Browse content similar to Nigel Kennedy at the BBC. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Nigel Kennedy is Britain's most famous violin virtuoso, | 0:00:05 | 0:00:09 | |
with a global fanbase. | 0:00:09 | 0:00:10 | |
Beyond his idiosyncratic performance style and brilliant technique, | 0:00:12 | 0:00:16 | |
Kennedy is pure musician. | 0:00:16 | 0:00:18 | |
His never ending quest to immerse himself in new genres, | 0:00:23 | 0:00:27 | |
to discover a fresh voice for the violin, | 0:00:27 | 0:00:29 | |
has taken him from WOMAD... | 0:00:29 | 0:00:31 | |
..to the Royal Albert Hall. | 0:00:35 | 0:00:37 | |
Kennedy's career from child prodigy... | 0:00:42 | 0:00:46 | |
to superstardom has made him a household name, | 0:00:46 | 0:00:50 | |
the cameras never far behind. | 0:00:50 | 0:00:52 | |
In this programme of highlights from the BBC Archive, | 0:00:59 | 0:01:02 | |
we track Nigel Kennedy's musical journey... | 0:01:02 | 0:01:05 | |
and varying hairstyles... | 0:01:05 | 0:01:06 | |
over 50 years. | 0:01:06 | 0:01:08 | |
From Mendelssohn to jazzing with Grappelli. | 0:01:09 | 0:01:12 | |
His enduring love of Vivaldi... | 0:01:17 | 0:01:19 | |
..to folk. | 0:01:25 | 0:01:26 | |
From the surreal... | 0:01:31 | 0:01:33 | |
..to the spiritual... | 0:01:36 | 0:01:37 | |
..Kennedy plays every gig as if it were his last. | 0:01:47 | 0:01:50 | |
He is a true original. | 0:01:52 | 0:01:54 | |
SONG: The Sonata for Violin and Piano by Cesar Franck | 0:02:07 | 0:02:11 | |
As a child of seven in 1964, Nigel Kennedy's natural musicality | 0:02:11 | 0:02:16 | |
was captured in this rarely seen BBC footage of him playing the piano. | 0:02:16 | 0:02:20 | |
Well, Nigel, that was simply terrific. | 0:02:39 | 0:02:41 | |
Come up to my height now and let me have a word with you. | 0:02:41 | 0:02:43 | |
Whoops! | 0:02:43 | 0:02:45 | |
Well now, for a seven-year-old, that was pretty good playing, I think. | 0:02:45 | 0:02:48 | |
How long have you been playing the piano? | 0:02:48 | 0:02:50 | |
-Two years. -You also play the violin, don't you? -Yes. | 0:02:50 | 0:02:53 | |
-And how long have you been playing that? -Eight months. | 0:02:53 | 0:02:57 | |
-Which one do you prefer? -Violin. | 0:02:57 | 0:02:59 | |
His status as a child prodigy was established in the programme | 0:03:18 | 0:03:22 | |
Coming Along Nicely, which followed him at a specialist music school | 0:03:22 | 0:03:25 | |
set up by the great violinist Yehudi Menuhin. | 0:03:25 | 0:03:28 | |
MUSIC CONTINUES | 0:03:28 | 0:03:33 | |
When he came, from the very first time with his mother, | 0:03:55 | 0:03:59 | |
he played a composition of his own and he played with intelligence. | 0:03:59 | 0:04:04 | |
-This was on the piano? -It was on the piano, yes. | 0:04:04 | 0:04:06 | |
When he did play on the violin, he played perfectly in tune. | 0:04:07 | 0:04:11 | |
Then, by the clarity and rhythm of his violin playing, | 0:04:25 | 0:04:29 | |
which was still in an embryonic stage, | 0:04:29 | 0:04:32 | |
but already had the mark of strong rhythmic personality | 0:04:32 | 0:04:38 | |
and the impeccable ear that demanded perfect intonation... | 0:04:38 | 0:04:44 | |
..I knew that I was dealing with one who would inevitably become | 0:04:47 | 0:04:52 | |
the musician he was destined to be. | 0:04:52 | 0:04:55 | |
APPLAUSE | 0:05:02 | 0:05:04 | |
In fact, I found myself playing piano easier than I could the violin. | 0:05:04 | 0:05:09 | |
But when it came to a time when I had to make up my mind | 0:05:09 | 0:05:12 | |
which I was going to play, I wanted to play the violin. | 0:05:12 | 0:05:15 | |
Looking ahead to five years' time, | 0:09:15 | 0:09:17 | |
when you'll be 21, what do you hope to be doing then? | 0:09:17 | 0:09:21 | |
Well, it's difficult to say. Just enjoying my music. | 0:09:22 | 0:09:25 | |
I hope I'll be able to... | 0:09:25 | 0:09:27 | |
still be playing jazz and classical music and more things quite freely, | 0:09:27 | 0:09:32 | |
hoping that they won't be getting in the way of each other. | 0:09:32 | 0:09:35 | |
I'd like to become a solo concert violinist, if possible. | 0:09:35 | 0:09:41 | |
Also a solo jazz violinist. | 0:09:41 | 0:09:43 | |
MUSIC: Lady Be Good by Gershwin | 0:09:43 | 0:09:45 | |
It was the violinist Stephane Grappelli | 0:09:55 | 0:09:57 | |
who galvanised his love of jazz. | 0:09:57 | 0:09:59 | |
They first played together when Nigel Kennedy was still a schoolboy, | 0:09:59 | 0:10:03 | |
aged just 13. | 0:10:03 | 0:10:04 | |
This is them working together in 1974, | 0:10:06 | 0:10:09 | |
jamming at London's Ronnie Scott's. | 0:10:09 | 0:10:11 | |
APPLAUSE | 0:10:23 | 0:10:25 | |
APPLAUSE | 0:10:56 | 0:10:58 | |
Would you rather be the best violinist in the world, | 0:11:12 | 0:11:14 | |
play the best jazz or be the best centre-half? | 0:11:14 | 0:11:17 | |
Well, I'm interested in football, but I'd rather play the best jazz. | 0:11:17 | 0:11:21 | |
As a 17-year-old, | 0:11:23 | 0:11:25 | |
Kennedy crossed the Atlantic to go to the Juilliard School of Music | 0:11:25 | 0:11:28 | |
in New York, one of the world's most prestigious conservatoires. | 0:11:28 | 0:11:31 | |
HORNS BEEP | 0:11:32 | 0:11:34 | |
I chose the Juilliard School to study at | 0:11:34 | 0:11:36 | |
because I thought that it would be good for my development | 0:11:36 | 0:11:39 | |
to be surrounded by so many really good musicians. | 0:11:39 | 0:11:41 | |
And then, at the time, I was quite attracted by the jazz scene | 0:11:43 | 0:11:46 | |
over here, which is very big. There are lots of jazz clubs, | 0:11:46 | 0:11:50 | |
lots of really good jazz players | 0:11:50 | 0:11:52 | |
and all the good musicians seem to live in this city | 0:11:52 | 0:11:55 | |
and there is some way of meeting them if you put your mind to it. | 0:11:55 | 0:11:58 | |
HE PLAYS A CLASSICAL PIECE | 0:11:58 | 0:12:00 | |
At Juilliard, in the diploma course, | 0:12:07 | 0:12:10 | |
which is what I'm taking, | 0:12:10 | 0:12:12 | |
you have to do orchestra for six hours a week, | 0:12:12 | 0:12:15 | |
two three-hour sessions, | 0:12:15 | 0:12:18 | |
you have to do literature and material of music, | 0:12:18 | 0:12:21 | |
and history of music you do for something like three hours a week. | 0:12:21 | 0:12:25 | |
And you have your lesson with your major teacher, | 0:12:29 | 0:12:32 | |
Miss DeLay in my case. | 0:12:32 | 0:12:34 | |
Dorothy DeLay is one of the best violin teachers in the world. | 0:12:34 | 0:12:38 | |
Could you begin our first movement once more? | 0:12:38 | 0:12:40 | |
HE CONTINUES PLAYING | 0:12:40 | 0:12:43 | |
There are some things that I don't like and some which I do like. | 0:12:48 | 0:12:52 | |
I like all the entertainment and all the action which goes on, | 0:12:52 | 0:12:55 | |
but the kind of environment I don't think is good. | 0:12:55 | 0:12:58 | |
I don't think people were meant to live in polluted air | 0:12:59 | 0:13:02 | |
and in concrete enclosures | 0:13:02 | 0:13:04 | |
when there could be grass or something. | 0:13:04 | 0:13:06 | |
And there's quite a lot of violence | 0:13:12 | 0:13:14 | |
and lots of unhappy people in New York, | 0:13:14 | 0:13:16 | |
so it can't be all terrific, you know. | 0:13:16 | 0:13:18 | |
CLASSICAL PIECE CONTINUES | 0:13:18 | 0:13:21 | |
APPLAUSE | 0:13:55 | 0:13:57 | |
Students all over the world are generally hard up | 0:13:59 | 0:14:02 | |
at some time or other, | 0:14:02 | 0:14:04 | |
but music students are luckier than most | 0:14:04 | 0:14:06 | |
in so far as they have an easy way of attracting funds. | 0:14:06 | 0:14:09 | |
MUSIC: Double Violin Concerto by Bach | 0:14:09 | 0:14:13 | |
After his first year at the Juilliard School, | 0:14:55 | 0:14:58 | |
Nigel returns to England on holiday | 0:14:58 | 0:15:00 | |
and appears at King's Lynn for the 1975 Music Festival, | 0:15:00 | 0:15:04 | |
invited to share the platform with his mentor, Yehudi Menuhin, | 0:15:04 | 0:15:08 | |
to play Bach's Double Violin Concerto. | 0:15:08 | 0:15:11 | |
I reckon England is the most pleasant place to live. | 0:17:39 | 0:17:43 | |
Well, you've got cricket matches here, | 0:17:44 | 0:17:46 | |
and that's quite important, really. | 0:17:46 | 0:17:49 | |
I mean, not just cricket in itself, but a sense of tradition | 0:17:49 | 0:17:53 | |
and a sense of something which is | 0:17:53 | 0:17:56 | |
artistic and has value, | 0:17:56 | 0:17:58 | |
although it's not easy to see in the first place. | 0:17:58 | 0:18:00 | |
I think there's more of that kind of frame of mind | 0:18:00 | 0:18:03 | |
in England than in a country like America, | 0:18:03 | 0:18:06 | |
which isn't very old. | 0:18:06 | 0:18:08 | |
With his experience of the Juilliard Music School now behind him, | 0:18:10 | 0:18:14 | |
the testing moment for Nigel arrives. | 0:18:14 | 0:18:17 | |
He auditions for the distinguished Italian conductor Riccardo Muti. | 0:18:17 | 0:18:22 | |
The audition is a success | 0:18:23 | 0:18:25 | |
and he is invited to play Mendelssohn's Violin Concerto | 0:18:25 | 0:18:28 | |
here in the Royal Festival Hall. | 0:18:28 | 0:18:30 | |
This concert in 1977 marked the beginning of extraordinary decade | 0:18:34 | 0:18:38 | |
for the 20-year-old violinist, | 0:18:38 | 0:18:40 | |
which brought award-winning recordings | 0:18:40 | 0:18:42 | |
and performances with the world's greatest orchestras. | 0:18:42 | 0:18:46 | |
Kennedy had become one of the hottest young talents | 0:18:46 | 0:18:48 | |
in classical music. | 0:18:48 | 0:18:50 | |
Well, I don't want to do anything until I have mastered it, | 0:22:18 | 0:22:21 | |
and I've learnt that from classical music, | 0:22:21 | 0:22:23 | |
that there's no point in going out and trying to play something | 0:22:23 | 0:22:26 | |
if you haven't actually mastered | 0:22:26 | 0:22:28 | |
and feel that you are totally at one with it. | 0:22:28 | 0:22:30 | |
Unless it was something which I felt was totally myself, | 0:22:30 | 0:22:32 | |
I'd never dream of doing it. | 0:22:32 | 0:22:34 | |
But I think having been born in this kind of musical age, | 0:22:34 | 0:22:39 | |
you hear many more different kinds of music | 0:22:39 | 0:22:42 | |
than one used to, maybe even 50 years ago. | 0:22:42 | 0:22:44 | |
So it's going to be necessary for musicians, | 0:22:44 | 0:22:46 | |
if they want to call themselves complete musicians, | 0:22:46 | 0:22:49 | |
to be involved in more than one kind of music. | 0:22:49 | 0:22:53 | |
JAZZY MUSIC BEGINS | 0:22:53 | 0:22:54 | |
Good evening. | 0:23:24 | 0:23:26 | |
Well, Lark Ascending was written for violin and string orchestra, | 0:23:26 | 0:23:29 | |
and we're going to play a bit of a violin and piano adaption | 0:23:29 | 0:23:32 | |
by Vaughan Williams that we've hacked about rather! | 0:23:32 | 0:23:35 | |
I've asked a violin star that I wanted to meet for some time. | 0:23:35 | 0:23:38 | |
He's a man after my own heart, | 0:23:38 | 0:23:40 | |
who plays all kinds of music with all kinds of musicians, | 0:23:40 | 0:23:42 | |
including Yehudi Menuhin, Stephane Grappelli and Stan Getz. | 0:23:42 | 0:23:46 | |
Ladies and gentlemen, Nigel Kennedy. | 0:23:46 | 0:23:48 | |
APPLAUSE | 0:23:48 | 0:23:49 | |
APPLAUSE | 0:27:19 | 0:27:23 | |
-What's your age now? -Well, I am getting on, maestro - 27. | 0:27:23 | 0:27:27 | |
27. There's not scarce a mark on you, Nigel. | 0:27:27 | 0:27:29 | |
But you seem to have fairly Catholic tastes, | 0:27:29 | 0:27:31 | |
cos you're into pop, you play the old electric fiddle. | 0:27:31 | 0:27:34 | |
Well, yeah. I mean, I figure there are so many people in classical music | 0:27:34 | 0:27:37 | |
who say, "Oh, isn't it easy for pop musicians | 0:27:37 | 0:27:40 | |
"just to write a simple song and just do it?" | 0:27:40 | 0:27:43 | |
Well, it's not that simple | 0:27:43 | 0:27:45 | |
and, I think, as far as what playing music is for is to communicate | 0:27:45 | 0:27:48 | |
and what I want to be able to do is... | 0:27:48 | 0:27:50 | |
We have kind of got a group together which is kind of the Art of Noise, | 0:27:50 | 0:27:54 | |
Trevor Horn type stuff. Except it's played live, you know... | 0:27:54 | 0:27:57 | |
-So, you've no snobbery about music? -Not at all. | 0:27:57 | 0:27:59 | |
I think it's quite fun to make a violin | 0:27:59 | 0:28:01 | |
sound like a little baby having its throat cut. | 0:28:01 | 0:28:03 | |
LAUGHTER | 0:28:03 | 0:28:05 | |
Having conquered the classical music world, | 0:28:05 | 0:28:08 | |
Kennedy craved experimentation. | 0:28:08 | 0:28:10 | |
Not only did he electrify the violin, | 0:28:10 | 0:28:12 | |
but we got the first glimpses of his famously supercharged hairstyle. | 0:28:12 | 0:28:16 | |
Something different about playing electric fiddle | 0:28:19 | 0:28:22 | |
is the fact that the sound's not really coming out of the violin, | 0:28:22 | 0:28:26 | |
so you're not having your left ear deafened by a Stradivari anymore, | 0:28:26 | 0:28:31 | |
you're having both your ears deafened by an amp. | 0:28:31 | 0:28:33 | |
Also, the sounds you're making | 0:28:33 | 0:28:35 | |
are not being totally controlled by your hands, | 0:28:35 | 0:28:37 | |
it's obviously by the pedals and | 0:28:37 | 0:28:39 | |
other things that you're using to achieve the sounds. | 0:28:39 | 0:28:42 | |
So basically you've got all the possibilities of, like, | 0:28:42 | 0:28:44 | |
a good electric guitar player | 0:28:44 | 0:28:46 | |
and if you want to get them in line, you can make some good damage. | 0:28:46 | 0:28:50 | |
HE PLAYS ELECTRIC VIOLIN | 0:28:51 | 0:28:53 | |
MUSIC: The Four Seasons by Vivaldi | 0:29:55 | 0:29:57 | |
Yeah, Vivaldi | 0:30:02 | 0:30:03 | |
is a man who I think is quite a vandal. | 0:30:03 | 0:30:07 | |
He was working for the church | 0:30:07 | 0:30:10 | |
and I think he got rid of all his aggression by writing music. | 0:30:10 | 0:30:14 | |
And he wrote The Four Seasons. | 0:30:14 | 0:30:16 | |
MUSIC: The Four Seasons | 0:30:16 | 0:30:18 | |
It was Kennedy's landmark recording of Vivaldi's Four Seasons | 0:30:22 | 0:30:26 | |
in 1989 that really established him as an musician of mass appeal. | 0:30:26 | 0:30:30 | |
Selling in excess of two million copies, | 0:30:32 | 0:30:34 | |
the album sat at the top of the classical charts for two years | 0:30:34 | 0:30:37 | |
and ensured Kennedy's place in the record books. | 0:30:37 | 0:30:41 | |
What I'm trying to do is bring the music into the 20th century, | 0:30:45 | 0:30:49 | |
by doing a bit of improvisation and playing in an idiom | 0:30:49 | 0:30:53 | |
which is associated with the 20th century, | 0:30:53 | 0:30:56 | |
ie jazz or, you know, basically making some noise on the fiddle. | 0:30:56 | 0:31:00 | |
I think I'm helping to bring Vivaldi to life again. | 0:31:00 | 0:31:04 | |
I was in the supermarket the other day and I looked round, | 0:33:46 | 0:33:49 | |
I was buying, you know, a pack of pork sausages, | 0:33:49 | 0:33:53 | |
which wasn't much good, cos I'm a vegetarian, | 0:33:53 | 0:33:55 | |
and this bloke said to me, he was standing next to me, he said, | 0:33:55 | 0:34:00 | |
"It's my hundredth birthday this year, | 0:34:00 | 0:34:02 | |
"do you want to come to the party?" | 0:34:02 | 0:34:04 | |
And I looked round and it was Harpo Marx. | 0:34:04 | 0:34:07 | |
He's a pretty cool cat, so | 0:34:07 | 0:34:08 | |
I'm not sure if it was a figment of my imagination, | 0:34:08 | 0:34:11 | |
but, like, if he was alive today, he would be 100. | 0:34:11 | 0:34:14 | |
This curious mashup with Harpo Marx is one good example of Kennedy's | 0:34:17 | 0:34:21 | |
insatiable appetite to explore new ways of presenting his music, | 0:34:21 | 0:34:25 | |
making full use of the magic and power of television. | 0:34:25 | 0:34:28 | |
CHEERING AND APPLAUSE | 0:36:40 | 0:36:42 | |
This certainly is a programme of contrast, ladies and gentlemen, | 0:36:42 | 0:36:45 | |
because we now have a great classical musician | 0:36:45 | 0:36:47 | |
who has written his own LP entitled Kafka. | 0:36:47 | 0:36:49 | |
The track he's going to play is called Melody In The Wind. | 0:36:49 | 0:36:52 | |
He's accompanied by Mr John Etheridge. | 0:36:52 | 0:36:54 | |
Please welcome, it is Britain's greatest violinist, | 0:36:54 | 0:36:56 | |
Mr Nigel Kennedy. | 0:36:56 | 0:36:57 | |
APPLAUSE AND CHEERING | 0:36:57 | 0:36:59 | |
Nigel Kennedy's association with the great jazz guitarist | 0:37:01 | 0:37:04 | |
John Etheridge stretches back almost 30 years. | 0:37:04 | 0:37:07 | |
They met when Etheridge was touring with Kennedy's childhood mentor, | 0:37:07 | 0:37:10 | |
Stephane Grappelli. | 0:37:10 | 0:37:12 | |
CHEERING AND APPLAUSE | 0:40:38 | 0:40:39 | |
Kennedy is an ever colourful figure, his individuality | 0:40:39 | 0:40:43 | |
and eccentricity extending to most areas of his life. | 0:40:43 | 0:40:47 | |
What about all these sort of bits of shavings round... | 0:40:47 | 0:40:50 | |
-Yeah, I've done that, as well. -Yeah? | 0:40:50 | 0:40:52 | |
But that's not just cos you don't want to pay to get your hair done? | 0:40:52 | 0:40:55 | |
Well, I could pay someone to do it, but I can do it just as good. | 0:40:55 | 0:40:57 | |
-But isn't that because you want to look like that? -Yeah. | 0:40:57 | 0:41:00 | |
But I don't want to pay and spend time | 0:41:00 | 0:41:02 | |
for someone else to make me look like that. | 0:41:02 | 0:41:04 | |
I prefer to look like that myself, you know. | 0:41:04 | 0:41:07 | |
So that's the look. That's the Nigel Kennedy... | 0:41:07 | 0:41:09 | |
-Yeah, it's what I like. -Cos you're called Nigel, I think, | 0:41:09 | 0:41:12 | |
-and you're trying to get away from it. -Well, it's a dreadful name! | 0:41:12 | 0:41:15 | |
And you've got to do anything to try to get rid of that name. | 0:41:15 | 0:41:17 | |
-I did try to get rid of it. -Did you? -Yeah, I dropped it for a bit, | 0:41:17 | 0:41:20 | |
but then I started missing it. | 0:41:20 | 0:41:24 | |
LIVELY MUSIC PLAYS | 0:41:27 | 0:41:29 | |
Hello, baby. How are you? | 0:41:32 | 0:41:35 | |
I feel, like, kind of spaced out. I got in from Germany this afternoon. | 0:41:36 | 0:41:40 | |
You know how musicians are, they're always travelling, | 0:41:40 | 0:41:42 | |
but when you meet some friends, like what Kroke are, | 0:41:42 | 0:41:45 | |
then you feel at home straightaway. | 0:41:45 | 0:41:48 | |
These guys are such amazing musicians and I've learnt | 0:41:48 | 0:41:50 | |
so much about the traditions of music from these guys, | 0:41:50 | 0:41:54 | |
not by them telling me stuff, | 0:41:54 | 0:41:56 | |
but from their soul and the way that they play with open spirit. | 0:41:56 | 0:42:00 | |
Kennedy's 2004 appearance at WOMAD, | 0:42:02 | 0:42:05 | |
the great world music fest, | 0:42:05 | 0:42:07 | |
saw him bring together his electric violin | 0:42:07 | 0:42:09 | |
with the eclectic sounds of Polish folk band Kroke. | 0:42:09 | 0:42:12 | |
Do you have one day a week where you put your violin down and say, | 0:45:39 | 0:45:43 | |
"OK, now I'm going to let myself be open to other things"? | 0:45:43 | 0:45:45 | |
Absolutely. You know, like, I think | 0:45:45 | 0:45:47 | |
I've worked very hard, but I think it's very important... | 0:45:47 | 0:45:50 | |
In a way, the violin IS my religion, | 0:45:50 | 0:45:53 | |
you know, because doing this work, | 0:45:53 | 0:45:55 | |
which is really, like, could be seen as just some guy, like, | 0:45:55 | 0:45:59 | |
going through his coordination exercises and stuff. | 0:45:59 | 0:46:03 | |
This is the physical manifestation of, like, | 0:46:03 | 0:46:06 | |
some spiritual development which is going on, as far as I see it, | 0:46:06 | 0:46:10 | |
from within myself, you know. | 0:46:10 | 0:46:12 | |
AUDIENCE CHATTER | 0:48:24 | 0:48:26 | |
We end with Kennedy in front of a packed Royal Albert Hall | 0:48:28 | 0:48:31 | |
aged 56 at the Last Night Of The 2013 BBC Proms. | 0:48:31 | 0:48:36 | |
APPLAUSE BUILDS | 0:48:36 | 0:48:37 | |
Dressed down and informal, he's on blistering form, | 0:48:38 | 0:48:41 | |
every inch the virtuoso and showman. | 0:48:41 | 0:48:44 | |
It's music-making that sums up everything we've come to expect | 0:48:44 | 0:48:47 | |
from this undoubtedly influential artist. | 0:48:47 | 0:48:49 | |
NOTE WAVERS | 0:49:12 | 0:49:13 | |
LAUGHTER | 0:49:13 | 0:49:14 | |
LAUGHTER | 0:49:23 | 0:49:24 | |
CHEERING AND APPLAUSE | 0:49:24 | 0:49:26 | |
VIOLIN SCREECHES | 0:50:15 | 0:50:16 | |
LAUGHTER | 0:50:16 | 0:50:18 | |
TRILL CONTINUES PLAYFULLY | 0:50:29 | 0:50:30 | |
LAUGHTER | 0:50:30 | 0:50:32 | |
Yeah! | 0:51:08 | 0:51:09 | |
LAUGHTER | 0:51:09 | 0:51:10 | |
TEMPO INCREASES | 0:51:20 | 0:51:23 | |
AUDIENCE CLAPS IN TIME | 0:51:23 | 0:51:25 | |
LAUGHTER | 0:51:26 | 0:51:27 | |
VIOLIN MIMICS WOLF WHISTLE | 0:51:43 | 0:51:45 | |
LAUGHTER | 0:51:45 | 0:51:46 | |
Yeah! | 0:53:18 | 0:53:19 | |
SILENCE | 0:53:39 | 0:53:40 | |
LAUGHTER | 0:53:40 | 0:53:41 | |
PLAYING VERY QUIETLY | 0:53:43 | 0:53:45 | |
LAUGHTER | 0:54:09 | 0:54:10 | |
VIOLIN SQUEAKS | 0:54:30 | 0:54:32 | |
LAUGHTER | 0:54:32 | 0:54:34 | |
HE PLAYS SCRATCHILY | 0:54:37 | 0:54:38 | |
LAUGHTER | 0:54:38 | 0:54:40 | |
FOLK INTERPRETATION OF THE FOUR SEASONS | 0:54:49 | 0:54:51 | |
LAUGHTER AND APPLAUSE | 0:54:51 | 0:54:53 | |
JAUNTY FOLK TUNE | 0:55:09 | 0:55:10 | |
PLAYS 'BONANZA' THEME TUNE | 0:56:15 | 0:56:18 | |
LAUGHTER | 0:56:18 | 0:56:20 | |
LAUGHTER | 0:57:25 | 0:57:27 | |
Yeah! | 0:57:41 | 0:57:42 | |
Yeah! | 0:57:54 | 0:57:56 | |
CHEERING AND APPLAUSE | 0:58:10 | 0:58:14 |