0:00:31 > 0:00:33Tonight, we're rolling out the red carpet
0:00:33 > 0:00:36to welcome you to an evening of music from the movies.
0:00:36 > 0:00:39John Wilson and his orchestra are back, and this year
0:00:39 > 0:00:43they are playing the classics from the golden age of Hollywood.
0:00:43 > 0:00:46In the past, we've seen him take on Broadway, Rodgers and Hammerstein
0:00:46 > 0:00:48and the great MGM musicals.
0:00:48 > 0:00:52Tonight, in one of the most eagerly anticipated Proms of the year,
0:00:52 > 0:00:55the orchestra is in the spotlight with iconic film scores
0:00:55 > 0:00:59and songs by the great composers of the silver screen.
0:00:59 > 0:01:02Orchestral music is still at the heart of any Hollywood blockbuster -
0:01:02 > 0:01:05think of John Williams, Hans Zimmer and Danny Elfman -
0:01:05 > 0:01:10but today's composers build on a long and brilliant tradition.
0:01:10 > 0:01:13One of the greatest of the early trailblazers was Alfred Newman,
0:01:13 > 0:01:15the music director of 20th Century Fox.
0:01:15 > 0:01:18He's a massive figure in film music.
0:01:18 > 0:01:22He scored over 200 movies, he won nine Oscars.
0:01:22 > 0:01:25In a moment, we'll be hearing his overture
0:01:25 > 0:01:28to the gritty 1931 movie Street Scene.
0:01:28 > 0:01:31This propelled him to international stardom.
0:01:33 > 0:01:36But first, it's time to dim the lights and get the popcorn out -
0:01:36 > 0:01:40it's cinema's most famous fanfare, for 20th Century Fox.
0:01:40 > 0:01:43APPLAUSE
0:01:43 > 0:01:48And here is John Wilson himself,
0:01:48 > 0:01:51ready to get his Hollywood Rhapsody under way.
0:02:06 > 0:02:08MUSIC STARTS
0:08:19 > 0:08:22MUSIC STOPS
0:08:22 > 0:08:25APPLAUSE
0:08:27 > 0:08:30John Wilson bringing principal trumpet Mike Lovatt to his feet
0:08:30 > 0:08:33and the whole of the brass section there of the John Wilson Orchestra.
0:08:33 > 0:08:36That was Alfred Newman's Street Scene
0:08:36 > 0:08:40getting the Hollywood Rhapsody Prom off to a cracking start.
0:08:40 > 0:08:43One of the earliest orchestral movie scores.
0:08:43 > 0:08:45Next, a Bronislau Kaper piece called Confetti.
0:08:45 > 0:08:48MUSIC STARTS
0:11:10 > 0:11:12MUSIC STOPS
0:11:12 > 0:11:14APPLAUSE
0:11:14 > 0:11:16Confetti from an MGM romance
0:11:16 > 0:11:19called Forever, Darling starring James Mason.
0:11:19 > 0:11:22Bit of a turkey, but Kaper's score was great.
0:11:22 > 0:11:25Next we're going to hear the mysterious tale of a woman
0:11:25 > 0:11:28murdered in suspicious circumstances. This is called Laura.
0:11:32 > 0:11:34MUSIC STARTS
0:17:23 > 0:17:25MUSIC STOPS
0:17:25 > 0:17:27APPLAUSE
0:17:27 > 0:17:31Music by David Raksin from the 1944 murder-mystery Laura,
0:17:31 > 0:17:34played by the John Wilson Orchestra. And special applause
0:17:34 > 0:17:37for the principal trombone of the orchestra, Gordon Campbell.
0:17:37 > 0:17:40One of the world's greatest players, with that gorgeous, silky tone.
0:17:40 > 0:17:42And now one of the most famous
0:17:42 > 0:17:45and influential soundtracks on tonight's programme.
0:17:50 > 0:17:52MUSIC STARTS
0:24:22 > 0:24:24MUSIC STOPS
0:24:27 > 0:24:30APPLAUSE
0:24:30 > 0:24:33Of course, that shower scene. Chills every time.
0:24:33 > 0:24:37That was a suite from Hitchcock's Psycho by Bernard Herrmann.
0:24:42 > 0:24:44We're going to hear more music by Bernard Herrmann next.
0:24:44 > 0:24:48He didn't just write for Hitchcock, although he did love that.
0:24:48 > 0:24:50We're going to hear something from another classic of cinema,
0:24:50 > 0:24:53from Orson Welles' Citizen Kane.
0:24:55 > 0:24:57It's a cod-opera aria.
0:24:57 > 0:24:59It's from the sequence in which the newspaper mogul
0:24:59 > 0:25:01forces his talentless wife to sing.
0:25:01 > 0:25:04But there's nothing talentless about tonight's soloist.
0:25:04 > 0:25:08This is bright young soprano Venera Gimadieva.
0:25:08 > 0:25:10MUSIC STARTS
0:25:48 > 0:25:52# Ah, cruel
0:25:52 > 0:25:57# Tu m'as trop entendue
0:25:57 > 0:26:01# Les Dieux m'en sont temoins
0:26:01 > 0:26:06# Ces Dieux qui dans mon flanc
0:26:06 > 0:26:12# Ont allume le feu fatal
0:26:12 > 0:26:18# A tout mon sang
0:26:46 > 0:26:51# J'ai langui
0:26:51 > 0:26:59# J'ai mouri dans les larmes
0:27:02 > 0:27:08# J'ai seche
0:27:08 > 0:27:13# J'ai desespere
0:27:13 > 0:27:21# Dans les feux de tes charmes
0:27:21 > 0:27:29# O quelle angoisse tes yeux
0:27:29 > 0:27:37# Ont donne a toute mon ame
0:27:41 > 0:27:46# Ah, cruel!
0:27:49 > 0:27:53# Dites-moi comment que j'expie
0:27:53 > 0:27:58# Ce peche si fort
0:27:58 > 0:28:01# Toujours remplie
0:28:01 > 0:28:07# Je ne peux pas resister encore
0:28:07 > 0:28:11# O Dieux, arrachez-moi!
0:28:11 > 0:28:14# Ce feu fatal
0:28:14 > 0:28:21# Allume ma mort!
0:28:24 > 0:28:29# Voila mon coeur!
0:28:29 > 0:28:34# Voila mon coeur!
0:28:34 > 0:28:40# C'est la que ta main doit frapper
0:28:40 > 0:28:46# Voila mon coeur!
0:28:46 > 0:28:50# Frappe!
0:28:50 > 0:28:56# Prete-moi ton epee!
0:28:56 > 0:29:03# Frappe! #
0:29:13 > 0:29:15MUSIC STOPS
0:29:15 > 0:29:17APPLAUSE
0:29:17 > 0:29:20And yes, I think that was a top D.
0:29:20 > 0:29:24That was soloist Venera Gimadieva making her Proms and UK debut
0:29:24 > 0:29:27singing Bernard Herrmann's Salammbo Aria
0:29:27 > 0:29:31from the 1941 classic Citizen Kane.
0:29:31 > 0:29:34With the John Wilson Orchestra.
0:29:34 > 0:29:37What a way to start your career.
0:29:37 > 0:29:39Next, we're going to hear another complete classic,
0:29:39 > 0:29:42which changed the sound of Hollywood forever.
0:29:42 > 0:29:46This is Erich Korngold's score for the 1938 Errol Flynn vehicle
0:29:46 > 0:29:47The Adventures Of Robin Hood.
0:29:55 > 0:29:57MUSIC STARTS
0:33:54 > 0:33:56MUSIC STOPS
0:33:56 > 0:33:58APPLAUSE
0:34:06 > 0:34:08MUSIC STARTS
0:40:42 > 0:40:43MUSIC STOPS
0:40:43 > 0:40:45APPLAUSE
0:40:56 > 0:40:58MUSIC STARTS
0:46:03 > 0:46:05MUSIC STOPS
0:46:05 > 0:46:08APPLAUSE
0:46:08 > 0:46:11Music that would define the sound of the movies forever -
0:46:11 > 0:46:15Erich Korngold's colourful, symphonic and Oscar-winning score
0:46:15 > 0:46:19to the 1938 film, The Adventures Of Robin Hood.
0:46:19 > 0:46:22The whole orchestra being brought to their feet,
0:46:22 > 0:46:25particular applause for principal cellist Jonathan Aasgaard.
0:46:25 > 0:46:27It's a piece the orchestra told me earlier
0:46:27 > 0:46:30was one of the hardest they've ever played.
0:46:32 > 0:46:35You know, someone once said to Andre Previn, the conductor, that,
0:46:35 > 0:46:37"Korngold sounds like Hollywood."
0:46:37 > 0:46:40"Oh, no," he said, "Hollywood sounds like Korngold."
0:46:49 > 0:46:51Well, it's the interval of tonight's concert now.
0:46:51 > 0:46:54It has been a whirlwind journey through the ages,
0:46:54 > 0:46:56from the 1930s to the 1960s.
0:46:56 > 0:46:59We've had thrills, we've had romance, drama and danger.
0:46:59 > 0:47:01Even without the pictures,
0:47:01 > 0:47:05you really can see just how much the music makes a movie.
0:47:05 > 0:47:07John Wilson spends the best part of eight months
0:47:07 > 0:47:09preparing for his annual Proms concert -
0:47:09 > 0:47:14planning which material to use and painstakingly restoring lost scores.
0:47:14 > 0:47:15We caught up with him
0:47:15 > 0:47:19to find out how he turns all that hard work into Hollywood glamour.
0:47:19 > 0:47:23# There's no business like show business
0:47:23 > 0:47:26# Like no business I know... #
0:47:26 > 0:47:29Someone once said that to achieve success in your field
0:47:29 > 0:47:32you have to find the drudgery enjoyable.
0:47:32 > 0:47:34And I think there's a lot in that.
0:47:34 > 0:47:38I sit and spend lots of time studying scores, writing scores,
0:47:38 > 0:47:41looking into where I might be able to find
0:47:41 > 0:47:43material that's been lost, mislaid.
0:47:43 > 0:47:45I think Colin Davis said,
0:47:45 > 0:47:49"Conductors are paid to sit at home and think about the music."
0:47:49 > 0:47:53And a lot of the most important work that one does is just sitting there,
0:47:53 > 0:47:57thinking and planning, and absorbing the music.
0:47:57 > 0:47:59When you're planning a programme like this,
0:47:59 > 0:48:01there are so many things which come into play.
0:48:01 > 0:48:04ORCHESTRA PLAYS
0:48:04 > 0:48:06Cos it's very easy to be too close to something,
0:48:06 > 0:48:09to spend weeks and weeks looking at the detail
0:48:09 > 0:48:12and to be missing something fairly obvious.
0:48:14 > 0:48:18As I did actually last year when we did the Broadway Sound.
0:48:18 > 0:48:23In the final rehearsal, the drummer came up to me and he said,
0:48:23 > 0:48:26"You need to end the first half with Slaughter On Tenth Avenue."
0:48:26 > 0:48:29And swap that with Seven And A Half Cents,
0:48:29 > 0:48:32which was originally the finale of the first act.
0:48:32 > 0:48:33I just hadn't seen it.
0:48:33 > 0:48:36I hadn't seen what was obvious - it would bring the house down.
0:48:36 > 0:48:39ORCHESTRA PLAYS
0:48:49 > 0:48:51WILD APPLAUSE
0:48:51 > 0:48:54For years, audiences have been starved
0:48:54 > 0:48:57of light entertainment at its best.
0:48:57 > 0:49:01And when I say, "at its best," I'm not saying I'm the best at what I do.
0:49:01 > 0:49:05But I do take it very seriously. And I take as much care
0:49:05 > 0:49:08over presenting a Fred Astaire dance number
0:49:08 > 0:49:12as others would a Brahms German requiem.
0:49:12 > 0:49:15For the past five years, we've done takes on
0:49:15 > 0:49:19various different sorts of musicals, stage musicals, film musicals.
0:49:19 > 0:49:23And I felt that change of emphasis this year would be no bad thing.
0:49:23 > 0:49:26I think quite a lot of the early composers, the pioneers,
0:49:26 > 0:49:27were real composers.
0:49:27 > 0:49:32Miklos Rozsa, Korngold, they wrote concert music, concertos, operas.
0:49:32 > 0:49:36And then they happened to find themselves with nice movie contracts,
0:49:36 > 0:49:39which gave them a big, fat livelihood.
0:49:41 > 0:49:43The Robin Hood suite, I think,
0:49:43 > 0:49:46is one of his strongest scores.
0:49:46 > 0:49:50Like so many pieces in this concert, it doesn't sound, to me,
0:49:50 > 0:49:53like music written for a movie.
0:49:53 > 0:49:57They're set-pieces which are used in films.
0:49:59 > 0:50:05With Korngold, Max Steiner is the sound of those 1940s Warners' movies.
0:50:05 > 0:50:10Particularly the melodramas with Humphrey Bogart.
0:50:10 > 0:50:12All right, Major, you asked for it.
0:50:12 > 0:50:17And without his sweeping, melodramatic,
0:50:17 > 0:50:19Wagnerian-inspired music,
0:50:19 > 0:50:21I don't think those pictures would pack half the punch.
0:50:28 > 0:50:32# Somewhere over the rainbow... #
0:50:32 > 0:50:35For the past five years, we've given programmes,
0:50:35 > 0:50:37which have been based around songs
0:50:37 > 0:50:42and I didn't want the orchestra just to become a backing band for singers,
0:50:42 > 0:50:44however great those singers are
0:50:44 > 0:50:46and however much we love the material.
0:50:46 > 0:50:48There are other things that we can and should be doing.
0:50:48 > 0:50:50ORCHESTRA PLAYS
0:50:50 > 0:50:55The set-up of my orchestra is the old Hollywood studio orchestra.
0:50:55 > 0:50:57A symphony orchestra with a dance band in the middle.
0:50:57 > 0:51:02And these luscious Hollywood film scores, which are very well-known,
0:51:02 > 0:51:07provide us with an opportunity to really show the orchestra off.
0:51:07 > 0:51:10ORCHESTRA PLAYS
0:51:10 > 0:51:13Quite a lot of the players in the orchestra have been asking for years
0:51:13 > 0:51:16to have a go at the Tom and Jerry cartoon scores,
0:51:16 > 0:51:19which are by a brilliant man called Scott Bradley.
0:51:19 > 0:51:22I do think that these players have made a rod for their own backs
0:51:22 > 0:51:25to a certain extent, because it's terribly difficult music to play.
0:51:25 > 0:51:29It's right on the edge of sort of playability.
0:51:29 > 0:51:32I don't know if we'll be able to play it. It's so fast, some of it.
0:51:32 > 0:51:37But we'll give it our best shot. Yeah, I'm excited. We're all excited.
0:51:37 > 0:51:39Em... And it'll be on the edge.
0:51:39 > 0:51:42But...why play safe?
0:51:43 > 0:51:45Well, only a matter of moments now
0:51:45 > 0:51:48until John Wilson comes back on stage to begin part two
0:51:48 > 0:51:50of tonight's Hollywood Rhapsody Prom.
0:51:50 > 0:51:52Lots more to come tonight though.
0:51:52 > 0:51:54We've got Ben-Hur, we've got Tom and Jerry.
0:51:54 > 0:51:56But first, we're off to the Wild West,
0:51:56 > 0:52:02with Jerome Moross' suitably epic score to The Big Country from 1958.
0:52:02 > 0:52:04Moross was something of a one-hit wonder,
0:52:04 > 0:52:07but the music he created for this film with the dream casting
0:52:07 > 0:52:10of Gregory Peck, Jean Simmons and Charlton Heston
0:52:10 > 0:52:13would forever be associated with Westerns.
0:52:13 > 0:52:16He wrote it for a huge orchestra of over 90 players,
0:52:16 > 0:52:20and so tonight the full forces of the John Wilson Orchestra
0:52:20 > 0:52:23will be unleashed to bring this score to life.
0:52:23 > 0:52:26APPLAUSE
0:52:26 > 0:52:27And here he comes, John Wilson,
0:52:27 > 0:52:31to conduct the John Wilson Orchestra in The Big Country by Jerome Moross.
0:52:44 > 0:52:46MUSIC STARTS
0:55:52 > 0:55:55MUSIC STOPS
0:55:55 > 0:55:57APPLAUSE
0:55:59 > 0:56:02The Big Country by Jerome Moross.
0:56:02 > 0:56:05A sparkling performance by the John Wilson Orchestra.
0:56:05 > 0:56:11And a great start to the second half of this Hollywood Rhapsody Prom.
0:56:12 > 0:56:15Next, we have a classic score to a classic film,
0:56:15 > 0:56:18Max Steiner's unforgettable music from Casablanca.
0:56:20 > 0:56:22MUSIC STARTS
1:04:56 > 1:04:58MUSIC STOPS
1:04:58 > 1:05:00APPLAUSE
1:05:00 > 1:05:03Music from the 1942 film Casablanca
1:05:03 > 1:05:07and applause there for our very own Sam,
1:05:07 > 1:05:11Matthew Regan, who played it again for us.
1:05:11 > 1:05:13Next, we have a real treat in store.
1:05:13 > 1:05:15Star soloists Jane Monheit and Matthew Ford
1:05:15 > 1:05:18will be performing a medley of no fewer than 11 songs.
1:05:18 > 1:05:21They're going to be channelling Frank Sinatra, Doris Day and many others.
1:05:21 > 1:05:23We'll be Young At Heart.
1:05:23 > 1:05:28It should be An Affair To Remember and, if not, well, Que Sera, Sera.
1:05:28 > 1:05:30MUSIC STARTS
1:05:36 > 1:05:42# A love affair
1:05:42 > 1:05:47# Is a wondrous thing
1:05:47 > 1:05:51# That we'll rejoice
1:05:51 > 1:05:56# In remembering
1:05:56 > 1:06:00# Our love was born
1:06:00 > 1:06:05# With our first embrace
1:06:05 > 1:06:09# And a page was torn
1:06:09 > 1:06:13# Out of time and space
1:06:13 > 1:06:18# Our love affair
1:06:18 > 1:06:23# May it always be
1:06:23 > 1:06:26# A flame to burn
1:06:26 > 1:06:31# Through eternity
1:06:31 > 1:06:35# So take my hand
1:06:35 > 1:06:40# With a fervent prayer
1:06:40 > 1:06:45# That we may live
1:06:45 > 1:06:49# And we may share
1:06:49 > 1:06:53# Our love affair
1:06:53 > 1:07:01# To remember. #
1:07:12 > 1:07:17# When an irresistible force such as you
1:07:17 > 1:07:23# Meets an old immovable object like me
1:07:23 > 1:07:28# You can bet just as sure as you live
1:07:28 > 1:07:30# Somethin's gotta give Somethin's gotta give
1:07:30 > 1:07:33# Somethin's gotta give
1:07:33 > 1:07:39# When an irrepressible smile such as yours
1:07:39 > 1:07:44# Warms an old implacable heart such as mine
1:07:44 > 1:07:50# Don't say no because I insist
1:07:50 > 1:07:54# Somewhere somehow someone's gotta be kissed
1:07:54 > 1:07:57# So en garde
1:07:57 > 1:08:01# Who knows what the fates might have in store
1:08:01 > 1:08:06# From their vast mysterious sky?
1:08:06 > 1:08:11# I'll try hard ignorin' those lips that I adore
1:08:11 > 1:08:17# But how hard can anyone try?
1:08:17 > 1:08:20# Fight, fight, fight, fight Fight it
1:08:20 > 1:08:22# With all of our might
1:08:22 > 1:08:28# Chances are some heavenly star-spangled night
1:08:28 > 1:08:33# We'll find out just as sure as we live
1:08:33 > 1:08:35# Somethin's gotta give Somethin's gotta give
1:08:35 > 1:08:39# Somethin's gotta give. #
1:08:42 > 1:08:46# Fairy tales can come true
1:08:46 > 1:08:49# It can happen to you
1:08:49 > 1:08:55# If you're young at heart
1:08:55 > 1:08:58# For it's hard you will find
1:08:58 > 1:09:01# To be narrow of mind
1:09:01 > 1:09:07# If you're young at heart
1:09:07 > 1:09:10# And if you should survive
1:09:10 > 1:09:13# To 105
1:09:13 > 1:09:16# Look at all you derive
1:09:16 > 1:09:19# Out of being alive
1:09:19 > 1:09:22# And here is the best part
1:09:22 > 1:09:25# You'll have a head start
1:09:25 > 1:09:30# If you are among the very young
1:09:30 > 1:09:35# At heart. #
1:09:47 > 1:09:50# You sigh, the song begins
1:09:50 > 1:09:54# You speak and I hear violins
1:09:54 > 1:09:58# It's magic
1:09:59 > 1:10:03# The stars desert the skies
1:10:03 > 1:10:06# And rush to nestle in your eyes
1:10:06 > 1:10:10# It's magic
1:10:10 > 1:10:14# Without a golden wand
1:10:15 > 1:10:20# Or mystic charms
1:10:20 > 1:10:23# Fantastic things begin
1:10:23 > 1:10:32# When I am in your arms
1:10:35 > 1:10:38# When we walk hand-in-hand
1:10:38 > 1:10:42# The world becomes a wonderland
1:10:42 > 1:10:46# It's magic
1:10:48 > 1:10:52# How else can I explain the rainbows
1:10:52 > 1:10:55# When there is no rain?
1:10:55 > 1:10:59# It's magic
1:10:59 > 1:11:04# Why do I tell myself
1:11:04 > 1:11:06# These things that happen
1:11:06 > 1:11:11# Can really be true?
1:11:12 > 1:11:16# When in my heart I know
1:11:16 > 1:11:19# The magic
1:11:19 > 1:11:25# Is my love for you. #
1:11:31 > 1:11:36# You see a pair of laughing eyes
1:11:36 > 1:11:40# Suddenly your sighing sighs
1:11:40 > 1:11:43# You're thinking nothing's wrong You string along, boy
1:11:43 > 1:11:46# Then snap!
1:11:47 > 1:11:50# Those eyes, those sighs
1:11:50 > 1:11:53# They're part of the tender trap
1:11:55 > 1:12:00# You're hand-in-hand beneath the trees
1:12:00 > 1:12:04# Soon there's music in the breeze
1:12:04 > 1:12:06# You're acting kind of smart
1:12:06 > 1:12:10# Until your heart just goes wap!
1:12:12 > 1:12:14# Those trees, that breeze
1:12:14 > 1:12:17# They're part of the tender trap
1:12:19 > 1:12:23# Some starry night
1:12:23 > 1:12:28# When her kisses make you tingle
1:12:28 > 1:12:31# She'll hold you tight
1:12:31 > 1:12:34# And you'll hate yourself for
1:12:34 > 1:12:37# Being single
1:12:37 > 1:12:41# And all at once it seems so nice
1:12:41 > 1:12:45# The folks are throwing shoes and rice
1:12:45 > 1:12:47# You hurry to a spot
1:12:47 > 1:12:51# That's just a dot on the map!
1:12:52 > 1:12:57# And then you wonder how it all came about
1:12:57 > 1:13:01# It's too late now There's no getting out
1:13:01 > 1:13:03# You fell in love
1:13:03 > 1:13:09# And love is the tender trap. #
1:13:15 > 1:13:19# The night is like a lovely tune
1:13:20 > 1:13:25# Beware my foolish heart
1:13:25 > 1:13:31# How white the ever-constant moon
1:13:31 > 1:13:34# Take care
1:13:34 > 1:13:37# My foolish heart
1:13:37 > 1:13:40# There's a line
1:13:40 > 1:13:43# Between love and fascination
1:13:43 > 1:13:45# That's hard to see
1:13:45 > 1:13:48# On an evening such as this
1:13:48 > 1:13:51# For they both give
1:13:51 > 1:13:53# The very same sensation
1:13:53 > 1:13:56# When you're lost
1:13:56 > 1:14:00# In the magic of a kiss
1:14:00 > 1:14:03# His lips
1:14:03 > 1:14:06# Are much too close to mine
1:14:06 > 1:14:11# Beware my foolish heart
1:14:11 > 1:14:15# But should our eager lips combine
1:14:15 > 1:14:21# Then let the fire start
1:14:21 > 1:14:23# For this time
1:14:23 > 1:14:27# It isn't fascination
1:14:27 > 1:14:33# Or a dream that will fade and fall apart
1:14:34 > 1:14:37# It's love
1:14:37 > 1:14:40# This time it's love
1:14:40 > 1:14:48# My foolish heart. #
1:14:56 > 1:15:00# Three coins in the fountain
1:15:00 > 1:15:05# Each one seeking happiness
1:15:05 > 1:15:08# Thrown by three hopeful lovers
1:15:08 > 1:15:11# Which one will the fountain bless?
1:15:12 > 1:15:16# Which one will the fountain bless?
1:15:16 > 1:15:22# Which one will the fountain bless?
1:15:22 > 1:15:30# Once on a high and windy hill
1:15:30 > 1:15:33# In the morning mist
1:15:33 > 1:15:35# Two lovers kissed
1:15:35 > 1:15:38# And the world stood still
1:15:38 > 1:15:41# Then your fingers touched
1:15:41 > 1:15:44# My silent heart
1:15:44 > 1:15:49# And taught it how to sing
1:15:49 > 1:15:53# Yes, true love's
1:15:53 > 1:15:57# A many-splendoured
1:15:57 > 1:15:59# Thing. #
1:16:01 > 1:16:05# When the moon hits your eye Like a big pizza pie
1:16:05 > 1:16:07# That's amore
1:16:09 > 1:16:13# When you dance down the street With a cloud at your feet
1:16:13 > 1:16:16# You're in love
1:16:17 > 1:16:21# When you walk in a dream But you know you're not dreaming
1:16:21 > 1:16:23# Signor
1:16:24 > 1:16:28# Scusa mi, but you see Back in old Napoli
1:16:28 > 1:16:31# That's amore. #
1:16:32 > 1:16:36# When I was just a little girl
1:16:36 > 1:16:41# I asked my mother what I will I be?
1:16:41 > 1:16:43# Will I be pretty?
1:16:43 > 1:16:45# Will I be rich?
1:16:45 > 1:16:48# Here's what she said to me
1:16:48 > 1:16:51# Que sera, sera
1:16:51 > 1:16:55# Whatever will be will be
1:16:55 > 1:16:59# The future's not ours to see
1:16:59 > 1:17:03# Que sera, sera
1:17:03 > 1:17:07# What will be will be
1:17:07 > 1:17:11# Que sera, sera. #
1:17:27 > 1:17:31# When somebody loves you
1:17:31 > 1:17:38# It's no good unless she loves you
1:17:38 > 1:17:43# All the way
1:17:43 > 1:17:46# Happy to be near you
1:17:46 > 1:17:50# When you need someone to cheer you
1:17:50 > 1:17:54# All the way
1:17:56 > 1:18:02# Taller than the tallest tree is
1:18:03 > 1:18:08# That's how it's got to feel
1:18:08 > 1:18:15# Deeper than the deep blue sea is
1:18:15 > 1:18:18# That's how deep it goes
1:18:18 > 1:18:21# If it's real
1:18:21 > 1:18:24# When somebody needs you
1:18:24 > 1:18:28# It's no good unless they need you
1:18:28 > 1:18:33# All the way
1:18:33 > 1:18:36# Through the good or lean years
1:18:36 > 1:18:41# And for all the in-between years
1:18:41 > 1:18:46# Come what may
1:18:46 > 1:18:49BOTH: # Who knows
1:18:49 > 1:18:52# Where the road will lead us
1:18:52 > 1:18:59# Only a fool would say
1:18:59 > 1:19:01# But if you'll let me love you
1:19:01 > 1:19:05# It's for sure I'm gonna love you
1:19:05 > 1:19:11# All the way
1:19:11 > 1:19:15BOTH: # All
1:19:15 > 1:19:19# The
1:19:19 > 1:19:31# Way. #
1:19:39 > 1:19:42CHEERING AND APPLAUSE
1:19:45 > 1:19:47An embarrassment of Hollywood riches there
1:19:47 > 1:19:49in that movie theme song medley,
1:19:49 > 1:19:53performed by soloists Jane Monheit, making her Proms debut,
1:19:53 > 1:19:55and Matthew Ford.
1:19:55 > 1:19:57With John Wilson and his Orchestra.
1:20:15 > 1:20:18MUSIC STARTS
1:28:29 > 1:28:31MUSIC STOPS
1:28:31 > 1:28:34APPLAUSE
1:28:34 > 1:28:37Franz Waxman's Suite from A Place In The Sun
1:28:37 > 1:28:40performed by John Wilson and his Orchestra,
1:28:40 > 1:28:45with those great solos for sax played by Howard McGill.
1:28:45 > 1:28:48Next, we've got music that is instantly recognisable -
1:28:48 > 1:28:51we rarely listen to it properly, though.
1:28:51 > 1:28:54You know, it's some of the trickiest and most virtuosic music ever written
1:28:54 > 1:28:56and it is the percussion section's big moment.
1:28:56 > 1:28:59So watch out for what they're about to perform for you.
1:28:59 > 1:29:02It's Scott Bradley's music for Tom and Jerry.
1:29:08 > 1:29:11MUSIC STARTS
1:31:23 > 1:31:26Argh!
1:32:34 > 1:32:35Argh!
1:33:24 > 1:33:26HE SNORES IN
1:33:26 > 1:33:28HE WHISTLES OUT
1:33:28 > 1:33:30HE SNORES IN
1:33:30 > 1:33:32HE WHISTLES OUT
1:34:01 > 1:34:03GUNSHOT
1:34:34 > 1:34:36Argh!
1:34:38 > 1:34:40- Ow!- Argh!
1:34:40 > 1:34:42- Ow!- Ow!- Ooh!- Ow!
1:34:42 > 1:34:44Argh!
1:34:50 > 1:34:54THEY BARK LIKE DOGS
1:35:17 > 1:35:19MUSIC STOPS
1:35:19 > 1:35:21CHEERING AND APPLAUSE
1:35:21 > 1:35:25Rarely have you seen a percussion section have so much fun.
1:35:25 > 1:35:27That was David Jackson firing the gun,
1:35:27 > 1:35:30Steve Henderson smashing most of the crockery
1:35:30 > 1:35:33- and now chasing each other offstage. - SHE LAUGHS
1:35:33 > 1:35:36That was Scott Bradley's music for Tom and Jerry.
1:35:39 > 1:35:45Well, we are nearly at the end of tonight's Hollywood Rhapsody,
1:35:45 > 1:35:51here at the BBC Proms, but we have got a truly epic finale.
1:35:51 > 1:35:52Next, we're going to hear
1:35:52 > 1:35:55Miklos Rozsa's Oscar-winning score to Ben-Hur.
1:35:55 > 1:35:57APPLAUSE CONTINUES
1:36:17 > 1:36:21LAUGHTER
1:36:21 > 1:36:24APPLAUSE
1:36:29 > 1:36:31MUSIC STARTS
1:40:10 > 1:40:12MUSIC STOPS
1:40:12 > 1:40:14APPLAUSE
1:40:18 > 1:40:21MUSIC STARTS
1:44:10 > 1:44:12MUSIC STOPS
1:44:12 > 1:44:15CHEERING AND APPLAUSE
1:44:20 > 1:44:23Miklos Rozsa's Oscar-winning score to Ben-Hur,
1:44:23 > 1:44:27bringing to a close John Wilson's Hollywood Rhapsody
1:44:27 > 1:44:29here at the BBC Proms.
1:44:31 > 1:44:34They have been seriously put through their paces,
1:44:34 > 1:44:39in some of the grandest symphonic music written in the last 100 years.
1:44:39 > 1:44:41The whole orchestra on their feet.
1:44:43 > 1:44:46Not forgetting organist Richard Hills, who was playing there.
1:44:46 > 1:44:49He's been a star of his own solo Prom already.
1:44:51 > 1:44:55These musicians really are the best of the best.
1:44:55 > 1:44:57They're hand-picked by John Wilson.
1:44:57 > 1:45:01At the latest count, I think I've spotted nine orchestral leaders
1:45:01 > 1:45:04in the first violins alone - that's how good they are.
1:45:04 > 1:45:06APPLAUSE CONTINUES
1:45:19 > 1:45:22The sell-out audience here at the Royal Albert Hall,
1:45:22 > 1:45:25nearly 6,000 of them, cheering John Wilson
1:45:25 > 1:45:28as he comes back on to the stage.
1:45:32 > 1:45:35Enjoying tonight's Prom almost as much as the orchestra themselves.
1:45:37 > 1:45:39Are we going to get an encore?
1:45:49 > 1:45:51It just so happens...
1:45:51 > 1:45:53LAUGHTER
1:46:01 > 1:46:03MUSIC STARTS
1:50:57 > 1:50:59MUSIC STOPS
1:50:59 > 1:51:01CHEERING AND APPLAUSE
1:51:12 > 1:51:15The John Wilson Orchestra's encore tonight,
1:51:15 > 1:51:17the Ride Of The Cossacks by Franz Waxman
1:51:17 > 1:51:20from his score to the 1962 epic, Taras Bulba.
1:51:25 > 1:51:29But that really does bring our Hollywood Rhapsody Prom to an end.
1:51:29 > 1:51:32And as the crowd continues to cheer John Wilson and his orchestra,
1:51:32 > 1:51:36from all of us here at the Royal Albert Hall, a very good night.
1:52:04 > 1:52:09Subtitles by Red Bee Media Ltd