0:00:02 > 0:00:05We are a nation of enthusiasts. We love our dogs, our football,
0:00:05 > 0:00:08our green fields and, of course, our music.
0:00:11 > 0:00:15Across Britain, thousands of people play in amateur orchestras...
0:00:15 > 0:00:18We want to make music but we want to have a laugh at the same time.
0:00:18 > 0:00:20I love the orchestra.
0:00:20 > 0:00:23..juggling busy work schedules and family life
0:00:23 > 0:00:25with their love of music.
0:00:25 > 0:00:27Whoa! That was loud!
0:00:27 > 0:00:31To celebrate these talented men and women, we're on the hunt
0:00:31 > 0:00:35for the orchestra that best captures the spirit of amateur music-making.
0:00:35 > 0:00:37What an amazing noise!
0:00:39 > 0:00:42Last time was all about opera, and the remaining orchestras
0:00:42 > 0:00:47from London, Devon, Stirling and Birmingham went head-to-head
0:00:47 > 0:00:48in a dramatic showdown.
0:00:50 > 0:00:54Sadly, we said goodbye to Birmingham's The People's Orchestra.
0:00:55 > 0:01:00Now, three orchestras remain and the contest is about to get tougher.
0:01:00 > 0:01:01Bam! Bam! More, more!
0:01:01 > 0:01:03We're not quite on it. He's not quite on it.
0:01:03 > 0:01:05And the result is carnage.
0:01:05 > 0:01:08We've got work to do. We have indeed!
0:01:08 > 0:01:10The battle is on
0:01:10 > 0:01:14to find one winner who will perform at the BBC Proms in Hyde Park.
0:01:14 > 0:01:17We are in it to win it. Not messing about here!
0:01:20 > 0:01:21THEY CHEER
0:01:26 > 0:01:29This time, the challenge is to perform a concerto.
0:01:29 > 0:01:32And it's getting personal, because each orchestra
0:01:32 > 0:01:35has to pick its soloist from within its own ranks
0:01:35 > 0:01:37and stage a concert in its own hometown.
0:01:39 > 0:01:42To find their soloists, each orchestra has been sent an e-mail
0:01:42 > 0:01:46calling for volunteers to step into the limelight.
0:01:46 > 0:01:49"In each instance, we want to find the future soloist,
0:01:49 > 0:01:52"to be drawn from the ranks of the orchestra itself."
0:01:52 > 0:01:55"We want to encourage lots of you to put yourself forward
0:01:55 > 0:01:56"to audition for the role as soloist."
0:01:56 > 0:02:01"You should prepare an audition piece which shows off your skills."
0:02:01 > 0:02:02Well, that's me out!
0:02:02 > 0:02:05"The final audition will be down to those members of your orchestra
0:02:05 > 0:02:06"who audition you on the day."
0:02:06 > 0:02:08Very exciting!
0:02:10 > 0:02:14The concertos will be judged by world-famous conductor Paul Daniel.
0:02:14 > 0:02:16A concerto is a soloist
0:02:16 > 0:02:21playing in front of and supported by an orchestra.
0:02:21 > 0:02:25In this round, each orchestra will really be able to show off.
0:02:25 > 0:02:28I want them to develop the whole way they play, how they encourage
0:02:28 > 0:02:32their soloist, and how well they present to their audience.
0:02:33 > 0:02:36While Paul will spur on our orchestras with a masterclass,
0:02:36 > 0:02:40our mentor, world-renowned double bassist Chi-chi Nwanoku,
0:02:40 > 0:02:43will be on hand, this time helping our soloists reach for the stars.
0:02:45 > 0:02:49I have the task of finding the perfect mentor
0:02:49 > 0:02:51for our three soloists.
0:02:51 > 0:02:53Matchmaking, if you like!
0:02:56 > 0:02:58Paul and I are about to find out
0:02:58 > 0:03:00who the chosen soloists are,
0:03:00 > 0:03:03starting with North Devon Sinfonia.
0:03:03 > 0:03:05We're here for our first masterclass.
0:03:07 > 0:03:09We got through the second challenge and something's gone...
0:03:09 > 0:03:13SHE CLICKS TONGUE ..in my brain and now
0:03:13 > 0:03:17I do actually feel slightly... SHE GASPS
0:03:19 > 0:03:21Hello, North Devon! How are we?
0:03:21 > 0:03:23Are you all excited to be through to the third round?
0:03:23 > 0:03:25ALL: Yes!
0:03:25 > 0:03:28So, this round, it's concerto round, which is great.
0:03:28 > 0:03:30But most exciting of all is that
0:03:30 > 0:03:34you have chosen a soloist from amongst you all.
0:03:34 > 0:03:36And that soloist is...
0:03:36 > 0:03:40Let's have a look - it's Simon! Come on up.
0:03:43 > 0:03:45Now, what are you going to play?
0:03:45 > 0:03:48Erm, the third movement of Derek Bourgeois' Trombone Concerto.
0:03:48 > 0:03:51Have you ever played this before? ORCHESTRA MEMBERS: No...
0:03:51 > 0:03:55No! Have YOU ever played it before? No! LAUGHTER
0:03:55 > 0:03:58This is going to be great!
0:03:58 > 0:04:01TROMBONE PLAYS NOTES
0:04:01 > 0:04:03Music teacher Simon lives in Ilfracombe.
0:04:03 > 0:04:05He has two little music students of his own -
0:04:05 > 0:04:07twin sons, Jude and Alfie.
0:04:09 > 0:04:11Whoa! That was loud!
0:04:11 > 0:04:13So the perils of having two six-year-olds
0:04:13 > 0:04:16is that every practice session is interrupted.
0:04:16 > 0:04:18Erm, I wouldn't have it any other way.
0:04:20 > 0:04:23It means that there's short snippets of practice
0:04:23 > 0:04:25that you can grab here and there.
0:04:25 > 0:04:27Which is why I thought the van was a safe place!
0:04:27 > 0:04:32Simon is taking his soloist role very seriously.
0:04:32 > 0:04:35Simon puts absolutely everything into everything that he does.
0:04:35 > 0:04:38He so passionate and enthusiastic.
0:04:38 > 0:04:42He will absolutely do the very best that he can.
0:04:44 > 0:04:46It is really important for me to get this right.
0:04:46 > 0:04:51When I was at college, I failed my final year recital,
0:04:51 > 0:04:53which was a real shock.
0:04:53 > 0:04:57So I'd like to prove how well I can play to myself, if no-one else.
0:04:57 > 0:04:59Here we go.
0:05:01 > 0:05:05ORCHESTRA PLAYS
0:05:10 > 0:05:12Paul asked the orchestras to choose their own music.
0:05:12 > 0:05:15Devon has picked Derek Bourgeois' Trombone Concerto.
0:05:15 > 0:05:17It's fast and furious.
0:05:17 > 0:05:19It's a big challenge for the orchestra because
0:05:19 > 0:05:23lots of different interplay between different parts of the orchestra.
0:05:23 > 0:05:26Rhythmically quite intricate and complex.
0:05:26 > 0:05:29Can you all play it like there's nobody else here
0:05:29 > 0:05:32and you're somewhere really fun, like a big echoey toilet?
0:05:32 > 0:05:34THEY LAUGH
0:05:34 > 0:05:35First, though, can you imagine
0:05:35 > 0:05:38you've had at least three gin and tonics?
0:05:39 > 0:05:41ORCHESTRA PLAYS
0:05:45 > 0:05:48PAUL: Actually, Emma... Emma?
0:05:49 > 0:05:51Emma!
0:05:54 > 0:05:56You could hear that, couldn't you?
0:05:56 > 0:05:58The trombones are actually...you're not doing a great job of
0:05:58 > 0:06:00being with your friends in these two rows.
0:06:00 > 0:06:02You're not listening to the woodwind.
0:06:02 > 0:06:04You're rushing me! Quite right.
0:06:04 > 0:06:09That rhythm, that constant rhythm, has to be so carefully played,
0:06:09 > 0:06:14so really together, that Simon can just dance on the top of it without
0:06:14 > 0:06:17feeling that he's being pulled or held back or stressed in any way.
0:06:17 > 0:06:21What are you feeling? Erm, I'm feeling that...
0:06:21 > 0:06:23That's a really interesting question.
0:06:23 > 0:06:26I feel like we're a bit rocky at the moment.
0:06:26 > 0:06:28It's just finding the groove.
0:06:28 > 0:06:32And when we get the groove, it will work. Go again! Emma? Hello!
0:06:32 > 0:06:35Try letting them play it without, without you. Oh, good! Yeah.
0:06:35 > 0:06:37It's all a bit higgledy-piggledy.
0:06:41 > 0:06:45BRASS SECTION PLAYS
0:06:51 > 0:06:55When Emma stepped back and didn't conduct, the orchestra,
0:06:55 > 0:06:56of course, changed completely.
0:06:56 > 0:06:59Suddenly, they were taking control.
0:06:59 > 0:07:01Then the rhythm, I think, immediately got better.
0:07:01 > 0:07:04You are, like, responsible for what you're playing.
0:07:04 > 0:07:06So I was listening to the wind at the back.
0:07:06 > 0:07:09I never listen to the winds. It's really bad, isn't it?
0:07:09 > 0:07:11It changed the balance of power a little bit.
0:07:11 > 0:07:14It felt like I was there, leading the orchestra much more.
0:07:14 > 0:07:17And it also gave the orchestra just a little bit more of
0:07:17 > 0:07:19a push to listen to each other. It was good. It was useful.
0:07:19 > 0:07:23It did work, didn't it? My God! It really did. I know.
0:07:23 > 0:07:25I think, power to the people!
0:07:31 > 0:07:33Next stop, we're in the capital.
0:07:33 > 0:07:35And it's London Gay Symphony Orchestra's turn
0:07:35 > 0:07:36for Paul's masterclass.
0:07:39 > 0:07:42In the last round, Paul thought their playing caught fire.
0:07:42 > 0:07:46But they have had a tendency to hold back in the past.
0:07:46 > 0:07:48I'm a little bit nervous about today's session.
0:07:48 > 0:07:51I think Paul might push us, push us to our limits, hopefully.
0:07:51 > 0:07:54We've got a long way to fall at this point.
0:07:54 > 0:07:56And I think this is the thing -
0:07:56 > 0:07:59we're now going to have to work even harder.
0:07:59 > 0:08:01The orchestra has chosen Nathan as the soloist and he's picked
0:08:01 > 0:08:04Richard Strauss's Oboe Concerto.
0:08:04 > 0:08:06THEY CLAP AND CHEER
0:08:08 > 0:08:11We're starting the andante before figure 22.
0:08:14 > 0:08:17ORCHESTRA PLAYS
0:08:32 > 0:08:36Nathan, from West London, uses music as a way of sharing his emotions.
0:08:39 > 0:08:42I'm quite a buttoned-up sort of person,
0:08:42 > 0:08:45in that I don't kind of reveal all that much.
0:08:48 > 0:08:52I'm not someone who goes around telling people how much I love them.
0:08:52 > 0:08:55I tend to express myself through playing a piece of music.
0:08:57 > 0:08:59Lubrication! Cheers, darling!
0:08:59 > 0:09:01He's going to dedicate his solo to his partner Justin.
0:09:01 > 0:09:05'Justin and I have been together for six years.'
0:09:05 > 0:09:10He's beaten my longest relationship record now by about a year.
0:09:10 > 0:09:14When I made those pieces of artwork, when we first met,
0:09:14 > 0:09:18here he is on a ladder, handing down the stars to me.
0:09:18 > 0:09:22And here's the star! I know, it's so ridiculously soppy!
0:09:22 > 0:09:25But, uh, it was special!
0:09:25 > 0:09:28I think the way that I feel about Justin will be expressed
0:09:28 > 0:09:32through the way that I play the piece of music, because for me,
0:09:32 > 0:09:37it's kind of like a love song. It's a love song without words.
0:09:50 > 0:09:52This concerto finds the elderly composer, Strauss,
0:09:52 > 0:09:54reflecting on his life.
0:09:54 > 0:09:57It's a kind of nostalgic piece. It's full of memory.
0:09:57 > 0:10:02It's full of an autumnal kind of richness.
0:10:08 > 0:10:11The danger for any orchestra, and particularly for this orchestra,
0:10:11 > 0:10:13that they will be too reticent.
0:10:13 > 0:10:17Every single person's little, tiny note on the violin
0:10:17 > 0:10:19or a cross on the cellos -
0:10:19 > 0:10:22every single thing counts in this music.
0:10:22 > 0:10:24Sing down the line.
0:10:27 > 0:10:29Good. Erm, Chris, Nathan,
0:10:29 > 0:10:32it's nothing, is it, to play? it's just bu, bu, bu.
0:10:33 > 0:10:38And every note has got to sound like something incredible. Yeah.
0:10:38 > 0:10:40Just play it together without you, now.
0:10:40 > 0:10:43Cos you've got to be at least as beautiful as the way...
0:10:43 > 0:10:45he's played it.
0:10:58 > 0:10:59OK.
0:10:59 > 0:11:01Very choppy.
0:11:01 > 0:11:04And he doesn't chop it up at all, he just plays...
0:11:04 > 0:11:06It's like a river, when you play it.
0:11:08 > 0:11:10You sounded like the logs on the river.
0:11:10 > 0:11:12LAUGHTER
0:11:12 > 0:11:14Rude!
0:11:15 > 0:11:17Oh, it's all coming out now.
0:11:17 > 0:11:18LAUGHTER
0:11:20 > 0:11:23It was so scary with Paul standing there,
0:11:23 > 0:11:25conscious of every tiny little...
0:11:25 > 0:11:27thing that I did wrong.
0:11:27 > 0:11:30We all fall into this kind of trap, particularly, I think,
0:11:30 > 0:11:31Paul is picking up on it,
0:11:31 > 0:11:34which is that when we see a few notes on a page,
0:11:34 > 0:11:36we kind of think we haven't got very much to do,
0:11:36 > 0:11:39and we're not very important. And what we're learning is,
0:11:39 > 0:11:42actually every note is important.
0:11:42 > 0:11:46I must say that they have to really take a quite big step quite soon
0:11:46 > 0:11:49to turn this very simple music into something
0:11:49 > 0:11:51that is really extraordinary.
0:11:53 > 0:11:57At her West London home, Chi-chi is on Skype to Paul.
0:11:58 > 0:12:01When he starts the phrase, you need to sense immediately
0:12:01 > 0:12:03what it is he wants to express.
0:12:03 > 0:12:06To get the soloists ready for their big day,
0:12:06 > 0:12:09she needs Paul's feedback after their first masterclass.
0:12:09 > 0:12:11It's a really fantastic piece for him. He, at the moment,
0:12:11 > 0:12:14is thinking very carefully about how he is going to organise himself,
0:12:14 > 0:12:17he's a very contained, organised kind of person.
0:12:17 > 0:12:20Chi-chi is going to find each soloist an expert
0:12:20 > 0:12:23to maximise their potential. The reason I'm not going to
0:12:23 > 0:12:26mentor them for their solo pieces is that I don't play
0:12:26 > 0:12:29any of the instruments. I could help them
0:12:29 > 0:12:32with musical interpretation and things like that,
0:12:32 > 0:12:34but technical issues,
0:12:34 > 0:12:37I probably wouldn't be able to help them enough.
0:12:37 > 0:12:39What I'm phoning you about, I'm really keen
0:12:39 > 0:12:44that you're going to mentor our trombone soloist, Simon.
0:12:44 > 0:12:48I mean, he's a wonderful player but Paul wants to see Simon
0:12:48 > 0:12:51take some more risks and be the firework.
0:12:56 > 0:12:59Chi-chi has enlisted the help of virtuoso trombonist
0:12:59 > 0:13:02Carol Jarvis, who's worked with major UK orchestras
0:13:02 > 0:13:05as well as pop greats like Sting and Seal.
0:13:09 > 0:13:13But today she's going to work with Simon from North Devon Sinfonia.
0:13:13 > 0:13:16I've got a few ideas, going to try and take him out of his comfort zone
0:13:16 > 0:13:18a little bit, take a few risks,
0:13:18 > 0:13:21and, yeah, try and get his character out a little bit.
0:13:21 > 0:13:23So, shall we start from this section
0:13:23 > 0:13:25and we'll sort of play through it...? Yeah, yeah.
0:13:33 > 0:13:36Really love your playing, but it's all very contained. Uh-hm.
0:13:36 > 0:13:38We need to go like that.
0:13:40 > 0:13:44We need to make it really exciting. OK. I want you now to sing that.
0:13:44 > 0:13:48# La, la, la, la, la, la, la, la, la, la, la. #
0:13:48 > 0:13:50Yes, good.
0:13:50 > 0:13:55Making any musician sing really helps to let the whole thing flow.
0:13:55 > 0:13:57# La, la, la, la, la La... #
0:13:57 > 0:13:59Yes! Once he did that and came back
0:13:59 > 0:14:01to the trombone, it was so different.
0:14:07 > 0:14:09Yeah, that's really getting there, that's really getting there.
0:14:09 > 0:14:13It's just the character now, you've got to get this real end,
0:14:13 > 0:14:14this real heroic...
0:14:14 > 0:14:17# La, la, la, la, la, LA! #
0:14:17 > 0:14:21I want really cocky. You're a soloist. Yeah, yeah.
0:14:21 > 0:14:25I don't naturally do cocky. I know, but this is an act. OK, then.
0:14:25 > 0:14:28This is an act. Let's try standing on a chair. OK. Yeah?
0:14:28 > 0:14:31Stand on a chair. OK. This is taking you out of your comfort zone.
0:14:31 > 0:14:34You've got to be aware about balancing now, as well.
0:14:34 > 0:14:37I think it's a really good idea to get people to just...
0:14:37 > 0:14:38do something completely weird,
0:14:38 > 0:14:41so that if you can do it in that situation, then on the day
0:14:41 > 0:14:44it's going to be so much easier and you can relax
0:14:44 > 0:14:45and get into it and enjoy it.
0:14:51 > 0:14:53Yes, yes!
0:14:53 > 0:14:55Today's session has helped with the risk-taking.
0:14:55 > 0:14:59In conclusion, it's to be less square and be more exciting!
0:15:08 > 0:15:11Up in Scotland, Paul and I have arrived for our third and final
0:15:11 > 0:15:14concerto masterclass. This time, it's with Stirling Orchestra.
0:15:16 > 0:15:19The competitive spirit is definitely coming out,
0:15:19 > 0:15:21we just would love to make it all the way.
0:15:21 > 0:15:24They've picked retired engineer and music tutor Douglas
0:15:24 > 0:15:25as their soloist.
0:15:27 > 0:15:30At first glance, he wouldn't appear an obvious candidate
0:15:30 > 0:15:31to step into the spotlight.
0:15:33 > 0:15:37I'm quite...quiet, generally.
0:15:37 > 0:15:41Even in company, I'm, I'm quite quiet.
0:15:42 > 0:15:44But I don't lack self-confidence -
0:15:44 > 0:15:47that's a different thing altogether and, er...
0:15:49 > 0:15:54So maybe I do like to use music to express myself more than...
0:15:54 > 0:15:57doing stand-up comedy, something like that.
0:16:01 > 0:16:03Douglas plays the flute in the orchestra
0:16:03 > 0:16:06and a number of different instruments in his spare time,
0:16:06 > 0:16:08but one stands above the rest.
0:16:12 > 0:16:17Piping is much more than a hobby, so it's become....
0:16:17 > 0:16:19an obsession, really.
0:16:19 > 0:16:22I just want to be better at it.
0:16:22 > 0:16:24Let's get started.
0:16:24 > 0:16:26Shall we just give this a go?
0:16:36 > 0:16:39Douglas has chosen An Orkney Wedding, with Sunrise
0:16:39 > 0:16:42by Peter Maxwell Davies. Not technically a concerto,
0:16:42 > 0:16:46but it's one of the only orchestral works with a bagpipe solo
0:16:46 > 0:16:49and it demands snappy Scottish fiddling.
0:16:49 > 0:16:52If you look at the score, it's just peppered with wonderful,
0:16:52 > 0:16:55wonderful effects and I think they're going to have
0:16:55 > 0:16:56a lot of fun with this,
0:16:56 > 0:16:59you know, there's so much to get in this piece,
0:16:59 > 0:17:01so many different accents, rhythms...
0:17:04 > 0:17:07The piece depicts a drunken wedding celebration
0:17:07 > 0:17:09and ends with a bagpipe solo
0:17:09 > 0:17:11symbolising the rising sun over Caithness.
0:17:13 > 0:17:15What an amazing noise!
0:17:15 > 0:17:16LAUGHTER
0:17:16 > 0:17:18Great!
0:17:18 > 0:17:21Talking as a...southerner here, I feel like a real impostor,
0:17:21 > 0:17:24but they've got to sound really Scottish, haven't they?
0:17:24 > 0:17:26All those snaps...
0:17:26 > 0:17:30I want to learn how a real Scots snap sounds, can we...?
0:17:30 > 0:17:33First and seconds, yeah, first and seconds.
0:17:40 > 0:17:43We're doing, like, a bit of a knock on the string,
0:17:43 > 0:17:45it's got to be like a...
0:17:45 > 0:17:46HE IMITATES THRESHING
0:17:46 > 0:17:48Then it becomes theatre, you know...
0:17:48 > 0:17:523, 5, 3. And see if we can get this kind of... Like, real zing.
0:17:56 > 0:17:57No, nowhere near.
0:17:59 > 0:18:01Stephen, Stephen...
0:18:01 > 0:18:03It's nowhere near.
0:18:03 > 0:18:05LAUGHTER
0:18:05 > 0:18:07We've got work to do!
0:18:07 > 0:18:09You have indeed. We've got a lot of work to do.
0:18:09 > 0:18:12They've got to go and work out how to make that folk melody work.
0:18:12 > 0:18:16Yeah, because not all of them are Scottish fiddlers. No, exactly.
0:18:16 > 0:18:18Let's talk about Douglas. How do you think he got on?
0:18:18 > 0:18:21Something that we haven't even begun to look at yet
0:18:21 > 0:18:25is how he's going to bring a sense of theatre to this.
0:18:25 > 0:18:29He's got to become like the star! You know, or the sun!
0:18:32 > 0:18:36Three orchestras have had three masterclasses,
0:18:36 > 0:18:40but judge Paul wants to raise the stakes in this penultimate round.
0:18:40 > 0:18:43This time, he wants the orchestras to stage their concerto
0:18:43 > 0:18:44in front of a home crowd.
0:18:46 > 0:18:49So now the orchestra is on its own turf.
0:18:49 > 0:18:52I'm looking for orchestras in our contest who will really
0:18:52 > 0:18:54inspire and engage the audience
0:18:54 > 0:18:58and really have something to give them.
0:18:58 > 0:19:01They have just three weeks to organise their event.
0:19:01 > 0:19:04London kicks off with a pre-rehearsal meeting.
0:19:04 > 0:19:07I think venue is going to be the key issue with this.
0:19:07 > 0:19:09As does Stirling.
0:19:09 > 0:19:12So, did we decide the dress code? Is it going to be
0:19:12 > 0:19:14all black...? Yeah, yeah, I think so.
0:19:14 > 0:19:17In Exeter Cathedral, Devon's orchestra takes a break
0:19:17 > 0:19:19from rehearsals to brainstorm ideas.
0:19:19 > 0:19:22I think it would be really nice to go somewhere
0:19:22 > 0:19:24most people wouldn't expect to hear classical music.
0:19:24 > 0:19:28Somewhere like a shopping centre. What about the Pannier Market?
0:19:28 > 0:19:30Yeah, I think a lot of people see that as sort of
0:19:30 > 0:19:32the central hub of town and quite a community place.
0:19:32 > 0:19:35I really like the idea of doing something in Ilfracombe -
0:19:35 > 0:19:36if you remember,
0:19:36 > 0:19:38we just had that really successful film-music concert.
0:19:38 > 0:19:41You live in Ilfracombe! And I live in Ilfracombe!
0:19:41 > 0:19:42LAUGHTER
0:19:42 > 0:19:44What about the lifeboat station? How big is that?
0:19:44 > 0:19:47I think the lifeboat station is about this size
0:19:47 > 0:19:50and there is also outside space to stand.
0:19:50 > 0:19:53I thought St John's Garden Centre, though I haven't in any way
0:19:53 > 0:19:55done anything more than think it.
0:19:55 > 0:19:59I thought we could have the violas near the violas!
0:19:59 > 0:20:02LAUGHTER AND GROANS
0:20:02 > 0:20:04Oh, wow. Here it is.
0:20:04 > 0:20:07First things first, they need to find a venue large enough
0:20:07 > 0:20:10to accommodate an audience and an orchestra.
0:20:10 > 0:20:12Five desks of violins on each side
0:20:12 > 0:20:15and then... It's really tight, actually.
0:20:18 > 0:20:19While London Gay Symphony Orchestra
0:20:19 > 0:20:24and Stirling Orchestra recce their local music venues...
0:20:24 > 0:20:25It's huge.
0:20:25 > 0:20:29..Devon has gone left-field by sound-testing a garden centre.
0:20:29 > 0:20:31SHE SINGS A SCALE
0:20:31 > 0:20:33That's quite a nice acoustic!
0:20:33 > 0:20:36They want to bring classical music to a wider audience.
0:20:36 > 0:20:38I love classical music and I think everyone
0:20:38 > 0:20:41has the potential to love classical music
0:20:41 > 0:20:43if they are just opened up to it in the right way, and if we can use
0:20:43 > 0:20:46this challenge to open a few more minds to give it a whirl,
0:20:46 > 0:20:47then that's great.
0:20:51 > 0:20:55In London, Chi-chi is getting on with recruiting her experts.
0:20:55 > 0:20:57She has just the right person
0:20:57 > 0:21:00for Nathan from the London Gay Symphony Orchestra -
0:21:00 > 0:21:03someone she's worked with in the past.
0:21:03 > 0:21:05Hi there, Nick.
0:21:05 > 0:21:07I've got a proposal for you.
0:21:11 > 0:21:14She's sending him for a session with oboist Nick Daniel,
0:21:14 > 0:21:18who shot to fame when he won Young Musician Of The Year in 1980,
0:21:18 > 0:21:19and has had music written for him
0:21:19 > 0:21:22by some of the best composers in the world.
0:21:25 > 0:21:28To Nathan, he is a bit of a legend.
0:21:28 > 0:21:32My best friend at school bought me an LP which had him playing.
0:21:32 > 0:21:34I loved that music and then played it myself,
0:21:34 > 0:21:36so he kind of inspired me...
0:21:38 > 0:21:41..to really take it seriously. Thank you.
0:21:41 > 0:21:42See you later.
0:21:42 > 0:21:45I've heard from Chi-chi that it's possible that
0:21:45 > 0:21:49he needs to be somehow unlocked and brought out of himself
0:21:49 > 0:21:52so that the whole thing, the openness
0:21:52 > 0:21:55of this great piece is clearly visible for the audience.
0:21:58 > 0:21:59How are you doing?
0:21:59 > 0:22:03I'm fine, I'm Nick. I'm Nathan. Nice to meet you.
0:22:03 > 0:22:06Look, why don't we just... I'll to play the piano part for you.
0:22:06 > 0:22:07OK.
0:22:20 > 0:22:21LAUGHTER
0:22:21 > 0:22:24You know, that's really beautiful what you're doing, actually,
0:22:24 > 0:22:27it's so colourful.
0:22:27 > 0:22:29There's a few places that I can help you with a better breath.
0:22:29 > 0:22:33Would you mind if I just felt your stomach while you breathe in?
0:22:33 > 0:22:34OK?
0:22:37 > 0:22:39I got it, OK.
0:22:39 > 0:22:41Just turn around and face the wall.
0:22:41 > 0:22:44Imagine you are breathing in against my hand.
0:22:45 > 0:22:48Yes, that feels a bit startled, do it a bit slower.
0:22:52 > 0:22:54Oh, that was good.
0:22:54 > 0:22:57'I encouraged him to breathe deeply to somehow'
0:22:57 > 0:23:02help his body be more open, so that the emotions which always
0:23:02 > 0:23:04go with the body can flow freely.
0:23:04 > 0:23:07Let's play the first phrase again.
0:23:07 > 0:23:09Remember to inflate your lower back as well.
0:23:26 > 0:23:29That was really, really moving.
0:23:29 > 0:23:30Congratulations.
0:23:30 > 0:23:34So, Nick helped me to kind of breathe from my pelvis,
0:23:34 > 0:23:38but also I think the key thing was about relaxing, and I did get
0:23:38 > 0:23:43quite emotional and quite tearful at one point and...
0:23:43 > 0:23:45Erm...
0:23:45 > 0:23:48Yeah, I think that that's about allowing stuff to come,
0:23:48 > 0:23:49to come through.
0:23:53 > 0:23:56The concerto round isn't just about the one up front. The orchestras
0:23:56 > 0:24:00will be mainly judged on how they accompany their chosen soloist.
0:24:00 > 0:24:03In Stirling, they've taken on board Paul's feedback
0:24:03 > 0:24:05and brought in folk fiddler Dan Thorpe
0:24:05 > 0:24:08to make themselves sound, well, more Scottish.
0:24:08 > 0:24:10Hello. ALL: Hello.
0:24:10 > 0:24:14You're all making me very nervous already, and we've not even started.
0:24:14 > 0:24:16So, what I thought we'd do is
0:24:16 > 0:24:20start off by me hearing exactly how you play it at the moment.
0:24:29 > 0:24:30Cool.
0:24:30 > 0:24:32The grace note on your really short note at the beginning
0:24:32 > 0:24:36of that first main bar is a bit of a nightmare, isn't it?
0:24:36 > 0:24:39I will just play the first couple of bars.
0:24:47 > 0:24:49Do you hear how I'm really...
0:24:49 > 0:24:53making those grace notes almost main melody notes?
0:24:53 > 0:24:54One...
0:25:05 > 0:25:07Yeah, good. So, erm...
0:25:10 > 0:25:12Rather than...
0:25:12 > 0:25:14Yeah?
0:25:18 > 0:25:20Much better, good.
0:25:21 > 0:25:22Excellent.
0:25:22 > 0:25:24I think by the end it sounded more Scottish,
0:25:24 > 0:25:28but that's maybe just me being kind to myself.
0:25:28 > 0:25:30We needed somebody to drag us away from...
0:25:30 > 0:25:32Our regimented...
0:25:32 > 0:25:38..orchestral style. Tear us into the Scottish folk or traditional scene.
0:25:38 > 0:25:40And mix the two together.
0:25:40 > 0:25:43I think fusion is a sexy word to use nowadays for these things, isn't it?
0:25:43 > 0:25:45In restaurants and stuff. Fusion, fusion, yes.
0:25:45 > 0:25:47Good word, Peter. So we are fused.
0:25:53 > 0:25:55Down in the capital, the London Gay Symphony Orchestra
0:25:55 > 0:25:57are also working on fusion -
0:25:57 > 0:26:00and their relationship with their soloist.
0:26:05 > 0:26:08What's really important is the way that every time we play something
0:26:08 > 0:26:12we have to ask how the line that we are playing
0:26:12 > 0:26:14connects with the soloist.
0:26:19 > 0:26:22I think one of the things that we will be working on today
0:26:22 > 0:26:24quite a lot is to get the whole thing to flow more.
0:26:24 > 0:26:26I think this is something that Paul
0:26:26 > 0:26:28was really focusing on when he came in.
0:26:28 > 0:26:32If we can just find that sound, that mixture between flow...
0:26:32 > 0:26:34But with a lift.
0:26:34 > 0:26:37Can you just play me the very first note and hold it?
0:26:45 > 0:26:46Yeah, that's the one.
0:26:46 > 0:26:50Wind, can we try not to separate the sound? So we get...
0:26:50 > 0:26:53HE SINGS SCALE
0:26:53 > 0:26:56So, it continues as an idea through...
0:27:00 > 0:27:02Great.
0:27:04 > 0:27:06I think tonight it's really sounding together,
0:27:06 > 0:27:10and it's sounding like it's just those waves of sound,
0:27:10 > 0:27:13rather than choppy and stopping and starting, as it was before.
0:27:21 > 0:27:24At home, soloist Douglas is trying to master the piece
0:27:24 > 0:27:26in front of his wife, Joyce.
0:27:26 > 0:27:28He is using just the chanter part of the instrument,
0:27:28 > 0:27:30which creates the melody.
0:27:31 > 0:27:35The score has detailed instructions from composer Peter Maxwell Davies
0:27:35 > 0:27:38designed to ramp up the drama of his composition.
0:27:38 > 0:27:40So among the other notes, it says,
0:27:40 > 0:27:43"Before final rehearsal, you'll need to discuss
0:27:43 > 0:27:46"the most suitable entrance with the conductor.
0:27:46 > 0:27:49"There are 34 strides from the time you enter playing
0:27:49 > 0:27:51"until you reach the conductor.
0:27:51 > 0:27:54"You will need to be wearing full ceremonial attire."
0:27:54 > 0:27:57If it was me, I would wear a T-shirt.
0:27:57 > 0:27:59I know, but it needs to look the part.
0:27:59 > 0:28:02You wouldn't be wearing a T-shirt at a wedding.
0:28:05 > 0:28:09As Douglas's mentor, Chi-chi has picked a top bagpipe player,
0:28:09 > 0:28:10Rob Jordan.
0:28:16 > 0:28:20He played An Orkney Wedding, with Sunrise in 2014 at the Proms
0:28:20 > 0:28:24and understands the showmanship required to pull off the role.
0:28:25 > 0:28:27To help him raise his game,
0:28:27 > 0:28:30Rob is taking Douglas to a beach in North Berwick.
0:28:30 > 0:28:32So, this would have been the environment in which
0:28:32 > 0:28:35Peter Maxwell Davies would have really looked to
0:28:35 > 0:28:38when he was composing that piece of music.
0:28:38 > 0:28:40So, I thought we would come here and we'd play,
0:28:40 > 0:28:43and then in your mind's eye on the day of your performance,
0:28:43 > 0:28:45you can recreate that moment.
0:28:45 > 0:28:46I'll pretend to be the conductor
0:28:46 > 0:28:49and you just emerge and walk towards me in tempo,
0:28:49 > 0:28:50trying to stay in tune, how's that?
0:28:50 > 0:28:52Yeah, let's try that.
0:29:09 > 0:29:13As a top tip, just make sure you're putting a lot more air through, OK?
0:29:13 > 0:29:15What we want to do is make sure
0:29:15 > 0:29:18we have got a continuous sound through the chanter.
0:29:18 > 0:29:20Chi-chi asked me to make Douglas's performance
0:29:20 > 0:29:23full of drama and theatre.
0:29:23 > 0:29:24Douglas has to march.
0:29:24 > 0:29:27He has to go through the audience, it's about that impact moment.
0:29:27 > 0:29:31And that's what will set him aside from the other performers.
0:29:37 > 0:29:38Well done.
0:29:38 > 0:29:41So I want you to own the piece, you know,
0:29:41 > 0:29:44feel as though it's like a military...
0:29:44 > 0:29:46bit of drill that you're doing. OK?
0:29:46 > 0:29:48And you know, in all bits of drill
0:29:48 > 0:29:50it all starts with the left foot, so...
0:29:50 > 0:29:52HE HUMS
0:29:52 > 0:29:53And that will help you think about
0:29:53 > 0:29:56the emphasis at the beginning of each bar.
0:29:56 > 0:29:57HE HUMS
0:29:57 > 0:30:00You can give it a little bit of the... A bit of swagger.
0:30:14 > 0:30:17Rob did talk about using a bit of swagger
0:30:17 > 0:30:20walking towards the orchestra.
0:30:20 > 0:30:24I think having been here will probably help that.
0:30:24 > 0:30:26I'll remember what Rob has said, anyway,
0:30:26 > 0:30:29and walking up the beach towards him...
0:30:29 > 0:30:30playing the pipes.
0:30:34 > 0:30:38Over the next few weeks, our soloists embrace their mentors'
0:30:38 > 0:30:43advice and our orchestras get busy rehearsing how best to support them.
0:30:44 > 0:30:47London practises musical flow...
0:30:51 > 0:30:53..Stirling works on Scottish snaps...
0:30:57 > 0:31:00..and Devon grapples with the tempo.
0:31:03 > 0:31:07At speed, it just sounds ridiculous, like pigs round the trough, really.
0:31:09 > 0:31:12In Ilfracombe, soloist Simon is on his hometown beach.
0:31:12 > 0:31:15His mentor told him to take greater risks,
0:31:15 > 0:31:18so he is about to play an impromptu concert.
0:31:18 > 0:31:21But his wife Jac seems to be finding the situation uncomfortable.
0:31:21 > 0:31:25Because I've grown up in this town I know so many people,
0:31:25 > 0:31:27and the thought of my husband now standing on a beach
0:31:27 > 0:31:31in the middle of our town just randomly playing the trombone
0:31:31 > 0:31:34makes me feel a little bit funny, a little bit anxious.
0:31:35 > 0:31:37HE PLAYS TROMBONE
0:31:37 > 0:31:39I'm so mortified.
0:31:39 > 0:31:41Have you seen all the people watching?
0:31:41 > 0:31:46Honestly, my stomach is in knots on his behalf.
0:31:46 > 0:31:48Look how confident he is.
0:31:54 > 0:31:57I'm becoming more comfortable with where I am.
0:31:57 > 0:32:00Initially, seeing people gathering watching me just do some practice
0:32:00 > 0:32:04was a little bit strange and felt quite uncomfortable, but I almost
0:32:04 > 0:32:07feel like they are getting a little bit onside with what I am doing.
0:32:07 > 0:32:09APPLAUSE
0:32:09 > 0:32:10Thank you.
0:32:11 > 0:32:14I feel a little bit more relaxed now.
0:32:14 > 0:32:16It's really lovely to see him kind of relaxed
0:32:16 > 0:32:17and just enjoying what he does.
0:32:25 > 0:32:28Our orchestras are counting down to their concertos.
0:32:28 > 0:32:30They've worked hard, with masterclasses,
0:32:30 > 0:32:32rehearsals and mentoring sessions.
0:32:34 > 0:32:37With the clock ticking, London's soloist, Nathan,
0:32:37 > 0:32:39is getting ready for his moment in the spotlight.
0:32:41 > 0:32:44Three days now before the performance,
0:32:44 > 0:32:46so this is one of the final steps.
0:32:46 > 0:32:52I've got my outfit and Michael is now doing my hair for me
0:32:52 > 0:32:57so that I look... Fabulous. ..I'll look fabulous on Sunday.
0:32:57 > 0:33:00And let's just hope I play fabulously.
0:33:00 > 0:33:03Hello. Hi.
0:33:04 > 0:33:08Across town, other members of the orchestra have hit Soho.
0:33:08 > 0:33:10They're drumming up interest in their event.
0:33:10 > 0:33:13We've got a concert on Sunday. Would you be interested in coming along?
0:33:13 > 0:33:15It will be a nice atmosphere, it will be really, really good.
0:33:15 > 0:33:18We have a free concert on Sunday. Oh, exciting!
0:33:18 > 0:33:20Will you take some flyers? Sure.
0:33:20 > 0:33:23We would love to come. We're visiting from Australia.
0:33:23 > 0:33:26We're serving cakes and tea and there will be... Cakes and tea.
0:33:26 > 0:33:28Oh, yeah, we are there! Would you be interested?
0:33:29 > 0:33:32THEY PLAY "SWEET CHILD OF MINE"
0:33:32 > 0:33:35In blustery Devon, they have similar ideas
0:33:35 > 0:33:38and are not going to let the elements get in their way.
0:33:40 > 0:33:43We're just hoping to attract a different audience
0:33:43 > 0:33:47to what we normally have and if it's one person or ten person
0:33:47 > 0:33:49or 100 people, it doesn't matter.
0:33:49 > 0:33:51Hello, are you going to be here Wednesday?
0:33:51 > 0:33:54We are in the RNLI's lifeboat house.
0:33:54 > 0:33:56We're called the North Devon Sinfonia and we're just
0:33:56 > 0:33:59trying to up the profile. I'll spread the word.
0:33:59 > 0:34:01I was going to say, take it to the station.
0:34:01 > 0:34:04I will, I'll put it up on the notice board. Lovely, thank you.
0:34:06 > 0:34:07They seem really enthusiastic.
0:34:07 > 0:34:11As soon as you say free concert, that was a big thumbs up.
0:34:11 > 0:34:14So raising our profile, I think we have done,
0:34:14 > 0:34:15I think we've ticked that box.
0:34:18 > 0:34:21All the orchestras are keen to add a personal touch
0:34:21 > 0:34:22to their concerto events.
0:34:24 > 0:34:28We want to make nice decorations for our cellos to kind of spruce up
0:34:28 > 0:34:31the orchestra. Well, I'm making loads of seaside bunting.
0:34:31 > 0:34:35We thought it was good to, like, jazz it up a bit.
0:34:35 > 0:34:39London's orchestra have chosen an afternoon tea theme
0:34:39 > 0:34:41and are making some rather special treats.
0:34:41 > 0:34:43I was thinking well, actually, it would be great if we did
0:34:43 > 0:34:46something around Nathan because he is our soloist
0:34:46 > 0:34:48and he has got quite an iconic moustache,
0:34:48 > 0:34:50and I'm a little bit jealous myself of that.
0:34:50 > 0:34:53But I was thinking if we do some moustache biscuits
0:34:53 > 0:34:56that would be fun. Oh, look, here they come.
0:34:56 > 0:35:01Oh! What do you think of those?
0:35:01 > 0:35:03Bravo!
0:35:03 > 0:35:05Ready? Two bars in.
0:35:05 > 0:35:06With time running out,
0:35:06 > 0:35:09North Devon Sinfonia gather for their last rehearsal
0:35:09 > 0:35:13before the finale, and Simon has decided to take even more risks.
0:35:13 > 0:35:15He is upping the tempo.
0:35:23 > 0:35:26I'm so sorry. Would you like to go slower?
0:35:26 > 0:35:29I...have not coordinated the first bit properly.
0:35:29 > 0:35:32I don't know quite why. When I play it without everyone else I feel...
0:35:32 > 0:35:34Perfectly happy. Yeah.
0:35:34 > 0:35:38And then I can't get it to fit. Somehow we're...putting you off.
0:35:47 > 0:35:50That start at 39 is the weakest part.
0:35:50 > 0:35:53You were late on the opening, weren't you? It's just...
0:35:53 > 0:35:54We slightly car-crashed into that.
0:35:54 > 0:35:58For the first half of the rehearsal, I think I was just fractionally late
0:35:58 > 0:36:01coming in for my first note and then I was constantly behind myself.
0:36:01 > 0:36:03We're not quite on it, he's not quite on it,
0:36:03 > 0:36:05and the result is carnage.
0:36:12 > 0:36:15It's the morning of the concert, and Nathan is waiting for the arrival
0:36:15 > 0:36:17of some very important guests -
0:36:17 > 0:36:21his parents, who have come all the way from France.
0:36:21 > 0:36:24It's the first time they have heard me play live probably in...
0:36:27 > 0:36:29..23 years, something like that.
0:36:29 > 0:36:33Something that's been going through my head this week is that my nan,
0:36:33 > 0:36:37when she was dying herself, the last words that she said to me was...
0:36:39 > 0:36:41.."do your parents proud."
0:36:41 > 0:36:43And I suppose that's been going through my head today
0:36:43 > 0:36:45because I do want to do them proud.
0:36:48 > 0:36:51We have come a long way, we have come from Brittany,
0:36:51 > 0:36:54but I'd come from the other end of the world to see this.
0:36:54 > 0:36:56I'm very proud of him.
0:36:58 > 0:37:02The orchestra has decided on the Conway Hall near Soho
0:37:02 > 0:37:05for this semifinal concerto.
0:37:06 > 0:37:08Is rainbow sellotape of any use to you?
0:37:08 > 0:37:10Everyone's really enthusiastic,
0:37:10 > 0:37:13everyone's really looking forward to it, but the pressure's on.
0:37:13 > 0:37:15It's all a bit manic,
0:37:15 > 0:37:17but it's going OK, it'll be fine.
0:37:17 > 0:37:20I've got every confidence we're going to get there.
0:37:22 > 0:37:25Paul and I appear to be in for a treat for two.
0:37:25 > 0:37:28The orchestra has chosen an afternoon of tea and cakes
0:37:28 > 0:37:29to accompany the concerto.
0:37:29 > 0:37:32What do you reckon? Nice? Would you like tea or...?
0:37:32 > 0:37:34Despite the amazing spread of tea and cakes,
0:37:34 > 0:37:37we are not judging them on the way they have set the concert up.
0:37:37 > 0:37:40We are not doing a tea and cakes competition, no.
0:37:40 > 0:37:43So what are you going to be judging this orchestra on today?
0:37:43 > 0:37:48I want to see how well they play for Nathan. How well they support him.
0:37:48 > 0:37:50And then, of course, how well Nathan can play it.
0:37:50 > 0:37:52It's a really big demand, you know,
0:37:52 > 0:37:56this wonderfully simple music but very difficult.
0:37:56 > 0:37:58And what's important for this round, which we haven't had before,
0:37:58 > 0:38:00is how well they connect with their audience.
0:38:00 > 0:38:02They have to really turn them on.
0:38:02 > 0:38:04APPLAUSE
0:38:04 > 0:38:06To compere the afternoon,
0:38:06 > 0:38:09the orchestra has booked host Timbalina.
0:38:09 > 0:38:13It gives me great pleasure to introduce
0:38:13 > 0:38:16the London Gay Symphony Orchestra.
0:38:17 > 0:38:20The programme starts with a selection of chamber music.
0:38:27 > 0:38:30Backstage is Nathan. He's up next.
0:38:30 > 0:38:33I'm nervous.
0:38:33 > 0:38:35My hands are shaking a little bit.
0:38:37 > 0:38:44But I'm trying to get to the calm place at the centre of the storm.
0:38:44 > 0:38:48Presenting soloist today, Nathan Evans.
0:38:48 > 0:38:51APPLAUSE
0:38:51 > 0:38:53So, we've not seen this orchestra for three weeks,
0:38:53 > 0:38:54not since your masterclass.
0:38:54 > 0:38:56What are you looking out for today?
0:38:56 > 0:38:58The music has got to flow through.
0:38:58 > 0:39:00They've got to find a freedom in the music.
0:39:00 > 0:39:04It's very intimate, it's very chamber music, it's very quiet.
0:39:04 > 0:39:07On top of all of that, Nathan must not be bottled up.
0:41:30 > 0:41:32APPLAUSE
0:41:32 > 0:41:34CHEERING AND APPLAUSE
0:41:38 > 0:41:43Now, I know you've got to keep your counsel, but...first impressions?
0:41:43 > 0:41:48Do you know what? I was so pleased for Nathan that he did...
0:41:48 > 0:41:51He really kind of took charge of that music,
0:41:51 > 0:41:54and it meant something to him, of course,
0:41:54 > 0:41:56but he was able to really communicate.
0:41:56 > 0:42:00There were some moments when the orchestra left him a little bit
0:42:00 > 0:42:03high and dry, I have to say, particularly at the end.
0:42:03 > 0:42:06I think I did it as well as I possibly could. So I'm...
0:42:07 > 0:42:10I'm, I'm pleased and I'm proud.
0:42:10 > 0:42:11He was great,
0:42:11 > 0:42:15he looked great and the orchestra were brilliant behind him.
0:42:15 > 0:42:17Just a brilliant performance. I really enjoyed it.
0:42:17 > 0:42:21I really hope that that performance did get us through to the finals.
0:42:21 > 0:42:23I know we'll all be really upset if we don't get through now.
0:42:23 > 0:42:28I am so proud of him. I love him to bits. He is... As I said,
0:42:28 > 0:42:30he's a very talented man.
0:42:31 > 0:42:36There's always been a special place in my heart...for him. Always.
0:42:42 > 0:42:46Three days later and it's North Devon Sinfonia's turn
0:42:46 > 0:42:47to perform its concerto.
0:42:47 > 0:42:50Looking for a new audience, they've come to Ilfracombe,
0:42:50 > 0:42:54and the only place big enough is the lifeboat house.
0:43:00 > 0:43:03The orchestra have been really into it, this concert,
0:43:03 > 0:43:05particularly - they have been running up bunting,
0:43:05 > 0:43:09they've been going out into Ilfracombe and playing,
0:43:09 > 0:43:12so if they put as much effort into practising their music for tonight
0:43:12 > 0:43:15as they have done into getting the event ready
0:43:15 > 0:43:17then I'm sure we'll be fine later.
0:43:19 > 0:43:22Word has spread, and the crowds are gathering.
0:43:22 > 0:43:27This is a beautiful seaside town but Paul has a job to do.
0:43:27 > 0:43:29So we couldn't ask for a nicer spot for this concert,
0:43:29 > 0:43:32but what are you hoping to hear when they start to play?
0:43:32 > 0:43:34Well, the music is what counts, isn't it?
0:43:34 > 0:43:37What I want to see them do today is that they have disciplined
0:43:37 > 0:43:40their rhythm, if you like, and that they are controlled,
0:43:40 > 0:43:43that they're not rushing ahead of each other, so that when they come
0:43:43 > 0:43:47to accompany Simon he has something that he can dance very securely on.
0:43:47 > 0:43:50We want to just see him jumping and jiving with this music
0:43:50 > 0:43:53and really, really taking the floor.
0:43:55 > 0:43:56We've got the...
0:43:56 > 0:44:00Just a little bit of that kind of nervous butterflies but it is
0:44:00 > 0:44:04really exciting and we are going to raise the already really high roof.
0:44:04 > 0:44:07He's not the only one who's feeling the pressure.
0:44:07 > 0:44:10When I arrived this evening, my stomach had been churning
0:44:10 > 0:44:12to the point where I felt quite ill earlier.
0:44:12 > 0:44:14I'm that nervous for him.
0:44:14 > 0:44:17I've really, really got to be concentrating and on my game.
0:44:17 > 0:44:19I know I can do this.
0:44:19 > 0:44:21It's just I've got to really concentrate
0:44:21 > 0:44:23on what the orchestra's doing, and Simon,
0:44:23 > 0:44:25so I don't want to let him down.
0:44:27 > 0:44:29APPLAUSE
0:44:29 > 0:44:30You wanted Emma to stand back
0:44:30 > 0:44:32and trust the orchestra a little bit more.
0:44:32 > 0:44:35How are we going to be able to tell if she's achieved that?
0:44:35 > 0:44:38You'll be able to tell that the orchestra's playing within itself,
0:44:38 > 0:44:40that they're playing off each other,
0:44:40 > 0:44:41that they're listening to each other.
0:44:41 > 0:44:43There will be a confidence in the rhythm.
0:44:43 > 0:44:47You'll be able to see it, I think, in their faces.
0:44:47 > 0:44:49The orchestra has picked a programme it hopes will appeal
0:44:49 > 0:44:52to everyone - famous film scores.
0:44:52 > 0:44:53This is Tom.
0:44:55 > 0:44:57LAUGHTER
0:44:57 > 0:44:59So this absolutely must be Jerry.
0:45:08 > 0:45:11And, of course, the trombone concerto.
0:45:13 > 0:45:14Let me tell you about the piece.
0:45:14 > 0:45:18It's by an English composer called Derek Bourgeois.
0:45:18 > 0:45:22And he lives in Dorset, I believe, so a West Country man,
0:45:22 > 0:45:23which is super.
0:45:23 > 0:45:26So, let's get on with it. Are you ready?
0:47:24 > 0:47:27APPLAUSE
0:47:32 > 0:47:34Amongst all the things that you're taking into account,
0:47:34 > 0:47:37one of the key things is how well the orchestras support the soloist
0:47:37 > 0:47:38in this concerto challenge.
0:47:38 > 0:47:40How did they do?
0:47:40 > 0:47:43They were rhythmically together. They were really careful.
0:47:43 > 0:47:47They played very well as a unit, so they were stable.
0:47:47 > 0:47:49But unfortunately, right at the beginning
0:47:49 > 0:47:53of the little concerto extract, Simon just slipped up.
0:47:53 > 0:47:57I was behind the time and that made me fluff the first two bars,
0:47:57 > 0:47:59so I was really irritated.
0:47:59 > 0:48:01Erm... Yeah.
0:48:01 > 0:48:02Yeah, not happy at all.
0:48:10 > 0:48:12Finally, we had to Scotland
0:48:12 > 0:48:15for Stirling Orchestra's concerto finale.
0:48:15 > 0:48:18They've chosen the imposing Dunblane Cathedral,
0:48:18 > 0:48:19not far from their hometown,
0:48:19 > 0:48:22and they're working hard to get it ready.
0:48:23 > 0:48:26I think people are much more... A sense of one step away.
0:48:26 > 0:48:28As Indiana Jones said,
0:48:28 > 0:48:31that's usually when the floor falls out from beneath your feet.
0:48:31 > 0:48:33BAGPIPES PLAYING
0:48:33 > 0:48:36Soloist Douglas is warming up his pipes.
0:48:36 > 0:48:37All eyes are going to be on Douglas.
0:48:37 > 0:48:39I mean, he's going to really have to be the showman.
0:48:39 > 0:48:41And I think he will, don't you?
0:48:41 > 0:48:42He will, I hope.
0:48:42 > 0:48:46He's really got to come alive and he's got to really dominate
0:48:46 > 0:48:49the piece with the way he performs as an actor as much as a musician.
0:48:54 > 0:48:56We'd really like to make it to the final,
0:48:56 > 0:48:58because I think we'd knock the spots of it.
0:48:58 > 0:49:01But if we have to take the long walk, then we shall.
0:49:01 > 0:49:03You know, I think there'd be a lot of us pretty gutted
0:49:03 > 0:49:05if we walked away from this.
0:49:05 > 0:49:08This has been such an amazing experience.
0:49:08 > 0:49:10It's unified us so much as an orchestra.
0:49:10 > 0:49:11We've just had the best time.
0:49:11 > 0:49:13We're having such a laugh doing this.
0:49:13 > 0:49:15We're now going to play a little bit of ceilidh music
0:49:15 > 0:49:17and this is called Riverside Reel.
0:49:19 > 0:49:21CLAPPING ALONG AND WHOOPING
0:49:26 > 0:49:29So, what are the particular challenges for the orchestra?
0:49:29 > 0:49:32They have really got to connect the piece to their audience.
0:49:32 > 0:49:34But to really come alive,
0:49:34 > 0:49:36they have to attend to every single little detail.
0:49:36 > 0:49:39The snaps, the Scotch snaps in the rhythms...
0:49:39 > 0:49:42It's a very, very complex little piece of music to play
0:49:42 > 0:49:45and they've got to find every single detail.
0:51:51 > 0:51:54CHEERING
0:52:05 > 0:52:07So, gut reaction, cos that was a lot of fun, wasn't it?
0:52:07 > 0:52:09Yeah, of course the piece is fun,
0:52:09 > 0:52:11but they really made it even more fun.
0:52:11 > 0:52:13Let's talk about Douglas, the piper,
0:52:13 > 0:52:16who I thought was very impressive as he came in. The audience were
0:52:16 > 0:52:18on the edge of their seats, weren't they, of their pews?
0:52:18 > 0:52:20Yes, he was built up very well,
0:52:20 > 0:52:22of course, by the music and by the whole concert.
0:52:22 > 0:52:24He was just a little bit guarded.
0:52:24 > 0:52:27And that took the edge off his performance, I think,
0:52:27 > 0:52:30and thank goodness the orchestra were so buoyant.
0:52:30 > 0:52:32Do I want to get to the next round?
0:52:32 > 0:52:34I'm happy enough to go into the next round.
0:52:34 > 0:52:37I think the orchestra would like to get to the next round.
0:52:37 > 0:52:40It came together brilliantly, it was an excellent...
0:52:40 > 0:52:43I was a really fun night, it was great fun.
0:52:43 > 0:52:45I do really hope that was enough to get into the final.
0:52:45 > 0:52:48I mean, I don't think we could have done anything more
0:52:48 > 0:52:51and the audience seemed to love it, which was wonderful.
0:52:55 > 0:52:58Three orchestras have performed three concertos.
0:52:58 > 0:53:02Today will be the end of the road for one of them.
0:53:02 > 0:53:04Their conductors and soloists are in London
0:53:04 > 0:53:07to find out who's in and who's out.
0:53:07 > 0:53:10So, Paul, this is never going to be easy,
0:53:10 > 0:53:14but which way are you leaning, who's going to stay, who's going to go?
0:53:14 > 0:53:16Trying to bring all of these elements together -
0:53:16 > 0:53:20the orchestra, the soloists, the way they engage with
0:53:20 > 0:53:24their audience - there are so many pluses and minuses all around it.
0:53:24 > 0:53:26They've started at completely different levels,
0:53:26 > 0:53:30and I've always said that it doesn't matter where you start technically,
0:53:30 > 0:53:32it's how well you can improve.
0:53:32 > 0:53:34So, Paul, decision time.
0:53:34 > 0:53:36I have made a decision.
0:53:36 > 0:53:40But it's probably the most difficult decision of the whole contest,
0:53:40 > 0:53:44and certainly one of the most difficult I've ever had to make.
0:53:44 > 0:53:47We've had this rather painful wait for the week
0:53:47 > 0:53:51so it's going to be a relief to find out the result and, of course,
0:53:51 > 0:53:53we want, we want to get through.
0:53:53 > 0:53:56There's no doubt the orchestra would love to be in the final.
0:53:56 > 0:54:00I think they'd also be deeply, deeply surprised.
0:54:00 > 0:54:02Sometimes I feel really positive, cos actually
0:54:02 > 0:54:03surely he's going to respond to
0:54:03 > 0:54:06how much energy, excitement and fun there was?
0:54:06 > 0:54:08And he'll forgive us a few little mistakes, too.
0:54:08 > 0:54:10No, we made mistakes, we're in big trouble.
0:54:16 > 0:54:18So, hello, all of you, thank you for coming,
0:54:18 > 0:54:22and can I just say, we have had the best time.
0:54:22 > 0:54:25Which has made it a nightmare for Paul.
0:54:25 > 0:54:27I know he's had sleepless nights coming to a decision
0:54:27 > 0:54:29about which orchestra is going to go home.
0:54:29 > 0:54:33The first thing I want to say is just a big, from my heart,
0:54:33 > 0:54:36a big, big thank you and a huge congratulations.
0:54:36 > 0:54:40London Gay Symphony Orchestra, I thought the orchestra
0:54:40 > 0:54:44supported Nathan really well.
0:54:44 > 0:54:47The string playing was really flowing.
0:54:47 > 0:54:50The trickiest place for me was when Nathan was coming to the end
0:54:50 > 0:54:52of the final phrase,
0:54:52 > 0:54:56the orchestra slowed down just a bit more than he wanted to.
0:54:56 > 0:55:00And actually you slightly left him a little bit high and dry.
0:55:02 > 0:55:04Just to go on to Nathan.
0:55:04 > 0:55:07Your playing, I loved what you'd done, it was poetic,
0:55:07 > 0:55:09you'd really risked a lot
0:55:09 > 0:55:13to find what you wanted to express emotionally through the notes.
0:55:15 > 0:55:17The audience was jolly, they were very happy,
0:55:17 > 0:55:19but I just got the impression
0:55:19 > 0:55:23there was a chance for them to kind of come into your musical lives
0:55:23 > 0:55:27a bit more, but apart from that I thought it was a really good show.
0:55:27 > 0:55:30And then the Stirling Symphony Orchestra.
0:55:30 > 0:55:34The music was a huge challenge, but well done for carrying it off.
0:55:34 > 0:55:37You supported Douglas really well.
0:55:37 > 0:55:42Douglas, great job, but try and push the character a bit.
0:55:42 > 0:55:45Your audience, there was a fantastic sense
0:55:45 > 0:55:48of everybody really being in the thing together.
0:55:49 > 0:55:52And then to North Devon, and Emma and Simon.
0:55:52 > 0:55:55You picked an incredibly difficult piece -
0:55:55 > 0:55:58it was probably the most difficult, technically speaking.
0:55:58 > 0:56:01Simon, you played one phrase and you slipped,
0:56:01 > 0:56:05but it matters much more that you recovered from it really quickly
0:56:05 > 0:56:08and not one note was dropped in the orchestra as a result.
0:56:08 > 0:56:12After that, fantastic performance across the board.
0:56:12 > 0:56:15The audience clearly enjoyed every second of it.
0:56:15 > 0:56:17You took the trouble to present the orchestra,
0:56:17 > 0:56:22you described and demonstrated the idea of what this piece was.
0:56:22 > 0:56:24So, good for you.
0:56:24 > 0:56:27Now we're facing what is our final.
0:56:27 > 0:56:31We can only allow two orchestras to go forward into this final.
0:56:31 > 0:56:36I'm really sorry to say that the one orchestra that's not going to
0:56:36 > 0:56:38go forward...
0:56:40 > 0:56:42..is...
0:56:45 > 0:56:47..the London Gay Symphony Orchestra.
0:56:49 > 0:56:51I'm very sorry.
0:56:51 > 0:56:54You played so beautifully. I'm a bit gutted.
0:56:54 > 0:56:57Wonderful, absolutely wonderful. Thank you.
0:56:57 > 0:57:00Congratulations, you've been a fantastic orchestra. Thank you.
0:57:00 > 0:57:04The orchestra are going to be disappointed at the result, because how could they not be?
0:57:04 > 0:57:07But actually, I think we can hold our heads high and I think
0:57:07 > 0:57:10certainly Nathan can.
0:57:10 > 0:57:13And I think we did the best that we could.
0:57:13 > 0:57:16Taking everything into consideration, how well
0:57:16 > 0:57:21the orchestra supported Nathan, it was almost all there, but not quite.
0:57:21 > 0:57:24And in terms of the sense of the atmosphere
0:57:24 > 0:57:27and the way the engagement worked with the audience,
0:57:27 > 0:57:31I felt that the other orchestras just pipped them to the post.
0:57:31 > 0:57:33Stirling, North Devon, congratulations,
0:57:33 > 0:57:37we're so delighted that you're in the final, we loved your concerts.
0:57:37 > 0:57:40You're probably wondering why we're here, though.
0:57:40 > 0:57:42And the reason is that -
0:57:42 > 0:57:45the Royal Albert Hall, because, in the final,
0:57:45 > 0:57:49you are going to be performing in the Royal Albert Hall in a playoff.
0:57:49 > 0:57:50So good luck!
0:57:50 > 0:57:52I've never played there. I've always wanted to.
0:57:52 > 0:57:56Be super. The guys will love it, they'll absolutely love it.
0:57:56 > 0:57:59Absolutely. A lifetime moment for a lot of them. Yeah, it will be.
0:57:59 > 0:58:03Hello. How are you doing? Well, we're through to the final.
0:58:03 > 0:58:05CHEERING
0:58:08 > 0:58:11You're going to be playing at the Royal Albert Hall.
0:58:11 > 0:58:12CHEERING
0:58:16 > 0:58:19Next time, the final two orchestras come together
0:58:19 > 0:58:21for a musical boot camp.
0:58:21 > 0:58:23We're sizing up the competition here,
0:58:23 > 0:58:24it's suddenly getting very real.
0:58:24 > 0:58:26Things heat up.
0:58:26 > 0:58:28Ah...ah... Not that fast.
0:58:28 > 0:58:29No, no, no, no!
0:58:29 > 0:58:31Good, I'm glad you can't play it!
0:58:31 > 0:58:36It completely blows every other challenge out of the water.
0:58:36 > 0:58:38Some bits are really not working.
0:58:38 > 0:58:40And one orchestra is crowned winner...
0:58:42 > 0:58:43..and plays at Proms In The Park.
0:58:45 > 0:58:47Good luck. Is that through gritted teeth?
0:58:47 > 0:58:48No!
0:59:14 > 0:59:1750 years ago, they became superstars in astronomy,
0:59:17 > 0:59:19leaders in their fields.
0:59:19 > 0:59:23They represent the most productive period astronomy has ever had.
0:59:23 > 0:59:26And now, they're taking an anniversary trip.
0:59:26 > 0:59:28Hello, everyone, I'm Jimmy Carr.