0:00:28 > 0:00:30It's Friday Night at the Proms,
0:00:30 > 0:00:32and the final concert of the season on BBC Four
0:00:32 > 0:00:35before the big finale tomorrow.
0:00:35 > 0:00:36Tonight, we're going large-scale
0:00:36 > 0:00:39with the Ninth Symphony by Ludwig van Beethoven,
0:00:39 > 0:00:42followed by a Beethoven-inspired composition
0:00:42 > 0:00:45by British composer, Mark-Anthony Turnage, called Frieze.
0:00:45 > 0:00:47On stage is a very large collection
0:00:47 > 0:00:50of the cream of young musicians from the British Isles.
0:00:50 > 0:00:52The National Youth Orchestra of Great Britain,
0:00:52 > 0:00:54and above them the National Youth Choir,
0:00:54 > 0:00:57with the Irish Youth Chamber Choir
0:00:57 > 0:00:59and Codetta, a young choir from Derry.
0:00:59 > 0:01:01One of the reasons this evening is special
0:01:01 > 0:01:05is that not one member of the audience has paid to get in.
0:01:05 > 0:01:06For the first time,
0:01:06 > 0:01:105,000 people are here for a full evening Prom entirely for free.
0:01:10 > 0:01:12A happy crowd, then.
0:01:12 > 0:01:16Beethoven's Ninth, the Choral Symphony, written in 1824,
0:01:16 > 0:01:19is one of the iconic achievements of Western music.
0:01:19 > 0:01:21It stands as a monolith.
0:01:21 > 0:01:25For many later composers, the symphony to end all symphonies.
0:01:25 > 0:01:28As with so many of Beethoven's works, it broke new ground.
0:01:28 > 0:01:31For the first time in a symphony, it employs a chorus
0:01:31 > 0:01:35in the final movement to outstanding effect in the famous Ode to Joy.
0:01:35 > 0:01:36And as with all great works of art,
0:01:36 > 0:01:38you could be led on a philosophical journey
0:01:38 > 0:01:41while simply enjoying some of the marvellous tunes,
0:01:41 > 0:01:44including one of the most famous ever written.
0:01:44 > 0:01:47Because they're so young, most of the players and singers
0:01:47 > 0:01:50will be performing Beethoven's Ninth for the first time.
0:01:50 > 0:01:52When you look at the assembled young musicians here,
0:01:52 > 0:01:55it's worth remembering that they spent huge amount of time
0:01:55 > 0:01:56on their music training.
0:01:56 > 0:01:59They're also willing to give up large amounts of their holidays
0:01:59 > 0:02:02through the year to playing or singing.
0:02:02 > 0:02:04Before we hear the symphony, we've got time to find out
0:02:04 > 0:02:06what it is that makes these young musicians tick
0:02:06 > 0:02:09and how their musical life inspires them.
0:02:09 > 0:02:12So, here's the National Youth Choir of Great Britain
0:02:12 > 0:02:14on their summer residential course in York.
0:02:14 > 0:02:19CHORAL SINGING
0:02:23 > 0:02:26If you hear a choir in full tilt singing some beautiful harmony,
0:02:26 > 0:02:30you can see it in their faces and you can hear it in the voices,
0:02:30 > 0:02:34the joy that they share with it. I think that's something very special.
0:02:34 > 0:02:37I think people are often astonished and amazed
0:02:37 > 0:02:40at what the National Youth Choir can do.
0:02:40 > 0:02:42The "youth" moniker sometimes comes off as a bit of a,
0:02:42 > 0:02:45"It'll be good, but it's still young people."
0:02:45 > 0:02:48In fact, this one of the finest choirs in the world - full stop.
0:02:52 > 0:02:55Before this, I only really used to sing in my school choir.
0:02:55 > 0:02:59I remember my dad saying at our first concert it was really weird
0:02:59 > 0:03:03because it was like going from Third Division to the Premier League in one step.
0:03:03 > 0:03:07THEY WARM UP
0:03:07 > 0:03:10I have a cousin who's a professional singer
0:03:10 > 0:03:12and has been for nearly 50 years.
0:03:12 > 0:03:14And she gave me a few lessons.
0:03:14 > 0:03:17I auditioned. And I never thought for a minute I'd get in.
0:03:17 > 0:03:18And neither did my parents
0:03:18 > 0:03:22as I remember my dad opening the letter and being absolutely stunned.
0:03:22 > 0:03:26Your internal obliques which come across that way
0:03:26 > 0:03:29and the external obliques come across that way.
0:03:29 > 0:03:32I think it's scientifically proved that singing is good for you.
0:03:32 > 0:03:37It's that wonderful synthesis of being able to communicate
0:03:37 > 0:03:40and actually make noises together.
0:03:40 > 0:03:43- HE SINGS LOW BASS NOTE - Lovely!
0:03:43 > 0:03:47Personally, I've sung by myself since I was four, five maybe.
0:03:47 > 0:03:50But since I've joined NYC, I just can't,
0:03:50 > 0:03:52like, describe the buzz I get.
0:03:52 > 0:03:55It's this kind of amazing community thing.
0:03:55 > 0:03:57It's almost like soldiers going into battle sometimes.
0:03:57 > 0:04:03THEY WARM UP
0:04:03 > 0:04:06You feel kind of strong, like a big army of singers. It's amazing.
0:04:06 > 0:04:11Get every single word out. It's not volume, it's just articulation.
0:04:11 > 0:04:16It's been fascinating for me, watching the course unfold
0:04:16 > 0:04:20and the various traditions that the National Youth Choir has,
0:04:20 > 0:04:25with their social activities and the way also they coalesce as a choir.
0:04:28 > 0:04:33When you first arrive, it can almost be really unnerving because all
0:04:33 > 0:04:36these things are happening and you don't want any of them means.
0:04:36 > 0:04:39After you've been here a year or so, everything makes sense.
0:04:39 > 0:04:41You know what's going on. It's just great fun.
0:04:42 > 0:04:47This choir has gone on tours to some remarkable and unexpected places.
0:04:47 > 0:04:49I do remember landing with them in Rarotonga in the Cook Islands
0:04:49 > 0:04:51in the late '90s when we probably increased
0:04:51 > 0:04:54the population of the island by about 1% when we were there.
0:04:54 > 0:04:57But it's wonderful to finally get a chance to bring all this music
0:04:57 > 0:05:01to the places where all our singers from, every corner of Great Britain.
0:05:01 > 0:05:05SLOW CHORAL SINGING TO BEAT
0:05:05 > 0:05:08At our age, all of our voices have the same youthfulness
0:05:08 > 0:05:11and freshness, whereas usually much more mature choirs
0:05:11 > 0:05:14would be doing things like the Beethoven.
0:05:14 > 0:05:16Once again, and...
0:05:16 > 0:05:19THEY SPEAK LYRICS IN RHYTHM
0:05:19 > 0:05:22I mean, obviously these pieces are just epic
0:05:22 > 0:05:24and they've been sung for hundreds of years,
0:05:24 > 0:05:28and having the opportunity to sing such pieces is a massive privilege.
0:05:28 > 0:05:30THEY CHEER
0:05:30 > 0:05:33In ten years' time, we'll see kids who are just starting out now
0:05:33 > 0:05:34singing in the main choir.
0:05:34 > 0:05:38And this is a lifelong experience for them.
0:05:38 > 0:05:41SHE SINGS
0:05:41 > 0:05:44In its 30 years, the National Youth Choir
0:05:44 > 0:05:46has done something really special,
0:05:46 > 0:05:49which is bringing music to the younger people in society.
0:05:49 > 0:05:52So often, people your age don't get into it,
0:05:52 > 0:05:55but having a group like the National Youth Choir
0:05:55 > 0:05:58is something where there's, like, a touchstone
0:05:58 > 0:06:00that you can hold on to and grow from.
0:06:00 > 0:06:04# Sing joy for the... #
0:06:04 > 0:06:08In a strange way, you subsume the individual identity
0:06:08 > 0:06:10and then are exalted again as an individual
0:06:10 > 0:06:13by being part of this larger thing.
0:06:13 > 0:06:16And I've always felt, and perhaps is a bit highfalutin,
0:06:16 > 0:06:18but that's the best model for a society.
0:06:18 > 0:06:21# Sing... #
0:06:21 > 0:06:24A good society is one in which individuals are aware
0:06:24 > 0:06:28and proud of themselves, but also very aware of the good of the group
0:06:28 > 0:06:31and the need to do things together as humans.
0:06:31 > 0:06:35And all the best human accomplishments are always done by groups and not by individuals.
0:06:35 > 0:06:37The National Youth Choir.
0:06:37 > 0:06:39Inspirational stuff.
0:06:39 > 0:06:42Beethoven's Ninth Symphony, the Choral,
0:06:42 > 0:06:46picks up on themes that are present in previous works by the composer.
0:06:46 > 0:06:49The struggle from darkness to light, the Promethean myth,
0:06:49 > 0:06:51a search for personal peace
0:06:51 > 0:06:55and the aspiration for us to live in unity and love.
0:06:55 > 0:06:58It's a 75-minute work in four movements.
0:06:58 > 0:07:00The first movement can be seen in narrative terms
0:07:00 > 0:07:03as nothing less than the emergence of light at the dawn of time
0:07:03 > 0:07:06leading to the creation of life.
0:07:06 > 0:07:09After a savage scherzo and a third movement of infinite grace,
0:07:09 > 0:07:11we are led to an outburst of song
0:07:11 > 0:07:14that confirms what Beethoven profoundly believed in -
0:07:14 > 0:07:16the possibility of the unity of mankind -
0:07:16 > 0:07:20in his setting of Schiller's Ode to Joy.
0:07:20 > 0:07:23Alongside the famous statue of Sir Henry Wood on stage today
0:07:23 > 0:07:27to enjoy the music-making is a bust of Beethoven.
0:07:27 > 0:07:29It's been placed here by the Royal Philharmonic Society
0:07:29 > 0:07:34which has the proud record of having commissioned the Ninth Symphony.
0:07:34 > 0:07:35And in charge today
0:07:35 > 0:07:37will be the National Youth Orchestra of Great Britain's
0:07:37 > 0:07:39principal conductor, Vasily Petrenko.
0:07:39 > 0:07:42Joining the orchestra and the choirs for the final movement
0:07:42 > 0:07:45will be a wonderful line-up of soloists - Ailish Tynan,
0:07:45 > 0:07:48Jennifer Johnston, Toby Spence and Gerald Finley.
0:07:48 > 0:07:52APPLAUSE
0:07:56 > 0:07:58Here now comes conductor Vasily Petrenko
0:07:58 > 0:08:01to join the National Youth Choir of Great Britain,
0:08:01 > 0:08:03the Irish Youth Choir, Codetta
0:08:03 > 0:08:06and the National Youth Orchestra of Great Britain
0:08:06 > 0:08:08for Beethoven's Ninth Symphony.
0:22:21 > 0:22:24SILENCE
0:32:51 > 0:32:54SILENCE
0:53:57 > 0:54:00HE SINGS IN GERMAN:
0:54:53 > 0:54:58CHORUS ECHO SOLOIST
0:55:22 > 0:55:25# Deine Zauber binden wieder
0:55:25 > 0:55:28# Was die Mode streng geteilt
0:55:28 > 0:55:31# Alle Menschen werden Brueder
0:55:31 > 0:55:34# Wo dein sanfter Fluegel weilt
0:56:04 > 0:56:07# Ja - wer auch nur eine Seele
0:56:07 > 0:56:10# Sein nennt auf dem Erdenrund!
0:56:10 > 0:56:13# Und wer's nie gekonnt, der stehle
0:56:13 > 0:56:16# Weinend sich aus diesem Bund!
0:56:47 > 0:56:49# Kuesse gab sie uns und Reben
0:56:49 > 0:56:52# Einen Freund, geprueft im Tod
0:56:52 > 0:56:56# Wollust ward dem Wurm gegeben
0:56:56 > 0:56:58# Und der Cherub steht vor Gott
0:56:58 > 0:57:05# Und der Cherub steht vor Gott
0:57:05 > 0:57:08# Steht vor Gott
0:57:08 > 0:57:11# Vor Gott
0:57:11 > 0:57:18# Vor Gott
0:58:29 > 0:58:33# Laufet, Brueder, eure Bahn
0:58:33 > 0:58:37# Freudig wie ein Held zum Siegen
0:58:37 > 0:58:41# Ein Held zum Siegen
0:58:41 > 0:58:48# Freudig, Freudig, Freudig Wie ein Held zum Siegen
1:00:22 > 1:00:25# Freude, schoener Goetterfunken
1:00:25 > 1:00:28# Tochter aus Elysium
1:00:28 > 1:00:31# Wir betreten feuertrunken
1:00:31 > 1:00:34# Himmlische dein Heiligtum
1:00:34 > 1:00:38# Deine Zauber binden wieder
1:00:38 > 1:00:41# Was die Mode streng geteilt
1:00:41 > 1:00:45# Alle Menschen werden Brueder
1:00:45 > 1:00:48# Wo dein sanfter Fluegel weilt
1:00:48 > 1:00:51# Deine Zauber binden wieder
1:00:51 > 1:00:54# Was die Mode streng geteilt
1:00:54 > 1:00:58# Alle Menschen werden Brueder
1:00:58 > 1:01:01# Wo dein sanfter Fluegel weilt
1:01:29 > 1:01:40# Seid umschlungen, Millionen!
1:01:40 > 1:01:52# Diesen Kuss der ganzen Welt!
1:02:14 > 1:02:25# Brueder - ueberm Sternenzelt
1:02:25 > 1:02:36# Muss ein lieber Vater wohnen
1:03:57 > 1:04:15# Ueber Sternen muss er wohnen
1:04:15 > 1:04:18# Freude, schoener Goetterfunken
1:04:18 > 1:04:20# Tochter aus Elysium
1:04:20 > 1:04:21# Wir betreten feuertrunken
1:04:21 > 1:04:23# Himmlische dein Heiligtum
1:04:23 > 1:04:26# Freude, schoener Goetterfunken
1:04:26 > 1:04:28# Tochter aus Elysium
1:04:28 > 1:04:29# Wir betreten feuertrunken
1:04:29 > 1:04:31# Himmlische dein Heiligtum
1:04:31 > 1:04:34# Seid umschlungen, Millionen!
1:04:34 > 1:04:39# Diesen Kuss der ganzen Welt!
1:04:39 > 1:04:41# Freude, schoener Goetterfunken
1:04:41 > 1:04:43# Tochter aus Elysium
1:04:43 > 1:04:45# Wir betreten feuertrunken
1:04:45 > 1:04:47# Himmlische dein Heiligtum... #
1:04:47 > 1:04:52THEY HARMONISE PREVIOUS PASSAGES
1:06:22 > 1:06:27# Goetterfunken, Tochter aus Elysium
1:06:41 > 1:06:50# Deine Zauber binden wieder Was die Mode streng geteilt!
1:07:18 > 1:07:24# Dein sanfter Fluegel weilt
1:07:26 > 1:07:30# Alle Menschen, Alle Menschen Alle Menschen
1:07:30 > 1:07:36# Alle Menschen
1:07:36 > 1:07:41# Werden Brueder
1:07:41 > 1:08:00# Wo dein sanfter
1:08:00 > 1:08:05# Fluegel weilt
1:08:05 > 1:08:18# Dein sanfter
1:08:18 > 1:08:30# Fluegel weilt
1:08:43 > 1:08:50# Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt!
1:08:50 > 1:08:59# Brueder - ueberm Sternenzelt Muss ein lieber Vater wohnen
1:08:59 > 1:09:02# Seid umschlungen, seid umschlungen!
1:09:02 > 1:09:06# Diesen Kuss der ganzen Welt! Der ganzen Welt!
1:09:06 > 1:09:13# Diesen Kuss der ganzen Welt! Der ganzen Welt!
1:09:13 > 1:09:22# Diesen Kuss der ganzen Welt!
1:09:22 > 1:09:27# Freude, Freude, schoener Goetterfunken
1:09:27 > 1:09:37# Tochter aus Elysium
1:09:40 > 1:09:51# Freude, schoener Goetterfunken
1:09:51 > 1:09:55# Goetterfunken! #
1:10:08 > 1:10:12CHEERING AND APPLAUSE
1:10:34 > 1:10:36Beethoven's Ninth Symphony, the Choral.
1:10:36 > 1:10:39The performance by the National Youth Orchestra of Great Britain,
1:10:39 > 1:10:42the National Youth Choir of Great Britain,
1:10:42 > 1:10:45the Irish Youth Choir, Codetta and the soloists -
1:10:45 > 1:10:48Ailish Tynan, soprano, Jennifer Johnston, mezzo-soprano,
1:10:48 > 1:10:52Toby Spence, tenor, and Gerald Finley, bass.
1:10:52 > 1:10:56And they were conducted by the orchestra's principal conductor, Vasily Petrenko.
1:10:56 > 1:10:59And what an overwhelming outpouring of youthful skill and enthusiasm
1:10:59 > 1:11:02in the Ode to Joy,
1:11:02 > 1:11:06with words by Schiller that reflects so much determination
1:11:06 > 1:11:09in the hope for a better future.
1:11:18 > 1:11:21So many things to relish from that exhilarating opening movement,
1:11:21 > 1:11:24that breathtaking scherzo
1:11:24 > 1:11:27to the last movement when the bass, Gerald Finley tonight,
1:11:27 > 1:11:29stands and begs - perhaps demands -
1:11:29 > 1:11:32that we focus on our common humanity.
1:11:32 > 1:11:34Absolutely electrifying.
1:11:40 > 1:11:43In the whole of its 63-year history, this is the first time
1:11:43 > 1:11:46the National Youth Orchestra has played Beethoven's Ninth.
1:11:46 > 1:11:52And what a confident celebration of unity they displayed. Fabulous.
1:11:53 > 1:11:56The leader, Roberto Ruisi, is aged 17 from Birmingham.
1:11:56 > 1:12:00He's been leading the orchestra since he was 15.
1:12:00 > 1:12:02Roberto has talked about the thrill
1:12:02 > 1:12:05to play with an orchestra that generates so much energy.
1:12:14 > 1:12:16Coming on stage now to take their bows
1:12:16 > 1:12:18are the respective choir leaders.
1:12:18 > 1:12:22Ben Parry and Robert Isaacs, Greg Beardsell and Donal Doherty.
1:12:22 > 1:12:26They've all done wonderful work coaching these young singers to the peak of excellence.
1:13:12 > 1:13:16Follow that? Well, follow we shall with another work
1:13:16 > 1:13:20from the same concert by the English composer Mark-Anthony Turnage.
1:13:20 > 1:13:23This is a brand-new commission from the BBC,
1:13:23 > 1:13:26the New York Philharmonic Orchestra and the Royal Philharmonic Society.
1:13:26 > 1:13:30As I mentioned earlier, the Royal Philharmonic Society was the organisation
1:13:30 > 1:13:33that originally commissioned Beethoven to write his Ninth Symphony.
1:13:33 > 1:13:37And this is the 200th anniversary year of the society's foundation.
1:13:37 > 1:13:41So, to celebrate that fact and in a concert that features Beethoven's work,
1:13:41 > 1:13:46we have this new piece by Turnage. It's called Frieze.
1:13:46 > 1:13:49That's "frieze" as in a wall painting, rather than to make very cold.
1:13:49 > 1:13:51The frieze in question is a famous painting
1:13:51 > 1:13:54by the Austrian painter, Gustav Klimt,
1:13:54 > 1:13:57which can be seen at the Secession Building in Vienna.
1:13:57 > 1:13:59It reflects the themes of the Ninth Symphony,
1:13:59 > 1:14:01in the heroic search for human happiness
1:14:01 > 1:14:06and the consolation of exhilarating possibilities and great art.
1:14:06 > 1:14:08It must be particularly daunting for any composer
1:14:08 > 1:14:12to have the weight of the past placed so heavily on their shoulders.
1:14:12 > 1:14:15But Mark-Anthony Turnage seems somehow to have coped.
1:14:15 > 1:14:17I met him before the concert today and asked him first
1:14:17 > 1:14:20whether he had written a symphony or not
1:14:20 > 1:14:23with Beethoven looking so alarmingly over his shoulder.
1:14:23 > 1:14:26This is a tricky one because I never thought...
1:14:26 > 1:14:29Of course, I haven't called it a symphony, but I've always been
1:14:29 > 1:14:32intimidated by the idea of calling something a symphony.
1:14:32 > 1:14:34There are people who write symphonies.
1:14:34 > 1:14:35My teacher, Oliver Knussen,
1:14:35 > 1:14:38for instance, is a great composer who has written three.
1:14:38 > 1:14:41But it was just a personal thing
1:14:41 > 1:14:45where I always gave it a title rather than an abstract title.
1:14:45 > 1:14:46I've steered away from it,
1:14:46 > 1:14:49although this is as close as I've got to symphonic form.
1:14:49 > 1:14:54And "symphonic" in the sense of the four movements.
1:14:54 > 1:14:56Opening, scherzo, slow movement. Is that right?
1:14:56 > 1:15:02I have. I've chickened out, really. I should've called it "symphony"!
1:15:02 > 1:15:06It's the weight of history and the idea you call something "symphony".
1:15:06 > 1:15:09In a sense, there's a lightness to the piece.
1:15:09 > 1:15:13This is much more sort of a light thing, so, I don't think I could've called it a symphony.
1:15:13 > 1:15:17I still think that I'm intimidated by the idea of the form.
1:15:17 > 1:15:21You came to Beethoven early. I mean, he's always been around in your life.
1:15:21 > 1:15:25- Yeah.- I know from my personal experience that I always found him
1:15:25 > 1:15:27quite...dull...when I was young.
1:15:27 > 1:15:30And then, suddenly, I had this moment about ten years ago
1:15:30 > 1:15:32- when I thought, "Actually, this is amazing stuff!"- It was my mother.
1:15:32 > 1:15:35My mother was obsessed with Beethoven for some reason.
1:15:35 > 1:15:38And she instilled this in me. And it's funny.
1:15:38 > 1:15:40She just led me to everything.
1:15:40 > 1:15:43And I was, I don't know, it just influenced me hugely.
1:15:43 > 1:15:47I remember going to the Proms when I was quite young, eight or nine.
1:15:47 > 1:15:51And going very often. They used to have a lot of all Beethoven problems.
1:15:51 > 1:15:55And I remember sometimes there would be some contemporary piece
1:15:55 > 1:15:58by Tippett or somebody, but Beethoven was the thing I was going for.
1:15:58 > 1:16:01And so I got it into my bloodstream very early on.
1:16:01 > 1:16:03You can't help but listen to those pieces,
1:16:03 > 1:16:07however abstract they might be, without constructing a narrative.
1:16:07 > 1:16:09- That seems to me to be the case. - That's very interesting,
1:16:09 > 1:16:13you saying that, Simon, because I think composers don't do that.
1:16:13 > 1:16:18Because, in a way, what I'm doing all the time is looking at the technical things.
1:16:18 > 1:16:20I'm always fascinated by other people,
1:16:20 > 1:16:22when they say, "This reminds me of something."
1:16:22 > 1:16:25I'm always fascinated to see somebody who doesn't compose
1:16:25 > 1:16:28or isn't a musician necessarily... I know you're a musician as well.
1:16:28 > 1:16:29But I always think of it
1:16:29 > 1:16:32of the way the notes work and how good the notes are.
1:16:32 > 1:16:35The reason why, for me, Beethoven and Bach particularly
1:16:35 > 1:16:36are the greatest composers
1:16:36 > 1:16:39is because, I think, their notes are perfect.
1:16:39 > 1:16:44Not just the form, but the choice of...the material.
1:16:44 > 1:16:48Like we have in Shakespeare, the way the language is and is compiled.
1:16:48 > 1:16:51- There can only be that word in that place.- Yeah, so, in a way
1:16:51 > 1:16:55I've got to forget that to some extent, but I never think of images.
1:16:55 > 1:16:58I never think, "Oh, the opening of Beethoven Nine is..."
1:16:58 > 1:17:04Nothing comes to mind other than the actual physical thing of the notes
1:17:04 > 1:17:05and what they mean to me.
1:17:05 > 1:17:08It's really the nuts and bolts of the technical material
1:17:08 > 1:17:11which in a way, can be a disadvantage in some ways,
1:17:11 > 1:17:14because it would be like watching a film
1:17:14 > 1:17:16and thinking about the camera shots.
1:17:16 > 1:17:19Do you know what I mean? Or the editing.
1:17:19 > 1:17:22In some ways... I do lose that to some extent,
1:17:22 > 1:17:26but I'm still aware of how marvellous this transition is,
1:17:26 > 1:17:30for instance, from the first subject to the second subject.
1:17:30 > 1:17:32All these technical things...
1:17:32 > 1:17:35I suppose, that's the same for any practical artist, isn't it?
1:17:35 > 1:17:38They must look at their own form being done by other people
1:17:38 > 1:17:42- and perhaps still be going... - I know. I know.
1:17:42 > 1:17:44You should really lose yourself, though.
1:17:44 > 1:17:47I've only heard the first movement,
1:17:47 > 1:17:51so I'm looking forward to hearing the other three tonight.
1:17:51 > 1:17:53And the first movement seems to be a direct...
1:17:53 > 1:17:57It was in the rehearsal I heard it and I heard it immediately after Beethoven's Ninth,
1:17:57 > 1:18:00so it seemed to me to be a direct nod
1:18:00 > 1:18:04- in Beethoven's direction. Is that...?- Yes, it's deliberate.
1:18:04 > 1:18:07The opening is a perfect fifth at the beginning which is the same.
1:18:07 > 1:18:09It goes in a different direction,
1:18:09 > 1:18:12but there were little references in each movement.
1:18:12 > 1:18:16In the first movement, there's a reference to the open fifths
1:18:16 > 1:18:19and in the second movement, which is the scherzo,
1:18:19 > 1:18:22there's these little gaps or these general pauses
1:18:22 > 1:18:24which are a bit like the scherzo.
1:18:24 > 1:18:27Although in the Beethoven, it's much more dramatic and more violent.
1:18:27 > 1:18:31In my piece, it's quite jazzy and sort of like a big band.
1:18:31 > 1:18:33In the third, slow movement,
1:18:33 > 1:18:37there's an inversion of a tune from the Beethoven slow movement.
1:18:37 > 1:18:40There's a wonderful tune I inverted. It works very well in inversion...
1:18:40 > 1:18:44And then in the last movement there's no reference.
1:18:44 > 1:18:48It actually references Beethoven's Seven, which is probably
1:18:48 > 1:18:50my favourite Beethoven symphony.
1:18:50 > 1:18:53The last movement which is his manic finale.
1:18:53 > 1:18:55That's more what it references.
1:18:55 > 1:18:59- Endless dancing... - Exactly. Endless dancing.
1:18:59 > 1:19:02Do you even construct a sort of from darkness to light
1:19:02 > 1:19:05or from chaos to order or from joy to...
1:19:05 > 1:19:07Yeah, I would do, but it's very vague.
1:19:07 > 1:19:11I mean, it would never be anything that was anything that specific.
1:19:11 > 1:19:13I think that I build it up gradually.
1:19:13 > 1:19:17In the structure, although I'm sort of aware of some place I'm going to,
1:19:17 > 1:19:18I'm quite willing to change it all,
1:19:18 > 1:19:21I'm quite willing to replace notes
1:19:21 > 1:19:23or change the structure.
1:19:23 > 1:19:27I mean, even in this piece, even the rehearsal today.
1:19:27 > 1:19:30In the second movement, I've added sort of 15 bars at the end
1:19:30 > 1:19:33with references back to the beginning of the movement
1:19:33 > 1:19:35because the end didn't work for me
1:19:35 > 1:19:40of the second movement. So, I'm always thinking, "This doesn't work."
1:19:40 > 1:19:43So, it's always a process of change all the time.
1:19:43 > 1:19:47APPLAUSE
1:19:47 > 1:19:51So, here is Vasily Petrenko coming on to conduct this new commission
1:19:51 > 1:19:53with the National Youth Orchestra of Great Britain.
1:19:53 > 1:19:56Mark-Anthony Turnage's Frieze.
1:26:40 > 1:26:43SILENCE
1:30:24 > 1:30:27SILENCE
1:41:47 > 1:41:51APPLAUSE
1:41:52 > 1:41:55Vasily Petrenko conducting the world premiere
1:41:55 > 1:41:57of Mark-Anthony Turnage's Frieze
1:41:57 > 1:42:01with The National Youth Orchestra of Great Britain, leader Roberto Ruisi.
1:42:01 > 1:42:03A new commission to celebrate
1:42:03 > 1:42:06the founding of the Royal Philharmonic Society 200 years ago.
1:42:06 > 1:42:09The work will also be played by the New York Philharmonic Orchestra
1:42:09 > 1:42:13in October, and I've no doubt will see plenty of life thereafter,
1:42:13 > 1:42:15possibly paired with the Ninth Symphony.
1:42:29 > 1:42:32CHEERING
1:43:00 > 1:43:03And here is Mark-Anthony Turnage, self-effacing as ever.
1:43:03 > 1:43:07He must be thrilled with that performance by these young players.
1:43:07 > 1:43:09He's one of the country's most successful composers,
1:43:09 > 1:43:12having written operas, orchestral works and chamber music,
1:43:12 > 1:43:15that are now played regularly all over the world.
1:43:18 > 1:43:21He's looking absolutely delighted.
1:43:22 > 1:43:25Well, that's the end of this evening's concert
1:43:25 > 1:43:28from the Royal Albert Hall.
1:43:28 > 1:43:31Tomorrow night on BBC One, BBC Two, Radio 3, on your Red Button
1:43:31 > 1:43:35and online, you can enjoy the party at the end of this Proms season.
1:43:35 > 1:43:38The Last Night with the conductor Marin Alsop starts at 7.30pm
1:43:38 > 1:43:41and promises to be wonderful
1:43:41 > 1:43:44with solo performances by violinist Nigel Kennedy
1:43:44 > 1:43:45and soprano Joyce DiDonato.
1:43:45 > 1:43:48Join Katie Derham on BBC Two to take part in the celebrations.
1:43:48 > 1:43:51From me, Simon Russell Beale, good night.
1:43:54 > 1:43:55Subtitles by Red Bee Media Ltd