0:00:27 > 0:00:30Hello. There are a few orchestras in the world
0:00:30 > 0:00:33which carry an added edge of excitement before them
0:00:33 > 0:00:36wherever they go. This is most definitely one,
0:00:36 > 0:00:40and that's on top of being a first-class musical ensemble.
0:00:40 > 0:00:45Whether in Berlin, or at their base in Seville, in Ramallah,
0:00:45 > 0:00:47or here, at the Royal Albert Hall,
0:00:47 > 0:00:51a visit by Daniel Barenboim's West-Eastern Divan
0:00:51 > 0:00:53is not just a concert, it's an event.
0:00:53 > 0:00:56And with a unique mix of mostly Israeli and Arab musicians,
0:00:56 > 0:00:58it's an orchestra with a mission,
0:00:58 > 0:01:00and there are always plenty ready to listen.
0:01:00 > 0:01:04The touring party hit Europe following a sold-out 11-day festival
0:01:04 > 0:01:07in Barenboim's birthplace, Buenos Aires.
0:01:07 > 0:01:10They astounded the Proms audiences here two years ago
0:01:10 > 0:01:13with an epic exploration of Beethoven's symphony cycle,
0:01:13 > 0:01:17audaciously matched with works by the modernist maestro Pierre Boulez.
0:01:17 > 0:01:19This time round, however,
0:01:19 > 0:01:23Barenboim brings a programme featuring Spanish-flavoured music
0:01:23 > 0:01:26from the French master orchestrator Maurice Ravel,
0:01:26 > 0:01:30ranging from the poised beauty of his Pavane For A Dead Princess
0:01:30 > 0:01:34to the mesmerising rhythms of his hugely popular Bolero.
0:01:34 > 0:01:36So a main course of Ravel coming up later,
0:01:36 > 0:01:39but before that, there's an appetiser.
0:01:39 > 0:01:41A century and a half earlier than Ravel,
0:01:41 > 0:01:44a certain Wolfgang Amadeus Mozart was looking to Spain
0:01:44 > 0:01:47as the setting for what would become one of his best-loved operas.
0:01:47 > 0:01:50Written during a period of prolific creativity,
0:01:50 > 0:01:54The Marriage Of Figaro was premiered in Vienna in May 1786,
0:01:54 > 0:01:57and it was an immediate success around Europe.
0:01:57 > 0:02:00Wayne, the overture's five minutes long,
0:02:00 > 0:02:01but it packs a punch, doesn't it?
0:02:01 > 0:02:03It does. I mean, it's a great opener
0:02:03 > 0:02:05because it's very fast, it's vivacious,
0:02:05 > 0:02:08it's got a lot of energy, and it's difficult to play -
0:02:08 > 0:02:10the first seven bars are really, really technically difficult,
0:02:10 > 0:02:13just to get it all together. So, erm, it requires
0:02:13 > 0:02:15a lot of concentration. PROMMERS SHOUT
0:02:15 > 0:02:18The Prommers having their say right now!
0:02:18 > 0:02:20- Difficult for a conductor, especially.- It is.
0:02:20 > 0:02:23CHEERING I mean, I've conducted the work
0:02:23 > 0:02:25and again, it's a question of
0:02:25 > 0:02:29whether one decides to do it in one or in two, that's a technical thing.
0:02:29 > 0:02:31But...again, it's the same concentration.
0:02:31 > 0:02:33And also, as an organist I played it too,
0:02:33 > 0:02:35so different things involved there.
0:02:35 > 0:02:39Mozart, of course, describes the opera as "une folle journee",
0:02:39 > 0:02:41a day of madness, which kind of sets it up.
0:02:41 > 0:02:43You know, the scene in Seville
0:02:43 > 0:02:46at the palace of the lecherous Count Almaviva.
0:02:46 > 0:02:47The head servant there, Figaro,
0:02:47 > 0:02:49with his fiancee, Susanna, and the Countess,
0:02:49 > 0:02:52they conspire to expose the Count's scheming ways.
0:02:52 > 0:02:55And their aim, of course, is to set him back onto the path of true love.
0:02:55 > 0:02:58The overture, interestingly and unusually,
0:02:58 > 0:03:01doesn't quote from the rest of the opera.
0:03:01 > 0:03:03That is unusual, isn't it?
0:03:03 > 0:03:06A little bit, but when you consider something like West Side Story,
0:03:06 > 0:03:08for instance, Leonard Bernstein,
0:03:08 > 0:03:10you hear thematic music from the show straightaway.
0:03:10 > 0:03:12Here, the overture was a kind of afterthought,
0:03:12 > 0:03:15and it doesn't actually contain any thematic music whatsoever.
0:03:15 > 0:03:18And you say an afterthought because he dashed it off really quickly.
0:03:18 > 0:03:20Yes, and just because in the heat of the moment
0:03:20 > 0:03:23he had to write something, so this is what he wrote.
0:03:23 > 0:03:26APPLAUSE
0:03:26 > 0:03:30CHEERING
0:03:30 > 0:03:35And just listen to that roar filling the Royal Albert Hall,
0:03:35 > 0:03:38as the man himself - conductor, maestro Daniel Barenboim -
0:03:38 > 0:03:40joins the orchestra on stage.
0:03:40 > 0:03:43An orchestra he co-founded with the late Edward Said,
0:03:43 > 0:03:46the Palestinian intellectual,
0:03:46 > 0:03:49and Barenboim's very close friend.
0:03:49 > 0:03:54APPLAUSE
0:04:02 > 0:04:04OVERTURE STARTS
0:08:27 > 0:08:30APPLAUSE
0:08:33 > 0:08:37The overture from Mozart's opera The Marriage Of Figaro.
0:08:37 > 0:08:39Played there by the West-Eastern Divan Orchestra,
0:08:39 > 0:08:40conducted by Daniel Barenboim.
0:08:42 > 0:08:45Led by his son, Michael Barenboim, the younger son.
0:08:45 > 0:08:47APPLAUSE
0:08:56 > 0:08:58At the same time as composing The Marriage Of Figaro,
0:08:58 > 0:09:02Mozart was also writing two of his greatest piano concertos,
0:09:02 > 0:09:04his A major and C minor.
0:09:04 > 0:09:06It does occur to me, Wayne,
0:09:06 > 0:09:08that we have, in this room,
0:09:08 > 0:09:10at least three pianist conductors.
0:09:10 > 0:09:13We've got Mozart, we've got Barenboim and we've got you.
0:09:13 > 0:09:15We certainly have two -
0:09:15 > 0:09:17because one isn't here! However...
0:09:17 > 0:09:20But Mozart, yes, of course, certainly conducted from the fortepiano,
0:09:20 > 0:09:21which was very traditional then.
0:09:21 > 0:09:25And I think it's certainly common for conductors who conduct this opera
0:09:25 > 0:09:27to do the same thing.
0:09:27 > 0:09:31I've certainly seen Barenboim conduct from the piano here,
0:09:31 > 0:09:33in the past.
0:09:33 > 0:09:34This time at the Proms,
0:09:34 > 0:09:38Daniel Barenboim brings four Spanish-infused works by Ravel -
0:09:38 > 0:09:40Rapsodie espagnole, Alborada,
0:09:40 > 0:09:43Pavane, and the famous Bolero.
0:09:43 > 0:09:46But he'll be presenting them in an intriguing new way.
0:09:46 > 0:09:48I spoke to him earlier today.
0:09:48 > 0:09:51The great advantage for me and the orchestra
0:09:51 > 0:09:54is to be able to play these four pieces together.
0:09:54 > 0:09:57Because there isn't, in the repertoire,
0:09:57 > 0:09:59a great Spanish symphony.
0:09:59 > 0:10:03But the journey from the Spanish Rhapsody,
0:10:03 > 0:10:05through Alborada, the Pavane,
0:10:05 > 0:10:07and then end with the Bolero,
0:10:07 > 0:10:09is a wonderful journey.
0:10:09 > 0:10:12And I find the Bolero, when played on its own,
0:10:12 > 0:10:15is a wonderful piece, as we all know,
0:10:15 > 0:10:18but I think one can say, without being offensive,
0:10:18 > 0:10:21rather primitive, how it is written.
0:10:21 > 0:10:25But the minute you put that in this context,
0:10:25 > 0:10:28as the last movement
0:10:28 > 0:10:30of this huge symphony,
0:10:30 > 0:10:33it assumes another dimension.
0:10:33 > 0:10:37And the repetitiousness
0:10:37 > 0:10:39of the rhythm
0:10:39 > 0:10:43adds...energy to it
0:10:43 > 0:10:47which it doesn't always have when it is on its own.
0:10:47 > 0:10:51It's a French composer's view of Spain -
0:10:51 > 0:10:54Ravel's mother was from the Basque region.
0:10:54 > 0:10:57What does that do to the music, do you think?
0:10:57 > 0:10:59Is there something very specific
0:10:59 > 0:11:01about the fact that his perspective was what it was?
0:11:01 > 0:11:05Well, you know, Spanish music is not only one thing.
0:11:05 > 0:11:06It's not only one colour.
0:11:06 > 0:11:08Like German music is also not.
0:11:08 > 0:11:14Look at the difference between Schumann and Brahms, Wagner.
0:11:14 > 0:11:15It's all different.
0:11:15 > 0:11:17In Spanish music you have
0:11:17 > 0:11:22slightly arid Spanish music, I think,
0:11:22 > 0:11:25represented by Manuel de Falla very much.
0:11:25 > 0:11:28But you have also voluptuous,
0:11:28 > 0:11:33more 19th-century Romanticism
0:11:33 > 0:11:36of Albeniz,
0:11:36 > 0:11:39especially his great masterpiece Iberia.
0:11:39 > 0:11:43And also, more interested
0:11:43 > 0:11:45in colour than de Falla.
0:11:45 > 0:11:48De Falla may be more interested
0:11:48 > 0:11:53in the rhythmical aspect of Spanish feeling of music.
0:11:53 > 0:11:55And Ravel has a bit of both.
0:11:55 > 0:11:57I think Ravel, in his way,
0:11:57 > 0:12:01is somewhere between de Falla and Albeniz.
0:12:01 > 0:12:05I think that if de Falla had written these pieces,
0:12:05 > 0:12:06they wouldn't have had this colour.
0:12:06 > 0:12:10A fair number of the members of the orchestra are Spanish.
0:12:10 > 0:12:12Is that directly related to the fact that
0:12:12 > 0:12:14you're based in Seville, or...?
0:12:14 > 0:12:17We always had a small number, it's not such a large number,
0:12:17 > 0:12:19it's about 15%.
0:12:19 > 0:12:21And when our new academy,
0:12:21 > 0:12:28the Barenboim Said Academy will open in Berlin in 2016,
0:12:28 > 0:12:30then we will have people from the region
0:12:30 > 0:12:33and people from the European Union.
0:12:33 > 0:12:37Tell me about the importance of this orchestra for you now.
0:12:37 > 0:12:41It has always been the dream of you and your friend,
0:12:41 > 0:12:43the late Edward Said,
0:12:43 > 0:12:46to try and do something innovative
0:12:46 > 0:12:48with a cultural exchange.
0:12:48 > 0:12:51This year was, of course, particularly difficult,
0:12:51 > 0:12:53with the war in Gaza.
0:12:53 > 0:12:55It obviously...
0:12:56 > 0:13:02Each side was concerned with its own suffering,
0:13:02 > 0:13:04and that was not easy.
0:13:04 > 0:13:06But the mere fact
0:13:06 > 0:13:08that in time of war
0:13:08 > 0:13:11not one member of the orchestra
0:13:11 > 0:13:13cancelled his coming here,
0:13:13 > 0:13:17and wanted to come and play with the other,
0:13:17 > 0:13:21because they feel a sense that...
0:13:21 > 0:13:25the orchestra is an example,
0:13:25 > 0:13:27through music,
0:13:27 > 0:13:31of what the future could look like.
0:13:31 > 0:13:34Because in front of the Ravel pieces,
0:13:34 > 0:13:38which we are playing now, we are all equal.
0:13:38 > 0:13:39We have the same rights,
0:13:39 > 0:13:43AND we have the same responsibilities.
0:13:43 > 0:13:46And it is a great joy for me,
0:13:46 > 0:13:48and a source of pride,
0:13:48 > 0:13:53that when there is a solo by the first flute,
0:13:53 > 0:13:54who is an Israeli,
0:13:54 > 0:13:57I see all the Arabs
0:13:57 > 0:14:00wishing him well, trying to support him, musically.
0:14:00 > 0:14:03And a few bars later,
0:14:03 > 0:14:06the clarinet has a solo,
0:14:06 > 0:14:08and he's Palestinian,
0:14:08 > 0:14:12and all the Israelis are with him on that.
0:14:12 > 0:14:16And I believe this happens only in this orchestra.
0:14:20 > 0:14:21It's just a few minutes now
0:14:21 > 0:14:23before Daniel Barenboim returns to the podium
0:14:23 > 0:14:26and then we get to revel in Ravel.
0:14:26 > 0:14:30Right now, here's a word from our very own Prom queen, Katie Derham.
0:14:33 > 0:14:34On Proms Extra tomorrow,
0:14:34 > 0:14:37we're going to be talking about the Prom that you're watching right now,
0:14:37 > 0:14:40as well as our usual round-up of Proms highlights.
0:14:40 > 0:14:42I'm going to be joined on the sofa by not one, not two,
0:14:42 > 0:14:44but three conductors,
0:14:44 > 0:14:46and by you as well at home, I hope.
0:14:46 > 0:14:50So that's Proms Extra, tomorrow on BBC Two at seven o'clock.
0:14:53 > 0:14:55So, looking ahead to the rest of tonight's programme,
0:14:55 > 0:14:58it's all about Ravel. A man of contradictions.
0:14:58 > 0:15:02A dandy who strove to earn his place in the serious world of music,
0:15:02 > 0:15:05but who didn't often pass up an opportunity
0:15:05 > 0:15:06to defy the establishment.
0:15:06 > 0:15:10In the same way, his music is also full of contrasts.
0:15:10 > 0:15:12At times hedonistic and voluptuous,
0:15:12 > 0:15:15at others, formal and restrained.
0:15:15 > 0:15:17Tonight's pieces embody both -
0:15:17 > 0:15:19from the mechanical rhythm of Bolero
0:15:19 > 0:15:24to the sensual, sinewy melody of Pavane For A Dead Princess.
0:15:24 > 0:15:29Ravel's work reflects and draws upon a broad range of musical cultures,
0:15:29 > 0:15:31but perhaps none more so than that of Spain.
0:15:31 > 0:15:35But while they all draw on Spanish musical traditions,
0:15:35 > 0:15:38these four pieces are, in fact, a continuation
0:15:38 > 0:15:40of a rich French century-long tradition,
0:15:40 > 0:15:45a musical obsession with Spain embodied in dance.
0:15:45 > 0:15:46Our first three pieces,
0:15:46 > 0:15:49Rapsodie espagnole, Alborada del gracioso,
0:15:49 > 0:15:51and Pavane For A Dead Princess,
0:15:51 > 0:15:54were written before Ravel had even visited Spain.
0:15:54 > 0:15:57APPLAUSE
0:15:57 > 0:15:59Wayne, how does Ravel go about creating and evoking Spain,
0:15:59 > 0:16:02or at least his version of it, through musical means?
0:16:02 > 0:16:04Well, if we look at Alborada,
0:16:04 > 0:16:08which, of course, is really based on fandango guitar style,
0:16:08 > 0:16:12the orchestration of this is very, very exacting,
0:16:12 > 0:16:14certainly for the strings, for the brass, and the woodwind.
0:16:14 > 0:16:16So we've got a lot of repeated notes.
0:16:16 > 0:16:20And, of course, the strings have got a lot of very fast pizzicati,
0:16:20 > 0:16:21so it's very, very evocative.
0:16:21 > 0:16:23One of the contradictions -
0:16:23 > 0:16:25we were speaking about contradictions in Ravel -
0:16:25 > 0:16:27was that he seemed to crave recognition,
0:16:27 > 0:16:29and yet he resented his own success at times.
0:16:29 > 0:16:31I mean, Pavane, which we're going to hear later on,
0:16:31 > 0:16:34is an example - major international success with amateur pianists,
0:16:34 > 0:16:36which seemed to really upset him.
0:16:36 > 0:16:39And likewise with Bolero, I suppose -
0:16:39 > 0:16:41instant blockbuster hit worldwide,
0:16:41 > 0:16:43much to his own bewilderment, in fact.
0:16:43 > 0:16:46He called it "orchestral tissue without music".
0:16:46 > 0:16:50Have you conducted it, and what approach would you take
0:16:50 > 0:16:53to making it relevant in a different way?
0:16:53 > 0:16:55I've conducted it, and the way I like to think about it,
0:16:55 > 0:16:58and for the orchestra, to think of it like a jazz improvisation.
0:16:58 > 0:17:01And the way that the side drum, of course, keeps the rhythm going
0:17:01 > 0:17:03all the way through the piece,
0:17:03 > 0:17:05when the flute actually makes the first entry,
0:17:05 > 0:17:07in a way the orchestral musicians
0:17:07 > 0:17:11like to recreate and to improvise around it.
0:17:11 > 0:17:13But yet, keep it in the structure,
0:17:13 > 0:17:16so that the whole piece feels like an improvisation.
0:17:16 > 0:17:17And what about rehearsing?
0:17:17 > 0:17:20Well, rehearsing it, I tend not to do too much with it,
0:17:20 > 0:17:22because it's like an improvisation
0:17:22 > 0:17:25and, in a way, this is a piece that really only works in performance.
0:17:25 > 0:17:28APPLAUSE
0:17:33 > 0:17:35Daniel Barenboim getting another big reception
0:17:35 > 0:17:37as he makes his way back
0:17:37 > 0:17:40to conduct the West-Eastern Divan Orchestra
0:17:40 > 0:17:44in four Ravel pieces based upon Spanish dances.
0:17:44 > 0:17:48Kicking off with the composer's first major orchestral work,
0:17:48 > 0:17:50Rapsodie espagnole.
0:17:50 > 0:17:53It starts in the stillness of a Spanish night.
0:34:16 > 0:34:20APPLAUSE
0:34:21 > 0:34:23The sounds of a Spanish fiesta
0:34:23 > 0:34:26close Ravel's Rapsodie espagnole.
0:34:28 > 0:34:29Next up, here's Alborada,
0:34:29 > 0:34:32which Ravel suggested very roughly translates as
0:34:32 > 0:34:34"morning song of the clown".
0:43:17 > 0:43:21APPLAUSE
0:43:22 > 0:43:25Ravel's free and sensual Alborada.
0:43:25 > 0:43:27The strings evoking the Spanish guitar.
0:43:27 > 0:43:29Fiendishly difficult to play.
0:43:31 > 0:43:34Next up, Pavane for a Dead Princess,
0:43:34 > 0:43:40written in 1899 and Ravel's first work to make a long-term impact.
0:50:27 > 0:50:34Simple but evocative - Ravel's Pavane for a Dead Princess.
0:50:34 > 0:50:37It is a dance, not a funeral march,
0:50:37 > 0:50:42and Ravel once castigated a pianist who played it very slowly.
0:50:42 > 0:50:46"Don't forget that it's a pavane for a dead princess
0:50:46 > 0:50:50"and not a dead pavane for a princess," he said.
0:50:53 > 0:50:56And now for the big finish.
0:51:16 > 0:51:19MUSIC: "Bolero" by Ravel
1:05:12 > 1:05:16MUSIC ENDS, CHEERING
1:05:22 > 1:05:26No-one had written a long-haul crescendo quite like that before.
1:05:26 > 1:05:28CHEERING CONTINUES
1:05:28 > 1:05:32Maurice Ravel's Bolero comes to its stuttering end!
1:05:32 > 1:05:35The West-Eastern Divan Orchestra.
1:05:35 > 1:05:38Conductor Daniel Barenboim.
1:05:38 > 1:05:41Do you know, almost at the beginning,
1:05:41 > 1:05:44he put his conductor's baton away
1:05:44 > 1:05:49and he was just standing back, leaning against the podium
1:05:49 > 1:05:54and it was only about two minutes in that he started to use his hands.
1:05:54 > 1:05:56HUGE CHEER
1:05:56 > 1:06:00I mean, it's a piece which really doesn't need to be conducted.
1:06:00 > 1:06:03That's the whole point about it. It just sort of evolved.
1:06:03 > 1:06:06It's a very difficult piece to rehearse, for that reason,
1:06:06 > 1:06:09because, you know, the performance is going to take on
1:06:09 > 1:06:12a different shape anyway, so one has to just feel the moment.
1:06:14 > 1:06:21Daniel Barenboim calling individual members of the orchestra to stand.
1:06:21 > 1:06:25The snare drum player, of course, is central to that piece,
1:06:25 > 1:06:27came to the front of the orchestra.
1:06:27 > 1:06:30CHEERING CONTINUES
1:06:33 > 1:06:37- Are you aware that there's another Bolero?- Is there?- Yup.
1:06:37 > 1:06:41Well, the Japanese composer Ryuichi Sakamoto wrote a piece
1:06:41 > 1:06:44called Bolerish to the same kind of structure,
1:06:44 > 1:06:47the same amount of bars, different themes,
1:06:47 > 1:06:51but very, very interesting. You need to check it out.
1:06:51 > 1:06:55The audience here at the Royal Albert Hall
1:06:55 > 1:06:57just absolutely loving this.
1:07:23 > 1:07:27FEET STAMPING
1:07:27 > 1:07:31APPLAUSE AND STAMPING INTENSIFIES
1:07:39 > 1:07:41CHEERING
1:07:54 > 1:07:57CHEERING AND WHISTLING
1:08:01 > 1:08:06MUSIC: "Entr'acte - Act Four" from Carmen by Georges Bizet
1:10:19 > 1:10:21MUSIC ENDS
1:10:56 > 1:11:00MUSIC: "Entr'acte - Act Three" from Carmen by Bizet
1:13:41 > 1:13:44APPLAUSE
1:13:48 > 1:13:50CHEERING
1:13:55 > 1:13:59MUSIC: "Entr'acte - Act Two" from Carmen by Bizet
1:15:27 > 1:15:29ORCHESTRA: # C'est fini! #
1:15:29 > 1:15:32LAUGHTER AND APPLAUSE
1:15:46 > 1:15:49CHEERING
1:16:02 > 1:16:05MUSIC: "Prelude" from Carmen by Bizet
1:16:05 > 1:16:10AUDIENCE CHEERS AND CLAPS ALONG
1:16:35 > 1:16:37CLAPPING DIES DOWN
1:16:50 > 1:16:54AUDIENCE CLAPS ALONG AGAIN
1:17:05 > 1:17:07CLAPPING DIES DOWN AGAIN
1:17:10 > 1:17:12MUSIC: "Toreador Song" from Carmen by Bizet
1:17:34 > 1:17:39CHORUS BEGINS, AUDIENCE CLAPS ALONG
1:17:43 > 1:17:46CLAPPING DIES DOWN
1:17:57 > 1:18:00MUSIC: "Prelude" from Carmen by Bizet
1:18:00 > 1:18:03AUDIENCE CLAPS ALONG
1:18:12 > 1:18:16MUSIC REACHES A CRESCENDO AND ENDS
1:18:16 > 1:18:18HUGE CHEER
1:18:37 > 1:18:40What an extraordinary showman the maestro is.
1:18:40 > 1:18:43Those encores, real crowd pleasers,
1:18:43 > 1:18:48from Carmen Suite No. 1, Excerpts from Bizet's Carmen.
1:18:48 > 1:18:51Extraordinary that he just gestured that he was going off to sleep
1:18:51 > 1:18:54- and the orchestra just played themselves.- They are amazing!
1:18:54 > 1:18:58I mean, just think that a young orchestra like this
1:18:58 > 1:19:00really producing such quality
1:19:00 > 1:19:03- and energy and passion from their music playing.- And such engagement
1:19:03 > 1:19:06with the audience as well. I mean, that's what's extraordinary.
1:19:06 > 1:19:09You really get a sense every time Barenboim brings this orchestra here
1:19:09 > 1:19:11- that he loves being here... - CHEERING
1:19:11 > 1:19:14..and the Proms audience love having them here.
1:19:14 > 1:19:17- There's no question of a doubt about that.- And he's back!
1:19:24 > 1:19:29We came back a few days ago from Argentina,
1:19:29 > 1:19:35where we had our own festival there for ten days.
1:19:35 > 1:19:38And we had a wonderful time.
1:19:38 > 1:19:44The Argentinians, of course, thought we went there to play for them.
1:19:44 > 1:19:46LAUGHTER
1:19:46 > 1:19:51Whereas, in fact, we went there to learn tango.
1:19:51 > 1:19:53LAUGHTER
1:19:59 > 1:20:04And we learned one tango, which has been a favourite of mine
1:20:04 > 1:20:07for many years, and I'm very proud
1:20:07 > 1:20:11that this completely Argentine-less orchestra...
1:20:11 > 1:20:13LAUGHTER
1:20:13 > 1:20:17..can play it so idiomatically.
1:20:17 > 1:20:20It is called El Firulete.
1:20:20 > 1:20:22SOME CHEERING AND APPLAUSE
1:20:22 > 1:20:24You know?
1:20:26 > 1:20:29One of the people who knows it, do you know what it means?
1:20:29 > 1:20:31- WOMAN: No. - No.
1:20:31 > 1:20:33LAUGHTER
1:20:33 > 1:20:36Because it's very difficult to translate.
1:20:36 > 1:20:42Firulete in Argentinian slang is something like...
1:20:42 > 1:20:47something ornamental and flamboyant at the same time.
1:20:47 > 1:20:49Ornamental flamboyance.
1:20:49 > 1:20:52This is, of course, not a good translation,
1:20:52 > 1:20:56but this is the nearest I can come to translate it.
1:20:56 > 1:21:00And it was arranged for wind, brass and percussion
1:21:00 > 1:21:06by a wonderful Argentinian musician whom I have known since my childhood
1:21:06 > 1:21:10and his name is Jose Carli.
1:21:10 > 1:21:12SOME PEOPLE WHOOP
1:21:12 > 1:21:15APPLAUSE
1:21:15 > 1:21:18MUSIC: "El Firulete" by Mariano Mores
1:24:27 > 1:24:30MUSIC ENDS, CHEERING
1:24:45 > 1:24:49That was tango El Firulete. You can really hear
1:24:49 > 1:24:52their enjoyment, can't you? I mean, I just loved that.
1:24:52 > 1:24:54- I just wanted to get up and dance. Didn't you, Wayne?- Yeah.
1:24:54 > 1:24:56SHE LAUGHS It's amazing, actually.
1:24:56 > 1:24:59Great arrangement, just to hear two sections of the orchestra,
1:24:59 > 1:25:01or three sections of the orchestra, really.
1:25:01 > 1:25:05- Fantastic, and hardly conducted. - Yeah. Again, hardly conducted.
1:25:05 > 1:25:08You could see his enjoyment, his physical movement,
1:25:08 > 1:25:11that wasn't conducting, but just enjoying the music.
1:25:11 > 1:25:13Yeah, just let them get on with it. Fantastic.
1:25:23 > 1:25:26Well, that just about wraps things up here tonight.
1:25:26 > 1:25:30The West-Eastern Divan Orchestra and Daniel Barenboim also performed
1:25:30 > 1:25:35the UK premieres of new pieces by Kareem Roustom and Ayal Adler,
1:25:35 > 1:25:38and you can watch them as part of the BBC iPlayer collection
1:25:38 > 1:25:39of New Works from the Proms.
1:25:39 > 1:25:41CHEERING CONTINUES
1:25:41 > 1:25:43And next Friday, things are a little bit different
1:25:43 > 1:25:46as we'll have a double helping of Proms here on BBC Four.
1:25:46 > 1:25:48First, Beethoven's Missa Solemnis,
1:25:48 > 1:25:52conducted by John Eliot Gardiner with the Monteverdi Choir.
1:25:52 > 1:25:54And then, there'll be a live late-night Prom
1:25:54 > 1:25:58with Paloma Faith and the Guy Barker Orchestra.
1:25:58 > 1:26:01In the meantime, don't forget to catch Katie Derham and Proms Extra
1:26:01 > 1:26:04on BBC Two tomorrow at seven.
1:26:04 > 1:26:07From all of us here at the Royal Albert Hall,
1:26:07 > 1:26:10- thanks very much for watching. Good night.- Good night.