orchestra. She is, if you like, she's quite a teacher in her
0:24:05 > 0:24:08personality with them, and they respond as pupils.
0:24:10 > 0:24:14And I really think they have to take responsibility.
0:24:14 > 0:24:18As a conductor, you have to rehearse them and then you have to step back,
0:24:18 > 0:24:21and I think for her to be able step back is one of the most
0:24:21 > 0:24:24important parts of the development of their work.
0:24:28 > 0:24:30MUSIC: A Message To You, Rudy by The Specials
0:24:36 > 0:24:40In Birmingham, the saxophones of the People's Orchestra are getting
0:24:40 > 0:24:43together for a mentoring session with Chi-Chi.
0:24:44 > 0:24:47Hi I'm Xhosa. I play saxophone with the People's Orchestra.
0:24:47 > 0:24:51Xhosa Cole has been playing with the People's Orchestra for four years,
0:24:51 > 0:24:52since he was 15.
0:24:53 > 0:24:56Well, I play clarinet, sax and flute and I love all three of them,
0:24:56 > 0:25:00but, I must admit, sax has just got the edge for me.
0:25:00 > 0:25:03There's not many young people my age in my community, certainly,
0:25:03 > 0:25:05that play in orchestras.
0:25:09 > 0:25:13Normally, we play lots of film music or TV music.
0:25:13 > 0:25:14MUSIC: The Magnificent Seven Theme
0:25:17 > 0:25:20No-one's in it to be better than anyone else.
0:25:20 > 0:25:23It's just we want to make music, you know, we will have a laugh
0:25:23 > 0:25:24at the same time.
0:25:27 > 0:25:29Xhosa's very independent.
0:25:33 > 0:25:35He practices all the time.
0:25:35 > 0:25:39I'll come home from work sometimes and he'll just be playing
0:25:39 > 0:25:41and it's really lovely, actually.
0:25:41 > 0:25:42JAZZY MUSIC
0:25:45 > 0:25:48I enjoy some of the music that Xhosa plays.
0:25:48 > 0:25:52There's some music that Xhosa knows that I struggle with a little more.
0:25:54 > 0:25:57The piece of music we've just been playing through and having
0:25:57 > 0:26:00a great time with is one of my compositions and it's called
0:26:00 > 0:26:02I Want To Live In The West Midlands.
0:26:05 > 0:26:06Hi there.
0:26:06 > 0:26:09Chi-Chi is hoping to fine tune saxophones in
0:26:09 > 0:26:10Berlioz's Symphonie fantastique.
0:26:12 > 0:26:16I've heard from Paul that you can be a bit overpowering as a team
0:26:16 > 0:26:20within the orchestra, so, we don't want that to happen.
0:26:20 > 0:26:22OK, ready?
0:26:27 > 0:26:32I got to try and find a way to get them to listen and play
0:26:32 > 0:26:36in a way that they're not used to, because we need to re-balance them.
0:26:36 > 0:26:42One second. Can I just say that you came in like a wall of sound,
0:26:42 > 0:26:45but you did not relate to what had been going on beforehand.
0:26:45 > 0:26:48I'm going to have to get them away from their music,
0:26:48 > 0:26:50so, I'm going to blindfold them.
0:26:50 > 0:26:52I want you to now put these on,
0:26:53 > 0:26:57because I think you're still stuck inside your music.
0:26:57 > 0:26:59Blindfolds on.
0:26:59 > 0:27:01Three, four...
0:27:11 > 0:27:12Fantastic. Stop.
0:27:12 > 0:27:17That was actually as good, if not better,
0:27:17 > 0:27:20than when you're staring at your music.
0:27:20 > 0:27:22I'm serious.
0:27:22 > 0:27:25- Because you listened in a different way.- Mm-hm.
0:27:25 > 0:27:28It was a very interesting experience
0:27:28 > 0:27:30being blindfolded while playing the music.
0:27:30 > 0:27:32It's the first time I've ever done it, for sure.
0:27:32 > 0:27:35Not the first time I've been blindfolded in a pub.
0:27:35 > 0:27:38I did have a little bit of laughter about that.
0:27:38 > 0:27:41They all got a little bit of confidence, cos they realised
0:27:41 > 0:27:44how well they knew it, you know.
0:27:44 > 0:27:48Cos they were not expecting to not only play it looking at me,
0:27:48 > 0:27:51but with a blindfold on, so they couldn't even glance at their music
0:27:51 > 0:27:53for a split-second. And they got it.
0:28:02 > 0:28:05The last of Paul's masterclasses is in Yorkshire
0:28:05 > 0:28:07with Slaithwaite Philhamonic.
0:28:07 > 0:28:10They're conducted by professional conductor, Ben Ellin.
0:28:11 > 0:28:13I'm originally from Lancashire,
0:28:13 > 0:28:15but my father was from Sheffield,
0:28:15 > 0:28:18so, they cut me a little bit of slack, in the sense that I've
0:28:18 > 0:28:21got one toe, if you like, in what they would say is the correct
0:28:21 > 0:28:23side of the border, you know.
0:28:24 > 0:28:27Slaithwaite is one of the oldest amateur orchestras in the country,
0:28:27 > 0:28:30having just celebrated its 125th birthday.
0:28:32 > 0:28:36Edward, this is the first minute book of the
0:28:36 > 0:28:38Slaithwaite Philharmonic Orchestra.
0:28:38 > 0:28:411892. This is the picture -
0:28:41 > 0:28:43before our time, of course - this is...
0:28:43 > 0:28:45I think so, Chris.
0:28:47 > 0:28:51National competition winners in Birmingham in 1913.
0:28:54 > 0:28:57We don't enter many competitions, but we're in one now, so...
0:28:57 > 0:28:59On the night, we've always pulled it off.
0:29:01 > 0:29:02Why?
0:29:02 > 0:29:06If we knew and we could bottle it, we'd make a fortune.
0:29:07 > 0:29:10Would you mind if I had a go?
0:29:10 > 0:29:11Please do, yeah.
0:29:13 > 0:29:16Slaithwaite's challenge is Rachmaninov's Second Symphony.
0:29:16 > 0:29:20It's a scherzo. It's the fast music in the symphony.
0:29:20 > 0:29:25It was an enormous success, because of this virtuosity
0:29:25 > 0:29:28in his writing and in the orchestra's playing,
0:29:28 > 0:29:31and they have to take that on board when they play.
0:29:36 > 0:29:38It sounds like a background at the moment. It got to be like
0:29:38 > 0:29:41a whole different thing going on. Yeah?
0:29:42 > 0:29:44You're doing triple whatever-they-are in the air, yeah?
0:29:44 > 0:29:48Showing off and hoping someone's going to watch you instead of them.
0:29:48 > 0:29:49HE SINGS INTRO NOTES
0:29:52 > 0:29:54Yeah, much more brilliant than that though.
0:29:54 > 0:29:55HE SINGS THE MUSIC
0:29:57 > 0:29:58They're very good.
0:29:58 > 0:30:01They have great pride in their playing.
0:30:01 > 0:30:03They work very hard.
0:30:05 > 0:30:07Yeah, where's the crescendo?
0:30:07 > 0:30:10'But they lack panache.
0:30:10 > 0:30:14'They've got to let go of their dignified sort of restrained'
0:30:14 > 0:30:18way they consider the music and really allow themselves to
0:30:18 > 0:30:20show off and be, terrible word, flashy
0:30:20 > 0:30:23because that's what Rachmaninov's written.
0:30:23 > 0:30:25It's going to be very good.
0:30:25 > 0:30:28You've got to get a lot more characters all round.
0:30:28 > 0:30:30I mean, you're starting to look for them.
0:30:30 > 0:30:34- Really, they're going to come through, aren't they, Ben?- Yes.- Yes.
0:30:34 > 0:30:36- Definitely. - LAUGHTER
0:30:36 > 0:30:38Yeah. Great stuff.
0:30:41 > 0:30:45How do you find being, you know, put through your paces by Paul?
0:30:45 > 0:30:48- Quite challenging.- Yeah, it's challenging. It's like, it's good.
0:30:48 > 0:30:50It sort of pushes us.
0:30:50 > 0:30:53He was great at explaining everything and really getting
0:30:53 > 0:30:55into the sort of... Underneath the skin of the music,
0:30:55 > 0:30:59but obviously taking it at a speed that we're not quite ready for yet,
0:30:59 > 0:31:02I think, so that is something we can work on over the next few weeks.
0:31:05 > 0:31:07The sheep are coming in all directions.
0:31:09 > 0:31:12Around the country, our musicians are all practising hard.
0:31:13 > 0:31:17At stake, the chance to play at the BBC Proms in the Park in September.
0:31:21 > 0:31:25But before that, they must pass the first test.
0:31:25 > 0:31:28In less than a month's time, five orchestras will play their
0:31:28 > 0:31:31challenge for Paul at London's Maida Vale Studios.
0:31:37 > 0:31:41North Devon Sinfonia have had the last movement of
0:31:41 > 0:31:42Beethoven's Fifth for a month.
0:31:44 > 0:31:47With the aid of a borrowed double bass,
0:31:47 > 0:31:51Chi-chi has come for a one on one session with conductor Emma Kent.
0:31:51 > 0:31:55I'm going to try and work on a few points with you that were
0:31:55 > 0:31:57observations of Paul's.
0:31:57 > 0:32:01Because it's so much your orchestra, your baby, you're in charge,
0:32:01 > 0:32:05but he had the feeling that you needed to empower the rest of
0:32:05 > 0:32:08the orchestra a little bit more, give them a bit more responsibility.
0:32:08 > 0:32:12Mm. OK. I probably won't be as bossy with you as I am with the orchestra.
0:32:12 > 0:32:13Be as bossy as you like!
0:32:15 > 0:32:17SHE BEGINS PLAYING
0:32:19 > 0:32:23Emma, we've played one not and you were looking at the score.
0:32:23 > 0:32:26That's cos your eyes are very penetrating.
0:32:26 > 0:32:29Because I'm waiting for you to instruct me.
0:32:29 > 0:32:31Right, OK.
0:32:31 > 0:32:33BEGINS PLAYING
0:32:37 > 0:32:41'A conductor's job is to really come out of that school.
0:32:41 > 0:32:45'They should come prepared. As prepared as the players are.'
0:32:45 > 0:32:49And if she can get her eyes out,
0:32:49 > 0:32:52they will feel much more engaged.
0:32:52 > 0:32:54If your face isn't in the music,
0:32:54 > 0:32:57you will bring everybody in with your eyes and your hands.
0:32:57 > 0:33:00- Mm.- And I think that will be...
0:33:00 > 0:33:04Not only will you feel empowered, because it's all coming from
0:33:04 > 0:33:07you, rather than from the book, but also...
0:33:07 > 0:33:10No, it is just a security blanket.
0:33:10 > 0:33:12I rest my case.
0:33:17 > 0:33:20There are two weeks until Maida Vale and Chi-chi
0:33:20 > 0:33:22has one last stop to make.
0:33:24 > 0:33:27She's in Yorkshire to help Slaithwaite Philharmonic bring
0:33:27 > 0:33:30out Paul's flashiness in Rachmaninov's Second Symphony.
0:33:39 > 0:33:40OK.
0:33:40 > 0:33:42OK. Can we stop?
0:33:42 > 0:33:44Erm... Just right from the very beginning,
0:33:44 > 0:33:47I don't see any thrill of excitement.
0:33:47 > 0:33:50I'm not getting the feeling of a performance yet.
0:33:50 > 0:33:53You've got to come out of the music a little bit.
0:33:53 > 0:33:55Get the passion across a little bit more.
0:33:55 > 0:33:57So, just play the rhythm. Dum-digga-dum digga-dum.
0:33:57 > 0:33:59Digga-dum. Digga-dum. Digga-dum.
0:33:59 > 0:34:03So that bow comes to life every single time off that string.
0:34:06 > 0:34:08THEY BEGIN PLAYING
0:34:11 > 0:34:13OK.
0:34:13 > 0:34:16That's not bad. That's not bad. The energy is fantastic.
0:34:16 > 0:34:19Edward, how did it feel for you?
0:34:19 > 0:34:21LAUGHTER
0:34:21 > 0:34:24It's been a long time, but...
0:34:24 > 0:34:26LAUGHTER
0:34:26 > 0:34:29No, I thought that was very good, what you did there.
0:34:29 > 0:34:33It was amazing how just playing it simply like that made such
0:34:33 > 0:34:36- a difference.- It did. - Well, I thought so anyway.- Yes.
0:34:39 > 0:34:42President of Slaithwaite Philharmonic, Edward has been
0:34:42 > 0:34:45a proud member of the orchestra since 1969.
0:34:48 > 0:34:52Last year, they discovered that I had
0:34:52 > 0:34:54a very large tumour on my liver.
0:34:55 > 0:35:01But fortunately, I finished up in the hands of an excellent surgeon.
0:35:03 > 0:35:07We thought we'd cracked it and I felt really well.
0:35:07 > 0:35:11On the part they didn't touch, there were six spots of cancer.
0:35:11 > 0:35:15And he said, "There's nothing we can do about that."
0:35:16 > 0:35:21I'm 73 in September and I want to make 75.
0:35:21 > 0:35:24And he looked at me as much as to say, "You've no chance,"
0:35:24 > 0:35:26but we'll see.
0:35:28 > 0:35:32There's something about Slaithwaite Philharmonic Orchestra.
0:35:32 > 0:35:34There is some magic in there.
0:35:35 > 0:35:39We're going all the way. I've told them that. We're going to win.
0:35:39 > 0:35:42Come on! Come on! Here you are then!
0:35:44 > 0:35:47Across the nation, practice is reaching fever pitch.
0:35:51 > 0:35:53Judgment Day is near.
0:35:58 > 0:35:59Ah! Short break.
0:36:04 > 0:36:08It's Final Weekend at the world famous BBC Maida Vale Studios.
0:36:12 > 0:36:15Over the next two days, all five orchestras will be performing
0:36:15 > 0:36:18their challenge piece for the world famous conductor Paul Daniel.
0:36:18 > 0:36:23At the end of which, he will decide which orchestra leaves the contest.
0:36:24 > 0:36:29I want to find the orchestra that best captures the spirit of
0:36:29 > 0:36:33this wonderful amateur music making that we have in this country.
0:36:33 > 0:36:36Maida Vale is the home of the BBC Symphony Orchestra,
0:36:36 > 0:36:39but it isn't just about classical music.
0:36:39 > 0:36:43Everyone from the Beatles to Bing Crosby has played here.
0:36:43 > 0:36:46Really excited. It's really exciting being here.
0:36:46 > 0:36:48It's really good being in just this historic place.
0:36:48 > 0:36:51We've got our battle axes all sharpened up and we're going
0:36:51 > 0:36:54to go in there and we're going to really enjoy ourselves.
0:36:54 > 0:36:57There was Prosecco on the train and we're all in fine fettle
0:36:57 > 0:36:59this morning, ready to give it a good bash.
0:37:01 > 0:37:02You're going to get spiked.
0:37:02 > 0:37:05It's a huge place. I hadn't realised just how big..
0:37:05 > 0:37:08And also there's the additional pressure because we know this
0:37:08 > 0:37:11is a hurdle that we've got to get over, if we want to progress.
0:37:11 > 0:37:15- So, we're going to hear Stirling. What do you remember about them? - Oh, I remember the energy.
0:37:15 > 0:37:18I remember the best things about being an amateur orchestra.
0:37:18 > 0:37:21They're there because they love to play.
0:37:21 > 0:37:25But the basses were timid. I didn't feel that they were kind of driving the sound,
0:37:25 > 0:37:28which they need to do, and I wanted them to be really locked into
0:37:28 > 0:37:32the foundations of the orchestra. And that's got to come.
0:37:32 > 0:37:34Isn't this exciting?
0:37:34 > 0:37:36LAUGHTER
0:37:36 > 0:37:40The most important thing is to enjoy it and the second most
0:37:40 > 0:37:42important thing, after enjoying it, is...?
0:37:42 > 0:37:45- Not to give up. - LAUGHTER
0:37:45 > 0:37:48No matter what happens.
0:37:48 > 0:37:51Each orchestra will play their symphonic extract once
0:37:51 > 0:37:52through for Paul.
0:37:52 > 0:37:54Oops.
0:37:54 > 0:37:56We're going back this way. Sorry, ladies.
0:37:56 > 0:38:00After all five have played, Paul will decide who leaves.
0:38:00 > 0:38:02First up are Stirling,
0:38:02 > 0:38:05with the fourth movement of Dvorak's New World Symphony.
0:38:05 > 0:38:08Hello, Stirling! How fantastic to see you.
0:38:08 > 0:38:11I cannot tell you how much I've been looking forward to hearing
0:38:11 > 0:38:15how the rehearsals have been going. I hope you've been working hard.
0:38:15 > 0:38:18This is the moment of truth. Stephen, it's over to you.
0:38:24 > 0:38:26One, two, three, four.
0:38:26 > 0:38:31# Fourth movement of Dvorak's New World Symphony #
0:39:10 > 0:39:12APPLAUSE
0:39:13 > 0:39:17I just suddenly realised I was so dehydrated, just beforehand.
0:39:17 > 0:39:19I suddenly felt...like a cork!
0:39:21 > 0:39:26- Chi-chi, I thought that marvellous. - They did it. All the things that we talked about.
0:39:26 > 0:39:30It was just huge, the way they'd improved. Paul, I know you can't really comment.
0:39:30 > 0:39:33You've got a lot of judging to do. But immediate reaction?
0:39:33 > 0:39:35I'm reserving my judgment.
0:39:35 > 0:39:38Fair enough.
0:39:38 > 0:39:42- Did you think we could have played that much better?- No. No.
0:39:42 > 0:39:46There are a couple of tiny nuances, but in the circumstances,
0:39:46 > 0:39:49- I mean, under pressure, cos this is under pressure.- It's under pressure.
0:39:49 > 0:39:52'I think the orchestra is very pleased with how it went.
0:39:52 > 0:39:54'They know that they've done their absolute best.'
0:39:54 > 0:39:57They couldn't possibly have put any more into it.
0:39:57 > 0:40:00So, whatever happens with the result, I think they'll go
0:40:00 > 0:40:03home feeling they've put their whole heart into this.
0:40:05 > 0:40:07Next up, Slaithwaite Philharmonic.
0:40:08 > 0:40:12We're going to go up there now and I know you're going to win.
0:40:13 > 0:40:18It's important for the orchestra. For me, it's not important any more.
0:40:20 > 0:40:23But it's important for the orchestra to get through.
0:40:23 > 0:40:26- We're going to do it. - CHEERS AND APPLAUSE
0:40:26 > 0:40:29Slaithwaite Philharmonic. What do you think?
0:40:29 > 0:40:32They're very traditional. They're very proud.
0:40:32 > 0:40:35I felt that they were kind of sitting a bit on this tradition.
0:40:35 > 0:40:37The orchestra felt a little bit immovable to me.
0:40:37 > 0:40:41I'm hoping that that spark, which wasn't there when we worked,
0:40:41 > 0:40:42will come through.
0:40:50 > 0:40:54Hello, Slaithwaite. Good luck. Enjoy it. This is it. Over to you, Ben.
0:40:54 > 0:40:58They'll be performing an excerpt from the second movement
0:40:58 > 0:41:00of Rachmaninov's Second Symphony.
0:41:03 > 0:41:09# Excerpt from the second movement of Rachmaninov's Second Symphony #
0:42:19 > 0:42:21APPLAUSE
0:42:21 > 0:42:24Yeah, it was all right. Yeah, it was good. Yeah, don't worry.
0:42:24 > 0:42:27My mum does that after our gigs. Are they all happy? Yes!
0:42:27 > 0:42:30- It was very good! - HE LAUGHS
0:42:30 > 0:42:33- What did you think? - It was a very classy sound.
0:42:33 > 0:42:37- They are very confident, aren't they?- They are a very classy bunch of musicians.
0:42:37 > 0:42:40- I mean, for me, it's... It's a big balance.- It's a hard job.
0:42:40 > 0:42:44- You're the judge. You've got to think about it. Come on, let's go.- Yes.
0:42:44 > 0:42:47'When you get in your dotage and you're sat in your chair,
0:42:47 > 0:42:50- 'you'll tell your grandchildren about that.'- Yes!
0:42:51 > 0:42:55'I feel immensely proud of the orchestra, to be honest.'
0:42:55 > 0:42:58I shouldn't say too much cos if they hear me say it,
0:42:58 > 0:43:02they won't let me forget it, but I feel immensely proud.
0:43:02 > 0:43:06To be here with them, doing this, sharing that moment with them,
0:43:06 > 0:43:08I think is absolutely great.
0:43:10 > 0:43:13Next up, it's the People's Orchestra.
0:43:16 > 0:43:19And Jacqueline's feeling the nerves.
0:43:19 > 0:43:22I do suffer very badly with performance anxiety.
0:43:22 > 0:43:27At the minute, I feel really ill, yeah.
0:43:27 > 0:43:30- When did you come down? Last night?- This morning.
0:43:30 > 0:43:32- Left at 6:45.- Are you wide awake?
0:43:32 > 0:43:35- Mm.- Ish! Look at...
0:43:35 > 0:43:38I didn't realise there was another 5:30.
0:43:38 > 0:43:42- I thought there was just 5:30pm. - SHE LAUGHS
0:43:42 > 0:43:46- The People's Orchestra.- The balance of the orchestra is a tricky one.
0:43:46 > 0:43:49There are many, many wind players, of course, saxophones,
0:43:49 > 0:43:50and the brass and so on.
0:43:50 > 0:43:55And they are dominating, so it's a tricky one for them.
0:43:55 > 0:43:58They need to be more refined in the sound they make.
0:43:58 > 0:44:00They need to balance the sound.
0:44:00 > 0:44:03They need to be more precise with the rhythm.
0:44:03 > 0:44:06The People's Orchestra will be performing
0:44:06 > 0:44:09March To The Scaffold from Berlioz's Symphonie Fantastique.
0:44:10 > 0:44:15# March To The Scaffold from Berlioz's Symphonie Fantastique #
0:45:27 > 0:45:29APPLAUSE
0:45:29 > 0:45:33I was so nervous before. Oh, my God.
0:45:33 > 0:45:35Nightmare.
0:45:35 > 0:45:40I've got to be honest, I'm quite excited how much they've improved.
0:45:40 > 0:45:42Yes, they have. I like their rhythm.
0:45:42 > 0:45:46It was messy when I heard them and it was really much tighter.
0:45:46 > 0:45:51Nailed. It was fantastic. I'm really pleased with our performance.
0:45:51 > 0:45:55But now that it's all over, it's like a huge weight's been
0:45:55 > 0:45:58lifted off my shoulders and I feel absolutely normal again.
0:45:58 > 0:45:59I feel fine now.
0:45:59 > 0:46:01It's great!
0:46:04 > 0:46:06Next, North Devon Sinfonia.
0:46:07 > 0:46:10- Have you been in to the hall yet? - No.
0:46:10 > 0:46:13- Oh, you're going to love it. - We're being held like caged animals.
0:46:13 > 0:46:17Timpanist Annie is doing some last minute practice.
0:46:17 > 0:46:19- Oh, it's great to see you! - Good to see you too.
0:46:19 > 0:46:22- And...- # Da-da-da-da
0:46:22 > 0:46:23- And...- # Da-da da-da
0:46:23 > 0:46:25- That's... And...- # Da-da-da
0:46:25 > 0:46:28- And...- # Da-da-da da-da-da... # - That's it.
0:46:28 > 0:46:31- Brilliant. You've got it. That's it! That's it!- Ahhh!
0:46:31 > 0:46:34- I've only got to do on the night now!- No, that's it!
0:46:34 > 0:46:36I love the fact you're all in such smart black tie.
0:46:36 > 0:46:38You're all looking gorgeous.
0:46:38 > 0:46:41Well, we all stayed up far too late and we've all socialised and
0:46:41 > 0:46:44we all know each other's private life stories in
0:46:44 > 0:46:46a way we never did before.
0:46:46 > 0:46:49So we've really enjoyed that aspect and Maida Vale's just a cherry.
0:46:49 > 0:46:52We need to group hug mentally on that stage!
0:46:52 > 0:46:57- And number one, let's just go sock it to them! Yeah?- ALL:- Yeah!
0:46:59 > 0:47:03Paul is looking for conductor Emma to relinquish her school
0:47:03 > 0:47:06teacher mantle and enable her orchestra more.
0:47:09 > 0:47:11Emma has also decided to conduct
0:47:11 > 0:47:14the last movement of Beethoven's Fifth without a score.
0:47:16 > 0:47:18One, two.
0:47:18 > 0:47:21# Fourth movement of Beethoven's Fifth Symphony #
0:48:21 > 0:48:24APPLAUSE Fantastic! Well done!
0:48:24 > 0:48:28And you're the first lot to stand up for us as well. We like that!
0:48:28 > 0:48:29LAUGHTER
0:48:29 > 0:48:31I really hope we've got through.
0:48:31 > 0:48:34Yeah, there's a little bit of me that - I'm going all the way,
0:48:34 > 0:48:37I'm playing in Proms in the Park, whether Paul likes it or not!
0:48:37 > 0:48:39That's where I'm going to be!
0:48:39 > 0:48:43It's a classic example of an orchestra that is on fire
0:48:43 > 0:48:46and it shows in everyone's face. It's wonderful.
0:48:46 > 0:48:48And does that mask some imperfections?
0:48:48 > 0:48:51Well, yeah, but I love the enthusiasm.
0:48:52 > 0:48:55I think it went really well. There were some phrasings.
0:48:55 > 0:48:58We were together, 98.3% of the time. Ah!
0:48:59 > 0:49:03Conducting without a score was fine, actually. It was good.
0:49:03 > 0:49:06I think there were loads of positives and in fact,
0:49:06 > 0:49:09a few of the orchestra have said, you know,
0:49:09 > 0:49:11having me right there, eyeballing them,
0:49:11 > 0:49:14did encourage them to do the right thing in the right place.
0:49:14 > 0:49:17Occasionally missed a couple of entries,
0:49:17 > 0:49:20but I think the pluses of what went well from conducting from
0:49:20 > 0:49:23memory outweighed the negatives, so no, it was fine.
0:49:23 > 0:49:25I'm quite relieved.
0:49:25 > 0:49:27- Get on the bus.- Bye!
0:49:27 > 0:49:29TOOTS HORN
0:49:31 > 0:49:34Last up is the London Gay Symphony Orchestra.
0:49:34 > 0:49:36- I like the attire. - Thank you very much.
0:49:36 > 0:49:38Well, I always think, if you go for pink,
0:49:38 > 0:49:40someone's going to look at you.
0:49:40 > 0:49:43You were saying that you're feeling all right though.
0:49:43 > 0:49:45At the moment, yes. I haven't got too much to do.
0:49:45 > 0:49:48And I haven't got as much potential to ruin the whole thing as
0:49:48 > 0:49:52- some of the others.- Oh, stop it! You're not going to ruin anything. Honestly.
0:49:52 > 0:49:54The London Gay Symphony Orchestra were impressive,
0:49:54 > 0:49:58- right from the get go. You've got high expectations of them. - Yes, of course.
0:49:58 > 0:50:01There are lots of things they need to achieve, of course.
0:50:01 > 0:50:05The violins play this melody and they're being answered by the
0:50:05 > 0:50:07cellos and the trombones,
0:50:07 > 0:50:12so it's a lot for them to take on and to find a sound and a rhythm,
0:50:12 > 0:50:16and the balance of the orchestra, which is also a big challenge.
0:50:16 > 0:50:18Now is when I start chewing my lip.
0:50:21 > 0:50:24They'll be playing an excerpt from the fourth movement of
0:50:24 > 0:50:26Tchaikovsky's Sixth Symphony.
0:50:27 > 0:50:29Two, three.
0:50:29 > 0:50:33# Excerpt from the fourth movement of Tchaikovsky's Sixth Symphony #
0:52:07 > 0:52:09APPLAUSE
0:52:09 > 0:52:12Oh, I feel a bit teary.
0:52:12 > 0:52:14Thank you very much indeed. Well done.
0:52:16 > 0:52:19- Bravo, ladies and gentlemen. - THEY CHEER
0:52:21 > 0:52:25For me, I just thought there was an emotional edge that was missing.
0:52:25 > 0:52:29They were careful, rather than taking the risks that
0:52:29 > 0:52:32Tchaikovsky took with the emotional centre of the music.
0:52:32 > 0:52:35- You see, it nearly made me cry. - Yeah. Almost.- So they were
0:52:35 > 0:52:38- getting something right. - Well done, team. Well done.
0:52:40 > 0:52:43'I could really hear everything that everyone was doing and how'
0:52:43 > 0:52:46much emotion was going into it.
0:52:46 > 0:52:49It was really quite moving and when we got to the end, it was...
0:52:49 > 0:52:53Oh, I can't smile after that! It's just ripping my heart out!
0:52:54 > 0:52:59Five wonderful orchestras, actually. It's been a really uplifting couple of days.
0:52:59 > 0:53:01Yeah, incredible what they've done, isn't it?
0:53:01 > 0:53:03They're great advertisements
0:53:03 > 0:53:07for amateur music making in this country.
0:53:07 > 0:53:11'Paul must now begin the tough job of deciding which four
0:53:11 > 0:53:14'orchestras have shown the most inspiration and musical
0:53:14 > 0:53:16'improvement and which one will leave.'
0:53:16 > 0:53:19A lot of the sound was coming out of instruments and falling on
0:53:19 > 0:53:21the floor, as far as I was concerned.
0:53:21 > 0:53:25Had they taken your advice on board and done what you asked them to do?
0:53:25 > 0:53:27- Not enough.- They would says - well, this is our character.
0:53:27 > 0:53:29We're not showy offy.
0:53:29 > 0:53:31But for me, it was about that ingredient,
0:53:31 > 0:53:33whatever we call it, passion.
0:53:33 > 0:53:36- It was too reserved for me. - Nervous? Are you nervous?
0:53:36 > 0:53:40Yeah, I think it's got to the stage now where it's in the lap of the gods.
0:53:40 > 0:53:42We're getting more nervous than we thought we would.
0:53:42 > 0:53:43I definitely am, anyway.
0:53:43 > 0:53:46- We did our best, didn't we? - Yeah.- I think.
0:53:46 > 0:53:49- And we don't want to get kicked out though, do we?- No.
0:54:09 > 0:54:13We have loved hearing all five orchestras play over the last
0:54:13 > 0:54:16couple of days. It's been an absolute delight for us.
0:54:16 > 0:54:19This is the hard bit now. So, Paul.
0:54:21 > 0:54:24Stirling Orchestra,
0:54:24 > 0:54:26Stephen,
0:54:26 > 0:54:30the work you've done with them and their playing was transformed,
0:54:30 > 0:54:31I thought.
0:54:31 > 0:54:35Those famous basses, who were like timid little sheep at the
0:54:35 > 0:54:37beginning, they were transformed.
0:54:37 > 0:54:39They were much, much stronger.
0:54:39 > 0:54:42Technical skills, you've got a lot of work to do.
0:54:44 > 0:54:47Slaithwaite Philharmonic, Ben,
0:54:47 > 0:54:52your orchestra, it's classy, it's built on tradition.
0:54:52 > 0:54:56It's a very skilful orchestra, but sometimes the skill gets in the way,
0:54:56 > 0:55:00perhaps, of a little bit of risk and a little bit of electricity.
0:55:01 > 0:55:03The People's Orchestra, well, Dan,
0:55:03 > 0:55:06you've done some really hard work and they've transformed.
0:55:06 > 0:55:08I heard the rhythms come alive.
0:55:08 > 0:55:11Technically speaking, there was a huge improvement.
0:55:11 > 0:55:15But I would say one thing, those poor string players who
0:55:15 > 0:55:19really work their socks off, you've got to love them more.
0:55:22 > 0:55:25North Devon Sinfonia, Emma, really great.
0:55:25 > 0:55:27A captivating performance, I thought.
0:55:27 > 0:55:31We all felt, and I felt personally, that that was probably the
0:55:31 > 0:55:35biggest transformation of any of the orchestras today.
0:55:35 > 0:55:39Having said that, the wind and brass, they were a bit patchy.
0:55:39 > 0:55:43And the London Gay Symphony Orchestra, Chris, really good,
0:55:43 > 0:55:47sensitive sound, I think, you've got.
0:55:47 > 0:55:52I had one big thing that I was missing and that was the kind
0:55:52 > 0:55:54of emotional threat in the music.
0:55:56 > 0:55:58You played really safe.
0:56:02 > 0:56:08And so, I know that we have to say goodbye to one orchestra today.
0:56:12 > 0:56:15I regret to say
0:56:15 > 0:56:19that the orchestra that will not be continuing
0:56:19 > 0:56:21to the next round of our contest...
0:56:23 > 0:56:25..is...
0:56:29 > 0:56:32..the Slaithwaite Philharmonic.
0:56:32 > 0:56:36Very sorry. But thank you very much for all your work. Thanks, Ben.
0:56:36 > 0:56:39- Thank you.- Thanks a lot. - Thank you so much for taking part.
0:56:39 > 0:56:41- Yeah.- Thank you so much.
0:56:44 > 0:56:47What I'd like to say to you is well done, you are fantastic.
0:56:47 > 0:56:51We're delighted you're going through to the next round.
0:56:51 > 0:56:52Well done.
0:56:52 > 0:56:54That's brilliant. Well done.
0:56:54 > 0:56:57You're the only one who came along without a score.
0:56:57 > 0:57:00Disappointed, obviously. We'd have loved to have gone further.
0:57:00 > 0:57:03I'm sure our members would have loved to have gone further.
0:57:03 > 0:57:06We wanted to proceed further in the process, but in terms of the
0:57:06 > 0:57:09disappointment, I'm still incredibly proud of the orchestra.
0:57:09 > 0:57:11Slaithwaite were actually, technically,
0:57:11 > 0:57:14probably the most proficient of all the orchestras that we've
0:57:14 > 0:57:16heard these last two days.
0:57:16 > 0:57:20But for me, it's not about being technically the most brilliant,
0:57:20 > 0:57:24it's about having a passion and a joy in your playing.
0:57:24 > 0:57:27And being able to communicate that to the audience and today,
0:57:27 > 0:57:32Slaithwaite Philharmonic just didn't give me that.
0:57:32 > 0:57:34We have some news.
0:57:35 > 0:57:38- We're through to round two. - THEY CHEER
0:57:42 > 0:57:45I'm delighted to say that we're through to the next round.
0:57:45 > 0:57:48THEY CHEER
0:57:48 > 0:57:51- Hello, everybody! - Hello, everybody!- ALL:- Hi!
0:57:51 > 0:57:54- We got through! - THEY CHEER
0:57:56 > 0:57:59- Ha-ha! We're through! - We're through!
0:57:59 > 0:58:01THEY CHEER
0:58:04 > 0:58:07Next time, we're off to the opera, as the four remaining orchestras
0:58:07 > 0:58:11get to grips with arias and opera singers.
0:58:11 > 0:58:14I'm trying to read the music, and watch the conductor,
0:58:14 > 0:58:16and listen to the singer at the same time.
0:58:16 > 0:58:19- And it's quite difficult. - And four will become three.
0:58:19 > 0:58:22One orchestra will not be continuing.
0:58:22 > 0:58:24The stakes are getting higher.