0:00:02 > 0:00:04Tonight, in our last programme of Masterworks from the Proms,
0:00:04 > 0:00:06we celebrate the seismic achievements
0:00:06 > 0:00:08of two of the greatest composers alive -
0:00:08 > 0:00:10Harrison Birtwistle and Peter Maxwell Davies -
0:00:10 > 0:00:12both 80 this year,
0:00:12 > 0:00:14and both Knights of the Realm.
0:00:14 > 0:00:18But don't let those establishment credentials fool you,
0:00:18 > 0:00:19these two and their music
0:00:19 > 0:00:22are still as incendiary and provocative as ever.
0:00:22 > 0:00:24So we've put together a selection of their music
0:00:24 > 0:00:26from this year's Prom season,
0:00:26 > 0:00:29as well as a few wee gems from the BBC archive.
0:00:29 > 0:00:31Happy birthday, Harry and Max.
0:00:58 > 0:01:01APPLAUSE
0:01:09 > 0:01:11Welcome, everyone.
0:01:11 > 0:01:13Tonight we're celebrating the 80th birthday
0:01:13 > 0:01:15of Sir Peter Maxwell Davies,
0:01:15 > 0:01:18Master of the Queen's Music for a decade,
0:01:18 > 0:01:21and a composer whose music has thrilled, delighted
0:01:21 > 0:01:24and shocked audiences at the Royal Albert Hall
0:01:24 > 0:01:28for the past half-century and he's also, I'm delighted to say,
0:01:28 > 0:01:30with us this evening on his actual 80th birthday.
0:01:30 > 0:01:34Ladies and gentlemen, please welcome onstage, Max.
0:01:34 > 0:01:36CHEERING AND APPLAUSE
0:01:49 > 0:01:52Now, Max, look, this is a pretty good way
0:01:52 > 0:01:54to, you know, celebrate your 80th birthday,
0:01:54 > 0:01:57what with the Scottish Chamber Orchestra behind you.
0:01:57 > 0:01:59You're also wearing an absolutely resplendent waistcoat,
0:01:59 > 0:02:03which I should say is the first cut ever of a new tartan
0:02:03 > 0:02:06made for the Scottish Chamber Orchestra
0:02:06 > 0:02:08and personalised for you, Max.
0:02:08 > 0:02:09I mean, I suppose that symbolises
0:02:09 > 0:02:12the strength of your relationship with this orchestra.
0:02:12 > 0:02:16How much does your story with these musicians mean to you?
0:02:16 > 0:02:21The orchestra really has meant an enormous amount to me.
0:02:22 > 0:02:27Let's face it, a long time ago now in the '80s,
0:02:27 > 0:02:32they asked me to be composer/conductor in residence.
0:02:32 > 0:02:36Well, I was terrified cos I'd never conducted orchestras,
0:02:36 > 0:02:38but they put up with me
0:02:38 > 0:02:44and taught me, really, if I ever could conduct, how to conduct,
0:02:44 > 0:02:47and they were such wonderful, helpful musicians
0:02:47 > 0:02:51and the chance to write ten Strathclyde Concertos
0:02:51 > 0:02:53for the members of the orchestra...
0:02:53 > 0:02:56Well, as a composer, you're going to be delighted
0:02:56 > 0:02:58to be asked to write one concerto, never mind ten!
0:02:58 > 0:03:02We're going to hear the fourth, the second piece tonight.
0:03:02 > 0:03:05The first piece also was written for the Scottish Chamber Orchestra - Ebb Of Winter.
0:03:05 > 0:03:07Let's welcome onstage
0:03:07 > 0:03:09to conduct the Proms and London premiere performance
0:03:09 > 0:03:12of Peter Maxwell Davies' Ebb Of Winter, Ben Gernon.
0:03:12 > 0:03:15CHEERING AND APPLAUSE
0:20:54 > 0:20:57APPLAUSE
0:21:25 > 0:21:29Peter Maxwell Davies' Ebb Of Winter, performed by the musicians
0:21:29 > 0:21:32for whom it was written, the Scottish Chamber Orchestra.
0:21:32 > 0:21:35Max, having the privilege of hearing that music with you here,
0:21:35 > 0:21:40it sounds out great darkness in the sort of the broken corrals
0:21:40 > 0:21:41at the middle of the piece,
0:21:41 > 0:21:45but at the end there seems to be an image of a kind of rebirth,
0:21:45 > 0:21:47that surging string melody,
0:21:47 > 0:21:49and above all the brass rising at the end.
0:21:49 > 0:21:50What do you feel as you're hearing that?
0:21:50 > 0:21:53Do you feel a kind of rebirth at the end of that piece?
0:21:53 > 0:22:00That music that I was writing, it knew something that I didn't,
0:22:00 > 0:22:05and I found myself, shortly after writing it,
0:22:05 > 0:22:10in hospital with leukaemia, being told I had,
0:22:10 > 0:22:14if I didn't go into hospital, a maximum of six weeks to live.
0:22:14 > 0:22:17And here I am, so I'm fine.
0:22:17 > 0:22:21But I feel that it ends optimistically. There's darkness
0:22:21 > 0:22:26in the middle, but the end, something happens which turns it
0:22:26 > 0:22:30and it becomes something which I hoped it would be
0:22:30 > 0:22:34all the way through when I started to write it, but it changed,
0:22:34 > 0:22:38and I think the end of it, it had to end like that, didn't it?
0:22:38 > 0:22:42Absolutely. Max, the next piece we're going to hear then,
0:22:42 > 0:22:45you could've chosen, as you said, from ten Strathclyde Concertos,
0:22:45 > 0:22:48all of them written for the Scottish Chamber Orchestra in the 1980s
0:22:48 > 0:22:54and 1990s. You've chosen No.4 for clarinet and Chamber Orchestra.
0:22:54 > 0:22:55Why this one?
0:22:55 > 0:22:57I could've chosen any of them.
0:22:57 > 0:23:02I'm very, very fond of them all, and they're all like your children,
0:23:02 > 0:23:05and you can't really favour one above the other, can you?
0:23:05 > 0:23:10It's a piece which is meditative.
0:23:10 > 0:23:13It's got huge virtuosity,
0:23:13 > 0:23:19and it's one of those pieces which is in search of something.
0:23:19 > 0:23:23And it's changing contour all the time,
0:23:23 > 0:23:30and finishes in the key of F sharp with this melody floating
0:23:30 > 0:23:33from the clarinet over the orchestra.
0:23:33 > 0:23:38It's a long and quite torturous journey, if you like, in places.
0:23:38 > 0:23:46But for me, when I was writing it, it was one which was full of...
0:23:46 > 0:23:52I can only describe it as the sheer wonder of taking a very long
0:23:52 > 0:23:58free walk through the seascape and the landscape,
0:23:58 > 0:24:03that I just see all the time out of my window or if I open the door
0:24:03 > 0:24:08in Orkney. The thing that I was really aiming for
0:24:08 > 0:24:15was the transcendence that I felt right at the end of it.
0:24:15 > 0:24:17Max, thank you.
0:24:17 > 0:24:23So, to perform this half-hour long meditative spiritual journey
0:24:23 > 0:24:24for clarinet in orchestra,
0:24:24 > 0:24:26please welcome on stage at the Royal Albert Hall
0:24:26 > 0:24:28the soloist Dimitri "Dimka" Ashkenazy
0:24:28 > 0:24:30and the conductor Ben Gernon.
0:24:30 > 0:24:33APPLAUSE
0:56:16 > 0:56:18APPLAUSE
0:56:50 > 0:56:52So here with me to explore and celebrate the music
0:56:52 > 0:56:55of Sir Peter Maxwell Davies and Sir Harrison Birtwistle
0:56:55 > 0:56:57is Gillian Moore, the Head of Classical Music
0:56:57 > 0:56:59at London Southbank Centre.
0:56:59 > 0:57:01Gillian, where would the world of new music,
0:57:01 > 0:57:05the world of the whole of music be without Harry and Max?
0:57:05 > 0:57:09Well, I guess the two of them have defined what we mean
0:57:09 > 0:57:12by modern music in Britain for the last 50 years or so.
0:57:12 > 0:57:15They were both born in the same year, in 1934,
0:57:15 > 0:57:17which is the year, as it happens,
0:57:17 > 0:57:20that three greats of English music died -
0:57:20 > 0:57:22Holst, Elgar and Delius.
0:57:22 > 0:57:25Vaughn Williams was still very much alive,
0:57:25 > 0:57:26the eminence grise.
0:57:26 > 0:57:31I guess when they were at school together, at college together
0:57:31 > 0:57:35at Manchester in the 1950s, they rejected all that,
0:57:35 > 0:57:39what Elizabeth Lutyens called the "cowpat school of music,"
0:57:39 > 0:57:40the English pastoral thing.
0:57:40 > 0:57:43They saw that version of modern music,
0:57:43 > 0:57:45which had been invented at the start of the century by these guys,
0:57:45 > 0:57:47as very old-fashioned.
0:57:47 > 0:57:51They were looking, instead, to Europe.
0:57:51 > 0:57:53They were interested in Schoenberg,
0:57:53 > 0:57:57in what was happening with people like Stockhausen
0:57:57 > 0:57:58in the post-war avant-garde.
0:57:58 > 0:58:00I guess what they did in those days
0:58:00 > 0:58:03was bring the cool air of European modernism
0:58:03 > 0:58:05into British music.
0:58:05 > 0:58:08Since then, they've just grown in stature.
0:58:08 > 0:58:11They've had their periods of being shocking and outrageous,
0:58:11 > 0:58:15and I guess they're now major, quite establishment figures.
0:58:15 > 0:58:19But despite that establishment-ness,
0:58:19 > 0:58:22or the establishment status that they now both have,
0:58:22 > 0:58:23the music they're writing now,
0:58:23 > 0:58:26the music they've always written is still challenging, isn't it?
0:58:26 > 0:58:28It needs to be challenging, doesn't it?
0:58:28 > 0:58:31Well, I think there's nothing wrong with challenging in music,
0:58:31 > 0:58:34but I would say that each of them is different
0:58:34 > 0:58:38in terms of the way that their music is challenging or not.
0:58:38 > 0:58:42Birtwistle I tend to listen to...
0:58:42 > 0:58:46in a much more simple, I guess, elemental way,
0:58:46 > 0:58:51cos his music, actually, is about the simple building blocks of music.
0:58:51 > 0:58:54It's about pulse, it's about line,
0:58:54 > 0:58:59it's about machines and things that repeat or don't repeat.
0:58:59 > 0:59:03I guess if you listen to Birtwistle's music in that way,
0:59:03 > 0:59:06then that really does make it actually, I think,
0:59:06 > 0:59:08really quite simple to listen to.
0:59:08 > 0:59:11We're going to see now Harry himself
0:59:11 > 0:59:13talking about his relationship with his listeners.
0:59:13 > 0:59:16In a way, what he expects from his listeners,
0:59:16 > 0:59:18in a way, what he doesn't expect from them either.
0:59:18 > 0:59:20Here's Harrison Birtwistle.
0:59:20 > 0:59:23I didn't sort of see myself in any light at all,
0:59:23 > 0:59:26or with any cause or whatever.
0:59:28 > 0:59:32I think in this day and age, where we live in a disposable world,
0:59:32 > 0:59:36which we don't actually listen to music anymore,
0:59:36 > 0:59:39apart from what we're familiar with,
0:59:39 > 0:59:43and the sort of backdrop of polluted music
0:59:43 > 0:59:45through radio stations.
0:59:45 > 0:59:49Maybe there is a case for something that's slightly difficult...
0:59:49 > 0:59:52or needs a bit of enquiry, or reassesses,
0:59:52 > 0:59:55or has a bit of confrontation about it.
0:59:55 > 0:59:59Nothing wrong in that, but I'm not self-consciously doing it.
1:00:00 > 1:00:04There are many, many things I could have told you
1:00:04 > 1:00:08exactly why one thing happens next.
1:00:08 > 1:00:11But I've forgotten and nobody will ever know.
1:00:13 > 1:00:15I don't want you to know, yeah?
1:00:15 > 1:00:19I just want you to listen to it and understand it for what it is
1:00:19 > 1:00:22and either you find that interesting or you don't.
1:00:26 > 1:00:30Gillian, an appeal then from Harry himself to take his music
1:00:30 > 1:00:32simply on its own terms.
1:00:32 > 1:00:35If he doesn't know where all the notes come from,
1:00:35 > 1:00:37I guess we can't as listeners either.
1:00:37 > 1:00:40I guess a lot of his music is like a mysterious ritual.
1:00:40 > 1:00:43I often think with his pieces that they start
1:00:43 > 1:00:45kind of in the middle of things.
1:00:45 > 1:00:48It's as if it has already been going on, perhaps for ever,
1:00:48 > 1:00:50perhaps since the beginning of time.
1:00:50 > 1:00:53And when you actually sit down in the concert or
1:00:53 > 1:00:56put your headphones on, you just happen to be coming in
1:00:56 > 1:01:00at a certain point in it and then similarly it ends in that way.
1:01:00 > 1:01:04So much of his music also has a strange theatricality to it
1:01:04 > 1:01:08and the musicians are placed in a certain way in the hall,
1:01:08 > 1:01:11or they move around the platform sometimes.
1:01:11 > 1:01:14I think this mystery is at the heart of it.
1:01:14 > 1:01:16We are going to hear two pieces of Harry's now,
1:01:16 > 1:01:20starting with a piece that's really a distillation of everything
1:01:20 > 1:01:23you've been saying about his music and he has, too, a piece called
1:01:23 > 1:01:27Sonance Severance that he wrote in 2000 for the Cleveland Orchestra.
1:01:27 > 1:01:31It had a fantastic performance earlier in the Proms season from the
1:01:31 > 1:01:35National Youth Orchestra of Great Britain, conducted by Ed Gardner.
1:01:35 > 1:01:37And I think, really, as you were saying, the best way to
1:01:37 > 1:01:41approach this is, in a way, as if you've never heard music before.
1:01:41 > 1:01:42Sonance Severance.
1:04:58 > 1:05:01A miniature epic or an epic miniature,
1:05:01 > 1:05:04Harrison Birtwistle's Sonance Severance.
1:05:04 > 1:05:06Gillian, you've mentioned they are different
1:05:06 > 1:05:09but there are similarities between their stories -
1:05:09 > 1:05:12Harrison Birtwistle's and Peter Maxwell Davies's.
1:05:12 > 1:05:16Manchester, they are growing up there of course, but also
1:05:16 > 1:05:19they moved to remote parts of Scotland at roughly the same time.
1:05:19 > 1:05:22There are these similarities, aren't there?
1:05:22 > 1:05:25And they are both very interested in the landscape.
1:05:25 > 1:05:27Maxwell Davies had written
1:05:27 > 1:05:31so much music about the landscape of Orkney where he went to live.
1:05:31 > 1:05:35And Birtwistle, I think one of the interesting things about him now
1:05:35 > 1:05:39is where he has chosen to live, which is down
1:05:39 > 1:05:42in the southwest of England, in the middle of all these
1:05:42 > 1:05:46mysterious monuments, near Silbury Hill...
1:05:46 > 1:05:49Which he has written about, in a piece called Silbury Air.
1:05:49 > 1:05:51A piece called Silbury Air.
1:05:51 > 1:05:54Stonehenge, all these monuments which are there
1:05:54 > 1:05:57but we don't actually know what they were ever for.
1:05:57 > 1:06:01And that's something akin to his music but I think I still
1:06:01 > 1:06:05would hold to the idea that they are very different.
1:06:05 > 1:06:10The music critic Meirion Bowen once said about them,
1:06:10 > 1:06:16quoting Isaiah Berlin, that they were like a fox and a hedgehog.
1:06:16 > 1:06:20Isaiah Berlin talked about this idea that the fox knows many things
1:06:20 > 1:06:24and the hedgehog knows one big thing. Sir Peter Maxwell Davies
1:06:24 > 1:06:28might be the fox because his music is so clever,
1:06:28 > 1:06:33so varied. It's constantly looking in all sorts of directions.
1:06:33 > 1:06:37It's very aware of what it's doing.
1:06:37 > 1:06:39Whereas, Birtwistle's music is this big mystery.
1:06:39 > 1:06:44It simultaneously makes me feel that it has existed
1:06:44 > 1:06:48since the beginning of time and yet it's utterly new and utterly fresh.
1:06:48 > 1:06:52Let's hear now Harry himself talking about his relationship
1:06:52 > 1:06:56with landscape, like a hedgehog or not. Let's discover.
1:06:56 > 1:07:00I have a preoccupation with landscape
1:07:00 > 1:07:06and I have tended to develop my musical language
1:07:06 > 1:07:11out of a rather sort of painterly attitude to things.
1:07:15 > 1:07:20There is no actual separation to me between the things that I make
1:07:20 > 1:07:22and the things that I see.
1:07:26 > 1:07:32Writing music is like driving a car at night in which you can only see
1:07:32 > 1:07:35as far as the headlights, you know,
1:07:35 > 1:07:38and you get an idea of the landscape
1:07:38 > 1:07:42and it accumulates in your head.
1:07:43 > 1:07:47We associate English music with the mystical landscape,
1:07:47 > 1:07:49the sort of Vaughan Williams thing.
1:07:49 > 1:07:54I saw nature as a terrifying place. It wasn't a sort of pastoral place.
1:07:54 > 1:07:59It's hell on earth, living there, to be a worm or a bird.
1:07:59 > 1:08:02It's all the survival of the fittest, isn't it?
1:08:09 > 1:08:11The question is where this comes from,
1:08:11 > 1:08:14when he sits down at his manuscript paper.
1:08:14 > 1:08:17Here's Harry talking about how he sees
1:08:17 > 1:08:20or attempts to describe his compositional process.
1:08:20 > 1:08:26For many years, I always began a piece of music on the note E,
1:08:26 > 1:08:30not for any other reason that it seemed to be as good
1:08:30 > 1:08:33a place as anywhere else
1:08:33 > 1:08:38and it was a decision that I didn't have to make.
1:08:38 > 1:08:42And how you do make the first decision of doing anything?
1:08:51 > 1:08:55I mean, I can't be so pretentious as saying, "I'm going to push music
1:08:55 > 1:08:58"where it's never been." I mean, you can't do that.
1:08:58 > 1:09:00You can only identify that after the fact.
1:09:03 > 1:09:07You can't self-consciously express yourself.
1:09:07 > 1:09:10You express yourself in spite of yourself.
1:09:10 > 1:09:14You have ideas and then you find ways of getting it down on the page.
1:09:18 > 1:09:22Somebody once asked me why I wrote music and I said
1:09:22 > 1:09:26because I had a music in my head that doesn't exist.
1:09:32 > 1:09:36Gillian, these are wonderful insights that Harry
1:09:36 > 1:09:38is giving us into his music.
1:09:38 > 1:09:42Everything he's saying has a sort of laser-like illumination.
1:09:42 > 1:09:47This idea that Harry somehow doesn't like using words much.
1:09:47 > 1:09:49In fact, he's brilliant with them.
1:09:49 > 1:09:52Yes, "I had a music in my head that didn't exist."
1:09:52 > 1:09:55That is just the ultimate thing for a composer to say.
1:09:55 > 1:09:57It's such an exciting idea.
1:09:57 > 1:10:00He has this reputation of being rather monosyllabic,
1:10:00 > 1:10:02the hedgehog thing again.
1:10:02 > 1:10:04But, in fact, he knows exactly what he's doing
1:10:04 > 1:10:07and he knows exactly how to express his music.
1:10:07 > 1:10:12He's very interested in all art forms.
1:10:12 > 1:10:14He's very interested in literature, of course,
1:10:14 > 1:10:18and poetry and Greek drama, in painting and visual art.
1:10:18 > 1:10:21He's phenomenally knowledgeable about visual art.
1:10:21 > 1:10:23Something that I find really interesting is
1:10:23 > 1:10:27if you visit him at home, you realise what a general all-round...
1:10:27 > 1:10:30He just is a creator in all spheres of life.
1:10:30 > 1:10:34The next piece we are going to hear is Night's Black Bird,
1:10:34 > 1:10:37a 40-minute orchestral work which had another wonderful
1:10:37 > 1:10:40performance this season at the Proms, Juanjo Mena
1:10:40 > 1:10:42conducting the BBC Philharmonic Orchestra.
1:10:42 > 1:10:45A 14-minute evocation of melancholy in some way.
1:10:45 > 1:10:49What else from that whole world of creativity is coming together
1:10:49 > 1:10:52in this music we are going to hear, Night's Black Bird?
1:10:52 > 1:10:57Well, melancholy, yes, because it's related to a song
1:10:57 > 1:11:03by John Dowland, the Elizabethan composer, who Harry is extremely
1:11:03 > 1:11:09fond of and Dowland made a kind of cult out of the idea of melancholy.
1:11:09 > 1:11:14Harry describes it as being like humour of the night,
1:11:14 > 1:11:17an inspired mental condition.
1:11:17 > 1:11:22And you hear this song, In Darkness Let Me Dwell,
1:11:22 > 1:11:25you hear just the first three notes...
1:11:25 > 1:11:29Just three notes rising and then falling.
1:11:29 > 1:11:32And that sort of pervades the piece.
1:11:32 > 1:11:36But also there are so many other aspects of his music there.
1:11:36 > 1:11:39There's the idea of a thing I was talking about,
1:11:39 > 1:11:41the sort of machine,
1:11:41 > 1:11:44not like a tick-tock machine like clockwork like you hear
1:11:44 > 1:11:45in some of his other music,
1:11:45 > 1:11:48but it's rather lumbering, something grinding into action
1:11:48 > 1:11:52and then repeating and then changing as it repeats.
1:11:52 > 1:11:54So, listen out for that.
1:11:54 > 1:11:59Also listen out for those wonderful Birtwistle wind melodies
1:11:59 > 1:12:02that sort of emerge out of nowhere and go back again,
1:12:02 > 1:12:05these constantly changing shapes.
1:12:05 > 1:12:10And then, as the piece gets going, you have this nocturnal atmosphere,
1:12:10 > 1:12:13Night's Black Bird, you hear the blackbird,
1:12:13 > 1:12:17you hear in the piccolo some birdsong but again you've got
1:12:17 > 1:12:21this sense of a mysterious ritual going on and it starts as if
1:12:21 > 1:12:24it's always been going on and it ends with this big,
1:12:24 > 1:12:27long trumpet note, and you think, well,
1:12:27 > 1:12:31it could have ended anywhere but it happened to end here.
1:12:31 > 1:12:33That's where we come out of it
1:12:33 > 1:12:36but the piece is probably going on for ever.
1:25:09 > 1:25:11MUSIC ENDS
1:25:11 > 1:25:14APPLAUSE
1:25:14 > 1:25:16Harrison Birtwistle's Night's Black Bird.
1:25:16 > 1:25:19Juanjo Mena conducting the BBC Philharmonic Orchestra.
1:25:19 > 1:25:22We're taking a sharp night's move away from melancholy
1:25:22 > 1:25:24for the last music we're going to hear tonight.
1:25:24 > 1:25:27Returning to Peter Maxwell Davies' Birthday Prom,
1:25:27 > 1:25:30we're going to hear An Orkney Wedding, With Sunrise.
1:25:30 > 1:25:32Let's go back to the Royal Albert Hall.
1:25:32 > 1:25:36Peter Maxwell Davies with his own thoughts about this music.
1:25:36 > 1:25:40It was my dear friends, Jack and Dorothy Rendell, on Hoy.
1:25:40 > 1:25:46And, er, they got married and it was an occasion for great celebration,
1:25:46 > 1:25:50and, er, you hear the guests arrive and being politely greeted
1:25:50 > 1:25:54with a glass of whisky, but, er, as the dancing starts
1:25:54 > 1:26:00and proceeds, it becomes a little bit more jolly and inebriated.
1:26:00 > 1:26:02And, er, there's one section
1:26:02 > 1:26:05where I, um, did something which happened there,
1:26:05 > 1:26:09it happened that the players were so absolutely, um,
1:26:09 > 1:26:12drunk on the whisky that they could hardly play,
1:26:12 > 1:26:18but they rallied and came round and, er, I walked home across the island
1:26:18 > 1:26:23and I decided that the wonderful sunrise that I saw
1:26:23 > 1:26:29was going to be celebrated in a rather special way.
1:26:29 > 1:26:33And so, at the end of the work, there is a sunrise,
1:26:33 > 1:26:34but if you don't know the piece,
1:26:34 > 1:26:37I think you'll be quite surprised by it.
1:26:37 > 1:26:40Um, that's the perfect upbeat. Ladies and gentlemen, please welcome
1:26:40 > 1:26:43onstage Ben Gernon to conduct the Scottish Chamber Orchestra
1:26:43 > 1:26:47and Peter Maxwell Davies' An Orkney Wedding, With Sunrise.
1:26:47 > 1:26:49APPLAUSE
1:33:23 > 1:33:25LAUGHTER
1:39:47 > 1:39:50APPLAUSE
1:41:03 > 1:41:07ORCHESTRA STARTS PLAYING "HAPPY BIRTHDAY TO YOU"
1:41:07 > 1:41:10LAUGHTER
1:42:27 > 1:42:29CHEERING AND APPLAUSE
1:42:58 > 1:42:59Masterworks.
1:42:59 > 1:43:02What have we learned over the last seven weeks,
1:43:02 > 1:43:06from Bach to Birtwhistle, from Mozart to Maxwell Davies?
1:43:06 > 1:43:07Well, maybe this -
1:43:07 > 1:43:10that we can't take any of these pieces for granted,
1:43:10 > 1:43:14that they live and breathe and change in live performance
1:43:14 > 1:43:17and, above all, in these performances at the Proms.
1:43:17 > 1:43:20You know, this music has been made anew
1:43:20 > 1:43:24in that crucible of classical music that is the Royal Albert Hall
1:43:24 > 1:43:26and the concerts will go on resonating
1:43:26 > 1:43:28in everyone's imagination who heard them,
1:43:28 > 1:43:30including the Scottish Chamber Orchestra's
1:43:30 > 1:43:33unforgettable Maxwell Davies tonight.
1:43:33 > 1:43:37Because that's where these masterworks are truly alive -
1:43:37 > 1:43:42in your ears, in your minds and in your hearts.