:00:00. > :00:07.Tonight on Masterworks at the Proms, we're kicking off three nights of
:00:08. > :00:11.live concerts from the Royal Albert Hall, with a programme of music that
:00:12. > :00:15.celebrates man, machine, and nature, and journeys to parts of your
:00:16. > :00:19.emotional and physical being that only the
:00:20. > :00:22.most vital music can access, Gustav Mahler's Titanic First Symphony.
:00:23. > :00:26.Also, we will hear two pieces by American composer John Adams, the UK
:00:27. > :01:02.of his Saxophone Concerto, and his Short Ride in a Fast Machine.
:01:03. > :01:05.Our masterworks journey began with Bach, and reaches the 21st century
:01:06. > :01:09.tonight with John Adams - frankly, I don't know yet if his Saxophone
:01:10. > :01:13.Concerto really is a masterwork, a piece that will become essential to
:01:14. > :01:15.the repertoires of orchestras, soloists,
:01:16. > :01:23.But this is the crucible where we're going to
:01:24. > :01:26.find out if the music has got what it takes with you, me, the Prommers
:01:27. > :01:29.here and the BBC Symphony Orchestra, conducted by the heroine of last
:01:30. > :01:51.We are going to start with the five-minute orchestral fanfare,
:01:52. > :01:55.Short Ride in a Fast Machine. John Adams explains the title of the
:01:56. > :02:01.piece as follows: You know how it is when someone asks you to ride in a
:02:02. > :02:07.terrific sports car, then you wish you had not! Applause for Laura
:02:08. > :02:21.Sammy, the leader of the BBC Symphony Orchestra tonight.
:02:22. > :07:19.MUSIC: Short Ride in a Fast Machine.
:07:20. > :07:36.Marin Alsop conducting the BBC Symphony Orchestra in John Adams',
:07:37. > :07:43.Short Ride in a Fast Machine. More from John Adams next with the
:07:44. > :07:49.UK premiere performance of his UK saxap concerto. With a special solo
:07:50. > :07:54.performance by Timothy McAllister. We have a shuffle now but I am
:07:55. > :08:00.delighted to be joined by Anna Meredith. Anna, what are you hoping
:08:01. > :08:05.for with the saxaphone concerto? It is a double-edged thing. A tricky
:08:06. > :08:11.element to write for. There are all sorts of cultural things he could be
:08:12. > :08:17.thinking about. And juggling but if he forgets it, it could be really a
:08:18. > :08:22.bold and exciting composition. I know from John Adams that he is
:08:23. > :08:27.thinking of the unique cultural saxaphone that it has with it. He
:08:28. > :08:32.grew up with it. He attributes pieces to what he has heard from
:08:33. > :08:37.John Coltrane and many others. Do you think it could be a danger for
:08:38. > :08:42.you? The idea of a fusion feels scary. You could diluting and not
:08:43. > :08:46.get the both, the colour of the Orchestra and the grit of the
:08:47. > :08:49.saxaphone. I am wondering how he keeps the strength of the
:08:50. > :08:53.combination. It will be fascinating to hear what
:08:54. > :08:59.you think of it. What about the piece itself? I think it is strong.
:09:00. > :09:04.I love the big band sound of the saxaphone. The honkiness. The metal
:09:05. > :09:08.and the shine. But combined with the Orchestra, I can think of a few
:09:09. > :09:14.piece but generally, I am not sure how well it blends in or masks the
:09:15. > :09:18.delicacy that you get with other wood wind instruments.
:09:19. > :09:23.Is there a problem it could be loud and too brash? It is designed to be
:09:24. > :09:28.loud it is made to be the instruments that is the loudest,
:09:29. > :09:33.most easy to play instrument that there is, easy is a bit insulting
:09:34. > :09:37.but there is something about the saxaphone that stands out. To look
:09:38. > :09:42.at. It feels like a different family. It will interesting to see
:09:43. > :09:48.how he makes it stand out. There is a huge amount of energy.
:09:49. > :09:53.Two big movements, a fast section and slow section. And even faster
:09:54. > :10:00.third. John Adams makes a point, in that the roots of the instrument are
:10:01. > :10:07.not in the Orchestra it was a military band instrument, developed
:10:08. > :10:13.in France in the mid-19th century. Maybe there is a reason that there
:10:14. > :10:16.are not a that man great saxaphone concertos. It will be
:10:17. > :10:18.are not a that man great saxaphone do. Many would be scared to do this.
:10:19. > :10:25.It will be interesting to hear this do. Many would be scared to do this.
:10:26. > :10:26.Well, here is Timothy McAllister. Coming on stage with Marin Alsop.
:10:27. > :10:32.Well, here is Timothy McAllister. The first performance of this John
:10:33. > :11:24.Adams' saxaphone concerto. APPLAUSE.
:11:25. > :38:34.MUSIC: Saxaphone Concerto.
:38:35. > :39:08.The first performance in Britain of John Adams' Saxophone Concerto.
:39:09. > :39:12.Timothy McAllister was the saxophonist for whom the piece was
:39:13. > :39:45.written, and Marin Alsop conducted the BBC Symphony Orchestra.
:39:46. > :39:51.John Adams said about the saxophone that it is still looking for its
:39:52. > :39:55.rightful place in the symphony oratory. I wonder if that is the
:39:56. > :40:51.performance for it. Well, it has been a short ride to
:40:52. > :40:57.the interval tonight, so I hope you have your tea already brewed beside
:40:58. > :41:02.you, because now is not the time to leave the sofa. Anna Meredith is
:41:03. > :41:06.still here, and we will be talking to Timothy McAllister when he has
:41:07. > :41:14.had time to recover from that performance. There will also be a
:41:15. > :41:19.special presentation on stage before Mahler's Symphony later on. Did that
:41:20. > :41:27.vindicate the Saxophone Concerto for you? Especially at the end of the
:41:28. > :41:32.first movement, he turned the saxophone into the hard edges of the
:41:33. > :41:38.orchestra. You had that very vocal middle movement. It was very clever
:41:39. > :41:43.writing. Did you love it? Identity know if I did. John Adams normally
:41:44. > :41:50.has a transparency of direction, and I found this very fluid. From moment
:41:51. > :41:56.to moment, there were some brilliant writing, but I couldn't always
:41:57. > :42:01.follow the narrative. There were a lot of references in the music. A
:42:02. > :42:06.little West side story, a lot of Stravinsky. Did he succeed in
:42:07. > :42:14.bringing all together into something of his own? Maybe I wish he had just
:42:15. > :42:19.treated it as a thing that he had just discovered this instrument,
:42:20. > :42:26.less about alluding to other staff and more about treating it as
:42:27. > :42:33.something different. I would have liked more dominance, a little
:42:34. > :42:40.wilder. Timothy McAllister's performance, there was wildness
:42:41. > :42:50.there. It felt fluid and confident. He made it seem incredibly easy, he
:42:51. > :42:54.is a brilliant player. John Adams' Saxophone Concerto is just one of
:42:55. > :43:03.many new works featured in the BBC Proms this season. The desire for
:43:04. > :43:11.peaceful human will is is implicit in the two pieces by the West East
:43:12. > :43:20.Divan Orchestra. Then you have Jonathan Dove's Doire theory about
:43:21. > :43:24.climate change. Anna, do you have a sense that the music you write, or
:43:25. > :43:30.this new music, can make a difference, can change the world in
:43:31. > :43:33.some way? I think it has to be authentic and real to the composer
:43:34. > :43:38.involved in the project, the commission they are doing. The idea
:43:39. > :43:46.of someone being given an issue to address that isn't in their heart,
:43:47. > :43:52.it could end up being hollow. If it is something you believe in and it
:43:53. > :43:58.has integrity, brilliant. Is it a question of where the music happens.
:43:59. > :44:05.You have written music for the Last Night Of The Proms in 2008.
:44:06. > :44:09.Orchestras up and down the country were a video linked to the Royal
:44:10. > :44:12.Albert Hall. When you know you have an audience of millions of people,
:44:13. > :44:18.that is the biggest possible stage to try to communicate to people.
:44:19. > :44:22.Denial is a powerful tool. You can't let yourself worry about it. You
:44:23. > :44:29.have to do whatever you are going to do, and it was only when I got
:44:30. > :44:32.there, I thought, good grief! Worrying too much about who it is
:44:33. > :44:37.for and where it is going to make you paralysed. Or the message. Do
:44:38. > :44:43.you want music to have a message, just the reverse? Would you rather
:44:44. > :44:49.there was not a political or social idea? Unless it was a very
:44:50. > :44:53.particular thing. I love the idea that one performer audience really
:44:54. > :44:56.gets something from it. If you can get a young audience excited about a
:44:57. > :45:04.piece of new music, that is a lovely feeling. This is happening right
:45:05. > :45:09.now, and I'm involved. But new music, and indeed the commissions we
:45:10. > :45:16.have been hearing at the Proms, are not about big ideas or setting to
:45:17. > :45:24.the world, they are poetic or abstract. A couple that have struck
:45:25. > :45:36.us particularly, Helen Grime' Near Midnight. You can hear that when she
:45:37. > :45:39.has lots of ideas happening at once, she has complicated, fluid material,
:45:40. > :45:47.but always a sense of clarity of direction. You can always hear her
:45:48. > :45:53.ear for colour. Let's hear an excerpt from Helen Grime is Near
:45:54. > :46:39.Midnight. Helen Grimes' near midnight. It is a
:46:40. > :46:42.piece she wrote for the Halley Orchestra, and they played it as if
:46:43. > :46:48.they loved it, which they clearly did. That isn't always the case when
:46:49. > :46:53.you talk about new music. Helen is their composer in residence, and you
:46:54. > :46:57.can build a relationship with your orchestra. There is a real
:46:58. > :47:03.dedication and passion. You can really hear that they understand
:47:04. > :47:08.what she is trying to say. It doesn't sound like anybody else, but
:47:09. > :47:15.nonetheless touches you immediately. It is really heard and imagined. It
:47:16. > :47:20.is not how I write, and I mean all of how Helen writes. She is a very
:47:21. > :47:26.good oboe player herself, she knows what she is trying to do. Another
:47:27. > :47:34.piece that struck me this season was why one of Scotland's senior
:47:35. > :47:38.composers, someone who does direct and communicative music. This is
:47:39. > :48:25.John McLeod's The Sun Dances. John McLeod's The Sun Dances, the
:48:26. > :48:28.climactic moment where the Gaelic tune takes over the orchestra. The
:48:29. > :48:35.BBC Scottish symphony orchestra in that case. It is wonderful
:48:36. > :48:39.storytelling, that piece. It has brilliant narrative, really clear
:48:40. > :48:43.direction, if operative. You really go with the energy of the whole
:48:44. > :48:50.thing. It has brilliant energy to it. You can watch those two pieces
:48:51. > :48:54.and many more on the BBC iPlayer new works collection. And it is
:48:55. > :49:00.important to get new music to a new generation of listeners, too. Anna,
:49:01. > :49:08.you are involved in a BBC project called Ten Pieces about connecting
:49:09. > :49:13.schoolchildren with new music. What is the project? What will the
:49:14. > :49:19.schoolchildren of the country get from it? It is a brilliant project,
:49:20. > :49:26.ten pieces of classical music which are starting points for young people
:49:27. > :49:33.to do their own creative responses. We have Short Ride in a Fast
:49:34. > :49:38.Machine, and others. Any child can get involved, learn it, there is a
:49:39. > :49:41.real transparency about writing. The idea is that after learning the
:49:42. > :49:45.peace and watching the peace, children can make their own pieces
:49:46. > :49:53.of art, dance, music, whatever they want. So it isn't just about taking
:49:54. > :49:59.this great work and revering it, it is about making it your own. It is a
:50:00. > :50:03.starting point for creativity. It is saying, this stuff is being made
:50:04. > :50:09.right now, my version, your version, they are just as valid. You
:50:10. > :50:13.mentioned that one of the ten pieces is by John Adams, and it is his
:50:14. > :50:16.Short Ride in a Fast Machine. Here is a sneak preview of how it is
:50:17. > :50:51.done. So, for one finely honed musical
:50:52. > :50:58.machine to another. Saxophonist Timothy McAllister has made his way
:50:59. > :51:04.here. Welcome. Thank you for that performance. It is not just about
:51:05. > :51:07.how fast you could play the saxophone, but the number of styles
:51:08. > :51:14.you have to take on board in that piece. How did it come about? I have
:51:15. > :51:28.always had a great relationship with Marin Alsop. I work with her in the
:51:29. > :51:35.summers. I was part of her circle for a long time, and John Newcombe
:51:36. > :51:41.through that. -- John knew me through that. He got to know my
:51:42. > :51:48.playing a lot more and what I was capable of. And that was in 2009?
:51:49. > :51:53.The first concert where he opened his tenure in Los Angeles? And huge
:51:54. > :52:01.part for you in that piece. The work was commissioned for that occasion,
:52:02. > :52:04.and they wanted to bring in a specialist for this mammoth
:52:05. > :52:11.saxophone part, and I got the call. The rest is history. He got to learn
:52:12. > :52:17.a lot about what I do in my world but I'm very proud of. He tells the
:52:18. > :52:23.story in his programme notes that it was when he discovered you were a
:52:24. > :52:30.bicycle stunt guy that he thought, he has so many gifts, I have to
:52:31. > :52:36.write a concerto for him. What is the relationship there? It made me a
:52:37. > :52:43.fearless musician. It bred that into me. It is a lot more hazardous to be
:52:44. > :52:50.a stunned BMX biker than a saxophonist. Bid you have just made
:52:51. > :52:54.your debut at the Royal Albert Hall. That must feel similar. Quite
:52:55. > :52:59.possibly. But he knew that from a young age, I was used to putting
:53:00. > :53:03.myself out there. I think he saw a potential to write for me, and to
:53:04. > :53:08.put the saxophone in the limelight like this. It is a very special kind
:53:09. > :53:13.of limelight in the concerto, because it is not, if you like,
:53:14. > :53:20.simply a classical piece. It is referring to or using techniques of
:53:21. > :53:26.bebop, a great saxophone jazz player. If you are classically
:53:27. > :53:31.trained, this is a difficult way of playing -- a different way of
:53:32. > :53:34.playing. Many people are unable to do both, or do both pretty well.
:53:35. > :53:41.There are some people who stay in their corner. The piece asks of a
:53:42. > :53:47.saxophone player to be able to wear a lot of hat. It is not just jazz,
:53:48. > :53:57.there is pure classical tradition with it, there is Strauss and
:53:58. > :54:01.Debussy in now. He knew it would be a piece that was truly classical,
:54:02. > :54:08.but it was that angular, aggressive, technical quality of bop and
:54:09. > :54:13.post-bop that he was channelling, more so than the great classical
:54:14. > :54:19.French tradition, for instance. So what kind of challenge has that been
:54:20. > :54:24.for you? Do you play those styles anyway? I grew up playing jazz. That
:54:25. > :54:29.was my hook to the saxophone. But very quickly, I fell in love with
:54:30. > :54:34.the classical side of things. I endeavour to keep both styles in my
:54:35. > :54:38.playing as long as I could, but my career path took me in the classical
:54:39. > :54:46.direction. I was very passionate about committing, contributing to
:54:47. > :54:51.this art, through new music, I have premiered 150 works now. This is my
:54:52. > :54:56.calling, to be part of the contemporary music scene for my
:54:57. > :55:01.instrument. What is it about that concerto, you have been playing it
:55:02. > :55:05.for more than a year. You have recorded it as well. How has it
:55:06. > :55:10.changed in that time? It is less jittery! It is still jittery,
:55:11. > :55:14.because that is written into the music, but I have had the wonderful
:55:15. > :55:18.privilege of doing it with Marin Alsop basically for the last month.
:55:19. > :55:27.We did it three times in Brazil, and then this week, so she and directly
:55:28. > :55:33.have a groove here and feel off of each other very well. I certainly
:55:34. > :55:36.would have hoped to go from the Sydney Opera House to go to the
:55:37. > :55:40.Royal Albert Hall, that that journey would have led to me feeling
:55:41. > :55:44.increasingly comfortable, and I think that is what this piece has
:55:45. > :55:51.taken on now. Does that mean you can find new things in it? Anything
:55:52. > :55:55.happen tonight? Yes. Tonight I felt like I was doing some different
:55:56. > :56:01.things with my sound that I hadn't done before, some colour stick
:56:02. > :56:06.things that I could do in this space and the people in it. I made it
:56:07. > :56:09.sweeter in places. It takes getting to the point where you are not
:56:10. > :56:14.worrying about the notes but start to make the piece have some shape to
:56:15. > :56:21.it. Thinking about this audience, questions here from them. What are
:56:22. > :56:33.the added challenges that come with playing Adams' rhythms? It works
:56:34. > :56:39.only if you play it perfectly. If you don't play it perfectly, it is
:56:40. > :56:42.like playing notes slightly off key. It is something orchestra and
:56:43. > :56:47.musicians really love about John's music, that it asks that of them.
:56:48. > :56:54.Sometimes musicians feel that it won't matter if they don't play a
:56:55. > :57:01.piece right. But John asks for these rhythmic structures to be perfect.
:57:02. > :57:05.There is a learning curve with every orchestra to get that right, and for
:57:06. > :57:09.me, it has been this journey beyond hitting the notes, it is a journey
:57:10. > :57:12.of playing it more and more accurately so that the conductor is
:57:13. > :57:17.completely comfortable with what I'm doing. That is a challenge that I
:57:18. > :57:22.have relished, because it allows me to get deeper and deeper into a
:57:23. > :57:27.piece, and more and more picky. Is this the piece to make the
:57:28. > :57:34.saxophone's reputation as a concerto, do you think? I would love
:57:35. > :57:36.to think that it will help. I call on any aspiring and established
:57:37. > :57:40.composer to write for our instrument, and many have. Many
:57:41. > :57:44.wonderful composers in the UK have written a wonderful works for hours
:57:45. > :57:58.instrument. Thank you very much indeed. Someone who believes
:57:59. > :58:01.passionately in the power of music to change lives is Marin Alsop. She
:58:02. > :58:06.has reached broad audiences with her educational schemes. She is good to
:58:07. > :58:13.finish tonight with a masterwork for the late 19th century, Marla's first
:58:14. > :58:19.Symphony. 100 years ago, this music was not part of the repertoire. I
:58:20. > :58:22.asked her why. He was pushing the envelope of everything we knew in a
:58:23. > :58:28.symphony. That was very hard for people to get their arms around in
:58:29. > :58:44.that moment. Even today, I think some of the symphonies are a
:58:45. > :58:47.stretch. It is a big meal. You have such huge ambitions that is going to
:58:48. > :58:54.be longer and more complicated. Where'd you push the envelope of
:58:55. > :59:00.what the orchestra can do? In particular, when Mahler takes these
:59:01. > :59:05.huge detours, especially in the finale, and you can feel the
:59:06. > :59:11.audience, the horse turns around and is headed for the barn. We know
:59:12. > :59:20.where we are going, we are back... No! We are taking a detours. It is a
:59:21. > :59:24.moment of complete stillness that Mahler creates in the orchestra in
:59:25. > :59:36.the middle. How can you create that? He picks the A that the
:59:37. > :59:43.audiences tuned to. This is a subtle psychological choice on his part. So
:59:44. > :59:49.it has to appear as though it has always been there, and then, you
:59:50. > :59:52.start the peace. That is how I believe it has to start. It is
:59:53. > :00:00.something that has always been there, will always be there, and for
:00:01. > :00:03.me this is the sound of eternity. Man's existence and Mahler's
:00:04. > :00:08.existence, because everything he writes, as everyone who is a creator
:00:09. > :00:13.is somewhat autobiographical. So it is all about that interaction with
:00:14. > :00:16.the outside world, and the conflict one comes up against, and the
:00:17. > :00:22.triumph or lack thereof, all the stumbles. And so the whole piece
:00:23. > :00:24.really is this story of the hero, of Mahler, and how he comes to terms
:00:25. > :00:29.with dealing with the external world. And do you feel that the
:00:30. > :00:35.world has changed and when you get to the end of that hugely triumphant
:00:36. > :00:42.music? That is the goal of great art, to have some impact, and enable
:00:43. > :00:50.people to feel and to think in a larger way. We bring people out of
:00:51. > :00:54.their existence with technology, and these insulated lives we lead, and
:00:55. > :01:02.hopefully connect everyone not only to each other, but to broad ideals.
:01:03. > :01:13.So, if the BBC Symphony Orchestra are to honour the spirit of risk and
:01:14. > :01:18.adventure and risk, that make Mahler the most seismic invention since
:01:19. > :01:22.bait Hove, they will have to play it as it was composed.
:01:23. > :01:28.Anna, what are the pieces of this that mean the most to you? It is the
:01:29. > :01:34.exciting sense of unpredictability. You never know where it will go next
:01:35. > :01:42.and it is such a commitment to a new world. Suddenly in a song, a dance,
:01:43. > :01:46.it is so unpredictable. I don't understand how he made such
:01:47. > :01:49.commitment to the passion. He mean it is with real integrity and love
:01:50. > :01:53.in his writing. There is so much of the world that
:01:54. > :02:00.leaches into the piece. The Frere Jacques tune in the third move. The
:02:01. > :02:04.fan ferrics the off stage fanfares, like a military barracks, the
:02:05. > :02:10.natural world at the beginning of the first movement and all of these
:02:11. > :02:13.kinds of things. Is that a potentially radical thing. The way
:02:14. > :02:20.that the music is not cut off from the world but a part of it? It is a
:02:21. > :02:24.pairing with Adams. With all of the references. You feel he takes
:02:25. > :02:28.ownership of it. You sense a new world in each bit.
:02:29. > :02:35.One of the references that we hear in the symphony is to Mahler's
:02:36. > :02:38.earlier music, like Songs Of A Wayfarer. The first is' Ging Heut
:02:39. > :02:43.Morgen Ubers Feld, a "I Went This Morning Over The Fields".
:02:44. > :02:44.And as a little track and field, we have found that the
:02:45. > :02:50.And as a little track and field, we Christian Gerharher is performing
:02:51. > :02:53.that very strong in the Pro me, s in 2010.
:02:54. > :03:03.-- Proms. MUSIC:'
:03:04. > :03:49.Ging Heut Morgen Ubers Feld. A melody that we will hear again in
:03:50. > :03:56.a moment in the first movement of Mahler's first symphony conducted by
:03:57. > :04:04.Marin Alsop. Firstly, she is to receive the Honourary Membership of
:04:05. > :04:09.the #k7 royal Philharmonic Society. She is very insirational, is that
:04:10. > :04:13.how she is for you? Absolutely. She is fantastic.
:04:14. > :04:17.The sense of that commitment in the music. You have to bring the
:04:18. > :04:23.audiences with you to a certain extent. How, it is hard for
:04:24. > :04:27.conductors to do that, to programme the music and bring the people with
:04:28. > :04:33.them. But Marin Alsop is capable of doing that? She has insight, she can
:04:34. > :04:38.understand what the composer is saying in a piece. She can
:04:39. > :04:42.communicate that to the people. Communicate what what the composer
:04:43. > :04:47.has to say about it. Is there a frustration as a
:04:48. > :04:50.composer, that the premieres here and elsewhere, that the sense of the
:04:51. > :04:54.music is part of the repertory, is it difficult? You
:04:55. > :05:01.it. Sorry, here comes Marin Alsop on
:05:02. > :05:07.stage. Anna Meredith, sorry. Marin Alsop is with Colin Matthews who
:05:08. > :05:12.will present her with the Honourary Membership of the Royal Philharmonic
:05:13. > :05:17.Society. Good evening, I am Colin Matthews,
:05:18. > :05:24.here as a trustie to the Royal Philharmonic Society. It is a
:05:25. > :05:24.pleasure to award this award to Marin Alsop.
:05:25. > :05:42.APPLAUSE. Had beenary Membership of the
:05:43. > :05:47.society is given to exceptional musicians. Awarded fewer than 140
:05:48. > :05:59.times in the 200 years of the society's history. The first was in
:06:00. > :06:07.1826. And other famous names have included Beloise, Igor Stravinsky,
:06:08. > :06:14.Mehudin. Janet Baker, and recently the founder of the Venezuela
:06:15. > :06:20.Sustainable Orchestra. In making the award, the Royal philharmonic
:06:21. > :06:24.Society has made the following sitation: Marin Alsop is an
:06:25. > :06:30.inspiring and distinguished artist. A role model for the 21st century.
:06:31. > :06:35.As recognised for the programming as for her deep commitment to education
:06:36. > :06:44.and the development of audiences of all ages. As a Music Director, she
:06:45. > :06:49.is a generous collaborator that creates a sense of enjoyment and
:06:50. > :06:57.teem work with her decisions and a warm connection with her audiences,
:06:58. > :07:00.as all who heard her wise and witty speech at Last Night of the Proms
:07:01. > :07:05.will agree! APPLAUSE.
:07:06. > :07:09.From the outset, she has taken professional development into her
:07:10. > :07:17.own hands, learning from the inside how to lead, direct, administer by
:07:18. > :07:22.performing her own ensembles. Wherever she goes, she strives for
:07:23. > :07:28.greater engagement of classical music. From kids from deprived
:07:29. > :07:36.areas, to giving instruments in after school lessons. All of her
:07:37. > :07:41.performances here in the UK bring a special occasion to it and the Royal
:07:42. > :07:57.philharmonic society is proud to present her with this award this
:07:58. > :08:02.evening. CEDWHITE Thank you. I am truly
:08:03. > :08:08.honoured to accept this award. Especially here at the Royal Albert
:08:09. > :08:18.Hall at the Proms, which has such special meaning for me. The royal
:08:19. > :08:22.fill philharmonic seat commitment to nurturing young musicians and
:08:23. > :08:28.promoting music resonates deeply with me. The society's core values
:08:29. > :08:33.of understanding, creativity and excellence are values that I think
:08:34. > :08:38.we can all embrace, especially today in our shared hope for a more
:08:39. > :08:55.tolerant and a peaceful world. Thank you all very much. I appreciate it.
:08:56. > :09:02.APPLAUSE. Marin Alsop, even that short speech,
:09:03. > :09:07.proving why she is such a deserving recipient for that Honourary
:09:08. > :09:14.Membership of the Royal Philharmonic Society. This is what was said by
:09:15. > :09:22.Bernstien by Mahler. If ever theres what a composer of his time it was
:09:23. > :09:30.Mahler. Marin Alsop's mentor was Bernstien.
:09:31. > :09:35.It will be fascinating how she shows the symphony, Bernstien was often
:09:36. > :09:38.wild and indulgent but I think that we will hear something different in
:09:39. > :09:43.Marin Alsop's performance. I was here earlier, I think that this is a
:09:44. > :09:52.performance of great coherence as well as great wildness.
:09:53. > :10:25.APPLAUSE. Marin Alsop on stage to conduct the
:10:26. > :14:46.BBC Symphony Orchestra and Gustav Mahler's Symphony No 1 in D Major.
:14:47. > :03:38.MUSIC: Symphony No 1.
:03:39. > :04:11.. Is there a more scintillating,
:04:12. > :04:17.shocking, more joyful orchestral music than that? The end of Gustav
:04:18. > :04:35.Mahler's Symphony No 1 in D Major, conducted by Marin Alsop of the BBC
:04:36. > :05:03.Symphony Orchestra. APPLAUSE.
:05:04. > :05:07.Mahler is a contemporary composer. The emotional opening, the his
:05:08. > :05:12.musical reflection of the world around him make his music speak
:05:13. > :05:17.directly to us today. Written 120 years ago maybe but this is music of
:05:18. > :05:56.right now. The applause for that performance!
:05:57. > :06:05.Well as if there weren't enough, tomorrow night we are opening up a
:06:06. > :06:14.Proms extravagancea on BBC Four. Starting with bait Hove an at and
:06:15. > :06:20.10. 15pm our live weekend continues with a special late night Prom with
:06:21. > :06:21.Paloma Faith.