0:00:03 > 0:00:04Hello and welcome to the grand final
0:00:04 > 0:00:07of Altogether Now, The Great Orchestra Challenge -
0:00:07 > 0:00:11our celebration of Britain's amateur musicians.
0:00:11 > 0:00:14All across the land, many of us balance busy work schedules
0:00:14 > 0:00:18and family life with playing in an orchestra.
0:00:18 > 0:00:19Whoa.
0:00:19 > 0:00:22It's euphoria, it's great. Music's the best.
0:00:22 > 0:00:24We reached out to hundreds of orchestras and picked the five
0:00:24 > 0:00:29that we felt best captured the spirit of British amateur music.
0:00:29 > 0:00:31Let's just go sock it to 'em!
0:00:31 > 0:00:33They've been asked to flex their musical muscles
0:00:33 > 0:00:36and play as they've never played before.
0:00:36 > 0:00:38Oh, what a thrill. I'm buzzing.
0:00:38 > 0:00:41So far in this contest, they've tackled symphonies...
0:00:41 > 0:00:44Tchaikovsky No. 6. Ooh!
0:00:44 > 0:00:46..operas
0:00:46 > 0:00:47and concertos.
0:00:47 > 0:00:50And now, after months of musical challenges,
0:00:50 > 0:00:53we've whittled five orchestras down to just two.
0:00:53 > 0:00:55The North Devon Sinfonia
0:00:55 > 0:00:57and Stirling Orchestra.
0:00:57 > 0:01:00Now, let battle commence.
0:01:00 > 0:01:01We're sizing up the competition here.
0:01:01 > 0:01:03It's suddenly getting very real.
0:01:03 > 0:01:05No, no, no, no!
0:01:05 > 0:01:07Good. I'm glad. I'm glad you can't play it.
0:01:07 > 0:01:12It completely blows every other challenge out of the water.
0:01:12 > 0:01:16And the final two go head-to-head at the Royal Albert Hall
0:01:16 > 0:01:19for a chance to play at Proms in the Park.
0:01:19 > 0:01:22They've got to go up another level to be good enough
0:01:22 > 0:01:24to play at Proms in the Park.
0:01:32 > 0:01:34We're bringing our two finest orchestras together
0:01:34 > 0:01:37for a musical boot camp at Malvern College.
0:01:37 > 0:01:38Oh, look at that!
0:01:38 > 0:01:40In the blue corner is Stirling Orchestra,
0:01:40 > 0:01:43who got through to the final after a stunning rendition
0:01:43 > 0:01:46of An Orkney Wedding, with Sunrise at Dunblane Cathedral.
0:01:46 > 0:01:49It's daunting, in that we know that we're going to be playing
0:01:49 > 0:01:50in the Royal Albert Hall.
0:01:50 > 0:01:54And that is...that is a real thought.
0:01:54 > 0:01:57But I think exciting kind of trumps daunting, actually.
0:01:57 > 0:02:00In the green corner is the North Devon Sinfonia.
0:02:00 > 0:02:02Last time, they gave a rousing performance of
0:02:02 > 0:02:07the Bourgeois Trombone Concerto at the Lifeboat Station in Ilfracombe.
0:02:07 > 0:02:09It's exciting. We never thought we would be here,
0:02:09 > 0:02:12so we're really excited about what we might be getting up to today.
0:02:12 > 0:02:15The orchestra have got quite carried away and think they're
0:02:15 > 0:02:18going paintballing, but I think we will be doing music all day.
0:02:19 > 0:02:22Keeping a watchful eye over both orchestras
0:02:22 > 0:02:25is the celebrated conductor and our judge Paul Daniel.
0:02:25 > 0:02:28These two orchestras have got to this point
0:02:28 > 0:02:30not because they're the greatest orchestras in the world,
0:02:30 > 0:02:33but because, for me, they really sum up
0:02:33 > 0:02:35the spirit of what a great amateur orchestra can be.
0:02:35 > 0:02:38The way they demonstrate through their playing
0:02:38 > 0:02:41the joy they have for their music-making.
0:02:41 > 0:02:43It's just as important, for me, as the kind of brilliance
0:02:43 > 0:02:46and technical skill you can see in an orchestra.
0:02:48 > 0:02:51And here to get the best out of each orchestra
0:02:51 > 0:02:54is double bass maestro Chi-chi Nwanoku.
0:02:54 > 0:02:56'These amateur musicians'
0:02:56 > 0:02:58have pushed themselves beyond
0:02:58 > 0:03:01what most amateurs would dream of.
0:03:01 > 0:03:04In some ways, it's even more committed than you might see
0:03:04 > 0:03:07on the professional platform.
0:03:07 > 0:03:09After surviving three rounds in the contest, the orchestras will
0:03:09 > 0:03:13now get a chance to check each other out at close range.
0:03:13 > 0:03:15We're sizing up the competition here.
0:03:15 > 0:03:16It's suddenly getting very real.
0:03:16 > 0:03:18So, how many cellos are you?
0:03:18 > 0:03:20How many have you got?
0:03:20 > 0:03:23I think we've got some missing. I think it's seven or eight.
0:03:23 > 0:03:26I'm suddenly feeling quite nervous.
0:03:26 > 0:03:28I thought there might be a bit of scary rivalry,
0:03:28 > 0:03:30but they're really lovely, so I don't think it's going to get
0:03:30 > 0:03:33messy in any way. No.
0:03:33 > 0:03:35Plus, I wouldn't want to mess with the Scottish.
0:03:35 > 0:03:36Definitely not.
0:03:36 > 0:03:37Yes, we've got...
0:03:37 > 0:03:39Everyone seems really friendly.
0:03:39 > 0:03:43And we're all commenting on our green and blue outfits.
0:03:43 > 0:03:45We passed by the cello section and we got blued up.
0:03:45 > 0:03:48'Here we are. I can't believe it.'
0:03:48 > 0:03:50And the next step, Albert Hall.
0:03:50 > 0:03:52I...
0:03:52 > 0:03:54It's just mind-blowing. I cannot get over it.
0:03:56 > 0:03:58Overseeing North Devon's success so far
0:03:58 > 0:04:02are founders husband and wife team Emma and Dan Kent.
0:04:02 > 0:04:04'It was really exciting, actually, 12 years ago,'
0:04:04 > 0:04:09to set up an orchestra where I could kind of do the conducting thing
0:04:09 > 0:04:12without having to qualify.
0:04:12 > 0:04:15I just kind of naturally qualified by deciding to set the orchestra up.
0:04:15 > 0:04:17Obviously, there's not a huge amount of players.
0:04:17 > 0:04:20There are only two bassoonists in the whole of North Devon
0:04:20 > 0:04:21and they both play for me.
0:04:21 > 0:04:23And if anything happens to them, I'll be stuffed.
0:04:23 > 0:04:25Can you three carry on working on that, actually?
0:04:25 > 0:04:28When not conducting the orchestra, Emma is Director of Music
0:04:28 > 0:04:30at a school in North Devon.
0:04:30 > 0:04:32'I do like conducting.'
0:04:32 > 0:04:36I think it suits my personality, cos I'm naturally bossy, authoritarian.
0:04:36 > 0:04:37I make quick decisions.
0:04:37 > 0:04:40Can we all finish in the same place, please?
0:04:40 > 0:04:43'Emma is definitely feeling the pressure of the contest.'
0:04:43 > 0:04:46There's a huge weight of responsibility on her shoulders.
0:04:46 > 0:04:48And it keeps her awake at night,
0:04:48 > 0:04:51hoping that she doesn't let anybody down.
0:04:51 > 0:04:53It has been very, very...
0:04:53 > 0:04:56intense, cos of our own family to bring up.
0:04:56 > 0:05:00I've got school work to do. I've got the orchestra's needs to meet.
0:05:00 > 0:05:02But it is just a pressure point.
0:05:02 > 0:05:04When you get to this point, you've just got to put your head down
0:05:04 > 0:05:07and burrow, haven't you? See what happens.
0:05:07 > 0:05:08ALL TALK
0:05:08 > 0:05:10First of all, congratulations.
0:05:10 > 0:05:13How fantastic that you two orchestras are through to the final!
0:05:13 > 0:05:15ALL: Yeah! APPLAUSE
0:05:15 > 0:05:19Paul and Chi-chi are going to be here for you this weekend.
0:05:19 > 0:05:22And, Paul, tell them about their musical challenge.
0:05:22 > 0:05:24We're here in Great Malvern.
0:05:24 > 0:05:27It was a particularly magical place for one composer,
0:05:27 > 0:05:29who I'm sure you know very well.
0:05:29 > 0:05:34He wrote some of the most wonderful English orchestral music.
0:05:34 > 0:05:39Elgar set off on a wonderful idea to write some pictures of
0:05:39 > 0:05:41his friends into an orchestral score.
0:05:41 > 0:05:46And, you know very well, it's called Variations on an Original Theme.
0:05:46 > 0:05:48Also called Enigma.
0:05:48 > 0:05:52'These variations are concentrated jewels, if you like.'
0:05:52 > 0:05:55They're some of the greatest music in the British repertoire.
0:05:55 > 0:05:58They test every aspect of an orchestra's skill -
0:05:58 > 0:06:01its personality, its character.
0:06:01 > 0:06:03Everything about the way they play together.
0:06:03 > 0:06:07I've got a few expert instrumentalists up my sleeve
0:06:07 > 0:06:12that are going to come along and work with you in specific sections.
0:06:12 > 0:06:15There can be only one orchestra playing at Proms in the Park,
0:06:15 > 0:06:17so good luck and have a great weekend.
0:06:17 > 0:06:19Yes, good luck.
0:06:19 > 0:06:20APPLAUSE
0:06:22 > 0:06:24What do you want these two orchestras
0:06:24 > 0:06:26to get out of this weekend?
0:06:26 > 0:06:27Well...
0:06:27 > 0:06:30this is 48 hours when they can really concentrate
0:06:30 > 0:06:31on playing together -
0:06:31 > 0:06:33but also on being together.
0:06:33 > 0:06:35You know, they are very, very busy people.
0:06:35 > 0:06:37Professional musicians spend all their time
0:06:37 > 0:06:39with their instruments and their job.
0:06:39 > 0:06:40If you are an amateur musician,
0:06:40 > 0:06:42you've got a whole other life going on as well.
0:06:42 > 0:06:44And you just cram in the rehearsals
0:06:44 > 0:06:47and then just winkle out the time to be together.
0:06:47 > 0:06:49Of course, the better the orchestra know each other as a group
0:06:49 > 0:06:51of people, the better they'll play together, right?
0:06:51 > 0:06:52Exactly. Exactly.
0:06:55 > 0:06:57Once the orchestras have been given their repertoire,
0:06:57 > 0:07:00they have just two weeks to perfect their parts
0:07:00 > 0:07:02before the play-off at the Royal Albert Hall.
0:07:02 > 0:07:03No pressure, then.
0:07:07 > 0:07:09Before the hard work begins,
0:07:09 > 0:07:13a chance to check into their rooms at this musical Hogwarts.
0:07:13 > 0:07:14SHE LAUGHS
0:07:14 > 0:07:16It's not five-star, is it?
0:07:16 > 0:07:18LAUGHTER But it's very nice.
0:07:21 > 0:07:25Paul starts the weekend with a masterclass with the orchestra.
0:07:25 > 0:07:27This is a chance for him to get into the driving seat
0:07:27 > 0:07:30and listen out for their strengths and weaknesses.
0:07:30 > 0:07:31Up first is Stirling.
0:07:33 > 0:07:35Paul's also revealing which of Elgar's Enigma Variations
0:07:35 > 0:07:38he's chosen for them to play.
0:07:38 > 0:07:42There are four variations for you.
0:07:42 > 0:07:44And the first one you're going to play
0:07:44 > 0:07:45is definitely number one.
0:07:48 > 0:07:51MUSIC: Variation I by Elgar
0:07:56 > 0:07:57How are these two orchestras doing?
0:07:57 > 0:08:00Where are we at with Stirling, to start with?
0:08:00 > 0:08:04They are very spirited. They have real guts.
0:08:04 > 0:08:08They've been, of course, quite messy in certain technical ways.
0:08:10 > 0:08:11His theme, this...
0:08:11 > 0:08:13You know, the famous... dee-dah, dee-dah.
0:08:13 > 0:08:15It's woven into the texture.
0:08:15 > 0:08:17ORCHESTRA PLAYS
0:08:19 > 0:08:22The main theme came about one evening in 1898,
0:08:22 > 0:08:25when Elgar played a melody on the piano.
0:08:25 > 0:08:29His wife, Alice, liked it, so he improvised variations on the theme.
0:08:29 > 0:08:31ORCHESTRA PLAYS
0:08:31 > 0:08:33And Variation I is about Alice.
0:08:35 > 0:08:37'The story of their marriage
0:08:37 > 0:08:40'could have been almost scandalous when they got together,'
0:08:40 > 0:08:43because she was from a very established family and he was
0:08:43 > 0:08:47a completely penniless lad, but they were completely in love.
0:08:47 > 0:08:48ORCHESTRA PLAYS
0:08:53 > 0:08:55Stephen Broad has conducted the orchestra
0:08:55 > 0:08:58for the last 10 of its 34 years.
0:08:58 > 0:09:01Stirling Orchestra is an amazing group of people.
0:09:01 > 0:09:04I almost think of it as being like a huge, extended family, where people
0:09:04 > 0:09:09who wouldn't normally get together are thrown into the same room.
0:09:09 > 0:09:12'It is pretty challenging to balance work and family life'
0:09:12 > 0:09:14and the orchestra.
0:09:14 > 0:09:17One, two, three. Whey!
0:09:17 > 0:09:19But, luckily, help is at hand,
0:09:19 > 0:09:21thanks to the orchestra's leader - his wife, Jo,
0:09:21 > 0:09:25who he met when she performed as a soloist at one of his concerts.
0:09:25 > 0:09:28'I was really struck by her straightaway, actually.'
0:09:28 > 0:09:33The Stirling Orchestra has changed my life massively.
0:09:33 > 0:09:34'I met my husband'
0:09:34 > 0:09:36and now I've got lovely children.
0:09:36 > 0:09:38ORCHESTRA PLAYS
0:09:38 > 0:09:40I feel hugely proud of the orchestra.
0:09:40 > 0:09:44The way they pull performances out of the hat is extraordinary.
0:09:44 > 0:09:48Now, this is another great friend. He's called Troyte Griffith.
0:09:48 > 0:09:50This guy was an architect.
0:09:50 > 0:09:52It's very fast.
0:09:52 > 0:09:53One, two, three and...
0:09:53 > 0:09:55ORCHESTRA PLAYS
0:09:55 > 0:09:58Playing Troyte, Variation VII, together for the first time,
0:09:58 > 0:10:02what Paul hasn't mentioned is how much of a shocker it is.
0:10:02 > 0:10:04ORCHESTRA PLAYS
0:10:07 > 0:10:09LAUGHTER
0:10:09 > 0:10:11Yes!
0:10:11 > 0:10:12The art of faking!
0:10:12 > 0:10:14ORCHESTRA PLAYS
0:10:18 > 0:10:20At the moment, I am in shock.
0:10:20 > 0:10:24It's completely blows every other challenge out of the water,
0:10:24 > 0:10:26like ten times.
0:10:26 > 0:10:28Marvellous, yes.
0:10:30 > 0:10:32Good. I'm glad. I'm glad you can't play it.
0:10:32 > 0:10:33LAUGHTER
0:10:33 > 0:10:35Cos you're very good at playing everything, but this is...
0:10:35 > 0:10:37I hope it's really going to give you some headaches.
0:10:37 > 0:10:41LAUGHTER There's no easy way.
0:10:41 > 0:10:43Elgar said it was about a man
0:10:43 > 0:10:46who was always trying to make order out of chaos.
0:10:46 > 0:10:47Well, we've got the chaos.
0:10:47 > 0:10:49LAUGHTER
0:10:49 > 0:10:50Now, all you've got to do is sort out the order.
0:10:50 > 0:10:53We're trying to cheat, but I don't think we can. No cheating allowed.
0:10:53 > 0:10:56'At the moment, I am trying to relate
0:10:56 > 0:10:57'the rubbish that I was playing'
0:10:57 > 0:11:00to the performance that we are going to give in two weeks' time.
0:11:00 > 0:11:02And it really is daunting.
0:11:02 > 0:11:06So, to sum up all those phrases that are like fireworks,
0:11:06 > 0:11:08just where you start to go... HE HUMS QUICKLY
0:11:08 > 0:11:11It's not. It's... HE HUMS SLOWLY
0:11:11 > 0:11:14Yeah? And then these rushing scales that go from the top
0:11:14 > 0:11:17of the orchestra strings to the bottom of the strings.
0:11:17 > 0:11:20HE LAUGHS MENACINGLY
0:11:20 > 0:11:21LAUGHTER
0:11:21 > 0:11:23APPLAUSE AND CHEERING
0:11:23 > 0:11:24Well done, everybody.
0:11:24 > 0:11:26APPLAUSE DROWNS SPEECH
0:11:27 > 0:11:29LAUGHTER
0:11:29 > 0:11:30O-M-G.
0:11:30 > 0:11:32'It's really hard.'
0:11:32 > 0:11:33It's almost impossible.
0:11:33 > 0:11:35But, you know, that's a good challenge.
0:11:35 > 0:11:38So, Stirling. For a first go, how did they do in that masterclass?
0:11:38 > 0:11:40They have a lot of work to do.
0:11:40 > 0:11:43That's very difficult, that's creatively difficult.
0:11:43 > 0:11:45The fast, furious stuff in that last variation
0:11:45 > 0:11:46is going to cause them headaches.
0:11:46 > 0:11:48It's a kind of nightmare isn't it, Chi-chi?
0:11:48 > 0:11:51When I played that movement for the first time in my life,
0:11:51 > 0:11:54as a student at the Royal Academy, I thought my career was over
0:11:54 > 0:11:57before it had even started. LAUGHTER
0:12:00 > 0:12:03Opposing conductors Stephen and Emma take some time out
0:12:03 > 0:12:07from rehearsals to catch up and compare notes.
0:12:07 > 0:12:10I don't know if your orchestra has changed,
0:12:10 > 0:12:13but we've got better at working as a team.
0:12:13 > 0:12:15So, I think we are playing a lot tighter.
0:12:15 > 0:12:17We're definitely play more in tune.
0:12:17 > 0:12:20But, most importantly, we know each other all a bit better.
0:12:20 > 0:12:23Going places together... On a bus?
0:12:23 > 0:12:24..on a bus, on the train,
0:12:24 > 0:12:28that is absolutely amazing. One of our cellists memorably said,
0:12:28 > 0:12:33"I didn't realise there were so many people I liked in this orchestra".
0:12:33 > 0:12:35It's time to rehearse. Good luck. Good luck.
0:12:35 > 0:12:37Is that through gritted teeth?
0:12:37 > 0:12:39No! LAUGHTER
0:12:39 > 0:12:41Best of luck, Stirling.
0:12:41 > 0:12:42Best of luck, North Devon.
0:12:45 > 0:12:47Back in the hall and it's North Devon's turn.
0:12:47 > 0:12:49What's Paul got in store for them?
0:12:49 > 0:12:52They're kind of balanced between
0:12:52 > 0:12:56quite reflective and slow pieces and much faster ones.
0:12:56 > 0:12:59And then a really, really, really tricky one at the end,
0:12:59 > 0:13:01just to give you something to think about.
0:13:01 > 0:13:02LAUGHTER
0:13:02 > 0:13:04The first one you're going to play is number three.
0:13:04 > 0:13:06This guy is called Richard Baxter Townshend.
0:13:06 > 0:13:10All of these people lived around this area, you know, in Malvern.
0:13:10 > 0:13:14But this man, he was pretty crazy. He wrote books, he was an author.
0:13:14 > 0:13:16Very famous books at the time.
0:13:16 > 0:13:18But, in this little variation,
0:13:18 > 0:13:22what Elgar is trying to portray is his voice.
0:13:22 > 0:13:24IN LOW VOICE: And he had a very low voice,
0:13:24 > 0:13:26which kept breaking, like...
0:13:26 > 0:13:27IN HEIGHTENING VOICE: ..this!
0:13:27 > 0:13:31And it would come up like that. And that's all captured in here.
0:13:31 > 0:13:33Elgar said it's got to be pert.
0:13:33 > 0:13:35I think sort of cheeky and kind of capricious
0:13:35 > 0:13:38and a bit naughty, maybe.
0:13:38 > 0:13:40MUSIC: Variation III by Elgar
0:13:49 > 0:13:51How about North Devon?
0:13:51 > 0:13:54Fantastically enthusiastic, energetic orchestra.
0:13:54 > 0:13:55They come with a mission.
0:13:55 > 0:13:58Technically, musically, sometimes they are a bit bull at a gate.
0:13:58 > 0:14:01Sometimes things have been a bit raw and crude.
0:14:02 > 0:14:05Devon will be finishing with tricky Variation 11,
0:14:05 > 0:14:09which stretches the whole orchestra and spotlights the percussion.
0:14:09 > 0:14:11You're going to have a lot of fun with this.
0:14:11 > 0:14:13This is about a man called George Robertson Sinclair.
0:14:13 > 0:14:16But it's mostly about his dog.
0:14:16 > 0:14:18One and two and...
0:14:18 > 0:14:19MUSIC: Variation XI by Elgar
0:14:19 > 0:14:20PAUL HUMS ALONG
0:14:31 > 0:14:33So, we've now heard North Devon having a go
0:14:33 > 0:14:36at their variations of Enigma. How did they do?
0:14:36 > 0:14:39Yeah, lots of individuals playing really well.
0:14:39 > 0:14:41You know, the oboist plays really well.
0:14:41 > 0:14:43She needs to pay a bit more attention to the ensemble
0:14:43 > 0:14:45with the strings.
0:14:45 > 0:14:47The bassoon playing really good.
0:14:47 > 0:14:48That really needs a bit of contact.
0:14:48 > 0:14:51You know, they've really got to sort out the rhythmical contact
0:14:51 > 0:14:53with the front of the orchestra.
0:14:53 > 0:14:54ORCHESTRA PLAYS
0:15:10 > 0:15:11DRUMS BOOM
0:15:12 > 0:15:15LAUGHTER Annie's in town!
0:15:16 > 0:15:21Self-taught timpanist Annie Hill has played with Devon for five years.
0:15:21 > 0:15:24Enjoy your moment in the Albert Hall with that last note.
0:15:24 > 0:15:25All timpanists love that note.
0:15:25 > 0:15:28My one final note. Yep.
0:15:28 > 0:15:31'The importance of North Devon Sinfonia to me...
0:15:31 > 0:15:35'My goodness me. They've been a real tonic.
0:15:35 > 0:15:39'I'm lucky that I can really let go when I hit the timps.'
0:15:40 > 0:15:43Annie is a full-time carer for her husband, David, who was
0:15:43 > 0:15:47diagnosed with MS just six months after they married 16 years ago.
0:15:47 > 0:15:50I think the orchestra does give me an escape.
0:15:50 > 0:15:53When you stand there and you say,
0:15:53 > 0:15:56"For better or worse, richer or poorer, sickness and in health",
0:15:56 > 0:15:58I mean those things.
0:15:58 > 0:16:00It's not been easy, by any stretch.
0:16:01 > 0:16:05It really is devastating and I wouldn't wish this on...
0:16:06 > 0:16:07..anybody, really.
0:16:09 > 0:16:10Erm...
0:16:11 > 0:16:12Sorry.
0:16:17 > 0:16:20Following a day of hard musical graft,
0:16:20 > 0:16:22a chance to wind down and hang out.
0:16:24 > 0:16:26Before we did this competition,
0:16:26 > 0:16:28I must confess I didn't know a lot of the people
0:16:28 > 0:16:30outside of my woodwind section.
0:16:30 > 0:16:33But, because we've been on buses together,
0:16:33 > 0:16:35we've been staying at colleges together,
0:16:35 > 0:16:38we've actually got to know each other's names.
0:16:39 > 0:16:40After a quick dinner,
0:16:40 > 0:16:43there's a chance to show off to the competition.
0:16:45 > 0:16:48This was the point at which we thought, we all know you.
0:16:48 > 0:16:51However, you've not really heard each other play.
0:16:51 > 0:16:55So, this is the moment where we just play for each other.
0:16:55 > 0:16:57MUSIC BUILDS
0:16:57 > 0:16:59ORCHESTRA PLAYS
0:16:59 > 0:17:03Devon is showcasing its talents with the theme from Lawrence of Arabia.
0:17:03 > 0:17:06ORCHESTRA PLAYS
0:17:06 > 0:17:09Oh, I'm going to be brutally honest here then and say that
0:17:09 > 0:17:11that horrible part of you is going,
0:17:11 > 0:17:13"Just fall on your face, please."
0:17:13 > 0:17:14ORCHESTRA PLAYS
0:17:21 > 0:17:23They set the bar quite high, haven't they?
0:17:23 > 0:17:26So, I think we've got our work cut out for us.
0:17:26 > 0:17:27ORCHESTRA PLAYS
0:17:29 > 0:17:33I regard them as a serious threat.
0:17:33 > 0:17:35MUSIC ENDS
0:17:35 > 0:17:38APPLAUSE AND CHEERING
0:17:38 > 0:17:39Right, come on then.
0:17:39 > 0:17:41LAUGHTER
0:17:41 > 0:17:45It is now time for the most literal game of musical chairs
0:17:45 > 0:17:46I've ever seen. LAUGHTER
0:17:46 > 0:17:47So, if you want to swap...
0:17:47 > 0:17:50'Stirling is showing off its ability with a piece called Vltava
0:17:50 > 0:17:52'by Czech composer Smetana.'
0:17:52 > 0:17:54ORCHESTRA PLAYS
0:17:59 > 0:18:02I think probably quite a lot of us in our minds
0:18:02 > 0:18:04were trying to figure out,
0:18:04 > 0:18:08ooh, you know, what are the good points, what are their bad points?
0:18:08 > 0:18:09ORCHESTRA PLAYS
0:18:09 > 0:18:13MUSIC SWELLS
0:18:16 > 0:18:18There's no point in sizing up the opposition,
0:18:18 > 0:18:21cos I can't change what we are.
0:18:21 > 0:18:23ORCHESTRA PLAYS QUIETLY
0:18:23 > 0:18:26MUSIC ENDS
0:18:26 > 0:18:27APPLAUSE AND CHEERING
0:18:32 > 0:18:34PIANO PLAYS, ALL TALK
0:18:34 > 0:18:35'And, after the performances,
0:18:35 > 0:18:37'a chance to fraternise with the enemy.'
0:18:37 > 0:18:38MUSIC: Let it Be by The Beatles
0:18:38 > 0:18:39# In times of trouble
0:18:39 > 0:18:44# Mother Mary comes to me, speaking... #
0:18:44 > 0:18:47A lot of new friends being made. There's good...
0:18:47 > 0:18:50you know, good mixing between the orchestras.
0:18:50 > 0:18:53I'm hearing quite a lot of gossip.
0:18:53 > 0:18:55It's good.
0:18:55 > 0:18:56Woo!
0:18:56 > 0:18:57PIANO PLAYS
0:18:57 > 0:18:58MUSIC: Lean on Me by Bill Withers
0:18:58 > 0:19:01# Somebody to lean on. #
0:19:03 > 0:19:06The morning after the night before.
0:19:06 > 0:19:09And, for those able to get out of bed, there's yoga and t'ai chi.
0:19:11 > 0:19:14I felt certainly not my age last night.
0:19:14 > 0:19:19It was a really nice place to just come and relax
0:19:19 > 0:19:23and forget that I was a carer for a while. And just let my hair down.
0:19:26 > 0:19:27For those not into yoga,
0:19:27 > 0:19:31an opportunity for a more traditional Sunday morning.
0:19:31 > 0:19:34A stroll in the Malvern Hills, with a special tour guide,
0:19:34 > 0:19:37who just happens to be an available expert on Elgar.
0:19:39 > 0:19:42His cottage, Birchwood, is just in there.
0:19:42 > 0:19:45It was his favourite place he ever lived, he said, in his whole life.
0:19:45 > 0:19:48He wanted to be somewhere that he could just be free
0:19:48 > 0:19:50and to be able to look at these hills.
0:19:50 > 0:19:52When you're up here, you can understand why.
0:19:52 > 0:19:55So, thanks for getting up before breakfast to come and join me.
0:19:55 > 0:19:57LAUGHTER
0:19:57 > 0:19:58Fantastic.
0:19:58 > 0:20:01Paul feels strongly an orchestra that really knows each other
0:20:01 > 0:20:03plays better together.
0:20:03 > 0:20:06So, an important part of the weekend is the chance to bond.
0:20:06 > 0:20:09He's enlisted the help of performance workshop hosts
0:20:09 > 0:20:12Neal Biden and Madeleine Moore.
0:20:12 > 0:20:14Without letting go of your hands,
0:20:14 > 0:20:18untangle yourselves and the first team to do it wins.
0:20:18 > 0:20:20LAUGHTER, ALL TALK
0:20:22 > 0:20:24Keep going. Don't give up.
0:20:24 > 0:20:28As Devon untangle themselves, Stirling work on some visualisation.
0:20:28 > 0:20:32Now, I want you to start thinking about a word. One word.
0:20:32 > 0:20:34A galvanising word.
0:20:34 > 0:20:37Working mum-of-two Suzanne plays in Stirling's string section.
0:20:37 > 0:20:40Her kids will be making the trip to see the play-off in London.
0:20:40 > 0:20:44Why are you excited about going to the Royal Albert Hall, then? Erm...
0:20:44 > 0:20:45Cos we've never been before.
0:20:45 > 0:20:48Because it's...it's Royal. It's big.
0:20:48 > 0:20:51Mm-hm. You'll be playing in it.
0:20:51 > 0:20:53'As a busy working mum,'
0:20:53 > 0:20:56I don't make the time for me to practise my violin.
0:20:56 > 0:20:59And you're going to cheer well for us?
0:20:59 > 0:21:00Yes. Definitely.
0:21:00 > 0:21:04It's been once or twice where Paul has asked the second violins
0:21:04 > 0:21:08to play something and it's been a particularly tricky passage.
0:21:08 > 0:21:11But you don't really feel that great when you know
0:21:11 > 0:21:13that you just can't do it.
0:21:13 > 0:21:18A word that summarises what it is
0:21:18 > 0:21:21that you need to do to get to those goals.
0:21:21 > 0:21:26So maybe that's practise, maybe that's confidence.
0:21:26 > 0:21:28We're going to put our hand in one-by-one
0:21:28 > 0:21:30and we're going to say our word, our galvanising word.
0:21:30 > 0:21:34Unfortunately, visualisation isn't really working for Suzanne.
0:21:35 > 0:21:38I just kind of felt a bit overwhelmed.
0:21:38 > 0:21:43I feel kind of...rather scared about playing in two weeks' time
0:21:43 > 0:21:45at the Royal Albert Hall.
0:21:47 > 0:21:49The challenge is just so immense.
0:21:49 > 0:21:51The pieces are just so hard.
0:21:52 > 0:21:55And the whole idea of just how much we have to practise...
0:21:55 > 0:21:57And, do you know, I've...
0:21:57 > 0:22:01It's so busy, life at home, to get that time in to do the practice
0:22:01 > 0:22:03that we need to do.
0:22:03 > 0:22:05And, yet, that's just what I need to do.
0:22:08 > 0:22:12Continuing to help the orchestras hone their skills for the play-off,
0:22:12 > 0:22:16Chi-chi has enlisted the support of some top professional players.
0:22:16 > 0:22:19OK, guys. Have a great day. Good luck. Off you go.
0:22:22 > 0:22:26The orchestras divide into sections to get to grips with Elgar's score.
0:22:30 > 0:22:32Much better.
0:22:32 > 0:22:34Double bassist Chi-chi has rolled up her sleeves and is working
0:22:34 > 0:22:36with Stirling's lower strings
0:22:36 > 0:22:39to help with some particularly fiendish phrases.
0:22:39 > 0:22:40One and two. And one...
0:22:40 > 0:22:42ORCHESTRA PLAYS
0:22:42 > 0:22:44Ha-ha-ha. No. Not that fast.
0:22:44 > 0:22:45One, two, one...
0:22:45 > 0:22:47ORCHESTRA PLAYS OK. You're never ready.
0:22:47 > 0:22:48One, two, one...
0:22:48 > 0:22:50ORCHESTRA PLAYS
0:22:51 > 0:22:53Yeah, OK. I don't think you all heard me.
0:22:53 > 0:22:56We're not going to play any of the quavers for now.
0:22:56 > 0:22:59We're just going to play the crotchets.
0:23:01 > 0:23:04It's not just the players who are being put through their paces.
0:23:04 > 0:23:07Paul also wants to get to grips with the two conductors.
0:23:08 > 0:23:10What does the conductor do?
0:23:10 > 0:23:12They bring the orchestra together.
0:23:12 > 0:23:15They simply organise the time of a rehearsal.
0:23:15 > 0:23:17They organise how the orchestra plays together -
0:23:17 > 0:23:19how it can play rhythmically together,
0:23:19 > 0:23:21how it can play in-tune together.
0:23:21 > 0:23:24So, the conductor has to direct, has to lead,
0:23:24 > 0:23:28and to encourage the personality of the orchestra to come through.
0:23:28 > 0:23:30You say you're fast and fun and brutal.
0:23:30 > 0:23:32And sometimes, Stephen, with your...
0:23:32 > 0:23:35I'll say quieter approach, if you like.
0:23:35 > 0:23:38And both of you do give a lot of confidence to your players.
0:23:38 > 0:23:41Well, it's probably one of the biggest contrast between
0:23:41 > 0:23:44two different styles of conducting I've ever come across.
0:23:44 > 0:23:47There's a very different sound which comes out of your orchestras.
0:23:47 > 0:23:49And they are both perfectly valid.
0:23:49 > 0:23:50Bum-bum. More, more! ORCHESTRA PLAYS
0:23:50 > 0:23:53'If the orchestra were going to describe my style of conducting,
0:23:53 > 0:23:55I would like to hope they'd put "fast and fun".
0:23:55 > 0:23:59I hope. Yes, it might be a little bit...
0:23:59 > 0:24:02forthright sometimes, but, actually, there's no point
0:24:02 > 0:24:05all getting together and being all pretty and polite about everything.
0:24:05 > 0:24:07It just takes too long.
0:24:07 > 0:24:09If you didn't have the chance to give all those instructions
0:24:09 > 0:24:13out verbally, and it all had to be in your hands...
0:24:13 > 0:24:14Go on, play a little bit.
0:24:17 > 0:24:18OK.
0:24:18 > 0:24:20It's a very nice flowing beat, but you always beat...
0:24:20 > 0:24:23you beat every bar, as if it's a separate event.
0:24:24 > 0:24:25Is that bad?
0:24:25 > 0:24:26'There is Emma.'
0:24:26 > 0:24:30Sometimes she does so much for the musicians that sometimes
0:24:30 > 0:24:33she can stand back and let them do the work for themselves.
0:24:33 > 0:24:35Listening to you and watching you rehearse,
0:24:35 > 0:24:39you could get loads more out of your orchestra, just...
0:24:39 > 0:24:40With the stick?
0:24:40 > 0:24:41Yes, showing them.
0:24:41 > 0:24:43Cos they're the ones making the noise.
0:24:43 > 0:24:45And a lot of the time you make a lot of the noise, actually.
0:24:45 > 0:24:47Sorry, that sounds very negative,
0:24:47 > 0:24:50but if you're telling them, on top of what they're playing,
0:24:50 > 0:24:52they're not really concentrating on the sound they're making.
0:24:52 > 0:24:54It's kind of boosted my confidence
0:24:54 > 0:24:56and also added a little bit more stress into it,
0:24:56 > 0:24:59because now I've realised it IS important.
0:24:59 > 0:25:03Stephen, try to show this funny rubato, this funny stutter rhythm.
0:25:03 > 0:25:05PIANO PLAYS
0:25:05 > 0:25:08I think the conductor has a role in helping them
0:25:08 > 0:25:11to do their best work on the music,
0:25:11 > 0:25:13to make the music work.
0:25:13 > 0:25:15So, it's an intensity of sound, but it's not a huge sound.
0:25:15 > 0:25:18The actual conducting, the waving of the arms,
0:25:18 > 0:25:21I'm not convinced is of huge significance.
0:25:24 > 0:25:26You could even show him... PIANO PLAYS
0:25:26 > 0:25:27PIANO PLAYS
0:25:28 > 0:25:29PIANO PLAYS
0:25:29 > 0:25:33Stephen is very thoughtful about the music and quite quiet.
0:25:33 > 0:25:34He is thinking about the interpretation.
0:25:34 > 0:25:36He doesn't always think about the musicians
0:25:36 > 0:25:39and how much information they need.
0:25:39 > 0:25:42Yeah. By the time he's got one or two, then he'll know, yeah. Yeah.
0:25:42 > 0:25:44'It was really helpful.
0:25:44 > 0:25:46'So many little nuggets of advice to take away.
0:25:46 > 0:25:49'And also, incredibly encouraging, I thought.'
0:25:49 > 0:25:52It's all gone in and hopefully it will percolate out
0:25:52 > 0:25:54within the next two weeks to become useful
0:25:54 > 0:25:57by that time we get to the Royal Albert Hall.
0:25:57 > 0:25:59MUSIC: Ride of the Valkyries by Wagner
0:26:02 > 0:26:04The weekend is almost over
0:26:04 > 0:26:07and Paul has decided to bring everyone all together now.
0:26:08 > 0:26:13We've almost played the whole of this wonderful piece this weekend,
0:26:13 > 0:26:17but we never heard probably the most famous variation of all.
0:26:17 > 0:26:20And I thought it would be rather a good idea
0:26:20 > 0:26:25if you all got together and performed Nimrod.
0:26:25 > 0:26:27And we'll do it right now!
0:26:27 > 0:26:30One of the country's most beloved orchestral works,
0:26:30 > 0:26:33Nimrod is played on many defining national occasions.
0:26:35 > 0:26:38MUSIC: Nimrod from Enigma Variations by Elgar
0:27:27 > 0:27:29It was so moving.
0:27:29 > 0:27:33I had goose bumps all up my arms. It was a really magical moment.
0:27:33 > 0:27:36MUSIC BUILDS
0:27:36 > 0:27:38MUSIC SWELLS
0:27:54 > 0:27:56MUSIC ENDS
0:27:56 > 0:27:59I think everybody in the room felt as one.
0:27:59 > 0:28:02It was the most incredibly uplifting experience.
0:28:02 > 0:28:06But they've got to go up another level to be good enough
0:28:06 > 0:28:08to play at Proms in the Park.
0:28:08 > 0:28:09I want to hear...
0:28:09 > 0:28:11everything you've achieved this weekend.
0:28:11 > 0:28:13I want to hear all that.
0:28:13 > 0:28:15But about 500 times better.
0:28:15 > 0:28:17So, if you could just manage that in the next two weeks,
0:28:17 > 0:28:20that would be fabulous. LAUGHTER
0:28:20 > 0:28:21Happy rehearsing.
0:28:21 > 0:28:23LAUGHTER
0:28:23 > 0:28:24APPLAUSE
0:28:26 > 0:28:29They might have had a momentary truce, but in just two weeks,
0:28:29 > 0:28:32the battle will be back on at the Royal Albert Hall.
0:28:32 > 0:28:34Panic is setting in.
0:28:34 > 0:28:37But we're game for the challenge, yes.
0:28:37 > 0:28:38Now we've got to the final,
0:28:38 > 0:28:42we feel like we owe it to ourselves to really practise.
0:28:42 > 0:28:46We've already got very detailed plans for the next couple of weeks.
0:28:46 > 0:28:48There's not going to be any let-up.
0:28:48 > 0:28:50I would hate to say goodbye to any of them.
0:28:50 > 0:28:53But I know that in two weeks' time, I'm going to have to do that.
0:28:53 > 0:28:55It's going to be very difficult for me,
0:28:55 > 0:28:57but I think even harder for them.
0:28:59 > 0:29:03The orchestras are barely back home before they are hard at work.
0:29:12 > 0:29:14DRUMS ROLL
0:29:14 > 0:29:15Agh! That's rubbish.
0:29:16 > 0:29:18No. Ignore those ones.
0:29:21 > 0:29:24Feeling the pressure, the conductors take a moment to size up the task
0:29:24 > 0:29:28with their orchestra leaders, who both just happen to be their spouse.
0:29:28 > 0:29:31I don't know what will be going on in North Devon at the moment.
0:29:31 > 0:29:33Hopefully, they're not practising at all.
0:29:33 > 0:29:35LAUGHTER
0:29:35 > 0:29:38As long as we play our best, you don't mind, do you? Yeah.
0:29:38 > 0:29:41But what you don't want to do is...
0:29:41 > 0:29:42No, I'm not even going to think about that.
0:29:42 > 0:29:44I did get properly nervous last night,
0:29:44 > 0:29:48thinking about actually having to conduct in the Albert Hall.
0:29:48 > 0:29:50I think it is quite nerve-racking.
0:29:50 > 0:29:51There's loads of bits that could go wrong.
0:29:51 > 0:29:55We have become kind of the masters of small cock-ups.
0:29:55 > 0:29:56So I think... Well...
0:29:56 > 0:29:58..we just accept them and move on.
0:29:58 > 0:30:00It would be very nice, wouldn't it?
0:30:00 > 0:30:03Can you imagine doing a big concert at Hyde Park?
0:30:03 > 0:30:05It would be totally fantastic.
0:30:05 > 0:30:07You only get one chance at it.
0:30:07 > 0:30:09I think we've just got to go and go for it.
0:30:09 > 0:30:12We've got to absolutely go for it, haven't we?
0:30:12 > 0:30:13Well, we will.
0:30:13 > 0:30:16OBOE PLAYS
0:30:16 > 0:30:19Lynda in Devon is working on her lead part in Variation XI
0:30:19 > 0:30:23about the dog, which is particularly poignant to her.
0:30:23 > 0:30:25I have two dogs.
0:30:25 > 0:30:27Freya is the terrier.
0:30:27 > 0:30:29And this young man is Loki.
0:30:29 > 0:30:31My dogs are like family to me.
0:30:31 > 0:30:33You want it? Do you want it?
0:30:33 > 0:30:35You do! You want it.
0:30:35 > 0:30:36'You just have that bond.'
0:30:36 > 0:30:38And you just want to be with them.
0:30:38 > 0:30:39Loki!
0:30:39 > 0:30:42I love the Elgar dog variation.
0:30:42 > 0:30:43Go on. Whoa!
0:30:43 > 0:30:47'This piece is about the dog running around, splashing about.'
0:30:47 > 0:30:48Good girl, Freya!
0:30:49 > 0:30:51Good girl.
0:30:51 > 0:30:54I like the bit where they go... bum-dum-dum-dum,
0:30:54 > 0:30:55which I think is like the shake.
0:30:55 > 0:30:57VARIATION SECTION PLAYS
0:31:00 > 0:31:02500 miles north and Stirling Orchestra
0:31:02 > 0:31:04is getting stuck into its Enigma variations.
0:31:04 > 0:31:05ORCHESTRA PLAYS
0:31:13 > 0:31:15So many things to think about in this.
0:31:15 > 0:31:16Do you know one thing that bothers me
0:31:16 > 0:31:19about our selection of variations?
0:31:20 > 0:31:23I think it's terribly obvious we've got all the good ones.
0:31:23 > 0:31:25LAUGHTER
0:31:28 > 0:31:30Brilliant.
0:31:30 > 0:31:32ORCHESTRA PLAYS
0:31:32 > 0:31:36The orchestra's chairman isn't so sure he agrees.
0:31:36 > 0:31:39Troyte is just a nasty scrub
0:31:39 > 0:31:40for basses and cellos.
0:31:40 > 0:31:43It requires a lot of physical bowing
0:31:43 > 0:31:45and it's fast and it's furious.
0:31:45 > 0:31:48ORCHESTRA PLAYS
0:31:53 > 0:31:5681-year-old Robin has been chairman for over a decade,
0:31:56 > 0:31:59but he's hoping to step down soon and hand over to someone else.
0:31:59 > 0:32:02At the age I'm at, I've decided, no, I've had enough,
0:32:02 > 0:32:06so I am giving up this AGM, which will be in September.
0:32:06 > 0:32:09When he said, you know, he was going to retire
0:32:09 > 0:32:11when the news of this competition came up,
0:32:11 > 0:32:16I thought, wow, that really is quite a good way to end your chairmanship.
0:32:16 > 0:32:19And I always had this gut feeling that they might win,
0:32:19 > 0:32:21so I hope I'm proved right.
0:32:21 > 0:32:23To go all the way would be wonderful.
0:32:23 > 0:32:27If we can get that last step, yes, that would be absolutely tip-top.
0:32:27 > 0:32:29I would quite like to go to the V,
0:32:29 > 0:32:31cos I've actually never been to the V
0:32:31 > 0:32:34'This final bit is the toughest challenge that we've been set.'
0:32:34 > 0:32:37There are now several pieces here and, of course, they take longer.
0:32:37 > 0:32:39It will be tough, but there we are.
0:32:39 > 0:32:41That's what you expect in the final.
0:32:41 > 0:32:44OK. It's good to know roughly how it goes, but there's
0:32:44 > 0:32:46an awful lot of detailed... LAUGHTER
0:32:46 > 0:32:50..detailed work that needs to go in, you know?
0:32:50 > 0:32:51'We've just played'
0:32:51 > 0:32:54Troyte, number seven, which...
0:32:54 > 0:32:55Do you know? It's so fast.
0:32:55 > 0:32:58But it just gets my heart going so fast as well.
0:32:58 > 0:33:02I will be practising eight or nine hours a day.
0:33:02 > 0:33:05That's an absolute lie, but...
0:33:05 > 0:33:06I'll have to do something.
0:33:06 > 0:33:09I think, actually, Stirling could win this.
0:33:09 > 0:33:12It's the kind of thing that we can play well.
0:33:12 > 0:33:15Whether we will play it well in the context of the Albert Hall
0:33:15 > 0:33:16is a whole different issue.
0:33:18 > 0:33:20It's Devon's first rehearsal.
0:33:20 > 0:33:24Emma is working on their trickiest variation, number 11 - the dog.
0:33:24 > 0:33:28Can I have Hugo and Annie, please, from the last four bars?
0:33:28 > 0:33:29Are you ready?
0:33:29 > 0:33:31TRIANGLE CHIMES, DRUMS ROLL
0:33:31 > 0:33:3316-year-old student Hugo
0:33:33 > 0:33:36has a crucial role to play in this variation.
0:33:37 > 0:33:39'I play drums and piano,'
0:33:39 > 0:33:41but I'm on triangle for the...
0:33:43 > 0:33:44What do you call it?
0:33:44 > 0:33:45HE CLICKS Final.
0:33:45 > 0:33:48So, Hugo, you're clear that you go ticky on the beat.
0:33:48 > 0:33:50'That was my first time playing triangle.'
0:33:50 > 0:33:53But, surprisingly, it wasn't that hard to pick up.
0:33:53 > 0:33:55But, you know, if Elgar didn't want them in there,
0:33:55 > 0:33:57they wouldn't be there, so...
0:33:58 > 0:34:00..they're going to be there.
0:34:00 > 0:34:02TRIANGLE CHIMES, DRUMS ROLL
0:34:02 > 0:34:03I don't own a triangle.
0:34:03 > 0:34:08I'm just about to play my ladder as practice for the big night.
0:34:08 > 0:34:11Er, I just got two 50ps from my mum, so...
0:34:12 > 0:34:14..I'm sorted.
0:34:14 > 0:34:16LADDER CLINKS
0:34:16 > 0:34:18'No. Didn't think it was ever going to happen'
0:34:18 > 0:34:20that Hugo would be playing at the Royal Albert Hall.
0:34:20 > 0:34:21Cheers(!)
0:34:22 > 0:34:24LADDER CLINKS
0:34:24 > 0:34:26Then it's loud. LADDER CLINKS
0:34:27 > 0:34:31Yeah, that's pretty much it. That's my...that's my big role.
0:34:31 > 0:34:33What was it? Four taps or five?
0:34:33 > 0:34:34Five.
0:34:34 > 0:34:3615.
0:34:36 > 0:34:37LADDER CLINKS
0:34:37 > 0:34:40Oh, immensely proud of him. You couldn't be...
0:34:40 > 0:34:41I mean, look at him.
0:34:42 > 0:34:43Oh, you!
0:34:45 > 0:34:48Is this where I kiss him? HUGO MURMURS
0:34:51 > 0:34:53Part of any performance is the look.
0:34:53 > 0:34:56And Annie's decided to splash out.
0:34:56 > 0:35:00All I normally wear is trousers and a T-shirt, cos nobody looks at me.
0:35:00 > 0:35:03But I thought, this is such a special occasion that...
0:35:03 > 0:35:06a nice dress... Push the boat out. Yeah, let's do it.
0:35:06 > 0:35:09So, I brought Sheila along just to...
0:35:09 > 0:35:12To give her guidance and make sure she doesn't go grannyish.
0:35:12 > 0:35:14Yeah, absolutely.
0:35:14 > 0:35:15What are you saying?
0:35:17 > 0:35:20Good morning. If I said concert black dress... OK.
0:35:20 > 0:35:23..would you know what I mean? Something full-length?
0:35:23 > 0:35:25That's nice. That's a possibility.
0:35:25 > 0:35:26That's nice, too.
0:35:26 > 0:35:27Yeah, classy.
0:35:29 > 0:35:31Turn round. Give us a twirl.
0:35:31 > 0:35:32SHEILA LAUGHS
0:35:34 > 0:35:36And, because I've got arm movements...
0:35:36 > 0:35:37Yeah. Well, I like it.
0:35:43 > 0:35:46After working with the conductors in Malvern, Paul felt they could
0:35:46 > 0:35:48each do with some particular advice.
0:35:48 > 0:35:50Hi, Emma. Hello.
0:35:50 > 0:35:54So, he sent performance coach Alma Sheehan to meet Emma in Devon
0:35:54 > 0:35:56and Chi-chi to Scotland to work with Stephen.
0:35:56 > 0:35:59'Paul identified that, sometimes,'
0:35:59 > 0:36:01Stephen leaves a little bit too much to the imagination,
0:36:01 > 0:36:04with the gestures that he gives to the orchestra.
0:36:04 > 0:36:07When you're ready, I'm going to ask you to conduct the orchestra
0:36:07 > 0:36:08with no arms.
0:36:08 > 0:36:11Alma helps conductors focus their communication skills
0:36:11 > 0:36:13and Paul wants Emma to speak less.
0:36:13 > 0:36:15So, what do you do? That's it.
0:36:15 > 0:36:17Yeah. You're off now.
0:36:20 > 0:36:25'I was trying to get Emma to be less verbal in her communication'.
0:36:25 > 0:36:28It made me realise that, facially, I'm dull as dishwater.
0:36:28 > 0:36:29How did that feel?
0:36:29 > 0:36:31Horrid. Yeah?
0:36:32 > 0:36:33Yeah. One thing.
0:36:33 > 0:36:35I'm doing all the dynamics, I'm not getting them from you.
0:36:35 > 0:36:39Mm-hm. OK. So I need a little bit more information.
0:36:39 > 0:36:41It was quite revealing, actually,
0:36:41 > 0:36:44because he does leave a lot to interpretation.
0:36:45 > 0:36:47No, nope.
0:36:47 > 0:36:49No, I didn't get that. Your gesture went too small.
0:36:49 > 0:36:51OK. When you're ready.
0:36:51 > 0:36:52Alma got me to do a variety of things.
0:36:52 > 0:36:55I quite liked the walking-on one.
0:36:55 > 0:36:58I was there in the Albert Hall in my head.
0:36:58 > 0:37:00I'd say go even further with the bows.
0:37:00 > 0:37:01No, I always do a little one,
0:37:01 > 0:37:04because I don't want to look ridiculous.
0:37:04 > 0:37:06That's it. There you are. You put your finger on it.
0:37:06 > 0:37:07So many people say to me,
0:37:07 > 0:37:09"Oh, I don't want to look arrogant, I don't want to look..." Yeah.
0:37:09 > 0:37:12Confidence isn't arrogance. I've been saying that all my life.
0:37:12 > 0:37:14Well, there you are. I'm telling you again.
0:37:14 > 0:37:17I would probably give three and one... OK. So...
0:37:17 > 0:37:20But... OK, but let's have a real precision on one.
0:37:20 > 0:37:22Yeah, on the three as well, yeah? OK. Let's try that.
0:37:22 > 0:37:25I think it's quite important to get him a little bit uncomfortable.
0:37:25 > 0:37:28I don't know what... I don't know what I'm doing now.
0:37:28 > 0:37:29Er, one...
0:37:30 > 0:37:34And, remember, you're there to open possibilities to all those people.
0:37:34 > 0:37:37'I've got one rehearsal left. I've got one chance to practise that.
0:37:37 > 0:37:38'And that's tonight.'
0:37:38 > 0:37:40But it's my job to be so...
0:37:40 > 0:37:43bodily impressive that they look at me.
0:37:44 > 0:37:45DOUBLE BASS PLAYS
0:37:45 > 0:37:47Yeah. Yeah?
0:37:47 > 0:37:49That's better. I like... I'm liking that.
0:37:49 > 0:37:53To have her bringing all of that experience,
0:37:53 > 0:37:56and bringing a player's perspective as well,
0:37:56 > 0:37:57I think is really fantastic.
0:37:59 > 0:38:01With the Albert Hall a couple of days away,
0:38:01 > 0:38:04each orchestra finds themselves at their final rehearsals.
0:38:04 > 0:38:08Stephen is fine tuning Stirling's interpretation.
0:38:08 > 0:38:11We need to get a little more character into this.
0:38:11 > 0:38:13And Emma is trying to push Devon on the tempo.
0:38:13 > 0:38:15ORCHESTRA PLAYS
0:38:16 > 0:38:19MUSIC ENDS No, no, no, no!
0:38:19 > 0:38:22Don't you dare slow us down when I'm rushing it...deliberately.
0:38:22 > 0:38:23LAUGHTER
0:38:25 > 0:38:26ORCHESTRA PLAYS
0:38:28 > 0:38:30MUSIC ENDS
0:38:30 > 0:38:32Who's lingering? LAUGHTER
0:38:32 > 0:38:33Who was lingering?
0:38:33 > 0:38:34ORCHESTRA PLAYS
0:38:35 > 0:38:37No, you are out, I'm afraid.
0:38:37 > 0:38:39Come on. Let's try again.
0:38:39 > 0:38:42Cellos and basses, bassoons, it actually felt to me as though
0:38:42 > 0:38:44you weren't quite on the line.
0:38:44 > 0:38:45ORCHESTRA TUNES
0:38:45 > 0:38:48It's not very well in tune. I do hope you won't play it like that.
0:38:48 > 0:38:49Go again!
0:38:49 > 0:38:52The most important thing, with all of this...
0:38:52 > 0:38:54is to enjoy it.
0:38:54 > 0:38:56OK, come on, we can do this! Hm!
0:38:56 > 0:38:57I do want us to win it.
0:38:57 > 0:38:59SCATTERED LAUGHTER
0:38:59 > 0:39:00But...
0:39:00 > 0:39:04I much more want us to have a lovely time.
0:39:09 > 0:39:13All rehearsals over and it's time to set off for the big day in London.
0:39:15 > 0:39:16ALL TALK
0:39:18 > 0:39:21I'm definitely more nervous about playing in the Royal Albert Hall
0:39:21 > 0:39:24than I was on my wedding day.
0:39:24 > 0:39:26I had not a drop of nerves that day.
0:39:26 > 0:39:30But this, no, I've really got the collywobbles.
0:39:30 > 0:39:31Bye.
0:39:31 > 0:39:34'Mine is such an exposed part and if I hit it in the wrong place,'
0:39:34 > 0:39:36then everybody will know about it.
0:39:42 > 0:39:45So, here we are. We've made it here to the Albert Hall. This is it.
0:39:45 > 0:39:48The big day, it's the final today. One of them will win.
0:39:49 > 0:39:53First on the scene is the North Devon Sinfonia.
0:39:53 > 0:39:54It seems, even after playing at Maida Vale,
0:39:54 > 0:39:56and the home of Manchester's Halle,
0:39:56 > 0:39:59there is still plenty of room to be awed.
0:39:59 > 0:40:02This is a once-in-a-lifetime thing.
0:40:02 > 0:40:05For once, I'm speechless.
0:40:05 > 0:40:07Not far behind are the Stirling Orchestra,
0:40:07 > 0:40:08who are equally excited.
0:40:10 > 0:40:14It's bigger, but more amazing. Just spectacular, beautiful.
0:40:14 > 0:40:15Oh, lovely...everything.
0:40:19 > 0:40:23To see who goes first, Chi-chi tosses a coin for the conductors.
0:40:23 > 0:40:25Heads.
0:40:25 > 0:40:29I think I'll choose for Stirling Orchestra to play second.
0:40:29 > 0:40:32Supporting the orchestras are an audience of friends and family,
0:40:32 > 0:40:35who have travelled from far and wide to cheer them on.
0:40:39 > 0:40:43As Devon prepares to take to the legendary stage...
0:40:43 > 0:40:45it's clear the nerves are starting to show.
0:40:45 > 0:40:47'I've got a few tingles in my belly'.
0:40:47 > 0:40:48But, you know, I'm ready.
0:40:48 > 0:40:50All we can do is our best now
0:40:50 > 0:40:53and make sure that we get emotion in it.
0:40:53 > 0:40:56So, the three letters today are NDS.
0:40:56 > 0:40:59Never doubt success.
0:40:59 > 0:41:00ALL: Oh!
0:41:00 > 0:41:04Big, massive, mental group hug and just lay it out.
0:41:04 > 0:41:06APPLAUSE AND CHEERING
0:41:07 > 0:41:09So, North Devon Sinfonia...
0:41:09 > 0:41:12Devon's spirit is always really on fire.
0:41:12 > 0:41:14They're quite unpredictable.
0:41:14 > 0:41:17We have seen them conquer different challenges
0:41:17 > 0:41:19and deal with different difficulties.
0:41:19 > 0:41:22Sometimes...not quite hitting the target,
0:41:22 > 0:41:25but always with this incredible spirit.
0:41:25 > 0:41:29Listening with a keen ear are rivals Stirling Orchestra.
0:41:29 > 0:41:30THEY TALK
0:41:30 > 0:41:32Good luck. Stay with me.
0:41:34 > 0:41:37APPLAUSE
0:41:41 > 0:41:44Hello, ladies and gentlemen. Welcome to the grand final
0:41:44 > 0:41:47of Altogether Now, The Great Orchestra Challenge.
0:41:47 > 0:41:50And now, to conduct the North Devon Sinfonia,
0:41:50 > 0:41:52please welcome Emma Kent.
0:41:52 > 0:41:54APPLAUSE
0:41:56 > 0:41:57CHEERING
0:42:01 > 0:42:03Devon start off with Variation III,
0:42:03 > 0:42:06about Elgar's friend with a breaking voice.
0:42:08 > 0:42:10ORCHESTRA PLAYS
0:43:40 > 0:43:43I've really encouraged Emma to try to leave
0:43:43 > 0:43:47a lot of the music-making to her musicians,
0:43:47 > 0:43:50not to always tell them what she wants,
0:43:50 > 0:43:52to let them come forward with their talent,
0:43:52 > 0:43:55with their own feelings, with their own emotional responses.
0:43:55 > 0:43:57And sometimes you have to step back a little bit,
0:43:57 > 0:43:59as a conductor, to allow that to happen.
0:43:59 > 0:44:02For their last variation, Devon play tricky number 11, about the dog.
0:44:02 > 0:44:03ORCHESTRA PLAYS
0:44:58 > 0:45:00MUSIC ENDS
0:45:02 > 0:45:04APPLAUSE AND CHEERING
0:45:13 > 0:45:14Well done. Thank you.
0:45:14 > 0:45:18Well, North Devon Sinfonia, sometimes they were not quite together.
0:45:18 > 0:45:20The wind were slightly pushing ahead.
0:45:20 > 0:45:23Emma was very calm with them, which was really good for them.
0:45:23 > 0:45:26And good for her that she kept the whole thing
0:45:26 > 0:45:29in a very beautiful, musical way. it was really expressive.
0:45:29 > 0:45:30Annie did a great job.
0:45:30 > 0:45:32I was really pleased.
0:45:32 > 0:45:35Stirling are going to have to really play well to keep up with that,
0:45:35 > 0:45:36because I actually, to be honest,
0:45:36 > 0:45:39I have not heard Devon play as well as that, ever, in this contest.
0:45:39 > 0:45:43As an orchestra, I don't think we could have played any better.
0:45:43 > 0:45:45What a thrill. I'm buzzing!
0:45:45 > 0:45:48It might not be exactly what Elgar wrote in his score,
0:45:48 > 0:45:52but you could sell that on the streets and people would buy the feeling it creates.
0:45:52 > 0:45:54It's just wonderful.
0:45:57 > 0:45:59Good luck. Have a great time.
0:46:01 > 0:46:05Second to perform on the world-famous stage is Stirling Orchestra.
0:46:06 > 0:46:09I woke up feeling pretty nervous.
0:46:09 > 0:46:11Quite what it will feel to step out to the front of the stage,
0:46:11 > 0:46:13I'm not quite sure.
0:46:13 > 0:46:15This is my kind of last act as chairman
0:46:15 > 0:46:20and that's a very good last act, to be playing in the Royal Albert Hall.
0:46:20 > 0:46:24That is a little memory which will stay with what is left of my life.
0:46:26 > 0:46:27Thank you!
0:46:29 > 0:46:32Stirling Orchestra, they have risen to the occasion time and time again.
0:46:32 > 0:46:37Stirling are very dependable, they have great qualities as an orchestra.
0:46:37 > 0:46:39They're very together.
0:46:39 > 0:46:42Sometimes we see that fantastic joy that they have.
0:46:42 > 0:46:44We see it in their faces, we hear it in their playing.
0:46:44 > 0:46:46Sometimes it's not quite there.
0:46:48 > 0:46:53I've looked at the music for their movement and it's fiendish!
0:46:53 > 0:46:55APPLAUSE
0:47:00 > 0:47:04To conduct the Stirling Orchestra in their Enigma Variations,
0:47:04 > 0:47:08the conductor of the Stirling Orchestra, Stephen Broad.
0:47:08 > 0:47:09APPLAUSE
0:47:18 > 0:47:22Stirling start off with Variation 1, about Alice, Elgar's wife.
0:49:17 > 0:49:20Stephen's a really fine conductor.
0:49:20 > 0:49:22I've enjoyed so much what he's done.
0:49:22 > 0:49:24He really thinks a lot about the music.
0:49:24 > 0:49:27I've talked to Stephen a little bit about how much
0:49:27 > 0:49:28he can actually get into his gesture,
0:49:28 > 0:49:32how much he can ask - in detail, in precision - from the orchestra.
0:49:32 > 0:49:34He understands that really well
0:49:34 > 0:49:39and every conductor will express that in a different way physically.
0:49:39 > 0:49:42But the most important thing is that he's done that so that THEY have got
0:49:42 > 0:49:46the message and THEY can let the music flow through.
0:49:46 > 0:49:48Next, Stirling perform Variation 7,
0:49:48 > 0:49:51about Elgar's friend, Troyte.
0:51:06 > 0:51:08There was a few bits that I fluffed.
0:51:08 > 0:51:11I don't know what happened.
0:51:11 > 0:51:13There were some nerves to begin with and, you know,
0:51:13 > 0:51:17that affected a little bit of the detail, but I enjoyed that so much.
0:51:17 > 0:51:19I can't...I can't really say how much I enjoyed it.
0:51:19 > 0:51:22It was just wonderful.
0:51:22 > 0:51:25So have we done enough to impress Paul? Um, you know...
0:51:25 > 0:51:29I really don't know, but we couldn't have done any more.
0:51:32 > 0:51:34Stirling did a really good job of picking out
0:51:34 > 0:51:38so many of those little characters, the little colours and ideas.
0:51:38 > 0:51:40They got loads of it.
0:51:40 > 0:51:44Some of it was missing but, you know, there's such a lot to find.
0:51:44 > 0:51:46I thought they did a really good job.
0:51:46 > 0:51:48It's a very, very brave performance.
0:51:53 > 0:51:55Paul must now make his decision -
0:51:55 > 0:51:57only one orchestra can win.
0:51:59 > 0:52:02Let's start with North Devon Sinfonia.
0:52:02 > 0:52:06What for me was very important was how well they'd improved,
0:52:06 > 0:52:08certainly from even when we saw them in Malvern.
0:52:08 > 0:52:10I thought they did really well.
0:52:10 > 0:52:14They've really addressed all of the potential issues.
0:52:14 > 0:52:16What didn't they get right?
0:52:16 > 0:52:18Sometimes the violins, they could have just allowed themselves
0:52:18 > 0:52:22to project a bit more and then it would have REALLY put the icing on the cake.
0:52:22 > 0:52:24So then we heard Stirling.
0:52:24 > 0:52:27Really good work in lots of places.
0:52:29 > 0:52:31It felt less assured when they got on the stage.
0:52:31 > 0:52:37The difficult fast stuff they had to play, they were really on it, weren't they?
0:52:37 > 0:52:40And I really enjoyed seeing them being confident
0:52:40 > 0:52:41with that very, very fast Variation.
0:52:41 > 0:52:44You know, they were really playing on the scales.
0:52:44 > 0:52:45I think they did a great job.
0:52:45 > 0:52:47As a group, they felt a bit...
0:52:48 > 0:52:51..like they were shallow-breathing in the music,
0:52:51 > 0:52:53when you needed to really get deep. Yeah.
0:52:53 > 0:52:57If we won this, well, this would be a major celebration
0:52:57 > 0:53:00for me and obviously for the orchestra as well.
0:53:00 > 0:53:02So, yes, it would be a good note to go out on.
0:53:02 > 0:53:05I don't know how he's going to choose.
0:53:05 > 0:53:06Have you made your mind up?
0:53:11 > 0:53:14HE SIGHS
0:53:14 > 0:53:19This is, like, the worst moment possible, because we're just
0:53:19 > 0:53:20waiting for the result.
0:53:20 > 0:53:22We've just heard that they've made the decision,
0:53:22 > 0:53:25that Paul is ready to announce his favourite orchestra and we're, like,
0:53:25 > 0:53:27I feel a bit sick, if I'm honest!
0:53:36 > 0:53:39I don't want to send anybody away from this.
0:53:39 > 0:53:42I want to remember this particular day more than anything.
0:53:42 > 0:53:43It's been amazing.
0:53:45 > 0:53:46But...
0:53:46 > 0:53:48LAUGHTER
0:53:48 > 0:53:53The orchestra that consistently and most engagingly
0:53:53 > 0:53:58and with the most excitement and passion, the one that I feel
0:53:58 > 0:54:02in my gut deserves to go through to play in Proms In The Park...
0:54:04 > 0:54:05..is...
0:54:14 > 0:54:15..the North Devon Sinfonia.
0:54:15 > 0:54:17CHEERING AND APPLAUSE
0:54:23 > 0:54:25In the end, I had to give it to Devon.
0:54:25 > 0:54:28They were really there, in the moment.
0:54:28 > 0:54:32They were just that step MORE exciting and more thrilling and more colourful,
0:54:32 > 0:54:34right from the word go.
0:54:34 > 0:54:36It was just those words - North Devon Sinfonia.
0:54:36 > 0:54:40When he said North Devon Sinfonia, I was just like, "Oh, my God!"
0:54:40 > 0:54:43Yeah, it's just lovely and everyone's just in tears.
0:54:43 > 0:54:45It's a wonderful, wonderful thing.
0:54:45 > 0:54:46It's just amazing
0:54:46 > 0:54:49seeing everybody here just now and the whole experience of playing
0:54:49 > 0:54:52in the Albert Hall probably makes the experience of the result
0:54:52 > 0:54:56a bit less, because that glow from playing in the Hall is
0:54:56 > 0:54:58quite, quite overwhelming, actually.
0:54:58 > 0:55:01Yeah, we are disappointed that we didn't get through, but it's
0:55:01 > 0:55:03just been...we're just overwhelmed,
0:55:03 > 0:55:06because we've had such a lovely journey together.
0:55:06 > 0:55:09It sounds cheesy but it's true.
0:55:09 > 0:55:13I'm not saying that we were strangers before, but this has been more of a togetherness thing.
0:55:13 > 0:55:14Yeah, we'll be all right.
0:55:14 > 0:55:17We'll be OK once we get over the few tears and things!
0:55:19 > 0:55:25So this contest has given me the freedom to actually
0:55:25 > 0:55:27allow myself to be me again.
0:55:33 > 0:55:35It's the last day of the Proms.
0:55:35 > 0:55:39Despite the weather, thousands have flocked to Hyde Park,
0:55:39 > 0:55:41eager to claim their premium spots.
0:55:42 > 0:55:46Backstage, the nerves are setting in.
0:55:46 > 0:55:47I just hope they like us.
0:55:47 > 0:55:50And I hope that they enjoy our performance.
0:55:50 > 0:55:53You can just feel there's this energy coursing through the room at the moment.
0:55:53 > 0:55:56We're never usually this nervous. This is nerve-racking.
0:55:56 > 0:55:59It's the kind of thing you dream of and then all of a sudden
0:55:59 > 0:56:01you're here and it's real!
0:56:04 > 0:56:07They do look lovely with all their colours.
0:56:07 > 0:56:11It's a bucket-list item ticked off, but this is bucket-list-extra,
0:56:11 > 0:56:12I think, isn't it?
0:56:12 > 0:56:14Ready?
0:56:14 > 0:56:15This is insane!
0:56:16 > 0:56:18MC: Cue orchestra, please.
0:56:19 > 0:56:22With the North Devon Sinfonia, I found something really special.
0:56:22 > 0:56:24They play with the devotion, with the enthusiasm,
0:56:24 > 0:56:28and I think they're a great shining example of how wonderful
0:56:28 > 0:56:31amateur orchestral playing is in this country.
0:56:31 > 0:56:34I wonder if we can see where anyone is.
0:56:34 > 0:56:36WOLF-WHISTLING
0:56:36 > 0:56:38Ah, we're getting whistled!
0:56:40 > 0:56:44Slightly worried about my skirt blowing up, that's the only problem.
0:56:46 > 0:56:49Oh, is that B-flat? Hello. You're cutting it fine.
0:56:49 > 0:56:53Hello. Don't want to start without you! Oh, my God! Look at this. I know. Oh, my God!
0:56:53 > 0:56:55MC: Good afternoon, everyone.
0:56:55 > 0:56:58Would you please welcome to the Proms In The Park stage - Katie Derham.
0:56:58 > 0:57:00APPLAUSE
0:57:02 > 0:57:04Hello, ladies and gentlemen.
0:57:04 > 0:57:08Wonderful for me to be standing on stage with these amazing musicians.
0:57:09 > 0:57:14This was the prize - YOU, effectively, are the prize.
0:57:14 > 0:57:19So I am very proud to present the North Devon Sinfonia.
0:57:19 > 0:57:22Their wonderful conductor - Emma Kent.
0:57:22 > 0:57:23APPLAUSE
0:57:32 > 0:57:35Eyes up, and...
0:58:07 > 0:58:10They are the most lovely bunch of individuals.
0:58:10 > 0:58:12There are also eclectic and different
0:58:12 > 0:58:14and I love every single one of them.
0:58:21 > 0:58:22I'm so proud of North Devon.
0:58:22 > 0:58:27We couldn't have ever imagined that this would happen to our orchestra.
0:58:31 > 0:58:33APPLAUSE
0:58:38 > 0:58:43They sum up amateur orchestra- making in Britain. Everybody's welcome,
0:58:43 > 0:58:46everyone's accepted and we're just all in it for the love.