0:00:29 > 0:00:32All season the BBC Proms have been celebrating
0:00:32 > 0:00:34the life of Benjamin Britten.
0:00:34 > 0:00:35Born 100 years ago
0:00:35 > 0:00:38and one of the most significant British
0:00:38 > 0:00:40composers of the 20th century.
0:00:40 > 0:00:42Today we are going to hear one of his master works,
0:00:42 > 0:00:44the Violin Concerto.
0:00:44 > 0:00:47Britten wrote it while in his 20s and then spent three decades
0:00:47 > 0:00:51tinkering with it and revising it before, finally, he was happy.
0:00:51 > 0:00:54This evening it will be played by the Dutch violinist Janine Jansen
0:00:54 > 0:00:58who joins the Orchestre de Paris and conductor Paavo Jarvi in a programme
0:00:58 > 0:01:01that also includes music by one of Britten's favourite
0:01:01 > 0:01:03composers, Hector Berlioz.
0:01:03 > 0:01:06The concert ends with a thrilling French work premiered
0:01:06 > 0:01:08here in London,
0:01:08 > 0:01:10Saint-Seans Organ Symphony.
0:01:10 > 0:01:14Benjamin Britten was born in Lowestoft, the son of a dentist.
0:01:14 > 0:01:17He spent most of his life living and working by the Suffolk coastline.
0:01:17 > 0:01:21And his music is inextricably linked with the vast skies and
0:01:21 > 0:01:23moody seas that surrounded him.
0:01:23 > 0:01:27Yehudi Menuhin once said, "If wind and water could write music,
0:01:27 > 0:01:29"it would sound like Ben's."
0:01:29 > 0:01:33But we start this evening with a work written in honour of Britten.
0:01:33 > 0:01:38For the Estonian composer Arvo Part Britten's death in 1976 was
0:01:38 > 0:01:39a bleak moment.
0:01:39 > 0:01:40He'd just discovered him
0:01:40 > 0:01:44and what he called, "The unusual purity of his music."
0:01:44 > 0:01:46For a long time Part had wanted to meet Britten.
0:01:46 > 0:01:48Now he knew that would never happen.
0:01:48 > 0:01:52His response was to write his Cantus in Memoriam Benjamin Britten,
0:01:52 > 0:01:55which opens with a bell struck three times.
0:01:55 > 0:01:59Perhaps a funeral bell tolling news of the composer's death.
0:01:59 > 0:02:03In the 1960s Part had seen his work criticised by the Estonian
0:02:03 > 0:02:05state and as a result he'd barely written any
0:02:05 > 0:02:07music in the decade before he composed the cantus.
0:02:07 > 0:02:11Tonight's conductor, fellow Estonian Paavo Jarvi explained to me earlier
0:02:11 > 0:02:17how Britten's death helped Part find his musical voice once again.
0:02:17 > 0:02:23It was one big piece. The one piece that sort of made him known.
0:02:23 > 0:02:27And what an odd title to a piece.
0:02:29 > 0:02:33And especially coming from a composer from the Soviet Block...
0:02:33 > 0:02:37country but, yes, it seemed to inspire him
0:02:37 > 0:02:42but I think there might have been a little different connection, as well.
0:02:42 > 0:02:48Because Britten was very close to Rostropovich, for example,
0:02:48 > 0:02:51and to the musical life of Russia.
0:02:51 > 0:02:56So there is a certain connection to the Soviet artist
0:02:56 > 0:03:02and I have a feeling that somewhere in the subtext of this title there is
0:03:02 > 0:03:07a little connection and a little hint to that connection, as well.
0:03:07 > 0:03:11It seems to me Arvo Part represents the musical soul of Estonia and he's
0:03:11 > 0:03:14such a representative of its extraordinary history over the years.
0:03:14 > 0:03:18He is our greatest composer.
0:03:19 > 0:03:24He certainly is somebody who is like a guardian saint of our music.
0:03:24 > 0:03:29He's somebody who everybody, literally every person in Estonia
0:03:29 > 0:03:32if Arvo walks on the street, everybody knows who Arvo Part is.
0:03:33 > 0:03:39And also for a small country, we have 1.5 million people,
0:03:39 > 0:03:42the role models are extremely important because...
0:03:43 > 0:03:45..that's why we have all these composers
0:03:45 > 0:03:53because Arvo Part has told directly or indirectly to
0:03:53 > 0:03:57so many people in Estonia that if I can do it, you can do it.
0:03:57 > 0:04:01And that's like Bjorn Borg was the reason why every tennis
0:04:01 > 0:04:04player in Sweden thinks that they can be world champions
0:04:04 > 0:04:10because one can and needs a kind of role model in a small country.
0:04:13 > 0:04:16APPLAUSE
0:04:18 > 0:04:20And here is Paavo Jarvi to conduct the
0:04:20 > 0:04:26Orchestre de Paris in Arvo Part's Cantus in Memoriam Benjamin Britten.
0:04:41 > 0:04:44MUSIC: "Cantus in Memoriam Benjamin Britten" - Arvo Part
0:11:03 > 0:11:06APPLAUSE
0:11:15 > 0:11:19Arvo Part's Cantus in Memoriam Benjamin Britten.
0:11:20 > 0:11:25Written immediately after the English composer's death in 197 .
0:11:25 > 0:11:28Played by the Orchestre de Paris, conducted by Paavo Jarvi.
0:11:35 > 0:11:38Well, just as Arvo Part was denied the chance of meeting Britten,
0:11:38 > 0:11:42so Britten's own dreams of studying with Alban Berg were shattered
0:11:42 > 0:11:46when the Austrian composer died suddenly in 1935.
0:11:46 > 0:11:49The following year Britten heard the posthumous premier of
0:11:49 > 0:11:53Berg's Violin Concerto in Barcelona and became almost obsessed with the piece.
0:11:53 > 0:11:56Which he said, "Moved me like no other music."
0:11:56 > 0:11:59Two years later Britten began work on his own Violin Concerto
0:11:59 > 0:12:04which was premiered in New York in 1940 when he was just 26 years old.
0:12:04 > 0:12:06For Britten the work was problematic.
0:12:06 > 0:12:08He returned to it again and again.
0:12:08 > 0:12:12Not settling on a final version until 1965.
0:12:12 > 0:12:14For many years the concerto was rarely performed.
0:12:14 > 0:12:17Some critics dismissed it as uninvolving and slight.
0:12:17 > 0:12:20Now it's regarded as one of Britten's master works.
0:12:20 > 0:12:23Earlier I spoke to tonight's soloist, the Dutch violinist
0:12:23 > 0:12:27Janine Jansen and asked her why this has bee such a neglected work.
0:12:28 > 0:12:32Actually I wouldn't know a good answer to that because I think it's a
0:12:32 > 0:12:34great piece.
0:12:34 > 0:12:39One of the, I would say, masterpieces in the violin concerto repertoire.
0:12:39 > 0:12:44I do actually believe that it's been played much more often than it
0:12:44 > 0:12:47was maybe 10, 15 years ago even
0:12:48 > 0:12:54Because I remember the first time I played it was maybe around 19 9
0:12:54 > 0:12:57and then hardly anybody was playing it.
0:12:57 > 0:13:03And I was fighting everywhere to get this concerto on the programme.
0:13:03 > 0:13:08And I succeeded, which was wonderful. It should be played.
0:13:08 > 0:13:11But I know many other people, many colleagues are playing it,
0:13:11 > 0:13:14recorded it so it's great.
0:13:14 > 0:13:16It's really as it should be.
0:13:16 > 0:13:20Britten started writing it when the Spanish Civil War was raging.
0:13:20 > 0:13:23He finished it in America after the outbreak of the Second World War.
0:13:23 > 0:13:25Politics and current affairs
0:13:25 > 0:13:29so inspired Britten in so much of his music.
0:13:29 > 0:13:31Do you hear that in the Violin Concerto?
0:13:31 > 0:13:36Yeah, very much. Of course '39 it was, yeah, end of the
0:13:36 > 0:13:38Spanish Civil War.
0:13:38 > 0:13:43There's a lot of...Spanish influences in rhythm.
0:13:43 > 0:13:47Little motifs there for sure in the first movement.
0:13:49 > 0:13:52And the whole piece is such a..
0:13:55 > 0:13:57..emotional struggle also.
0:13:57 > 0:14:01There's so much underlying tension in this piece
0:14:01 > 0:14:07and it's one big line from beginning to end.
0:14:07 > 0:14:10And it ends with this amazing coda which...
0:14:12 > 0:14:18I feel it starts as a prayer, quite inward, quite intimate prayer.
0:14:18 > 0:14:25And it becomes this enormous scream out of despair and that's...
0:14:26 > 0:14:32When I play it I feel so emotional and so empty afterwards
0:14:32 > 0:14:35but also so full with all the emotions.
0:14:35 > 0:14:39It's really, extremely strong for the player, for all the musicians
0:14:39 > 0:14:42but also for an audience to listen to this.
0:14:42 > 0:14:47Somehow you don't want to hear anything after that.
0:14:48 > 0:14:51Which, of course, there will be
0:14:51 > 0:14:53something to listen to afterwards.
0:14:53 > 0:14:57But I think the intermission will be very good to reflect and...
0:14:57 > 0:14:59It's quite impressive.
0:15:00 > 0:15:02APPLAUSE
0:15:07 > 0:15:11Janine Jansen making her way now onto the Royal Albert Hall stage with
0:15:11 > 0:15:12Paavo Jarvi to join the
0:15:12 > 0:15:14Orchestre de Paris in this centenary
0:15:14 > 0:15:18performance of Benjamin Britten's Violin Concerto.
0:15:32 > 0:15:34MUSIC: "Violin Concerto" - Benjamin Britten
0:48:05 > 0:48:07APPLAUSE
0:48:22 > 0:48:24CHEERING
0:48:26 > 0:48:30What a well made argument for the greatness of Benjamin Britten's
0:48:30 > 0:48:32Violin Concerto.
0:48:32 > 0:48:34Janine Jansen...and the
0:48:34 > 0:48:38Orchestre de Paris conducted by Paavo Jarvi
0:48:38 > 0:48:41here at the Proms in this, Britten's centenary year.
0:48:41 > 0:48:42APPLAUSE CONTINUES
0:49:06 > 0:49:07"She plays it like it is.
0:49:07 > 0:49:12"She is a person of genuine warmth, genuine feeling, genuine expression."
0:49:13 > 0:49:16So says Paavo Jarvi about Janine Jansen.
0:49:16 > 0:49:19"There is nothing fake, nothing manufactured
0:49:19 > 0:49:22"and prepared about her performance."
0:49:42 > 0:49:45Jansen was born into a musical family in the Netherlands.
0:49:45 > 0:49:48As a child she sang in the choir her father conducted.
0:49:48 > 0:49:50Began violin lessons when she was six.
0:49:53 > 0:49:54Her two brothers are also musicians
0:49:54 > 0:49:57and she's been playing chamber music from an early age.
0:49:57 > 0:50:01An experience she says has very much shaped her as a musician.
0:50:04 > 0:50:07Ten years ago she was a member of the Radio 3
0:50:07 > 0:50:08New Generation Artist Scheme.
0:50:09 > 0:50:12And it was then that she made her Proms debut.
0:50:13 > 0:50:16Now recognised as one of the world's great violinists.
0:50:38 > 0:50:42Well, the Royal Albert Hall is not the only Proms venue this year
0:50:42 > 0:50:45At nearby Cadogan Hall there have been a whole series of Proms
0:50:45 > 0:50:46chamber music concerts.
0:50:46 > 0:50:49Some of which you will be able to see here on BBC Four early
0:50:49 > 0:50:53next year. But before then a preview of what we can look forward to.
0:50:53 > 0:50:56We're going to hear Britten's first canticle, My Beloved is Mine.
0:50:56 > 0:51:00He wrote five canticles and while he didn't use the form in a strictly
0:51:00 > 0:51:05liturgical sense, these are works with deeply religious sensibilities.
0:51:05 > 0:51:08The first canticle was written in memory of Dick Sheppard, former
0:51:08 > 0:51:12vicar of St Martin in the Fields and founder of the Peace Pledge Union.
0:51:12 > 0:51:16A cause that the pacifist Britten was deeply committed to.
0:51:16 > 0:51:19The text is a poem by the early 17th century poet Francis Quarles.
0:51:19 > 0:51:23Inspired by a quotation from the Book of Solomon.
0:51:23 > 0:51:27Tenor James Gilchrist and pianist Imogen Cooper perform the work.
0:51:27 > 0:51:29APPLAUSE
0:51:46 > 0:51:48MUSIC: "Canticle I" - Benjamin Britten
0:51:55 > 0:52:01# E'en like two little bank-dividing brooks
0:52:06 > 0:52:13# That wash the pebbles with their wanton streams
0:52:15 > 0:52:22# And having ranged and search'd a thousand nooks
0:52:22 > 0:52:30# Meet both at length in silver-breasted Thames
0:52:31 > 0:52:39# Where in a greater current they conjoin
0:52:47 > 0:52:54# So I my best-beloved's am
0:52:54 > 0:53:00# So he is mine
0:53:02 > 0:53:08# E'en so we met and after long pursuit
0:53:10 > 0:53:18# E'en so we joined
0:53:22 > 0:53:28# We both became entire
0:53:30 > 0:53:35# No need for either to renew a suit
0:53:35 > 0:53:43# For I was flax and he was flames of fire
0:53:52 > 0:53:59# Our firm-united souls did more than twine
0:54:07 > 0:54:14# So I my best-beloved's am
0:54:14 > 0:54:20# So he is mine
0:54:30 > 0:54:34# If all those glittering Monarchs that command
0:54:34 > 0:54:37# The servile quarters of this earthly ball
0:54:39 > 0:54:43# Should tender in exchange their shares of land
0:54:43 > 0:54:47# I would not change my fortunes for them all
0:54:49 > 0:54:54# Their wealth is but a counter to my coin
0:54:56 > 0:55:00# The world's but theirs
0:55:00 > 0:55:06# But my beloved's mine.
0:55:07 > 0:55:10# Nor time, nor place, nor chance, nor death can bow
0:55:10 > 0:55:13# My least desires, can bow my least desires
0:55:14 > 0:55:16# Unto the least remove
0:55:16 > 0:55:22# Nor time, nor place, nor chance, nor death
0:55:22 > 0:55:26# Can bow my least desires unto the least remove
0:55:31 > 0:55:35# He's firmly mine by oath; I his by vow
0:55:36 > 0:55:39# He's mine by faith and I am his by love
0:55:39 > 0:55:44# He's mine by water; I am his by wine
0:55:44 > 0:55:48# Thus I my best-beloved's am
0:55:48 > 0:55:51# Thus he is mine
0:55:51 > 0:55:55# Thus he is mine
0:56:09 > 0:56:12# He is my Altar
0:56:12 > 0:56:16# I, his Holy Place
0:56:21 > 0:56:29# I am his guest and he, my living food
0:56:33 > 0:56:37# I'm his by penitence
0:56:37 > 0:56:40# He mine by grace
0:56:40 > 0:56:44# I'm his by purchase
0:56:44 > 0:56:48# He is mine by blood
0:56:50 > 0:56:56# He's my supporting elm and I his vine
0:57:00 > 0:57:07# Thus I my best beloved's am
0:57:07 > 0:57:11# Thus he is mine
0:57:13 > 0:57:17# He gives me wealth
0:57:17 > 0:57:22# I give him all my vows
0:57:22 > 0:57:26# I give him songs
0:57:26 > 0:57:31# He gives me length of days
0:57:34 > 0:57:42# With wreaths of grace he crowns my longing brows
0:57:44 > 0:57:50# And I his temples with a crown of praise
0:57:53 > 0:58:01# Which he accepts an everlasting sign
0:58:08 > 0:58:14# That I my best-beloved's am
0:58:14 > 0:58:17# That he is mine
0:58:19 > 0:58:26# That I my best-beloved's am
0:58:27 > 0:58:38# That he is mine
0:58:40 > 0:58:48# That he is mine. #
0:59:18 > 0:59:20APPLAUSE
0:59:39 > 0:59:41James Gilchrist and Imogen Cooper
0:59:41 > 0:59:43performing Benjamin Britten's Canticle Number 1,
0:59:43 > 0:59:45My Beloved Is Mine,
0:59:45 > 0:59:49part of the Proms Chamber Music season at the Cadogan Hall.
0:59:49 > 0:59:51Well, back here at the Royal Albert Hall, the Orchestre de Paris
0:59:51 > 0:59:54and conductor Paavo Jarvi are about to start the second half
0:59:54 > 0:59:59of tonight's Prom with a work by the French composer Hector Berlioz.
0:59:59 > 1:00:02Throughout his life, Britten was a great fan of Berlioz.
1:00:02 > 1:00:06He was just 18 when he bought the score of the Symphony Fantastique.
1:00:06 > 1:00:09"What power and imagination," he wrote of Berlioz's requiem.
1:00:09 > 1:00:12And near the end of his life he asked a celebrated English
1:00:12 > 1:00:14mezzo-soprano, Dame Janet Baker
1:00:14 > 1:00:18to sing a programme of Berlioz's songs at the Aldeburgh Festival.
1:00:18 > 1:00:22Given Britten's love of Berlioz and his lifelong love of the sea,
1:00:22 > 1:00:24which is a recurring theme throughout his music,
1:00:24 > 1:00:28it's highly appropriate that next we're going to hear Berlioz's
1:00:28 > 1:00:31exuberant overture Le Corsaire
1:00:31 > 1:00:34The music reflects the play of wind and sea
1:00:34 > 1:00:37and the exhilaration of what Berlioz described as the
1:00:37 > 1:00:41"young, light-hearted masters of the waves."
1:00:41 > 1:00:45Pirates. The overture celebrates the life of the privateer,
1:00:45 > 1:00:48a figure that appealed to Berlioz's romantic outlook -
1:00:48 > 1:00:50men who, though disapproved of,
1:00:50 > 1:00:55were free from the cares and conventions of bourgeois society.
1:00:55 > 1:00:59APPLAUSE
1:00:59 > 1:01:01Paavo Jarvi returns to the stage
1:01:01 > 1:01:06to conduct the Orchestre de Paris in Berlioz's overture Le Corsaire.
1:01:09 > 1:01:12MUSIC: Overture Le Corsaire by Hector Berlioz
1:09:08 > 1:09:11APPLAUSE
1:09:23 > 1:09:26Berlioz's overture Le Corsaire
1:09:26 > 1:09:29Paavo Jarvi conducting the Orchestre de Paris.
1:09:54 > 1:09:59Le Corsaire written in the 1840s and inspired by the Mediterranean,
1:09:59 > 1:10:00of Nice, in the south of France,
1:10:00 > 1:10:03where Berlioz had gone to relax after an exhausting summer
1:10:03 > 1:10:06organising and conducting concerts in Paris.
1:10:09 > 1:10:11He was going to name it Le Tour de Nice,
1:10:11 > 1:10:14after a tower high up in the hills behind Nice
1:10:14 > 1:10:15where he'd written the piece,
1:10:15 > 1:10:17but later renamed it Le Corsaire.
1:10:22 > 1:10:26Well, this Prom that started with a celebration of Britten's centenary
1:10:26 > 1:10:29concludes with a great French work for the Royal Albert Hall organ,
1:10:29 > 1:10:33Saint-Saens Third Symphony, with organist Thierry Escaich.
1:10:33 > 1:10:35The work is now recognised as one of the pillars
1:10:35 > 1:10:37of the French symphonic tradition,
1:10:37 > 1:10:40and while tonight it's played by a Parisian orchestra
1:10:40 > 1:10:42with a French organist, the symphony was actually commissioned
1:10:42 > 1:10:46by a British musical institution, the Philharmonic Society,
1:10:46 > 1:10:48now the Royal Philharmonic Society.
1:10:48 > 1:10:50It was premiered here in London in 1886
1:10:50 > 1:10:53with Saint-Saens himself conducting.
1:10:53 > 1:10:56Mixing organ and orchestra is surprisingly challenging.
1:10:56 > 1:10:57Are they good bedfellows?
1:10:57 > 1:11:00Conductor Paavo Jarvi.
1:11:00 > 1:11:02I think they're perfect bedfellows.
1:11:02 > 1:11:06It depends on, first of all, how large the bed is.
1:11:06 > 1:11:09The second is how it's put together
1:11:09 > 1:11:15and if you marry these two forces in the way that Saint-Saens did,
1:11:15 > 1:11:18it's a perfect example how it can work.
1:11:18 > 1:11:21The misconception about this piece is that it's an organ symphony
1:11:21 > 1:11:23meaning it's a symphony with organ as a soloist -
1:11:23 > 1:11:27organ is one of the instruments
1:11:27 > 1:11:31It's a normal symphony...with organ.
1:11:31 > 1:11:34In fact, with organ, it's not a solo.
1:11:34 > 1:11:39But if you have an organ anywhere in the vicinity, it becomes a soloist,
1:11:39 > 1:11:42it's such a commanding instrument that it becomes something
1:11:42 > 1:11:44that you simply cannot ignore.
1:11:44 > 1:11:47We're going to hear a genuinely authentic performance tonight.
1:11:47 > 1:11:50I hope so. I don't actually know what that really means.
1:11:50 > 1:11:55I think the people who will really like to keep an eye
1:11:55 > 1:11:58on what's really French about this particular Orchestra,
1:11:58 > 1:12:02listen to all the slow, quiet music.
1:12:02 > 1:12:05That's where you hear certain things that you might not hear
1:12:05 > 1:12:08with other orchestras because this...
1:12:08 > 1:12:11And I cannot tell you exactly what it is because I can't tell what it is,
1:12:11 > 1:12:17but I always find, "Mm, this is something that I couldn't do.
1:12:17 > 1:12:19"I haven't heard another orchestra..."
1:12:19 > 1:12:24There is something...the timing and the colour of quiet music.
1:12:24 > 1:12:27APPLAUSE
1:12:31 > 1:12:34Paavo Jarvi walking on to the stage.
1:12:34 > 1:12:36Thierry Escaich already at the organ console
1:12:36 > 1:12:38here at the Royal Albert Hall.
1:12:38 > 1:12:42Saint-Saens Third Symphony in C minor, the Organ Symphony.
1:12:53 > 1:12:57MUSIC: Symphony No. 3 in C minor by Saint-Saens
1:33:30 > 1:33:33APPLAUSE
1:33:39 > 1:33:44MUSIC: Symphony No. 3 in C minor by Saint-Saens
1:48:59 > 1:49:02CHEERING AND APPLAUSE
1:49:16 > 1:49:18Saint-Saens' Organ Symphony.
1:49:18 > 1:49:20His third symphony.
1:49:20 > 1:49:23Paavo Jarvi conducting the Orchestre de Paris.
1:49:24 > 1:49:27Thierry Escaich the organist.
1:49:38 > 1:49:40Thierry Escaich one of a new generation
1:49:40 > 1:49:42of great French organists.
1:49:42 > 1:49:45Organist at the church of Saint-Etienne-du-Mont
1:49:45 > 1:49:47in Paris since 1997.
1:49:49 > 1:49:53The church where the composer and great organist Maurice Durufle
1:49:53 > 1:49:55was resident for many years.
1:50:02 > 1:50:04CHEERING
1:50:11 > 1:50:13Escaich a composer as well as organist.
1:50:14 > 1:50:17Gives recitals that combine repertoire pieces
1:50:17 > 1:50:19and his own compositions.
1:50:19 > 1:50:22Also specialises in accompanying silent films
1:50:22 > 1:50:23on the organ or piano.
1:50:25 > 1:50:27Paavo Jarvi has been music director
1:50:27 > 1:50:30of the Orchestre de Paris since 2010.
1:50:31 > 1:50:32Last year he was awarded
1:50:32 > 1:50:35the Commander of the Order of Arts and Letters -
1:50:35 > 1:50:36great French honour -
1:50:36 > 1:50:39for his outstanding contribution to music in France.
1:50:58 > 1:51:01Well, the audience here
1:51:01 > 1:51:04not going to let the orchestra go home without an encore.
1:51:06 > 1:51:09MUSIC: "Jeux D'enfants Movement 2" by Georges Bizet
1:52:41 > 1:52:43CHEERING
1:52:55 > 1:52:58Paavo Jarvi conducting the Orchestre de Paris
1:52:58 > 1:53:02in The Ball from Jeux D'enfants Children's Games by Georges Bizet.
1:53:05 > 1:53:09Written originally as a piano duet by Bizet in 1871.
1:53:09 > 1:53:13One of 12 pieces, five of which he later orchestrated.
1:53:40 > 1:53:43MUSIC: "L'Arlesienne Movement IV by Georges Bizet
1:56:56 > 1:56:58CHEERING AND APPLAUSE
1:57:24 > 1:57:28And more Bizet as a second encore here at the Proms
1:57:28 > 1:57:31The Farandole from Bizet's L'Arlesienne Suite.
1:57:32 > 1:57:36A French end to a magnificent musical journey
1:57:36 > 1:57:40that started marking the centenary of Benjamin Britten.
1:57:41 > 1:57:44A musical entente cordiale at the proms this evening.
1:58:00 > 1:58:02And so we reach the end of this concert.
1:58:02 > 1:58:06From me, Petroc Trelawny, and all of us here at the Royal Albert Hall,
1:58:06 > 1:58:07good night to you.
1:58:11 > 1:58:14Subtitles by Red Bee Media Ltd