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Hello and welcome to Out of the Blue. I'm Graham Little. And I'm | 0:00:13 | 0:00:21 | |
Joanne Salley. We are live. And with us tonight... She has been on | 0:00:21 | 0:00:26 | |
the fiddle since she was six. Now she is a Classic Brit Award winner. | 0:00:26 | 0:00:30 | |
Violinist Tasmin Little will be knocking us for six later. | 0:00:30 | 0:00:32 | |
Christine Trueman is half-way through a 60-minute masterpiece for | 0:00:33 | 0:00:39 | |
us. Find out how you can get your hands on that later! | 0:00:39 | 0:00:42 | |
And joining us on our sofas, from Downton Abbey to down-town Belfast! | 0:00:42 | 0:00:49 | |
Allen Leech, also known as chauffeur Branson. And APPLAUSE. | 0:00:49 | 0:00:55 | |
9 million people watched last night's episode. Why do you think | 0:00:55 | 0:01:00 | |
you have -- the Edwardian fascinate us? I do not know, but it is | 0:01:00 | 0:01:05 | |
fascinating. I suppose it is an opportunity to look at a way of | 0:01:05 | 0:01:10 | |
life you would normally not be able to. It also has the added bonus | 0:01:10 | 0:01:13 | |
that you not only see the aristocracy, but how the people who | 0:01:13 | 0:01:19 | |
make their life possible, how they are living and interacting. I am a | 0:01:19 | 0:01:27 | |
big fan. Great. We will hear more from Allen later. | 0:01:27 | 0:01:32 | |
Class 6 of another kind, there is the fight for one of the biggest | 0:01:32 | 0:01:36 | |
book prize of the year. The winner of the Man Booker Prize is revealed | 0:01:36 | 0:01:41 | |
tomorrow after judging by a panel headed by Dame Stella Rimington. | 0:01:41 | 0:01:45 | |
Northern Ireland has produced a steady stream of the award-winning | 0:01:45 | 0:01:51 | |
authors, but Colin Bateman has to be discovered and antrum novelist | 0:01:51 | 0:02:00 | |
who broke every that -- every law every time she put pen to paper. | 0:02:00 | 0:02:08 | |
Larne, gateway to the games, a land of rolling hills and waters. And | 0:02:08 | 0:02:17 | |
home to a great literary secret. Once upon a time, billions of Larne | 0:02:17 | 0:02:21 | |
roamed by a now forgotten novelist whose work can only be described as | 0:02:21 | 0:02:26 | |
genius. Edinburgh has Robert Louis Stevenson. London has Charles | 0:02:26 | 0:02:36 | |
Dickens. Nottingham has DH Lawrence. And Larne has Amanda McKittrick Ros. | 0:02:36 | 0:02:43 | |
You may ask to this is? She was regarded with awe by cs Lewis and | 0:02:43 | 0:02:50 | |
Aldous Huxley. Off-shore drew inspiration from her. And the time | 0:02:50 | 0:02:54 | |
has come to finally remove the Bushell that has hit in the light | 0:02:54 | 0:03:03 | |
of the worst writer in the world. Was I falsely informed of your ways | 0:03:03 | 0:03:10 | |
and worth? Was I duped to ascend the ladder of Liberty, the hill of | 0:03:10 | 0:03:17 | |
triumph, not back the Lived here on the street, in fact we have this | 0:03:17 | 0:03:22 | |
school is now. -- the women lived here on this | 0:03:22 | 0:03:30 | |
street. Born in 1860, Amanda qualified as a teacher, moved to | 0:03:30 | 0:03:35 | |
Larne and married the local station master. Though worst writer in the | 0:03:35 | 0:03:41 | |
world, that is some title. How bad do you have to be to get that? And | 0:03:41 | 0:03:51 | |
how did she get published? Her husband paid for the publication. | 0:03:51 | 0:03:55 | |
It was the tenth anniversary wedding present. The point about | 0:03:55 | 0:04:04 | |
her work is that it is so bad that it is good. She carried the main | 0:04:04 | 0:04:08 | |
features of the romantic novel to such tremendous extremes that it | 0:04:08 | 0:04:15 | |
was bizarre and funny. When her characters are in the throes of | 0:04:15 | 0:04:22 | |
anger or grief, speeches can call on for pages. She was also drunk on | 0:04:22 | 0:04:29 | |
alliteration. The week in which she found quite ridiculous phrases to | 0:04:29 | 0:04:38 | |
describe very ordinary things, so legs become bony supports. Sundays | 0:04:38 | 0:04:42 | |
becomes sanctified measures of time. She probably thought of herself as | 0:04:42 | 0:04:51 | |
a genius. She was hard at work on her second book. Then something | 0:04:51 | 0:04:53 | |
happened that transformed a man the from an unknown writer to someone | 0:04:53 | 0:05:00 | |
on everyone's lips. A copy of her first novel found its way into | 0:05:00 | 0:05:04 | |
reader in London. He wrote a scathing review and widespread and | 0:05:05 | 0:05:12 | |
her name was spoken in hushed tones. There were parties were her books | 0:05:12 | 0:05:18 | |
read aloud. There was a society in Oxford, with a group of academics, | 0:05:18 | 0:05:22 | |
including CS Lewis and G R Tolkien, with competitions to see who could | 0:05:22 | 0:05:30 | |
read her work allowed longest without laughing. Other admirers | 0:05:30 | 0:05:37 | |
included six freed so soon and the great American writer Mark Twain. | 0:05:37 | 0:05:45 | |
He gave Amanda's hero Ben Amos off the most unintentionally hilarious | 0:05:45 | 0:05:52 | |
novel. Peru Amanda, but her books were now being read. And she was | 0:05:52 | 0:05:59 | |
amazing. In her final novel, she named her characters after pieces | 0:05:59 | 0:06:09 | |
0:06:09 | 0:06:09 | ||
of for it. Such as Lord raspberry. This is writing beyond that satire, | 0:06:09 | 0:06:15 | |
beyond criticism. Her self-belief was bullet proof and Portree poured | 0:06:15 | 0:06:20 | |
out of a until her death, convinced her work would be read for 1,000 | 0:06:20 | 0:06:27 | |
years. Her books and now all out of print. And let us face it, there | 0:06:27 | 0:06:31 | |
are many writers who would give the right time for the kind of | 0:06:31 | 0:06:36 | |
publicity Amanda got from the grades of her day. In this fine | 0:06:36 | 0:06:41 | |
town of Larne, there are many who wished a man die used her right arm | 0:06:41 | 0:06:48 | |
for something other than writing. - - which Amanda. | 0:06:48 | 0:06:53 | |
She could never see that it was not a bad beat back's work. Did you | 0:06:53 | 0:06:58 | |
know anything about her? Absolutely not. You could be the best that | 0:06:58 | 0:07:05 | |
being the worst. What she wrote Downton Abbey? I doubt it would | 0:07:05 | 0:07:14 | |
have been made. And that was written by Julian | 0:07:14 | 0:07:19 | |
Fellowes, an Oscar winner with Gosford Park. He is writing about | 0:07:19 | 0:07:25 | |
what he knows. And he has just been made a lord. He is an incredible | 0:07:25 | 0:07:30 | |
writer. Look at the way he juggles 22 characters, still interested in | 0:07:30 | 0:07:38 | |
all of them, is a gift. And he won an Emmy for Downton Abbey. Your | 0:07:38 | 0:07:40 | |
character is in a pretty complicated relationship with Lady | 0:07:40 | 0:07:50 | |
Sybil. I have told Mary. I see. That is | 0:07:50 | 0:07:57 | |
the finished, then. Without a reference. No, she is not like that, | 0:07:57 | 0:08:03 | |
she will not give us a way. But she will not encourage us. No. Why are | 0:08:03 | 0:08:08 | |
you smiling? I thought you would be angry. Because that is the first | 0:08:08 | 0:08:16 | |
time you have spoken about us. In those days, upstairs ladies, | 0:08:16 | 0:08:20 | |
downstairs tradesmen would have been almost impossible. I want to | 0:08:21 | 0:08:27 | |
know, is it going to happen? cannot tell you. I wish I could, | 0:08:27 | 0:08:33 | |
and the amount of people asking every day, and I am doing a bit of | 0:08:33 | 0:08:40 | |
teasing on Twitter. I am giving odds. He is running out of fences, | 0:08:40 | 0:08:47 | |
as in episodes, so hopefully he will get over the last hurdle. I am | 0:08:47 | 0:08:53 | |
giving him a living-2. The action has moved forward in this second | 0:08:53 | 0:09:01 | |
series. Let us see your character, a man of split loyalties. | 0:09:01 | 0:09:05 | |
I cannot think about it and although war is over. It will not | 0:09:05 | 0:09:12 | |
be long now, so we wait. I would wait for ever. I am not asking for | 0:09:12 | 0:09:20 | |
for ever, just a few more weeks. He is an Irish Republican, and | 0:09:20 | 0:09:25 | |
tipping his hat to the military chiefs of England. Will he keep his | 0:09:25 | 0:09:30 | |
anger under control? Are I think he will, and he is clever enough, so | 0:09:30 | 0:09:35 | |
Branson knows if he wants a chance with Lady Sybil, he will keep it | 0:09:35 | 0:09:40 | |
together. Good for him. The Belfast Festival of Queens | 0:09:40 | 0:09:45 | |
Lodge last Friday, bringing two weeks of performances and more to | 0:09:46 | 0:09:51 | |
venues around the city. Ralph McLean has been to Canterbury to | 0:09:51 | 0:09:55 | |
checkout one show renowned for its tough cast. | 0:09:55 | 0:09:59 | |
One night at they hear to usually means people talking on stage, some | 0:09:59 | 0:10:06 | |
singing or dancing. -- one night at the theatre. Maybe a laid-back | 0:10:06 | 0:10:12 | |
experience, but not these men. ID is not so much laid-back, more flat | 0:10:12 | 0:10:20 | |
out. This is a high octane mix of circus and dance that becomes pure | 0:10:20 | 0:10:25 | |
theatre. The Canadian-based out for it has been thrilling people since | 0:10:25 | 0:10:29 | |
it first got off the ground nearly 20 years ago. It looks dangerous, | 0:10:29 | 0:10:36 | |
is it? Yes, but we are well trained. It would be more dangerous for you | 0:10:36 | 0:10:44 | |
to do it. There is a danger factor and I think that is what makes it | 0:10:44 | 0:10:54 | |
0:10:54 | 0:10:54 | ||
exciting and why we do it. The key is to mix concentration between the | 0:10:54 | 0:10:59 | |
energy, their acting it presents, and the acrobatics itself. These | 0:10:59 | 0:11:04 | |
days, people expect more and more from the theatre and expect be on | 0:11:04 | 0:11:10 | |
the law to be pushed. Is that difficult? It is true, people | 0:11:10 | 0:11:17 | |
expect more. What I think makes us popularity -- what I think makes us | 0:11:17 | 0:11:22 | |
popular is to focus on acting and energy as well as the acrobatics. | 0:11:22 | 0:11:27 | |
It is a balance of those. Fantastic, the best sure we had seen. | 0:11:27 | 0:11:32 | |
students from the school were inspired. Tomorrow, I think we will | 0:11:32 | 0:11:37 | |
be excited. We thought it was tremendous. A fantastic show, I | 0:11:38 | 0:11:44 | |
enjoyed it, very energetic. All I can say is, don't miss that. That | 0:11:44 | 0:11:50 | |
was absolutely amazing, styles from gymnastics to aerobics to | 0:11:50 | 0:11:54 | |
Jacqueline to skating and suitable for the Hall family. I was tired | 0:11:54 | 0:12:00 | |
just watching them. -- juggling. It is an absolutely brilliant show. | 0:12:00 | 0:12:05 | |
Now what did I put my bicycle? We will have to get him in a tight | 0:12:05 | 0:12:10 | |
vest during those moves. I would rather not see that. No offence if | 0:12:10 | 0:12:15 | |
you are watching. Cirque Eloize runs that the grand | 0:12:15 | 0:12:21 | |
opera house from -- Until Saturday next week. | 0:12:21 | 0:12:26 | |
We have asked four Northern Irish names to tell us what are they | 0:12:26 | 0:12:31 | |
would like to put on a pedestal. The first is a man who grew up in | 0:12:31 | 0:12:35 | |
Armagh, cycled the stage of the Tour de France and gets up horribly | 0:12:35 | 0:12:45 | |
0:12:45 | 0:12:57 | ||
Wow. Never disappoints, this painting, or one of my all-time a | 0:12:57 | 0:13:05 | |
bits. The definitive anti-war painting. -- all-time favourites. | 0:13:05 | 0:13:10 | |
It depicts the bombing, a small village in Spain during the Spanish | 0:13:10 | 0:13:18 | |
Civil War. You see dot or on people's faces, -- the horror on | 0:13:18 | 0:13:24 | |
people's faces, it takes your breath away. It is astonishing. | 0:13:24 | 0:13:29 | |
Given what I do, it almost says more than any photograph or any | 0:13:29 | 0:13:39 | |
0:13:39 | 0:13:56 | ||
moving footage. The horror in that, What is this? A book, clearly. Yes, | 0:13:56 | 0:14:03 | |
no prizes why I love this, about an investigative journalist. He | 0:14:03 | 0:14:13 | |
0:14:13 | 0:14:14 | ||
uncovers some very dark doings in Sweden. The author was a journalist, | 0:14:14 | 0:14:20 | |
who sadly died in 2004, with the main character, an investigative | 0:14:20 | 0:14:24 | |
journalist. I travelled to Stockholm to go on one of the | 0:14:24 | 0:14:29 | |
walking tours. It was to look at one of the locations. Because of my | 0:14:29 | 0:14:35 | |
profession, journalism can matter, we are not all phone hackers and | 0:14:35 | 0:14:41 | |
doorsteps. It proves that all good journalism can change things and | 0:14:41 | 0:14:46 | |
uncover things and make things perhaps a tiny bit better. A great | 0:14:46 | 0:14:56 | |
0:14:56 | 0:15:04 | ||
read. I have a great pub debate about | 0:15:04 | 0:15:09 | |
what is the best 70s sitcom and get out voted. Everyone goes for Fawlty | 0:15:09 | 0:15:15 | |
Towers, but I go for this. Absolutely marvellous. I don't know | 0:15:15 | 0:15:20 | |
why you asked me to make it. I can stand conducting at conversation | 0:15:20 | 0:15:26 | |
when in the lavatory. The central themes are about the tension | 0:15:26 | 0:15:29 | |
between the aspirational working class man who wants to become | 0:15:30 | 0:15:35 | |
middle class. He has a white-collar job. And his friend, who is staying | 0:15:35 | 0:15:41 | |
true to his working-class roots. His that your friend's car? Do me a | 0:15:41 | 0:15:46 | |
favour, get stuffed. I remember watching it with my brother and my | 0:15:46 | 0:15:50 | |
brother was very much like Terry, he liked his beer and cigarettes | 0:15:50 | 0:15:57 | |
and gambling. Everyone knows men like that, it is priceless. I am | 0:15:57 | 0:16:07 | |
0:16:07 | 0:16:19 | ||
taking my driving test. And it goes Some music awaits, I suspect. Yes. | 0:16:19 | 0:16:29 | |
0:16:29 | 0:16:31 | ||
Fantastic stuff. What do you choose? The Beatles. This song | 0:16:31 | 0:16:36 | |
shows of George Harrison's writing skills. It has his mate, Eric | 0:16:36 | 0:16:42 | |
Clapton, on it. I remember getting into this in the early 70s when I | 0:16:42 | 0:16:49 | |
was studying for my O-levels, during the Council strike. The | 0:16:49 | 0:16:59 | |
0:16:59 | 0:17:02 | ||
lights were going out. That is -- art is inextricably linked with | 0:17:02 | 0:17:11 | |
memory. Don't you love the Beatles? | 0:17:11 | 0:17:17 | |
Absolutely. Do you have a particular piece of hard work? | 0:17:17 | 0:17:24 | |
think I would go with music can say Van Morrison. Are you just saying | 0:17:24 | 0:17:34 | |
0:17:34 | 0:17:36 | ||
that because you are in Belfast? No! You have been in lots of | 0:17:36 | 0:17:44 | |
costume dramas, in Rome and The Tudors. Obvious you like -- | 0:17:44 | 0:17:50 | |
obviously you liked dressing up. have an oversize leprechaun | 0:17:50 | 0:17:55 | |
costume! It is not really by choice. It is just the stuff I tend to get | 0:17:55 | 0:17:59 | |
cast in. It is all very different. The costumes are varied and they | 0:17:59 | 0:18:03 | |
are different periods of time. I seem to do a lot of riding horses | 0:18:03 | 0:18:09 | |
and driving old cars. The next thing we will see you in is a huge | 0:18:09 | 0:18:13 | |
departure from Downton Abbey - a thing written by Charlie Brooker. | 0:18:13 | 0:18:19 | |
It is a little edgier, shall we say? It centres on a terrorist plot | 0:18:19 | 0:18:23 | |
to kidnap a fictional Princess from the Royal Family. The on the way | 0:18:23 | 0:18:26 | |
that they will finally release her - I do not want to give away too | 0:18:26 | 0:18:31 | |
much - you will see if you watch it why I could not talk about it | 0:18:31 | 0:18:35 | |
before the watershed. Do you find, their bit harder than straight | 0:18:35 | 0:18:45 | |
0:18:45 | 0:18:46 | ||
drama? It is harder. With Charlie because -- with Charlie Brooker's | 0:18:46 | 0:18:51 | |
stuff, you do not have to be funny. You do not have to try to be too | 0:18:51 | 0:19:01 | |
funny. You're nicked! You're going to be | 0:19:01 | 0:19:06 | |
in the Mike Sweeney. Yes, we begin filming in a week and a half. It is | 0:19:06 | 0:19:10 | |
a modern version of the classic one from the 70s. Have you seen the | 0:19:10 | 0:19:14 | |
script? Yes, it is great. Have they toned it down a bit for our | 0:19:14 | 0:19:21 | |
sensitive ears? No. It is really full on. There is an incredible gun | 0:19:21 | 0:19:25 | |
fight scene that I cannot wait to do. We will be driving cars fast, | 0:19:25 | 0:19:33 | |
smashing through stuff - fantastic. We look forward to seeing that! | 0:19:33 | 0:19:37 | |
You can catch Allen in Downton Abbey. It is on on Sunday. Series | 0:19:37 | 0:19:42 | |
two is out on DVD next month. Belfast City Hall will be showing | 0:19:42 | 0:19:46 | |
pictures at an exhibition next week as part of the festival. | 0:19:46 | 0:19:49 | |
photographers and film-makers have come together to form are the | 0:19:49 | 0:19:55 | |
unique portrait of our rapidly changing city. -- to form a unique | 0:19:55 | 0:20:03 | |
portrait. We went to take a look. How do you even begin to capture an | 0:20:03 | 0:20:08 | |
entire city in a work of art? Especially in a potboiler of a | 0:20:08 | 0:20:15 | |
place like Belfast. Two film makers and three photographers from the | 0:20:15 | 0:20:19 | |
Belfast Now project have been wrestling with how to put the place | 0:20:19 | 0:20:29 | |
0:20:29 | 0:20:36 | ||
Both films are look at everyday life in Belfast. They are things | 0:20:36 | 0:20:42 | |
that may not have had a spotlight shone on them so far. My name is | 0:20:42 | 0:20:51 | |
Jane. I and 67 years old and my grand son is Scott. He is a very | 0:20:51 | 0:20:58 | |
nice fella. I cannot give too much away but his is about two people - | 0:20:58 | 0:21:08 | |
0:21:08 | 0:21:10 | ||
an 18-year-old lad and his granny. -- but it is about. Adam's film | 0:21:10 | 0:21:20 | |
0:21:20 | 0:21:32 | ||
And there are three photographers involved. They have all got their | 0:21:32 | 0:21:39 | |
own individual vision. Michael is very much into the buildings of | 0:21:39 | 0:21:47 | |
Belfast and architecture. Tommy is very much into portraiture. The | 0:21:47 | 0:21:53 | |
third has a very unique black and white version. How can people make | 0:21:53 | 0:22:00 | |
a contribution? Our website -- our Facebook page is available for | 0:22:00 | 0:22:03 | |
people to offload their photographs. By the time the festival is | 0:22:03 | 0:22:08 | |
finished we will have a mass of photographs that show what the | 0:22:08 | 0:22:12 | |
citizens of Belfast see in their city. | 0:22:12 | 0:22:21 | |
I am a great fan of Tommy. Belfast Now runs until the end of October. | 0:22:21 | 0:22:25 | |
Every week we have an artist making a work of art in only 60 minutes. | 0:22:25 | 0:22:30 | |
First up is Christine Trueman. This is fantastic. Tell me about it. | 0:22:30 | 0:22:35 | |
This is a local woman that I wanted to paint. She is known as Ruby | 0:22:35 | 0:22:43 | |
Murray. She was a singer. You do not just use paint, what other | 0:22:43 | 0:22:47 | |
materials have you stuck on here? Anything that will stick goes on | 0:22:47 | 0:22:50 | |
the canvas, as far as I am concerned. If it is bright, bold, | 0:22:50 | 0:22:58 | |
colourful. You have used children's toys as well? Yes. I draw the line | 0:22:58 | 0:23:02 | |
at food. I think that might be pushing it a little bit. Have you | 0:23:02 | 0:23:07 | |
found it difficult to work in the timescale? Very, very challenging, | 0:23:07 | 0:23:14 | |
yes. And with people watching. I am usually in the studio, Galway, have | 0:23:14 | 0:23:23 | |
a cup at the, come back again. -- Galway, have a cup of tea. Your | 0:23:23 | 0:23:27 | |
only became a professional artist about two years ago. Why so late? | 0:23:27 | 0:23:33 | |
It was really just a hobby. When I had a bit of spare time I went and | 0:23:33 | 0:23:36 | |
did a class for beginners. I posted things online and people started | 0:23:37 | 0:23:46 | |
0:23:47 | 0:23:48 | ||
asking about it. Do you like icons for painting? People with strong | 0:23:48 | 0:23:52 | |
bone structures make very good subject. | 0:23:52 | 0:23:55 | |
If you do like Christine's work and would like to buy this, here is | 0:23:55 | 0:24:01 | |
your chance. All of the works of art created on Out Of The Blue will | 0:24:01 | 0:24:07 | |
be auctioned off with the proceeds going to BBC Children In Need. Log | 0:24:07 | 0:24:13 | |
on to that Children in Need website. -- on to the Children In Need | 0:24:13 | 0:24:16 | |
website. From art to music, on Friday the | 0:24:16 | 0:24:20 | |
Ulster Hall will be filled with the rich sound of the Ulster Orchestra, | 0:24:20 | 0:24:26 | |
playing Elgar's Violin Concerto and Brahms' Symphony No. 3. Joining | 0:24:26 | 0:24:30 | |
them on stage will be one of the best violin players in the world, | 0:24:30 | 0:24:35 | |
Tasmin Little. Fine you for joining us here before Friday. You have | 0:24:35 | 0:24:38 | |
brought your violin to stop it does not look like your average one, I | 0:24:38 | 0:24:45 | |
have to say! It was made 250 years ago. It is a beautiful, passionate | 0:24:45 | 0:24:50 | |
instrument with lots of red flames of varnish up the back. I hope I | 0:24:50 | 0:24:56 | |
look that well when I am 250 years of age! What will be in the show | 0:24:56 | 0:25:00 | |
one Friday? The highlight for me is being back in Belfast, where I have | 0:25:00 | 0:25:04 | |
been coming for more years than I care to remember. I love the | 0:25:04 | 0:25:09 | |
audience and the Ulster Hall. The Elgar is a beautiful, passionate | 0:25:09 | 0:25:13 | |
piece. I was thrilled earlier this year to get a Brit award for my | 0:25:13 | 0:25:18 | |
recording of it. It has everything a violin concerto should have - | 0:25:18 | 0:25:24 | |
some great themes, tricky passages and great bits for the orchestra. | 0:25:24 | 0:25:28 | |
The Ulster Hall, obviously, is a tremendous venue, but you are also | 0:25:28 | 0:25:33 | |
very happy playing classical music outside places that are a bit out | 0:25:33 | 0:25:38 | |
of the ordinary. If you have played in a prison and you have let people | 0:25:38 | 0:25:41 | |
download tracks from your website for nothing. Is this part of your | 0:25:41 | 0:25:46 | |
campaign to bring classical music to more people? Yes. I started a | 0:25:46 | 0:25:52 | |
project called The Naked Violin about three years ago. It is | 0:25:52 | 0:25:55 | |
designed to bring classical music to people who never had an | 0:25:55 | 0:25:58 | |
opportunity before. I think most of us are comfortable with the | 0:25:58 | 0:26:02 | |
internet and I thought it would be good to put some music up there. I | 0:26:02 | 0:26:07 | |
have had letters from people all over the world and about 500,000 | 0:26:07 | 0:26:11 | |
people had downloaded it. A incredible. Tasmin, we're very | 0:26:11 | 0:26:15 | |
excited to have you here to play tonight. I will let you get over | 0:26:15 | 0:26:24 | |
there and get ready. Thank you. Tasmin is that the Ulster Hall this | 0:26:24 | 0:26:29 | |
Friday and hard Delius and double concerto recordings are not now. | 0:26:29 | 0:26:34 | |
We will be back next week with the story behind railway posters that | 0:26:34 | 0:26:37 | |
are no posting big prices in art auctions. | 0:26:37 | 0:26:40 |