:00:17. > :00:27.Hello. I'm Kathryn Tickell. I'm here on the steps of the Royal
:00:27. > :00:53.
:00:53. > :01:02.Albert Hall ready for folk night at Hello and welcome to the Royal
:01:02. > :01:08.Albert Hall. Tonight is folk night at the BBC Proms. CHEERING
:01:08. > :01:13.It is 50 years since the death of Percy Grainger, maverick com poser
:01:13. > :01:19.and collector of folk music from right around the world. He took
:01:19. > :01:25.these tunes and create evocative and often surprising new pieces of
:01:25. > :01:35.music. Those hallmarks could as easily be applied to tonight's star
:01:35. > :01:35.
:01:35. > :01:39.Northumbrian piper, Kathryn Tickell. So, tonight, we'll hear medleys of
:01:39. > :01:46.existing folk material plus plus arrangements by Percy Grainger and,
:01:46. > :01:54.of course, new arrangements by Kathryn. Joining me stage already,
:01:54. > :02:04.the northern sinfonia. Kathryn Tickell's band. Welcome conductor
:02:04. > :02:14.John Harle, June Tabor and, of course, Kathryn Tickell.
:02:14. > :02:26.
:02:26. > :02:36.# As I was walking one morning in # Down by the green bushes I
:02:36. > :02:45.chanced for to stray # I met a fair fair maiden and
:02:45. > :02:54.charming was she # Down by the green bushes she
:02:54. > :03:04.chances to meet me # Oh why are you loitering, my
:03:04. > :03:05.
:03:05. > :03:13.predy made? # I wait for my true love, she did
:03:13. > :03:23.# If I be your true love oh will you agree
:03:23. > :03:30.# To leave your own sweet heart and marry with me?
:03:30. > :03:40.# I'll give you fine beavers and fine kill canen gowns
:03:40. > :03:50.# I'll give you fine petticoats flounced to the ground
:03:50. > :03:59.# I'll give you fine clothing and rich you shall be
:03:59. > :04:08.# If you'll leave your own sweetheart and marry with me
:04:09. > :04:15.# I don't want your beavers nor your fine silken hose
:04:15. > :04:22.# I'm not such a fool as to marry for clothes
:04:22. > :04:31.# But if you'll prove constant to you I'll be true
:04:31. > :04:38.# And I'll leave my own true love and marry with you
:04:38. > :04:45.# Come let us be going kind Sir, if you please
:04:45. > :04:53.# Come let us be going from under these trees
:04:53. > :05:03.# There's my sweet heart a calling down yonder I see
:05:03. > :05:04.
:05:04. > :05:13.# Down by the green bushes where he voied to meet me
:05:13. > :05:19.# And when he came there and he found she was gone
:05:19. > :05:29.# He's looked all around him like a man quite forlorn
:05:29. > :05:32.
:05:32. > :05:39.# She's gone with some other proved faithless to me
:05:39. > :05:48.# Oh do you green bushes wherever says he
:05:48. > :05:54.# I'll be like some schoolboy spending my whole time in play
:05:54. > :06:04.# No false-hearted young girl to stand in my way
:06:04. > :06:05.
:06:05. > :06:15.# No fals-hearted woman to serve me so soon
:06:15. > :06:16.
:06:16. > :22:18.Apology for the loss of subtitles for 962 seconds
:22:18. > :22:24.# So adieu you green bushes, I'll Thank you.
:22:24. > :22:28.Thank you very much. And welcome to this late night prom celebrating
:22:28. > :22:36.the music of Percy Grainger, particularly his settings of folk
:22:36. > :22:41.music. And in a bit of a role reversal, it is not just the
:22:41. > :22:47.classical composer being inflow epbsed by traditional folk music.
:22:47. > :22:54.In this here you've traditional folk musicians being inspired by
:22:54. > :22:59.the music of Percy Grainger. Skom of those traditional tunes that he
:22:59. > :23:05.pinched, we've pinched them back. I hope he would have approved. We're
:23:05. > :23:15.going to continue now with a quartet of my friends from Northern
:23:15. > :23:15.
:23:15. > :38:17.Apology for the loss of subtitles for 962 seconds
:38:17. > :38:24.Sinfonia playing Grainger's Molly One of the things I particular love
:38:24. > :38:33.about Grainger is just the emotional depth and intensity of
:38:33. > :38:36.his music. That's particularly true in his sea shanty settings. In
:38:36. > :38:42.Shallow Brown, you can really hear the yearning and the loss of the
:38:42. > :38:47.woman that's watching as Herman is taken further and further away from
:38:47. > :38:51.her by the sea. And Grainger was always very conscious and very
:38:51. > :38:55.aware of the people he collected his songs from. He was interested
:38:55. > :39:02.in them, their personalities, characteristics, their styles of
:39:02. > :39:09.singing. I think the Shallow Brown arrangement mirrors the intensity
:39:09. > :39:14.with which he heard a sailor from Dartmouth first singing this song.
:39:14. > :39:24.He would have sung it with intensity. With sea shanties, you
:39:24. > :39:25.
:39:25. > :39:35.don't tend to sing them lightly. They are work songs. They are not
:39:35. > :39:46.
:39:46. > :39:52.# Round the bay of Mexico # Oh around the bay of Mexico
:39:52. > :39:59.# Where Mexico is the place that I belong in
:39:59. > :40:07.# Round the bay of Mexico # When I was young and in me prime
:40:07. > :40:16.# Way up Suzie, pretty girls came around the bay of Mexico
:40:16. > :40:25.# Oh, around the bay of Mexico # Way up, Mexico is the place that
:40:25. > :40:32.I belong in # Round the bay of Mexico
:40:32. > :40:37.# Way up Suzie, comb their hair with a kipper backed bone.
:40:37. > :40:44.# Round the bay of Mexico.# All around the bay of Mexico
:40:44. > :40:51.# Way up Suzie, Mexico is the place that I belong in
:40:51. > :40:57.# Round the bay of Mexico # But now I'm old and going grey
:40:57. > :41:03.# Way up suez y, pretty girls walk the other way
:41:03. > :41:10.# Round the bay of Mexico # Oh, all around the bay of Mexico
:41:10. > :41:16.# Way up Suzie, Mexico is the place that I belong in
:41:16. > :41:23.# Round the bay of Mexico # Yeah, Mexico is the place that I
:41:23. > :41:33.belong in # Round the bay of Mexico #
:41:33. > :41:33.
:41:33. > :43:14.Apology for the loss of subtitles for 962 seconds
:43:14. > :43:24.# Shallow, oh, shallow brown # Shallow brown don't deceive me
:43:24. > :43:37.
:43:37. > :43:47.# Shallow, oh shallow brown # You're going away across the
:43:47. > :43:53.
:43:53. > :44:03.ocean # Shallow, oh shallow Brown
:44:03. > :44:07.
:44:07. > :44:17.# You're going away across the ocean
:44:17. > :44:34.
:44:34. > :44:44.# Shallow, oh, shallow Brown # You're never be my heart's de
:44:44. > :44:54.vogs # Shallow, oh, shallow Brown
:44:54. > :45:02.
:45:03. > :45:12.# You'll never be my heart's devotion
:45:13. > :45:36.
:45:36. > :45:46.# Shallow, oh shallow Brown # When you return my heart is
:45:46. > :45:51.
:45:51. > :46:01.burning # Shallow, oh shallow Brown
:46:01. > :46:06.
:46:06. > :46:16.# For your return my heart is burning
:46:16. > :46:50.
:46:50. > :47:00.# Shallow, oh shallow Brown # Shallow Brown you're going to
:47:00. > :47:10.
:47:10. > :47:20.leave me # Shallow, oh shallow Brown
:47:20. > :47:20.
:47:20. > :48:43.Apology for the loss of subtitles for 962 seconds
:48:43. > :48:53.# Shallow Brown, don't neer deceive # And I leave you
:48:53. > :48:58.
:48:58. > :49:08.# Shallow, oh, shallow Brown # Found a way to leave you
:49:08. > :49:20.
:49:20. > :49:30.# Shallow, oh shallow Brown Master's going to sell me
:49:30. > :49:41.
:49:41. > :49:51.# Shallow, oh, shallow Brown # Sell me to a Yankee
:49:51. > :49:57.
:49:57. > :50:07.# Shallow, oh, shallow Brown # Sell me for a dollar
:50:07. > :50:17.
:50:17. > :50:27.# Shallow, oh shallow Brown # Great big Yankee dollar
:50:27. > :50:39.
:50:39. > :50:49.# Shallow, oh shallow Brown Fare thee well, Juliana
:50:49. > :50:58.
:50:58. > :51:08.# Shallow, oh, shallow Brown # Love you Juliana
:51:08. > :51:20.
:51:20. > :51:30.# Shallow, oh, Shallow Brown # Found a way to leave you
:51:30. > :51:44.
:51:44. > :51:54.# Shallow, oh, shallow Brown # Found a way to leave you
:51:54. > :52:23.
:52:23. > :52:28.# Shallow, oh, Shallow Brown That was a very wonderful song from
:52:28. > :52:35.June Tabor. We were all looking forward to tonight's proms but that
:52:35. > :52:40.little group of shanties, I've been so desperate to hear that. I knew
:52:40. > :52:48.it was goings to be good. I loved it. Oh, anyway, getting all
:52:48. > :52:54.overcome! Dear me. It's funny, it's like I can almost sense the
:52:54. > :53:04.presence of Percy Grainger here. I can imagine him thinking to himself,
:53:04. > :53:07.
:53:07. > :53:13.hmm, imagine a concert with an unaccompanyied folk sing er,
:53:13. > :53:17.Northumbrian piper, fiddle player, northern sinfonia from the Sage
:53:18. > :53:21.Gateshead. The BBC Singers popping in because they happen to be in the
:53:22. > :53:29.area and a fearful bunch of fraternal folk singers from
:53:29. > :53:35.Teesside! WHOOPING All on stage at the same time. He
:53:35. > :53:43.would have loved it. But can you imagine what he might have written
:53:43. > :53:50.for all of us to play together? It possibly would have been something
:53:50. > :53:56.along the lines of the scotch Strathspey reel conducted by John
:53:56. > :54:01.Harle. Before we get to that moment, we're going to do another
:54:01. > :54:11.stratsspai reel set for you just to get you in the mood. Stratsspai
:54:11. > :54:11.
:54:11. > :58:43.Apology for the loss of subtitles for 962 seconds
:58:43. > :58:49.Way ho and up she rises # Early in the morning
:58:49. > :58:56.# What shall we do with the drunken sailor? Ml # What shall we do in
:58:56. > :59:06.the drunken sailor? # Way Ho and up she rises
:59:06. > :59:06.
:59:06. > :00:40.Apology for the loss of subtitles for 962 seconds
:00:40. > :00:45.# Way Ho and up she rises, early in What shall we do with the drunken
:00:45. > :00:55.sailor # Way Ho up she rises, early in the
:00:55. > :01:08.
:01:08. > :01:13.# Way Ho, and up she rises, # Way Ho and up she rises
:01:13. > :01:23.# Early in the morning # Way Ho and up she rises
:01:23. > :01:55.
:01:55. > :02:05.# Way, Ho and up she rises, # Way Ho and up she rises
:02:05. > :02:05.
:02:05. > :03:49.Apology for the loss of subtitles for 962 seconds
:03:49. > :03:55.# What shall we do with the drunken sailor? Ml # Put him in the lock up
:03:56. > :04:05.# Early in the morning # Hey ho and up she rises
:04:06. > :04:24.
:04:24. > :04:29.# Put him in the lock up CHEERING AND APPLAUSE
:04:29. > :04:34.What a wonderful fusing of musical words. An evening I'm sure Percy
:04:34. > :04:40.Grainger would have loved. Kathryn Tickell and her band, the wonderful
:04:40. > :04:50.June Tabor, the men's voices of the BBC Singers and the Northern
:04:50. > :04:53.
:04:53. > :05:03.Sinfonia leader and the conductor John Harle.
:05:03. > :05:03.
:05:03. > :07:28.Apology for the loss of subtitles for 962 seconds
:07:28. > :07:32.CHEERING AND APPLAUSE Well, complete with some wonderful
:07:32. > :07:39.clog dancing from the accordion player Amy Thatcher, that really is
:07:39. > :07:43.it from folk night at the BBC Proms. We'll be back next Friday with Brah