Episode 3 All Together Now: The Great Orchestra Challenge


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We are a nation of enthusiasts. We love our dogs, our football,

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our green fields and, of course, our music.

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Across Britain, thousands of people play in amateur orchestras...

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We want to make music but we want to have a laugh at the same time.

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I love the orchestra.

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..juggling busy work schedules and family life

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with their love of music.

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Whoa! That was loud!

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To celebrate these talented men and women, we're on the hunt

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for the orchestra that best captures the spirit of amateur music-making.

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What an amazing noise!

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Last time was all about opera, and the remaining orchestras

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from London, Devon, Stirling and Birmingham went head-to-head

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in a dramatic showdown.

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Sadly, we said goodbye to Birmingham's The People's Orchestra.

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Now, three orchestras remain and the contest is about to get tougher.

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Bam! Bam! More, more!

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We're not quite on it. He's not quite on it.

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And the result is carnage.

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We've got work to do. We have indeed!

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The battle is on

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to find one winner who will perform at the BBC Proms in Hyde Park.

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We are in it to win it. Not messing about here!

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THEY CHEER

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This time, the challenge is to perform a concerto.

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And it's getting personal, because each orchestra

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has to pick its soloist from within its own ranks

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and stage a concert in its own hometown.

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To find their soloists, each orchestra has been sent an e-mail

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calling for volunteers to step into the limelight.

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"In each instance, we want to find the future soloist,

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"to be drawn from the ranks of the orchestra itself."

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"We want to encourage lots of you to put yourself forward

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"to audition for the role as soloist."

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"You should prepare an audition piece which shows off your skills."

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Well, that's me out!

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"The final audition will be down to those members of your orchestra

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"who audition you on the day."

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Very exciting!

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The concertos will be judged by world-famous conductor Paul Daniel.

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A concerto is a soloist

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playing in front of and supported by an orchestra.

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In this round, each orchestra will really be able to show off.

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I want them to develop the whole way they play, how they encourage

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their soloist, and how well they present to their audience.

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While Paul will spur on our orchestras with a masterclass,

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our mentor, world-renowned double bassist Chi-chi Nwanoku,

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will be on hand, this time helping our soloists reach for the stars.

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I have the task of finding the perfect mentor

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for our three soloists.

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Matchmaking, if you like!

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Paul and I are about to find out

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who the chosen soloists are,

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starting with North Devon Sinfonia.

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We're here for our first masterclass.

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We got through the second challenge and something's gone...

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SHE CLICKS TONGUE ..in my brain and now

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I do actually feel slightly... SHE GASPS

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Hello, North Devon! How are we?

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Are you all excited to be through to the third round?

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ALL: Yes!

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So, this round, it's concerto round, which is great.

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But most exciting of all is that

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you have chosen a soloist from amongst you all.

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And that soloist is...

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Let's have a look - it's Simon! Come on up.

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Now, what are you going to play?

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Erm, the third movement of Derek Bourgeois' Trombone Concerto.

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Have you ever played this before? ORCHESTRA MEMBERS: No...

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No! Have YOU ever played it before? No! LAUGHTER

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This is going to be great!

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TROMBONE PLAYS NOTES

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Music teacher Simon lives in Ilfracombe.

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He has two little music students of his own -

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twin sons, Jude and Alfie.

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Whoa! That was loud!

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So the perils of having two six-year-olds

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is that every practice session is interrupted.

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Erm, I wouldn't have it any other way.

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It means that there's short snippets of practice

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that you can grab here and there.

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Which is why I thought the van was a safe place!

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Simon is taking his soloist role very seriously.

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Simon puts absolutely everything into everything that he does.

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He so passionate and enthusiastic.

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He will absolutely do the very best that he can.

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It is really important for me to get this right.

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When I was at college, I failed my final year recital,

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which was a real shock.

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So I'd like to prove how well I can play to myself, if no-one else.

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Here we go.

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ORCHESTRA PLAYS

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Paul asked the orchestras to choose their own music.

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Devon has picked Derek Bourgeois' Trombone Concerto.

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It's fast and furious.

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It's a big challenge for the orchestra because

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lots of different interplay between different parts of the orchestra.

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Rhythmically quite intricate and complex.

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Can you all play it like there's nobody else here

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and you're somewhere really fun, like a big echoey toilet?

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THEY LAUGH

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First, though, can you imagine

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you've had at least three gin and tonics?

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ORCHESTRA PLAYS

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PAUL: Actually, Emma... Emma?

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Emma!

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You could hear that, couldn't you?

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The trombones are actually...you're not doing a great job of

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being with your friends in these two rows.

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You're not listening to the woodwind.

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You're rushing me! Quite right.

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That rhythm, that constant rhythm, has to be so carefully played,

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so really together, that Simon can just dance on the top of it without

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feeling that he's being pulled or held back or stressed in any way.

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What are you feeling? Erm, I'm feeling that...

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That's a really interesting question.

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I feel like we're a bit rocky at the moment.

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It's just finding the groove.

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And when we get the groove, it will work. Go again! Emma? Hello!

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Try letting them play it without, without you. Oh, good! Yeah.

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It's all a bit higgledy-piggledy.

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BRASS SECTION PLAYS

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When Emma stepped back and didn't conduct, the orchestra,

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of course, changed completely.

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Suddenly, they were taking control.

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Then the rhythm, I think, immediately got better.

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You are, like, responsible for what you're playing.

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So I was listening to the wind at the back.

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I never listen to the winds. It's really bad, isn't it?

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It changed the balance of power a little bit.

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It felt like I was there, leading the orchestra much more.

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And it also gave the orchestra just a little bit more of

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a push to listen to each other. It was good. It was useful.

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It did work, didn't it? My God! It really did. I know.

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I think, power to the people!

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Next stop, we're in the capital.

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And it's London Gay Symphony Orchestra's turn

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for Paul's masterclass.

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In the last round, Paul thought their playing caught fire.

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But they have had a tendency to hold back in the past.

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I'm a little bit nervous about today's session.

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I think Paul might push us, push us to our limits, hopefully.

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We've got a long way to fall at this point.

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And I think this is the thing -

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we're now going to have to work even harder.

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The orchestra has chosen Nathan as the soloist and he's picked

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Richard Strauss's Oboe Concerto.

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THEY CLAP AND CHEER

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We're starting the andante before figure 22.

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ORCHESTRA PLAYS

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Nathan, from West London, uses music as a way of sharing his emotions.

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I'm quite a buttoned-up sort of person,

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in that I don't kind of reveal all that much.

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I'm not someone who goes around telling people how much I love them.

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I tend to express myself through playing a piece of music.

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Lubrication! Cheers, darling!

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He's going to dedicate his solo to his partner Justin.

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'Justin and I have been together for six years.'

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He's beaten my longest relationship record now by about a year.

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When I made those pieces of artwork, when we first met,

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here he is on a ladder, handing down the stars to me.

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And here's the star! I know, it's so ridiculously soppy!

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But, uh, it was special!

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I think the way that I feel about Justin will be expressed

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through the way that I play the piece of music, because for me,

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it's kind of like a love song. It's a love song without words.

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This concerto finds the elderly composer, Strauss,

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reflecting on his life.

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It's a kind of nostalgic piece. It's full of memory.

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It's full of an autumnal kind of richness.

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The danger for any orchestra, and particularly for this orchestra,

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that they will be too reticent.

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Every single person's little, tiny note on the violin

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or a cross on the cellos -

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every single thing counts in this music.

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Sing down the line.

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Good. Erm, Chris, Nathan,

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it's nothing, is it, to play? it's just bu, bu, bu.

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And every note has got to sound like something incredible. Yeah.

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Just play it together without you, now.

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Cos you've got to be at least as beautiful as the way...

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he's played it.

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OK.

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Very choppy.

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And he doesn't chop it up at all, he just plays...

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It's like a river, when you play it.

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You sounded like the logs on the river.

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LAUGHTER

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Rude!

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Oh, it's all coming out now.

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LAUGHTER

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It was so scary with Paul standing there,

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conscious of every tiny little...

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thing that I did wrong.

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We all fall into this kind of trap, particularly, I think,

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Paul is picking up on it,

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which is that when we see a few notes on a page,

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we kind of think we haven't got very much to do,

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and we're not very important. And what we're learning is,

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actually every note is important.

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I must say that they have to really take a quite big step quite soon

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to turn this very simple music into something

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that is really extraordinary.

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At her West London home, Chi-chi is on Skype to Paul.

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When he starts the phrase, you need to sense immediately

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what it is he wants to express.

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To get the soloists ready for their big day,

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she needs Paul's feedback after their first masterclass.

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It's a really fantastic piece for him. He, at the moment,

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is thinking very carefully about how he is going to organise himself,

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he's a very contained, organised kind of person.

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Chi-chi is going to find each soloist an expert

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to maximise their potential. The reason I'm not going to

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mentor them for their solo pieces is that I don't play

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any of the instruments. I could help them

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with musical interpretation and things like that,

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but technical issues,

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I probably wouldn't be able to help them enough.

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What I'm phoning you about, I'm really keen

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that you're going to mentor our trombone soloist, Simon.

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I mean, he's a wonderful player but Paul wants to see Simon

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take some more risks and be the firework.

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Chi-chi has enlisted the help of virtuoso trombonist

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Carol Jarvis, who's worked with major UK orchestras

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as well as pop greats like Sting and Seal.

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But today she's going to work with Simon from North Devon Sinfonia.

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I've got a few ideas, going to try and take him out of his comfort zone

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a little bit, take a few risks,

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and, yeah, try and get his character out a little bit.

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So, shall we start from this section

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and we'll sort of play through it...? Yeah, yeah.

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Really love your playing, but it's all very contained. Uh-hm.

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We need to go like that.

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We need to make it really exciting. OK. I want you now to sing that.

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# La, la, la, la, la, la, la, la, la, la, la. #

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Yes, good.

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Making any musician sing really helps to let the whole thing flow.

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# La, la, la, la, la La... #

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Yes! Once he did that and came back

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to the trombone, it was so different.

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Yeah, that's really getting there, that's really getting there.

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It's just the character now, you've got to get this real end,

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this real heroic...

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# La, la, la, la, la, LA! #

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I want really cocky. You're a soloist. Yeah, yeah.

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I don't naturally do cocky. I know, but this is an act. OK, then.

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This is an act. Let's try standing on a chair. OK. Yeah?

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Stand on a chair. OK. This is taking you out of your comfort zone.

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You've got to be aware about balancing now, as well.

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I think it's a really good idea to get people to just...

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do something completely weird,

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so that if you can do it in that situation, then on the day

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it's going to be so much easier and you can relax

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and get into it and enjoy it.

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Yes, yes!

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Today's session has helped with the risk-taking.

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In conclusion, it's to be less square and be more exciting!

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Up in Scotland, Paul and I have arrived for our third and final

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concerto masterclass. This time, it's with Stirling Orchestra.

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The competitive spirit is definitely coming out,

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we just would love to make it all the way.

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They've picked retired engineer and music tutor Douglas

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as their soloist.

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At first glance, he wouldn't appear an obvious candidate

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to step into the spotlight.

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I'm quite...quiet, generally.

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Even in company, I'm, I'm quite quiet.

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But I don't lack self-confidence -

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that's a different thing altogether and, er...

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So maybe I do like to use music to express myself more than...

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doing stand-up comedy, something like that.

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Douglas plays the flute in the orchestra

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and a number of different instruments in his spare time,

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but one stands above the rest.

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Piping is much more than a hobby, so it's become....

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an obsession, really.

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I just want to be better at it.

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Let's get started.

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Shall we just give this a go?

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Douglas has chosen An Orkney Wedding, with Sunrise

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by Peter Maxwell Davies. Not technically a concerto,

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but it's one of the only orchestral works with a bagpipe solo

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and it demands snappy Scottish fiddling.

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If you look at the score, it's just peppered with wonderful,

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wonderful effects and I think they're going to have

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a lot of fun with this,

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you know, there's so much to get in this piece,

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so many different accents, rhythms...

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The piece depicts a drunken wedding celebration

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and ends with a bagpipe solo

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symbolising the rising sun over Caithness.

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What an amazing noise!

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LAUGHTER

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Great!

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Talking as a...southerner here, I feel like a real impostor,

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but they've got to sound really Scottish, haven't they?

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All those snaps...

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I want to learn how a real Scots snap sounds, can we...?

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First and seconds, yeah, first and seconds.

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We're doing, like, a bit of a knock on the string,

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it's got to be like a...

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HE IMITATES THRESHING

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Then it becomes theatre, you know...

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3, 5, 3. And see if we can get this kind of... Like, real zing.

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No, nowhere near.

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Stephen, Stephen...

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It's nowhere near.

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LAUGHTER

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We've got work to do!

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You have indeed. We've got a lot of work to do.

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They've got to go and work out how to make that folk melody work.

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Yeah, because not all of them are Scottish fiddlers. No, exactly.

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Let's talk about Douglas. How do you think he got on?

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Something that we haven't even begun to look at yet

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is how he's going to bring a sense of theatre to this.

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He's got to become like the star! You know, or the sun!

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Three orchestras have had three masterclasses,

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but judge Paul wants to raise the stakes in this penultimate round.

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This time, he wants the orchestras to stage their concerto

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in front of a home crowd.

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So now the orchestra is on its own turf.

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I'm looking for orchestras in our contest who will really

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inspire and engage the audience

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and really have something to give them.

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They have just three weeks to organise their event.

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London kicks off with a pre-rehearsal meeting.

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I think venue is going to be the key issue with this.

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As does Stirling.

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So, did we decide the dress code? Is it going to be

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all black...? Yeah, yeah, I think so.

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In Exeter Cathedral, Devon's orchestra takes a break

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from rehearsals to brainstorm ideas.

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I think it would be really nice to go somewhere

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most people wouldn't expect to hear classical music.

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Somewhere like a shopping centre. What about the Pannier Market?

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Yeah, I think a lot of people see that as sort of

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the central hub of town and quite a community place.

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I really like the idea of doing something in Ilfracombe -

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if you remember,

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we just had that really successful film-music concert.

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You live in Ilfracombe! And I live in Ilfracombe!

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LAUGHTER

0:19:410:19:42

What about the lifeboat station? How big is that?

0:19:420:19:44

I think the lifeboat station is about this size

0:19:440:19:47

and there is also outside space to stand.

0:19:470:19:50

I thought St John's Garden Centre, though I haven't in any way

0:19:500:19:53

done anything more than think it.

0:19:530:19:55

I thought we could have the violas near the violas!

0:19:550:19:59

LAUGHTER AND GROANS

0:19:590:20:02

Oh, wow. Here it is.

0:20:020:20:04

First things first, they need to find a venue large enough

0:20:040:20:07

to accommodate an audience and an orchestra.

0:20:070:20:10

Five desks of violins on each side

0:20:100:20:12

and then... It's really tight, actually.

0:20:120:20:15

While London Gay Symphony Orchestra

0:20:180:20:19

and Stirling Orchestra recce their local music venues...

0:20:190:20:24

It's huge.

0:20:240:20:25

..Devon has gone left-field by sound-testing a garden centre.

0:20:250:20:29

SHE SINGS A SCALE

0:20:290:20:31

That's quite a nice acoustic!

0:20:310:20:33

They want to bring classical music to a wider audience.

0:20:330:20:36

I love classical music and I think everyone

0:20:360:20:38

has the potential to love classical music

0:20:380:20:41

if they are just opened up to it in the right way, and if we can use

0:20:410:20:43

this challenge to open a few more minds to give it a whirl,

0:20:430:20:46

then that's great.

0:20:460:20:47

In London, Chi-chi is getting on with recruiting her experts.

0:20:510:20:55

She has just the right person

0:20:550:20:57

for Nathan from the London Gay Symphony Orchestra -

0:20:570:21:00

someone she's worked with in the past.

0:21:000:21:03

Hi there, Nick.

0:21:030:21:05

I've got a proposal for you.

0:21:050:21:07

She's sending him for a session with oboist Nick Daniel,

0:21:110:21:14

who shot to fame when he won Young Musician Of The Year in 1980,

0:21:140:21:18

and has had music written for him

0:21:180:21:19

by some of the best composers in the world.

0:21:190:21:22

To Nathan, he is a bit of a legend.

0:21:250:21:28

My best friend at school bought me an LP which had him playing.

0:21:280:21:32

I loved that music and then played it myself,

0:21:320:21:34

so he kind of inspired me...

0:21:340:21:36

..to really take it seriously. Thank you.

0:21:380:21:41

See you later.

0:21:410:21:42

I've heard from Chi-chi that it's possible that

0:21:420:21:45

he needs to be somehow unlocked and brought out of himself

0:21:450:21:49

so that the whole thing, the openness

0:21:490:21:52

of this great piece is clearly visible for the audience.

0:21:520:21:55

How are you doing?

0:21:580:21:59

I'm fine, I'm Nick. I'm Nathan. Nice to meet you.

0:21:590:22:03

Look, why don't we just... I'll to play the piano part for you.

0:22:030:22:06

OK.

0:22:060:22:07

LAUGHTER

0:22:200:22:21

You know, that's really beautiful what you're doing, actually,

0:22:210:22:24

it's so colourful.

0:22:240:22:27

There's a few places that I can help you with a better breath.

0:22:270:22:29

Would you mind if I just felt your stomach while you breathe in?

0:22:290:22:33

OK?

0:22:330:22:34

I got it, OK.

0:22:370:22:39

Just turn around and face the wall.

0:22:390:22:41

Imagine you are breathing in against my hand.

0:22:410:22:44

Yes, that feels a bit startled, do it a bit slower.

0:22:450:22:48

Oh, that was good.

0:22:520:22:54

'I encouraged him to breathe deeply to somehow'

0:22:540:22:57

help his body be more open, so that the emotions which always

0:22:570:23:02

go with the body can flow freely.

0:23:020:23:04

Let's play the first phrase again.

0:23:040:23:07

Remember to inflate your lower back as well.

0:23:070:23:09

That was really, really moving.

0:23:260:23:29

Congratulations.

0:23:290:23:30

So, Nick helped me to kind of breathe from my pelvis,

0:23:300:23:34

but also I think the key thing was about relaxing, and I did get

0:23:340:23:38

quite emotional and quite tearful at one point and...

0:23:380:23:43

Erm...

0:23:430:23:45

Yeah, I think that that's about allowing stuff to come,

0:23:450:23:48

to come through.

0:23:480:23:49

The concerto round isn't just about the one up front. The orchestras

0:23:530:23:56

will be mainly judged on how they accompany their chosen soloist.

0:23:560:24:00

In Stirling, they've taken on board Paul's feedback

0:24:000:24:03

and brought in folk fiddler Dan Thorpe

0:24:030:24:05

to make themselves sound, well, more Scottish.

0:24:050:24:08

Hello. ALL: Hello.

0:24:080:24:10

You're all making me very nervous already, and we've not even started.

0:24:100:24:14

So, what I thought we'd do is

0:24:140:24:16

start off by me hearing exactly how you play it at the moment.

0:24:160:24:20

Cool.

0:24:290:24:30

The grace note on your really short note at the beginning

0:24:300:24:32

of that first main bar is a bit of a nightmare, isn't it?

0:24:320:24:36

I will just play the first couple of bars.

0:24:360:24:39

Do you hear how I'm really...

0:24:470:24:49

making those grace notes almost main melody notes?

0:24:490:24:53

One...

0:24:530:24:54

Yeah, good. So, erm...

0:25:050:25:07

Rather than...

0:25:100:25:12

Yeah?

0:25:120:25:14

Much better, good.

0:25:180:25:20

Excellent.

0:25:210:25:22

I think by the end it sounded more Scottish,

0:25:220:25:24

but that's maybe just me being kind to myself.

0:25:240:25:28

We needed somebody to drag us away from...

0:25:280:25:30

Our regimented...

0:25:300:25:32

..orchestral style. Tear us into the Scottish folk or traditional scene.

0:25:320:25:38

And mix the two together.

0:25:380:25:40

I think fusion is a sexy word to use nowadays for these things, isn't it?

0:25:400:25:43

In restaurants and stuff. Fusion, fusion, yes.

0:25:430:25:45

Good word, Peter. So we are fused.

0:25:450:25:47

Down in the capital, the London Gay Symphony Orchestra

0:25:530:25:55

are also working on fusion -

0:25:550:25:57

and their relationship with their soloist.

0:25:570:26:00

What's really important is the way that every time we play something

0:26:050:26:08

we have to ask how the line that we are playing

0:26:080:26:12

connects with the soloist.

0:26:120:26:14

I think one of the things that we will be working on today

0:26:190:26:22

quite a lot is to get the whole thing to flow more.

0:26:220:26:24

I think this is something that Paul

0:26:240:26:26

was really focusing on when he came in.

0:26:260:26:28

If we can just find that sound, that mixture between flow...

0:26:280:26:32

But with a lift.

0:26:320:26:34

Can you just play me the very first note and hold it?

0:26:340:26:37

Yeah, that's the one.

0:26:450:26:46

Wind, can we try not to separate the sound? So we get...

0:26:460:26:50

HE SINGS SCALE

0:26:500:26:53

So, it continues as an idea through...

0:26:530:26:56

Great.

0:27:000:27:02

I think tonight it's really sounding together,

0:27:040:27:06

and it's sounding like it's just those waves of sound,

0:27:060:27:10

rather than choppy and stopping and starting, as it was before.

0:27:100:27:13

At home, soloist Douglas is trying to master the piece

0:27:210:27:24

in front of his wife, Joyce.

0:27:240:27:26

He is using just the chanter part of the instrument,

0:27:260:27:28

which creates the melody.

0:27:280:27:30

The score has detailed instructions from composer Peter Maxwell Davies

0:27:310:27:35

designed to ramp up the drama of his composition.

0:27:350:27:38

So among the other notes, it says,

0:27:380:27:40

"Before final rehearsal, you'll need to discuss

0:27:400:27:43

"the most suitable entrance with the conductor.

0:27:430:27:46

"There are 34 strides from the time you enter playing

0:27:460:27:49

"until you reach the conductor.

0:27:490:27:51

"You will need to be wearing full ceremonial attire."

0:27:510:27:54

If it was me, I would wear a T-shirt.

0:27:540:27:57

I know, but it needs to look the part.

0:27:570:27:59

You wouldn't be wearing a T-shirt at a wedding.

0:27:590:28:02

As Douglas's mentor, Chi-chi has picked a top bagpipe player,

0:28:050:28:09

Rob Jordan.

0:28:090:28:10

He played An Orkney Wedding, with Sunrise in 2014 at the Proms

0:28:160:28:20

and understands the showmanship required to pull off the role.

0:28:200:28:24

To help him raise his game,

0:28:250:28:27

Rob is taking Douglas to a beach in North Berwick.

0:28:270:28:30

So, this would have been the environment in which

0:28:300:28:32

Peter Maxwell Davies would have really looked to

0:28:320:28:35

when he was composing that piece of music.

0:28:350:28:38

So, I thought we would come here and we'd play,

0:28:380:28:40

and then in your mind's eye on the day of your performance,

0:28:400:28:43

you can recreate that moment.

0:28:430:28:45

I'll pretend to be the conductor

0:28:450:28:46

and you just emerge and walk towards me in tempo,

0:28:460:28:49

trying to stay in tune, how's that?

0:28:490:28:50

Yeah, let's try that.

0:28:500:28:52

As a top tip, just make sure you're putting a lot more air through, OK?

0:29:090:29:13

What we want to do is make sure

0:29:130:29:15

we have got a continuous sound through the chanter.

0:29:150:29:18

Chi-chi asked me to make Douglas's performance

0:29:180:29:20

full of drama and theatre.

0:29:200:29:23

Douglas has to march.

0:29:230:29:24

He has to go through the audience, it's about that impact moment.

0:29:240:29:27

And that's what will set him aside from the other performers.

0:29:270:29:31

Well done.

0:29:370:29:38

So I want you to own the piece, you know,

0:29:380:29:41

feel as though it's like a military...

0:29:410:29:44

bit of drill that you're doing. OK?

0:29:440:29:46

And you know, in all bits of drill

0:29:460:29:48

it all starts with the left foot, so...

0:29:480:29:50

HE HUMS

0:29:500:29:52

And that will help you think about

0:29:520:29:53

the emphasis at the beginning of each bar.

0:29:530:29:56

HE HUMS

0:29:560:29:57

You can give it a little bit of the... A bit of swagger.

0:29:570:30:00

Rob did talk about using a bit of swagger

0:30:140:30:17

walking towards the orchestra.

0:30:170:30:20

I think having been here will probably help that.

0:30:200:30:24

I'll remember what Rob has said, anyway,

0:30:240:30:26

and walking up the beach towards him...

0:30:260:30:29

playing the pipes.

0:30:290:30:30

Over the next few weeks, our soloists embrace their mentors'

0:30:340:30:38

advice and our orchestras get busy rehearsing how best to support them.

0:30:380:30:43

London practises musical flow...

0:30:440:30:47

..Stirling works on Scottish snaps...

0:30:510:30:53

..and Devon grapples with the tempo.

0:30:570:31:00

At speed, it just sounds ridiculous, like pigs round the trough, really.

0:31:030:31:07

In Ilfracombe, soloist Simon is on his hometown beach.

0:31:090:31:12

His mentor told him to take greater risks,

0:31:120:31:15

so he is about to play an impromptu concert.

0:31:150:31:18

But his wife Jac seems to be finding the situation uncomfortable.

0:31:180:31:21

Because I've grown up in this town I know so many people,

0:31:210:31:25

and the thought of my husband now standing on a beach

0:31:250:31:27

in the middle of our town just randomly playing the trombone

0:31:270:31:31

makes me feel a little bit funny, a little bit anxious.

0:31:310:31:34

HE PLAYS TROMBONE

0:31:350:31:37

I'm so mortified.

0:31:370:31:39

Have you seen all the people watching?

0:31:390:31:41

Honestly, my stomach is in knots on his behalf.

0:31:410:31:46

Look how confident he is.

0:31:460:31:48

I'm becoming more comfortable with where I am.

0:31:540:31:57

Initially, seeing people gathering watching me just do some practice

0:31:570:32:00

was a little bit strange and felt quite uncomfortable, but I almost

0:32:000:32:04

feel like they are getting a little bit onside with what I am doing.

0:32:040:32:07

APPLAUSE

0:32:070:32:09

Thank you.

0:32:090:32:10

I feel a little bit more relaxed now.

0:32:110:32:14

It's really lovely to see him kind of relaxed

0:32:140:32:16

and just enjoying what he does.

0:32:160:32:17

Our orchestras are counting down to their concertos.

0:32:250:32:28

They've worked hard, with masterclasses,

0:32:280:32:30

rehearsals and mentoring sessions.

0:32:300:32:32

With the clock ticking, London's soloist, Nathan,

0:32:340:32:37

is getting ready for his moment in the spotlight.

0:32:370:32:39

Three days now before the performance,

0:32:410:32:44

so this is one of the final steps.

0:32:440:32:46

I've got my outfit and Michael is now doing my hair for me

0:32:460:32:52

so that I look... Fabulous. ..I'll look fabulous on Sunday.

0:32:520:32:57

And let's just hope I play fabulously.

0:32:570:33:00

Hello. Hi.

0:33:000:33:03

Across town, other members of the orchestra have hit Soho.

0:33:040:33:08

They're drumming up interest in their event.

0:33:080:33:10

We've got a concert on Sunday. Would you be interested in coming along?

0:33:100:33:13

It will be a nice atmosphere, it will be really, really good.

0:33:130:33:15

We have a free concert on Sunday. Oh, exciting!

0:33:150:33:18

Will you take some flyers? Sure.

0:33:180:33:20

We would love to come. We're visiting from Australia.

0:33:200:33:23

We're serving cakes and tea and there will be... Cakes and tea.

0:33:230:33:26

Oh, yeah, we are there! Would you be interested?

0:33:260:33:28

THEY PLAY "SWEET CHILD OF MINE"

0:33:290:33:32

In blustery Devon, they have similar ideas

0:33:320:33:35

and are not going to let the elements get in their way.

0:33:350:33:38

We're just hoping to attract a different audience

0:33:400:33:43

to what we normally have and if it's one person or ten person

0:33:430:33:47

or 100 people, it doesn't matter.

0:33:470:33:49

Hello, are you going to be here Wednesday?

0:33:490:33:51

We are in the RNLI's lifeboat house.

0:33:510:33:54

We're called the North Devon Sinfonia and we're just

0:33:540:33:56

trying to up the profile. I'll spread the word.

0:33:560:33:59

I was going to say, take it to the station.

0:33:590:34:01

I will, I'll put it up on the notice board. Lovely, thank you.

0:34:010:34:04

They seem really enthusiastic.

0:34:060:34:07

As soon as you say free concert, that was a big thumbs up.

0:34:070:34:11

So raising our profile, I think we have done,

0:34:110:34:14

I think we've ticked that box.

0:34:140:34:15

All the orchestras are keen to add a personal touch

0:34:180:34:21

to their concerto events.

0:34:210:34:22

We want to make nice decorations for our cellos to kind of spruce up

0:34:240:34:28

the orchestra. Well, I'm making loads of seaside bunting.

0:34:280:34:31

We thought it was good to, like, jazz it up a bit.

0:34:310:34:35

London's orchestra have chosen an afternoon tea theme

0:34:350:34:39

and are making some rather special treats.

0:34:390:34:41

I was thinking well, actually, it would be great if we did

0:34:410:34:43

something around Nathan because he is our soloist

0:34:430:34:46

and he has got quite an iconic moustache,

0:34:460:34:48

and I'm a little bit jealous myself of that.

0:34:480:34:50

But I was thinking if we do some moustache biscuits

0:34:500:34:53

that would be fun. Oh, look, here they come.

0:34:530:34:56

Oh! What do you think of those?

0:34:560:35:01

Bravo!

0:35:010:35:03

Ready? Two bars in.

0:35:030:35:05

With time running out,

0:35:050:35:06

North Devon Sinfonia gather for their last rehearsal

0:35:060:35:09

before the finale, and Simon has decided to take even more risks.

0:35:090:35:13

He is upping the tempo.

0:35:130:35:15

I'm so sorry. Would you like to go slower?

0:35:230:35:26

I...have not coordinated the first bit properly.

0:35:260:35:29

I don't know quite why. When I play it without everyone else I feel...

0:35:290:35:32

Perfectly happy. Yeah.

0:35:320:35:34

And then I can't get it to fit. Somehow we're...putting you off.

0:35:340:35:38

That start at 39 is the weakest part.

0:35:470:35:50

You were late on the opening, weren't you? It's just...

0:35:500:35:53

We slightly car-crashed into that.

0:35:530:35:54

For the first half of the rehearsal, I think I was just fractionally late

0:35:540:35:58

coming in for my first note and then I was constantly behind myself.

0:35:580:36:01

We're not quite on it, he's not quite on it,

0:36:010:36:03

and the result is carnage.

0:36:030:36:05

It's the morning of the concert, and Nathan is waiting for the arrival

0:36:120:36:15

of some very important guests -

0:36:150:36:17

his parents, who have come all the way from France.

0:36:170:36:21

It's the first time they have heard me play live probably in...

0:36:210:36:24

..23 years, something like that.

0:36:270:36:29

Something that's been going through my head this week is that my nan,

0:36:290:36:33

when she was dying herself, the last words that she said to me was...

0:36:330:36:37

.."do your parents proud."

0:36:390:36:41

And I suppose that's been going through my head today

0:36:410:36:43

because I do want to do them proud.

0:36:430:36:45

We have come a long way, we have come from Brittany,

0:36:480:36:51

but I'd come from the other end of the world to see this.

0:36:510:36:54

I'm very proud of him.

0:36:540:36:56

The orchestra has decided on the Conway Hall near Soho

0:36:580:37:02

for this semifinal concerto.

0:37:020:37:05

Is rainbow sellotape of any use to you?

0:37:060:37:08

Everyone's really enthusiastic,

0:37:080:37:10

everyone's really looking forward to it, but the pressure's on.

0:37:100:37:13

It's all a bit manic,

0:37:130:37:15

but it's going OK, it'll be fine.

0:37:150:37:17

I've got every confidence we're going to get there.

0:37:170:37:20

Paul and I appear to be in for a treat for two.

0:37:220:37:25

The orchestra has chosen an afternoon of tea and cakes

0:37:250:37:28

to accompany the concerto.

0:37:280:37:29

What do you reckon? Nice? Would you like tea or...?

0:37:290:37:32

Despite the amazing spread of tea and cakes,

0:37:320:37:34

we are not judging them on the way they have set the concert up.

0:37:340:37:37

We are not doing a tea and cakes competition, no.

0:37:370:37:40

So what are you going to be judging this orchestra on today?

0:37:400:37:43

I want to see how well they play for Nathan. How well they support him.

0:37:430:37:48

And then, of course, how well Nathan can play it.

0:37:480:37:50

It's a really big demand, you know,

0:37:500:37:52

this wonderfully simple music but very difficult.

0:37:520:37:56

And what's important for this round, which we haven't had before,

0:37:560:37:58

is how well they connect with their audience.

0:37:580:38:00

They have to really turn them on.

0:38:000:38:02

APPLAUSE

0:38:020:38:04

To compere the afternoon,

0:38:040:38:06

the orchestra has booked host Timbalina.

0:38:060:38:09

It gives me great pleasure to introduce

0:38:090:38:13

the London Gay Symphony Orchestra.

0:38:130:38:16

The programme starts with a selection of chamber music.

0:38:170:38:20

Backstage is Nathan. He's up next.

0:38:270:38:30

I'm nervous.

0:38:300:38:33

My hands are shaking a little bit.

0:38:330:38:35

But I'm trying to get to the calm place at the centre of the storm.

0:38:370:38:44

Presenting soloist today, Nathan Evans.

0:38:440:38:48

APPLAUSE

0:38:480:38:51

So, we've not seen this orchestra for three weeks,

0:38:510:38:53

not since your masterclass.

0:38:530:38:54

What are you looking out for today?

0:38:540:38:56

The music has got to flow through.

0:38:560:38:58

They've got to find a freedom in the music.

0:38:580:39:00

It's very intimate, it's very chamber music, it's very quiet.

0:39:000:39:04

On top of all of that, Nathan must not be bottled up.

0:39:040:39:07

APPLAUSE

0:41:300:41:32

CHEERING AND APPLAUSE

0:41:320:41:34

Now, I know you've got to keep your counsel, but...first impressions?

0:41:380:41:43

Do you know what? I was so pleased for Nathan that he did...

0:41:430:41:48

He really kind of took charge of that music,

0:41:480:41:51

and it meant something to him, of course,

0:41:510:41:54

but he was able to really communicate.

0:41:540:41:56

There were some moments when the orchestra left him a little bit

0:41:560:42:00

high and dry, I have to say, particularly at the end.

0:42:000:42:03

I think I did it as well as I possibly could. So I'm...

0:42:030:42:06

I'm, I'm pleased and I'm proud.

0:42:070:42:10

He was great,

0:42:100:42:11

he looked great and the orchestra were brilliant behind him.

0:42:110:42:15

Just a brilliant performance. I really enjoyed it.

0:42:150:42:17

I really hope that that performance did get us through to the finals.

0:42:170:42:21

I know we'll all be really upset if we don't get through now.

0:42:210:42:23

I am so proud of him. I love him to bits. He is... As I said,

0:42:230:42:28

he's a very talented man.

0:42:280:42:30

There's always been a special place in my heart...for him. Always.

0:42:310:42:36

Three days later and it's North Devon Sinfonia's turn

0:42:420:42:46

to perform its concerto.

0:42:460:42:47

Looking for a new audience, they've come to Ilfracombe,

0:42:470:42:50

and the only place big enough is the lifeboat house.

0:42:500:42:54

The orchestra have been really into it, this concert,

0:43:000:43:03

particularly - they have been running up bunting,

0:43:030:43:05

they've been going out into Ilfracombe and playing,

0:43:050:43:09

so if they put as much effort into practising their music for tonight

0:43:090:43:12

as they have done into getting the event ready

0:43:120:43:15

then I'm sure we'll be fine later.

0:43:150:43:17

Word has spread, and the crowds are gathering.

0:43:190:43:22

This is a beautiful seaside town but Paul has a job to do.

0:43:220:43:27

So we couldn't ask for a nicer spot for this concert,

0:43:270:43:29

but what are you hoping to hear when they start to play?

0:43:290:43:32

Well, the music is what counts, isn't it?

0:43:320:43:34

What I want to see them do today is that they have disciplined

0:43:340:43:37

their rhythm, if you like, and that they are controlled,

0:43:370:43:40

that they're not rushing ahead of each other, so that when they come

0:43:400:43:43

to accompany Simon he has something that he can dance very securely on.

0:43:430:43:47

We want to just see him jumping and jiving with this music

0:43:470:43:50

and really, really taking the floor.

0:43:500:43:53

We've got the...

0:43:550:43:56

Just a little bit of that kind of nervous butterflies but it is

0:43:560:44:00

really exciting and we are going to raise the already really high roof.

0:44:000:44:04

He's not the only one who's feeling the pressure.

0:44:040:44:07

When I arrived this evening, my stomach had been churning

0:44:070:44:10

to the point where I felt quite ill earlier.

0:44:100:44:12

I'm that nervous for him.

0:44:120:44:14

I've really, really got to be concentrating and on my game.

0:44:140:44:17

I know I can do this.

0:44:170:44:19

It's just I've got to really concentrate

0:44:190:44:21

on what the orchestra's doing, and Simon,

0:44:210:44:23

so I don't want to let him down.

0:44:230:44:25

APPLAUSE

0:44:270:44:29

You wanted Emma to stand back

0:44:290:44:30

and trust the orchestra a little bit more.

0:44:300:44:32

How are we going to be able to tell if she's achieved that?

0:44:320:44:35

You'll be able to tell that the orchestra's playing within itself,

0:44:350:44:38

that they're playing off each other,

0:44:380:44:40

that they're listening to each other.

0:44:400:44:41

There will be a confidence in the rhythm.

0:44:410:44:43

You'll be able to see it, I think, in their faces.

0:44:430:44:47

The orchestra has picked a programme it hopes will appeal

0:44:470:44:49

to everyone - famous film scores.

0:44:490:44:52

This is Tom.

0:44:520:44:53

LAUGHTER

0:44:550:44:57

So this absolutely must be Jerry.

0:44:570:44:59

And, of course, the trombone concerto.

0:45:080:45:11

Let me tell you about the piece.

0:45:130:45:14

It's by an English composer called Derek Bourgeois.

0:45:140:45:18

And he lives in Dorset, I believe, so a West Country man,

0:45:180:45:22

which is super.

0:45:220:45:23

So, let's get on with it. Are you ready?

0:45:230:45:26

APPLAUSE

0:47:240:47:27

Amongst all the things that you're taking into account,

0:47:320:47:34

one of the key things is how well the orchestras support the soloist

0:47:340:47:37

in this concerto challenge.

0:47:370:47:38

How did they do?

0:47:380:47:40

They were rhythmically together. They were really careful.

0:47:400:47:43

They played very well as a unit, so they were stable.

0:47:430:47:47

But unfortunately, right at the beginning

0:47:470:47:49

of the little concerto extract, Simon just slipped up.

0:47:490:47:53

I was behind the time and that made me fluff the first two bars,

0:47:530:47:57

so I was really irritated.

0:47:570:47:59

Erm... Yeah.

0:47:590:48:01

Yeah, not happy at all.

0:48:010:48:02

Finally, we had to Scotland

0:48:100:48:12

for Stirling Orchestra's concerto finale.

0:48:120:48:15

They've chosen the imposing Dunblane Cathedral,

0:48:150:48:18

not far from their hometown,

0:48:180:48:19

and they're working hard to get it ready.

0:48:190:48:22

I think people are much more... A sense of one step away.

0:48:230:48:26

As Indiana Jones said,

0:48:260:48:28

that's usually when the floor falls out from beneath your feet.

0:48:280:48:31

BAGPIPES PLAYING

0:48:310:48:33

Soloist Douglas is warming up his pipes.

0:48:330:48:36

All eyes are going to be on Douglas.

0:48:360:48:37

I mean, he's going to really have to be the showman.

0:48:370:48:39

And I think he will, don't you?

0:48:390:48:41

He will, I hope.

0:48:410:48:42

He's really got to come alive and he's got to really dominate

0:48:420:48:46

the piece with the way he performs as an actor as much as a musician.

0:48:460:48:49

We'd really like to make it to the final,

0:48:540:48:56

because I think we'd knock the spots of it.

0:48:560:48:58

But if we have to take the long walk, then we shall.

0:48:580:49:01

You know, I think there'd be a lot of us pretty gutted

0:49:010:49:03

if we walked away from this.

0:49:030:49:05

This has been such an amazing experience.

0:49:050:49:08

It's unified us so much as an orchestra.

0:49:080:49:10

We've just had the best time.

0:49:100:49:11

We're having such a laugh doing this.

0:49:110:49:13

We're now going to play a little bit of ceilidh music

0:49:130:49:15

and this is called Riverside Reel.

0:49:150:49:17

CLAPPING ALONG AND WHOOPING

0:49:190:49:21

So, what are the particular challenges for the orchestra?

0:49:260:49:29

They have really got to connect the piece to their audience.

0:49:290:49:32

But to really come alive,

0:49:320:49:34

they have to attend to every single little detail.

0:49:340:49:36

The snaps, the Scotch snaps in the rhythms...

0:49:360:49:39

It's a very, very complex little piece of music to play

0:49:390:49:42

and they've got to find every single detail.

0:49:420:49:45

CHEERING

0:51:510:51:54

So, gut reaction, cos that was a lot of fun, wasn't it?

0:52:050:52:07

Yeah, of course the piece is fun,

0:52:070:52:09

but they really made it even more fun.

0:52:090:52:11

Let's talk about Douglas, the piper,

0:52:110:52:13

who I thought was very impressive as he came in. The audience were

0:52:130:52:16

on the edge of their seats, weren't they, of their pews?

0:52:160:52:18

Yes, he was built up very well,

0:52:180:52:20

of course, by the music and by the whole concert.

0:52:200:52:22

He was just a little bit guarded.

0:52:220:52:24

And that took the edge off his performance, I think,

0:52:240:52:27

and thank goodness the orchestra were so buoyant.

0:52:270:52:30

Do I want to get to the next round?

0:52:300:52:32

I'm happy enough to go into the next round.

0:52:320:52:34

I think the orchestra would like to get to the next round.

0:52:340:52:37

It came together brilliantly, it was an excellent...

0:52:370:52:40

I was a really fun night, it was great fun.

0:52:400:52:43

I do really hope that was enough to get into the final.

0:52:430:52:45

I mean, I don't think we could have done anything more

0:52:450:52:48

and the audience seemed to love it, which was wonderful.

0:52:480:52:51

Three orchestras have performed three concertos.

0:52:550:52:58

Today will be the end of the road for one of them.

0:52:580:53:02

Their conductors and soloists are in London

0:53:020:53:04

to find out who's in and who's out.

0:53:040:53:07

So, Paul, this is never going to be easy,

0:53:070:53:10

but which way are you leaning, who's going to stay, who's going to go?

0:53:100:53:14

Trying to bring all of these elements together -

0:53:140:53:16

the orchestra, the soloists, the way they engage with

0:53:160:53:20

their audience - there are so many pluses and minuses all around it.

0:53:200:53:24

They've started at completely different levels,

0:53:240:53:26

and I've always said that it doesn't matter where you start technically,

0:53:260:53:30

it's how well you can improve.

0:53:300:53:32

So, Paul, decision time.

0:53:320:53:34

I have made a decision.

0:53:340:53:36

But it's probably the most difficult decision of the whole contest,

0:53:360:53:40

and certainly one of the most difficult I've ever had to make.

0:53:400:53:44

We've had this rather painful wait for the week

0:53:440:53:47

so it's going to be a relief to find out the result and, of course,

0:53:470:53:51

we want, we want to get through.

0:53:510:53:53

There's no doubt the orchestra would love to be in the final.

0:53:530:53:56

I think they'd also be deeply, deeply surprised.

0:53:560:54:00

Sometimes I feel really positive, cos actually

0:54:000:54:02

surely he's going to respond to

0:54:020:54:03

how much energy, excitement and fun there was?

0:54:030:54:06

And he'll forgive us a few little mistakes, too.

0:54:060:54:08

No, we made mistakes, we're in big trouble.

0:54:080:54:10

So, hello, all of you, thank you for coming,

0:54:160:54:18

and can I just say, we have had the best time.

0:54:180:54:22

Which has made it a nightmare for Paul.

0:54:220:54:25

I know he's had sleepless nights coming to a decision

0:54:250:54:27

about which orchestra is going to go home.

0:54:270:54:29

The first thing I want to say is just a big, from my heart,

0:54:290:54:33

a big, big thank you and a huge congratulations.

0:54:330:54:36

London Gay Symphony Orchestra, I thought the orchestra

0:54:360:54:40

supported Nathan really well.

0:54:400:54:44

The string playing was really flowing.

0:54:440:54:47

The trickiest place for me was when Nathan was coming to the end

0:54:470:54:50

of the final phrase,

0:54:500:54:52

the orchestra slowed down just a bit more than he wanted to.

0:54:520:54:56

And actually you slightly left him a little bit high and dry.

0:54:560:55:00

Just to go on to Nathan.

0:55:020:55:04

Your playing, I loved what you'd done, it was poetic,

0:55:040:55:07

you'd really risked a lot

0:55:070:55:09

to find what you wanted to express emotionally through the notes.

0:55:090:55:13

The audience was jolly, they were very happy,

0:55:150:55:17

but I just got the impression

0:55:170:55:19

there was a chance for them to kind of come into your musical lives

0:55:190:55:23

a bit more, but apart from that I thought it was a really good show.

0:55:230:55:27

And then the Stirling Symphony Orchestra.

0:55:270:55:30

The music was a huge challenge, but well done for carrying it off.

0:55:300:55:34

You supported Douglas really well.

0:55:340:55:37

Douglas, great job, but try and push the character a bit.

0:55:370:55:42

Your audience, there was a fantastic sense

0:55:420:55:45

of everybody really being in the thing together.

0:55:450:55:48

And then to North Devon, and Emma and Simon.

0:55:490:55:52

You picked an incredibly difficult piece -

0:55:520:55:55

it was probably the most difficult, technically speaking.

0:55:550:55:58

Simon, you played one phrase and you slipped,

0:55:580:56:01

but it matters much more that you recovered from it really quickly

0:56:010:56:05

and not one note was dropped in the orchestra as a result.

0:56:050:56:08

After that, fantastic performance across the board.

0:56:080:56:12

The audience clearly enjoyed every second of it.

0:56:120:56:15

You took the trouble to present the orchestra,

0:56:150:56:17

you described and demonstrated the idea of what this piece was.

0:56:170:56:22

So, good for you.

0:56:220:56:24

Now we're facing what is our final.

0:56:240:56:27

We can only allow two orchestras to go forward into this final.

0:56:270:56:31

I'm really sorry to say that the one orchestra that's not going to

0:56:310:56:36

go forward...

0:56:360:56:38

..is...

0:56:400:56:42

..the London Gay Symphony Orchestra.

0:56:450:56:47

I'm very sorry.

0:56:490:56:51

You played so beautifully. I'm a bit gutted.

0:56:510:56:54

Wonderful, absolutely wonderful. Thank you.

0:56:540:56:57

Congratulations, you've been a fantastic orchestra. Thank you.

0:56:570:57:00

The orchestra are going to be disappointed at the result, because how could they not be?

0:57:000:57:04

But actually, I think we can hold our heads high and I think

0:57:040:57:07

certainly Nathan can.

0:57:070:57:10

And I think we did the best that we could.

0:57:100:57:13

Taking everything into consideration, how well

0:57:130:57:16

the orchestra supported Nathan, it was almost all there, but not quite.

0:57:160:57:21

And in terms of the sense of the atmosphere

0:57:210:57:24

and the way the engagement worked with the audience,

0:57:240:57:27

I felt that the other orchestras just pipped them to the post.

0:57:270:57:31

Stirling, North Devon, congratulations,

0:57:310:57:33

we're so delighted that you're in the final, we loved your concerts.

0:57:330:57:37

You're probably wondering why we're here, though.

0:57:370:57:40

And the reason is that -

0:57:400:57:42

the Royal Albert Hall, because, in the final,

0:57:420:57:45

you are going to be performing in the Royal Albert Hall in a playoff.

0:57:450:57:49

So good luck!

0:57:490:57:50

I've never played there. I've always wanted to.

0:57:500:57:52

Be super. The guys will love it, they'll absolutely love it.

0:57:520:57:56

Absolutely. A lifetime moment for a lot of them. Yeah, it will be.

0:57:560:57:59

Hello. How are you doing? Well, we're through to the final.

0:57:590:58:03

CHEERING

0:58:030:58:05

You're going to be playing at the Royal Albert Hall.

0:58:080:58:11

CHEERING

0:58:110:58:12

Next time, the final two orchestras come together

0:58:160:58:19

for a musical boot camp.

0:58:190:58:21

We're sizing up the competition here,

0:58:210:58:23

it's suddenly getting very real.

0:58:230:58:24

Things heat up.

0:58:240:58:26

Ah...ah... Not that fast.

0:58:260:58:28

No, no, no, no!

0:58:280:58:29

Good, I'm glad you can't play it!

0:58:290:58:31

It completely blows every other challenge out of the water.

0:58:310:58:36

Some bits are really not working.

0:58:360:58:38

And one orchestra is crowned winner...

0:58:380:58:40

..and plays at Proms In The Park.

0:58:420:58:43

Good luck. Is that through gritted teeth?

0:58:450:58:47

No!

0:58:470:58:48

50 years ago, they became superstars in astronomy,

0:59:140:59:17

leaders in their fields.

0:59:170:59:19

They represent the most productive period astronomy has ever had.

0:59:190:59:23

And now, they're taking an anniversary trip.

0:59:230:59:26

Hello, everyone, I'm Jimmy Carr.

0:59:260:59:28

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