0:00:02 > 0:00:04So, you've bought your tickets for the cinema,
0:00:04 > 0:00:06the lights have gone down, and out of the darkness comes...
0:00:08 > 0:00:10..music.
0:00:10 > 0:00:13Almost every movie starts with music which gives us a tremendous
0:00:13 > 0:00:16amount of information about the film we're going to see.
0:00:16 > 0:00:20About its actions, its moods, its characters.
0:00:20 > 0:00:22And tonight we're going to here the best of it,
0:00:22 > 0:00:27courtesy of conductor Keith Lockhart and the BBC Concert Orchestra.
0:00:27 > 0:00:29Welcome to the Film Music Prom.
0:00:59 > 0:01:02This evening the great dome of the Royal Albert Hall
0:01:02 > 0:01:05will try to contain the sounds of Britain at War
0:01:05 > 0:01:07and the wonder, horror and mystery of outer space
0:01:07 > 0:01:12as we've heard them in so many classic movie soundtracks.
0:01:12 > 0:01:14I've always loved movie music,
0:01:14 > 0:01:17and it's a special privilege to hear it like this - in concert.
0:01:17 > 0:01:19To see how the orchestra's used
0:01:19 > 0:01:22and to relive the great moments of cinema.
0:01:22 > 0:01:25Film music is a persuasive sound that speaks to everybody.
0:01:25 > 0:01:28When we hear it we immediately understand what it's telling us,
0:01:28 > 0:01:31it helps us to believe in a story we don't know,
0:01:31 > 0:01:34or a fantasy setting we haven't seen before.
0:01:34 > 0:01:37We'll be treated to some all-time classic space movie soundtracks
0:01:37 > 0:01:39from Alien to Independence Day,
0:01:39 > 0:01:42to probably the best-known piece of film music ever,
0:01:42 > 0:01:44the suite from Star Wars.
0:01:44 > 0:01:47Before that, we celebrate the great works and composers
0:01:47 > 0:01:48of wartime Britain,
0:01:48 > 0:01:50including Richard Addinsell's
0:01:50 > 0:01:52marvellous Warsaw Concerto.
0:01:52 > 0:01:54During the Second World War and beyond,
0:01:54 > 0:01:57music was supporting strongly patriotic films
0:01:57 > 0:02:00that convinced British audiences to fight on against Hitler,
0:02:00 > 0:02:04or retrospectively glorified the exploits of the winning side.
0:02:04 > 0:02:07Coming up shortly, William Walton's music for Battle of Britain,
0:02:07 > 0:02:12a 1969 film depicting the heroic events of 1940.
0:02:12 > 0:02:14It's a score that was in fact rejected
0:02:14 > 0:02:17by the United Artists studio, supposedly for being too short,
0:02:17 > 0:02:20and a replacement - an excellent one, as it happens -
0:02:20 > 0:02:22commissioned from Ron Goodwin.
0:02:22 > 0:02:25But protests by the film's star Laurence Olivier
0:02:25 > 0:02:27meant that a couple of segments did eventually make it
0:02:27 > 0:02:29into the final cut.
0:02:29 > 0:02:31But we begin tonight's Prom
0:02:31 > 0:02:35with William Alwyn's march from The True Glory,
0:02:35 > 0:02:39a documentary feature directed by the great Carol Reed amongst others,
0:02:39 > 0:02:43and released in 1945 to mark the Allies' defeat of Germany.
0:02:43 > 0:02:47I don't seem to be able to remember anything but the French people.
0:02:47 > 0:02:51People beside the road, kids we couldn't stop to give candy to,
0:02:51 > 0:02:54FFI boys bringing in the Krauts from the fields,
0:02:54 > 0:02:57and farm workers waving as we went by.
0:02:57 > 0:03:00Alwyn composed over 70 film scores during the '40s and '50s
0:03:00 > 0:03:03including Odd Man Out and Desert Victory,
0:03:03 > 0:03:06but this march is inspired by his time working -
0:03:06 > 0:03:10along with other composers including William Walton and Vaughan Williams -
0:03:10 > 0:03:15for the British Army Film Unit, composing for propaganda films.
0:03:15 > 0:03:16It's stirring stuff.
0:03:18 > 0:03:20APPLAUSE
0:03:22 > 0:03:26So, conductor Keith Lockhart joins the BBC Concert Orchestra
0:03:26 > 0:03:30to kick off tonight's Film Music Prom at the Royal Albert Hall,
0:03:30 > 0:03:33with William Alwyn's march from The True Glory.
0:06:27 > 0:06:29APPLAUSE
0:06:29 > 0:06:32William Alwyn's march from The True Glory.
0:06:32 > 0:06:34Next up, William Walton's music originally intended
0:06:34 > 0:06:37as the soundtrack to the 1969 film Battle of Britain.
0:17:38 > 0:17:40APPLAUSE
0:17:43 > 0:17:46William Walton's original score for Battle of Britain.
0:17:46 > 0:17:49And yes, you did hear a cheeky quote from Wagner in there.
0:17:49 > 0:17:51Upon hearing the decision to drop Walton,
0:17:51 > 0:17:53Director Guy Hamilton had shouted,
0:17:53 > 0:17:57"Next you'll want Frank Sinatra to sing Spitfires In The Night!"
0:18:07 > 0:18:11And now, a complete change of mood - a piece that's an oasis of calm,
0:18:11 > 0:18:14if you like, amongst the sounds of war.
0:18:14 > 0:18:17Last year the great British composer Sir Richard Rodney Bennett
0:18:17 > 0:18:20died at his home in New York at the age of 76.
0:18:20 > 0:18:23He left behind him a body of work that is the envy of any composer -
0:18:23 > 0:18:27rich, challenging concert works, superb jazz compositions
0:18:27 > 0:18:30and over 50 scores for film and TV,
0:18:30 > 0:18:32three of which were nominated for Oscars.
0:18:32 > 0:18:35His superb period music for Murder on the Orient Express
0:18:35 > 0:18:38was played at the last Film Music Prom in 2011,
0:18:38 > 0:18:41but this time we turn to a score that is full of romantic yearning
0:18:41 > 0:18:44and warm, filmic breadth.
0:18:44 > 0:18:49Lady Caroline Lamb is a 1972 film written and directed by Robert Bolt,
0:18:49 > 0:18:51concerning the life of the notorious wife
0:18:51 > 0:18:53of Prime Minister Lord Melbourne,
0:18:53 > 0:18:55who counted Lord Byron amongst her many lovers.
0:18:55 > 0:18:57Sir Richard's music was critically acclaimed
0:18:57 > 0:19:00whilst the film itself was not, to say the least.
0:19:03 > 0:19:06And here to play the Elegy for Lady Caroline
0:19:06 > 0:19:09that Sir Richard Rodney Bennett created from the themes of the film,
0:19:09 > 0:19:13is viola soloist Lawrence Power with conductor Keith Lockhart.
0:19:29 > 0:19:32ORCHESTRA TUNES INSTRUMENTS
0:36:20 > 0:36:23APPLAUSE
0:36:31 > 0:36:34Richard Rodney Bennett's Elegy for Lady Caroline Lamb.
0:36:34 > 0:36:36The viola player was Lawrence Power.
0:36:36 > 0:36:39And that's the beauty of a concert like tonight's -
0:36:39 > 0:36:43the rediscovery of a great work for viola in its own right.
0:37:26 > 0:37:29Leighton Lucas was a British composer of film and concert works
0:37:29 > 0:37:31who was much admired by Benjamin Britten.
0:37:31 > 0:37:35he scored several war movies, and tonight we will hear the march
0:37:35 > 0:37:39he adapted from his score for 1958's Ice Cold in Alex.
0:40:27 > 0:40:29APPLAUSE
0:40:29 > 0:40:33Leighton Lucas's march from the soundtrack of Ice Cold in Alex.
0:40:33 > 0:40:35The suspenseful tone of the film's score
0:40:35 > 0:40:38breaking out into raucous celebration there, as the heroes,
0:40:38 > 0:40:42including John Mills and Sylvia Sims, outwit the Afrika Corps
0:40:42 > 0:40:46and finally approach the Ice Cold lager that awaits them in Alexandria.
0:40:51 > 0:40:54And so to our final piece of the first half,
0:40:54 > 0:40:56and a score that can claim to have done more than its fair share
0:40:56 > 0:40:59of propaganda work during the Second World War.
0:40:59 > 0:41:03Dangerous Moonlight was a hugely popular 1941 romantic weepy
0:41:03 > 0:41:06about a Polish concert pianist, played by Anton Walbrook,
0:41:06 > 0:41:09who joins the RAF and is wounded in action.
0:41:09 > 0:41:12PIANO CONCERTO PLAYS
0:41:20 > 0:41:23It's not safe to be out alone when the moon is so bright.
0:41:23 > 0:41:25Can someone tell that to those Germans up there?
0:41:25 > 0:41:26They couldn't have heard you.
0:41:26 > 0:41:28Oh, them? They never fly alone.
0:41:29 > 0:41:32Come in, please. Close the door.
0:41:32 > 0:41:34What raised the film above the ordinary was the music
0:41:34 > 0:41:36the lead character played,
0:41:36 > 0:41:38a piano concerto written especially for the film
0:41:38 > 0:41:41by Richard Addinsell called the Warsaw Concerto.
0:41:41 > 0:41:43It had echoes of Rachmaninov,
0:41:43 > 0:41:46but still felt quintessentially British.
0:41:46 > 0:41:47RADIO: This is the BBC Home Service.
0:41:47 > 0:41:50Switch off the wireless. Quickly, switch it off!
0:41:50 > 0:41:51What's the matter?
0:41:51 > 0:41:53The lights, too.
0:41:53 > 0:41:56PIANO CONCERTO PLAYS
0:42:09 > 0:42:11You know what it is, that music?
0:42:11 > 0:42:14Yes, Warsaw Concerto. I've got the records.
0:42:14 > 0:42:17This may be the miracle we were talking about.
0:42:17 > 0:42:18It may.
0:42:18 > 0:42:20- I'd like to see it.- Come on.
0:42:20 > 0:42:22The recording, by Louis Kentner,
0:42:22 > 0:42:25the off-screen pianist in the film, sold in its thousands,
0:42:25 > 0:42:27and the piece became a staple of the concert platform
0:42:27 > 0:42:31because it showed wartime Britain a picture of itself that it liked -
0:42:31 > 0:42:35determined, brave, yet warm, passionate and honourable -
0:42:35 > 0:42:39unlike the cold, robotic killers they were facing across the Channel.
0:42:39 > 0:42:41Listen.
0:42:41 > 0:42:44HE PLAYS WARSAW CONCERTO
0:42:57 > 0:43:01PLANES DRONE
0:43:01 > 0:43:02BOMB WHISTLES
0:43:02 > 0:43:03EXPLOSION
0:43:03 > 0:43:06Following the success of the film and its score,
0:43:06 > 0:43:09a whole slew of British films arrived in the late '40s
0:43:09 > 0:43:11with music at their heart.
0:43:11 > 0:43:14Love Story, featuring Hubert Bath's Cornish Rhapsody,
0:43:14 > 0:43:18The Glass Mountain, with a mini-symphony by Nino Rota...
0:43:18 > 0:43:20Over time these specially-written compositions
0:43:20 > 0:43:25were dubbed "tabloid concertos," and in the 70 years since the war,
0:43:25 > 0:43:28the Warsaw Concerto has been comprehensively dismissed
0:43:28 > 0:43:33as "light" music, a bewildering term I've never really understood.
0:43:33 > 0:43:36Tonight is only the Concerto's second Proms performance,
0:43:36 > 0:43:39and, thanks to the concert format,
0:43:39 > 0:43:41we can now judge its merits for ourselves.
0:43:45 > 0:43:49And here is tonight's soloist, Valentina Lisitsa
0:43:49 > 0:43:51and conductor Keith Lockhart.
0:43:51 > 0:43:56The BBC Concert Orchestra perform Richard Addinsell's Warsaw Concerto
0:52:55 > 0:52:58APPLAUSE
0:53:04 > 0:53:07The soloist was Valentina Lisitsa.
0:53:07 > 0:53:09Richard Addinsell's Warsaw Concerto,
0:53:09 > 0:53:12as featured throughout the film Dangerous Moonlight.
0:53:16 > 0:53:19A superb piece of music, beautifully played.
0:53:19 > 0:53:22Those themes are all earworms -
0:53:22 > 0:53:25once you hear them, they are lodged in one's memory for good.
0:53:31 > 0:53:34The lead character Stefan says to his girl in the film,
0:53:34 > 0:53:36"This music is you and me.
0:53:36 > 0:53:40"It's the story of the two of us in Warsaw, of us in America,
0:53:40 > 0:53:43"of us in... Where else, I don't know.
0:53:43 > 0:53:47"That's why I can't finish it." But finish it he does,
0:53:47 > 0:53:51and Richard Addinsell's music retains its power to this day.
0:54:03 > 0:54:05For the second half of tonight's Prom
0:54:05 > 0:54:08in the planetarium-like Royal Albert Hall,
0:54:08 > 0:54:10we move from the past into the distant future.
0:54:10 > 0:54:14Space and unknown life forms are our concern.
0:54:15 > 0:54:18Science fiction has been the basis of thousands of movies
0:54:18 > 0:54:20from Metropolis back in 1927
0:54:20 > 0:54:22right through to this summer's blockbusters,
0:54:22 > 0:54:25Pacific Rim and Iron Man 3.
0:54:25 > 0:54:27With fantasy films like these,
0:54:27 > 0:54:30the music has always had one major job to do -
0:54:30 > 0:54:32to persuade us that what we are watching is real,
0:54:32 > 0:54:36that there really are such things as aliens, space travel
0:54:36 > 0:54:37and the Death Star.
0:54:37 > 0:54:40We'll hear the world premiere concert performance
0:54:40 > 0:54:43of themes from Michael Giacchino's Star Trek - Into Darkness,
0:54:43 > 0:54:46Bond composer David Arnold's music for Independence Day
0:54:46 > 0:54:50and the great Jerry Goldsmith's chilling score for Alien -
0:54:50 > 0:54:52the first full-blooded horror film
0:54:52 > 0:54:55set in a believable alien environment.
0:54:55 > 0:54:58And, to finish the evening, a performance of a score
0:54:58 > 0:55:01that's so well known, most of us can sing along with it -
0:55:01 > 0:55:05John Williams' Star Wars suite, featuring the Imperial March,
0:55:05 > 0:55:08the jazzy Cantina band from Han Solo's first scene
0:55:08 > 0:55:10and, of course, the Main Title
0:55:10 > 0:55:14that carries with it such wonderful echoes of the swashbuckling scores
0:55:14 > 0:55:16of Steiner and Korngold,
0:55:16 > 0:55:20but ushers in a world of adventure in a galaxy far, far away.
0:55:20 > 0:55:23But first, the film that changed the world of science fiction,
0:55:23 > 0:55:26and spawned the "serious" sci-fi movie -
0:55:26 > 0:55:32Stanley Kubrick's 1968 epic, 2001 A Space Odyssey.
0:55:32 > 0:55:35Dealing with an astronaut's first contact with alien life forms
0:55:35 > 0:55:39it gave us a view of space and space travel that was more convincing
0:55:39 > 0:55:41than anything we'd seen before.
0:55:41 > 0:55:44However, the music Kubrick used
0:55:44 > 0:55:46had all existed long before the film was made.
0:55:46 > 0:55:49He wanted most scenes in the film to have no dialogue
0:55:49 > 0:55:53and so he binned the score specially written by Alex North,
0:55:53 > 0:55:57going instead with music he and we knew well.
0:55:57 > 0:56:00In one famous case, the last piece of music we would have expected.
0:56:00 > 0:56:04MUSIC: "By the Beautiful Blue Danube" by Johann Strauss
0:56:15 > 0:56:18So famous did the film and its score become
0:56:18 > 0:56:21that Richard Strauss' Sunrise from Also Sprach Zarathustra
0:56:21 > 0:56:23is for ever linked to 2001
0:56:23 > 0:56:26rather than the tone poem for which it was written.
0:56:26 > 0:56:29MUSIC: "Sunrise" by Richard Strauss
0:56:47 > 0:56:49But the composer who wrote possibly the most thrilling music
0:56:49 > 0:56:52for the film didn't even know it had been used.
0:56:52 > 0:56:55MUSIC: "Atmospheres" by Gyorgy Ligeti
0:56:59 > 0:57:03When he saw the film, Hungarian composer Gyorgy Ligeti was astonished
0:57:03 > 0:57:06at the use of his 1961 piece Atmospheres
0:57:06 > 0:57:10to accompany astronaut Dave Bowman's hair-raising journey through time,
0:57:10 > 0:57:13as well as two other pieces he composed.
0:57:13 > 0:57:16Evidently he was not best pleased to hear his music used
0:57:16 > 0:57:19without his personal permission, nor that it was sharing a soundtrack
0:57:19 > 0:57:22with the two Strausses, whose music he detested.
0:57:22 > 0:57:25The reason for Kubrick's use of these pieces
0:57:25 > 0:57:28is that they were his temp tracks when he was making the film -
0:57:28 > 0:57:30that's the name given to pieces of existing music
0:57:30 > 0:57:33that directors and editors use to make a first cut to.
0:57:33 > 0:57:37They help to inform a scene and give some life to an early cut.
0:57:37 > 0:57:39And all too often directors fall in love with them,
0:57:39 > 0:57:42to the chagrin of so many composers.
0:57:42 > 0:57:46But in the case of 2001, you can't really argue with the final result.
0:57:49 > 0:57:52So, conductor Keith Lockhart comes back on to join
0:57:52 > 0:57:56the BBC Concert Orchestra as we venture into unknown territories
0:57:56 > 0:58:00for the second half of tonight's Film Music Prom at the Royal Albert Hall.
1:08:43 > 1:08:46APPLAUSE
1:08:50 > 1:08:52Three windows upon deep space,
1:08:52 > 1:08:56as featured in Stanley Kubrick's 2001, A Space Odyssey.
1:08:56 > 1:08:58Ligeti's eerie Atmospheres,
1:08:58 > 1:09:03sandwiched between compositions by Strausses Richard and Johann II.
1:09:03 > 1:09:06Kubrick would go on to use other Ligeti pieces in his films
1:09:06 > 1:09:08The Shining and Eyes Wide Shut.
1:09:11 > 1:09:13As we've seen, film music composers
1:09:13 > 1:09:15are sometimes casualties of the editing process,
1:09:15 > 1:09:19but often a movie director will commission from the same composer
1:09:19 > 1:09:20again and again.
1:09:20 > 1:09:23JJ Abrams' Star Trek - Into Darkness
1:09:23 > 1:09:26was one of this year's most eagerly-awaited action blockbusters.
1:09:27 > 1:09:29We're outgunned.
1:09:29 > 1:09:31Outnumbered.
1:09:32 > 1:09:34So, we come out shooting.
1:09:34 > 1:09:37- I am better.- At what?
1:09:37 > 1:09:38Everything.
1:09:44 > 1:09:46The film is scored by Michael Giacchino,
1:09:46 > 1:09:50whom Abrams gave his first break scoring the TV series Lost,
1:09:50 > 1:09:53and the composer is best known for his work with Pixar films,
1:09:53 > 1:09:57particularly The Incredibles and Up, which won him an Oscar.
1:09:57 > 1:10:00In this piece, Giacchino provides the musical voice
1:10:00 > 1:10:03of Benedict Cumberbatch's sinister character, John Harrison.
1:10:03 > 1:10:05Although, if you've seen the film,
1:10:05 > 1:10:08you'll know that's not the name we will come to know him by.
1:10:08 > 1:10:10Evidently Giacchino wrote the music
1:10:10 > 1:10:14after seeing Benedict on set playing the part.
1:10:14 > 1:10:18Here it is, then - the world premiere of the Ode to Harrison Suite
1:17:09 > 1:17:12APPLAUSE
1:17:16 > 1:17:19Michael Giacchino's Star Trek Suite.
1:17:23 > 1:17:27Next up, Independence Day was David Arnold's second collaboration
1:17:27 > 1:17:29with director Roland Emmerich.
1:17:29 > 1:17:32His passionate score sums up both the implacable aliens
1:17:32 > 1:17:35who threaten to take over the Earth, and the spirited defence
1:17:35 > 1:17:39mounted by the likes of Jeff Goldblum and Will Smith.
1:17:39 > 1:17:43Here's the End Title Suite which includes all the film's main themes,
1:17:43 > 1:17:46from terrifying bombast to slow, lyrical passages
1:17:46 > 1:17:50reminiscent of the wartime films we heard in the first half.
1:22:14 > 1:22:16APPLAUSE
1:22:20 > 1:22:23Wow, David Arnold's Independence Day.
1:22:25 > 1:22:30Now for a change of mood - Ridley Scott's 1979 thriller Alien.
1:22:30 > 1:22:34Jerry Goldsmith's one of film's brightest musical stars,
1:22:34 > 1:22:37and he brings massive conviction to the movie
1:22:37 > 1:22:39with a spare, understated score.
1:22:39 > 1:22:42But tonight we have the End Title,
1:22:42 > 1:22:45a mournful trumpet motif grows into a huge sound
1:22:45 > 1:22:50that is still full of questions, even after this terrifying film is over.
1:26:06 > 1:26:08APPLAUSE
1:26:11 > 1:26:14Jerry Goldsmith's music from the movie Alien.
1:26:17 > 1:26:20Now for the film composer who is the bridge
1:26:20 > 1:26:24between the greats of the '30s, Max Steiner and Erich Wolfgang Korngold,
1:26:24 > 1:26:28and today's blockbuster fantasy films - John Williams.
1:26:28 > 1:26:32Throughout the 1970s, George Lucas and Steven Spielberg made movies
1:26:32 > 1:26:36that harked back to their own early movie-going days at Saturday matinees
1:26:36 > 1:26:39when they would sit in wonder watching aliens from another world
1:26:39 > 1:26:42and adventurers searching for treasure.
1:26:42 > 1:26:44So it's no surprise that in mining those genres
1:26:44 > 1:26:47for the likes of Indiana Jones and Star Wars,
1:26:47 > 1:26:51Williams went back to the music they would have heard at the time.
1:26:51 > 1:26:55Star Wars has leitmotifs, that is, themes for all the major characters -
1:26:55 > 1:26:58we recognise Luke and Obi-Wan by their themes,
1:26:58 > 1:27:03but in particular Darth Vader, whose march has become familiar to us all.
1:27:03 > 1:27:06Part of the charm of the film was in the jokey alien life forms,
1:27:06 > 1:27:10particularly the band that plays in the bar in Han Solo's first scene,
1:27:10 > 1:27:13which we will also hear tonight,
1:27:13 > 1:27:15and then there's that Main Theme,
1:27:15 > 1:27:18unforgettably blasting out as the on-screen text
1:27:18 > 1:27:23of "The Story So Far" disappeared off into deep space.
1:27:23 > 1:27:26And the franchise shows no sign of flagging.
1:27:27 > 1:27:30John Williams' great gift is for melody,
1:27:30 > 1:27:33melody that sticks in the mind and appears to sum up the whole movie
1:27:33 > 1:27:37in one musical idea - and he has done that again and again
1:27:37 > 1:27:41over the years, winning five Oscars, including for this score,
1:27:41 > 1:27:43Star Wars.
1:27:43 > 1:27:45APPLAUSE
1:28:01 > 1:28:04MUSIC: "The Imperial March" by John Williams
1:30:52 > 1:30:56APPLAUSE
1:31:08 > 1:31:11MUSIC: "Princess Leia's Theme" by John Williams
1:35:31 > 1:35:33APPLAUSE
1:36:00 > 1:36:03MUSIC: "Mos Eisley Cantina Theme" by John Williams
1:38:41 > 1:38:45APPLAUSE
1:39:12 > 1:39:14MUSIC: "Star Wars Main Theme" by John Williams
1:45:00 > 1:45:03APPLAUSE
1:45:06 > 1:45:09Well, how to top that?
1:45:09 > 1:45:12Keith Lockhart and the BBC Concert Orchestra
1:45:12 > 1:45:16with John Williams' barnstorming Star Wars suite.
1:45:29 > 1:45:31What a massive crowd-pleaser.
1:45:31 > 1:45:35The audience absolutely delighted here tonight,
1:45:35 > 1:45:39with such a fine concert and such a superb orchestra.
1:45:48 > 1:45:54Keith Lockhart's passion showing in every move, every tip of the baton.
1:45:59 > 1:46:01APPLAUSE CONTINUES
1:46:07 > 1:46:09CHEERING AND WHISTLING
1:46:16 > 1:46:19Shall we do an encore? Why not?
1:50:52 > 1:50:55CHEERING AND APPLAUSE
1:51:04 > 1:51:09The perfect finale for tonight's special Film Music Prom.
1:51:09 > 1:51:13John Williams' march from the 1978 movie Superman.
1:51:18 > 1:51:22"You'll believe a man can fly!" was the movie tag line -
1:51:22 > 1:51:26well, you certainly can when you hear that score.
1:51:26 > 1:51:29Action, romance - a joyful, rousing explosion of orchestral power
1:51:29 > 1:51:30to go out on.
1:51:43 > 1:51:48Keith Lockhart and the BBC Concert Orchestra, led by Cynthia Fleming,
1:51:48 > 1:51:50have taken us to the stars and back tonight
1:51:50 > 1:51:53with a journey through space and time.
1:52:06 > 1:52:09Fantastic response to this concert tonight.
1:52:09 > 1:52:11And he looks delighted.
1:52:11 > 1:52:13And so he should.
1:52:24 > 1:52:27So, that wraps it up for tonight.
1:52:27 > 1:52:28From me, Neil Brand,
1:52:28 > 1:52:32and this special Film Music Prom from the Royal Albert Hall,
1:52:32 > 1:52:34good night.
1:52:34 > 1:52:37Subtitles by Red Bee Media Ltd