0:00:27 > 0:00:30After the excitement of the first night a week ago,
0:00:30 > 0:00:33welcome back to the Royal Albert Hall for the first of our regular,
0:00:33 > 0:00:36but no less exciting, Friday night programmes,
0:00:36 > 0:00:38running throughout the Proms season.
0:00:38 > 0:00:41Each week there will be a different pair of presenters,
0:00:41 > 0:00:43bringing you a Prom of classical big-hitters.
0:00:43 > 0:00:45And Petroc and I kick off tonight
0:00:45 > 0:00:47with a concert that feels like a real event.
0:00:47 > 0:00:50Yes, tonight is the last concert that David Zinman will give
0:00:50 > 0:00:53as chief conductor of the Zurich Tonhalle Orchestra.
0:00:53 > 0:00:56In what's been a remarkable two decades in charge,
0:00:56 > 0:00:58he's revitalised the Swiss ensemble,
0:00:58 > 0:01:01turning them into a major international force
0:01:01 > 0:01:04and finding new audiences for classical music along the way.
0:01:04 > 0:01:07The orchestra has a reputation for electrifying live performances,
0:01:07 > 0:01:08as I'm sure we'll hear tonight,
0:01:08 > 0:01:11in a programme which includes Richard Strauss's music
0:01:11 > 0:01:15and Beethoven's highly evocative Pastoral Symphony.
0:01:15 > 0:01:17And Friday night used to be Beethoven night at the Proms.
0:01:17 > 0:01:20Yeah, that's right, it's a tradition that stretches right back
0:01:20 > 0:01:23to the earliest days of the Proms, under its founder Henry Wood,
0:01:23 > 0:01:26when at least one Friday concert of each season would be
0:01:26 > 0:01:30dedicated to Beethoven's music. The idea was phased out in the mid-60s,
0:01:30 > 0:01:32so you could argue we're staging
0:01:32 > 0:01:34a sort of mini revival of this tradition,
0:01:34 > 0:01:37right here on BBC Four as our Friday nights ahead feature
0:01:37 > 0:01:41the Eroica Symphony and the Missa Solemnis later on in the season.
0:01:41 > 0:01:43To start, the 6th Symphony tonight.
0:01:43 > 0:01:46Before that, Dvorak's Violin Concerto played by Julia Fischer
0:01:46 > 0:01:49and first, in what is his 150th anniversary year,
0:01:49 > 0:01:53Richard Strauss's Till Eulenspiegel's Merry Pranks.
0:01:53 > 0:01:55That's right. It's a symphonic tone poem
0:01:55 > 0:01:57based on a medieval German folk fable.
0:01:57 > 0:02:01We have the character of Till Eulenspiegel, he's a German peasant,
0:02:01 > 0:02:03a young rogue, a bit of a prankster.
0:02:03 > 0:02:07He uses his simplicity to undermine any and all forms of authority.
0:02:07 > 0:02:10His jokes and his jests, they are comical, brutal, even obscene.
0:02:10 > 0:02:14He rides his horse right through the market and he causes chaos.
0:02:14 > 0:02:17He escapes in seven-league boots, he dresses as a priest even,
0:02:17 > 0:02:20flirts with girls, of course while dressed as a priest,
0:02:20 > 0:02:22falls in love, completely jilted.
0:02:22 > 0:02:24He even pokes fun at some of the serious academics in the village
0:02:24 > 0:02:26and of course what happens, he's captured,
0:02:26 > 0:02:28he's condemned to death and he's hanged.
0:02:28 > 0:02:30So, he is an adventurer, even if he has a bad ending.
0:02:30 > 0:02:31I mean, you're an opera singer,
0:02:31 > 0:02:33you've sung lots of Strauss over the years.
0:02:33 > 0:02:36He's wonderful at making pictures using words.
0:02:36 > 0:02:39But he's able to do it with the instruments alone, isn't he?
0:02:39 > 0:02:41That's something that I often get asked about,
0:02:41 > 0:02:43is how do you tell a story without words?
0:02:43 > 0:02:45As opera singers, we have music that's told through the melody,
0:02:45 > 0:02:47we have a story that's told through the text
0:02:47 > 0:02:49and the emotional colours that that conveys.
0:02:49 > 0:02:53But there is a third story and that is the harmonic story
0:02:53 > 0:02:55that's under us with the orchestra.
0:02:55 > 0:02:59The tone poem sits right in between the symphonic orchestral composition
0:02:59 > 0:03:03and opera in that its purpose is to unify music and drama,
0:03:03 > 0:03:08so the singing is done actually not with voices but by the instruments.
0:03:08 > 0:03:10His execution is painted particularly dramatically
0:03:10 > 0:03:12and vividly as well,
0:03:12 > 0:03:16Till being hauled up to the gallows, a sudden loud snare drum roll
0:03:16 > 0:03:20- that recurs five times, with great brass fanfares on top.- Oh, yes.
0:03:20 > 0:03:23There's a death scream represented by wailing clarinet,
0:03:23 > 0:03:26descending woodwind passages, quiet pizzicato strings.
0:03:26 > 0:03:31Somehow the musical mood goes rather limp as he dies.
0:03:31 > 0:03:35Except that his opening theme comes back because Till lives on.
0:03:35 > 0:03:38APPLAUSE
0:03:58 > 0:04:02MUSIC: "Till Eulenspiegel's Merry Pranks" by Richard Strauss
0:18:42 > 0:18:46APPLAUSE
0:18:51 > 0:18:55David Zinman and the Tonhalle Orchestra from Zurich,
0:18:55 > 0:18:56opening their Prom
0:18:56 > 0:19:00with Richard Strauss's tone poem Till Eulenspiegel.
0:19:06 > 0:19:09Well, that performance launches a season-long celebration
0:19:09 > 0:19:12during what is Richard Strauss's 150th anniversary.
0:19:12 > 0:19:16Strauss Night coming up on 3rd August here on BBC Four.
0:19:16 > 0:19:19A feast of his orchestras as well at the Proms.
0:19:19 > 0:19:22Indeed, the composer originally thought that Till Eulenspiegel
0:19:22 > 0:19:23would be a stage work.
0:19:23 > 0:19:24An as an opera singer, of course,
0:19:24 > 0:19:26I can completely understand the appeal.
0:19:26 > 0:19:28There is wonderful descriptive power
0:19:28 > 0:19:31and very vivid characterisation in the instrumental colours there.
0:19:31 > 0:19:35But, as it happened, Strauss had one failed opera under his belt
0:19:35 > 0:19:38and it had only happened a year before in 1893,
0:19:38 > 0:19:39an opera called Guntram,
0:19:39 > 0:19:43and he was worried that the material for Till wouldn't quite stretch out
0:19:43 > 0:19:45for a whole opera. He actually put it in a letter.
0:19:45 > 0:19:50He said that Till was a role with too superficial a dramatic personality.
0:19:50 > 0:19:51You get a bit of Rosenkavalier there.
0:19:51 > 0:19:54Definitely, we were saying that, yeah.
0:19:54 > 0:19:55Well, next tonight, a young violinist
0:19:55 > 0:19:57for whom David Zinman has been something of a mentor.
0:19:57 > 0:20:00Julia Fischer has recorded Dvorak's Violin Concerto with him
0:20:00 > 0:20:02and together they have made it
0:20:02 > 0:20:04something of a mission to champion the work.
0:20:04 > 0:20:06It's partly personal for Julia.
0:20:06 > 0:20:07Dvorak, the great Czech composer -
0:20:07 > 0:20:11her mother was born in what was then Czechoslovakia.
0:20:11 > 0:20:14And this was also the first concerto that she ever played.
0:20:14 > 0:20:17Well, I know that she feels this concerto has been vastly underrated
0:20:17 > 0:20:19next to the acknowledged greats that we know,
0:20:19 > 0:20:21like Bruch, Mendelssohn, Brahms.
0:20:21 > 0:20:23I must say Brahms himself championed Dvorak.
0:20:23 > 0:20:25I'm a huge fan of Dvorak. I tend to agree.
0:20:25 > 0:20:28There was so much more to his musical legacy than the chestnuts
0:20:28 > 0:20:31we know, like the New World Symphony, the American Quartet,
0:20:31 > 0:20:33Rusalka, which I adore.
0:20:33 > 0:20:37Dvorak, I would say, was one of the very patriotic composers,
0:20:37 > 0:20:40nationalists, he really drew upon the varied rhythms and the melodies
0:20:40 > 0:20:43that were so colourful of his Bohemian folk songs
0:20:43 > 0:20:44of his native Czech homeland.
0:20:44 > 0:20:47And it gave his music a very unmistakable national identity.
0:20:47 > 0:20:51I'm so pleased that Julia is championing his work.
0:20:51 > 0:20:54APPLAUSE
0:20:54 > 0:20:57So, a chance for the soloist to show what she is made of.
0:20:57 > 0:21:00Julia Fischer says that the Dvorak Violin Concerto
0:21:00 > 0:21:06has the most beautiful beginning of all violin concertos.
0:21:18 > 0:21:21MUSIC: "Violin Concerto in A Minor" by Antonin Dvorak
0:52:16 > 0:52:20APPLAUSE
0:52:27 > 0:52:31What an amazing performance by Julia Fischer and David Zinman.
0:52:31 > 0:52:33I'm still reeling from that.
0:52:33 > 0:52:37It's like they've danced that dance before.
0:52:37 > 0:52:40It's wonderful to see two people so comfortable with each other.
0:52:40 > 0:52:43I almost felt like I was in their living room.
0:52:43 > 0:52:47Yeah, you can tell that relationship has a lot of history to it,
0:52:47 > 0:52:50from concert hall platforms and in rehearsal rooms.
0:52:50 > 0:52:54she reminds me of one of those great Central European virtuosi
0:52:54 > 0:52:57of the late 19th, early 20th century.
0:52:57 > 0:53:00A wonderful richness to her sound.
0:53:00 > 0:53:03But the virtuosity is somehow very contained,
0:53:03 > 0:53:08no fireworks just for the sake of fireworks. Wonderfully restrained.
0:53:08 > 0:53:11What I loved about Julia Fischer's performance
0:53:11 > 0:53:15is she just allowed herself to feel her way through it.
0:53:15 > 0:53:18She clearly feels so connected to this.
0:53:18 > 0:53:20This must be for her the umpteenth performance
0:53:20 > 0:53:24since she has played it since she was a child. It was just stunning.
0:53:24 > 0:53:27AUDIENCE STAMP FEET
0:53:27 > 0:53:29She's going to come back!
0:53:29 > 0:53:33That telltale stamp which means they want an encore and here she comes.
0:53:46 > 0:53:52The third movement from the Sonata in G Minor by Paul Hindemith.
0:58:17 > 0:58:20APPLAUSE
0:58:30 > 0:58:32What a wonderful choice for an encore,
0:58:32 > 0:58:38a surviving fragment of the lost violin sonata by Paul Hindemith.
0:58:46 > 0:58:48Well, tonight's concert is David Zinman's last,
0:58:48 > 0:58:51as we have been saying, in charge of the Zurich Tonhalle.
0:58:51 > 0:58:54The roots of the orchestra stretch back a century and a half.
0:58:54 > 0:58:57Zinman has been there for nearly 20 years.
0:58:57 > 0:59:00I've long been interested in the energy and effort that he's made
0:59:00 > 0:59:04to find new, young audiences. One of his most successful initiatives
0:59:04 > 0:59:07is something called Tonhalle Late.
0:59:07 > 0:59:09Just open to young people, the idea came to Zinman
0:59:09 > 0:59:11when his then 16-year-old son said
0:59:11 > 0:59:13the reason that he didn't go to concerts was because
0:59:13 > 0:59:16- he and his friends didn't want to be seen with their parents.- Yikes.
0:59:16 > 0:59:19These are really serious, rigorous classical concerts
0:59:19 > 0:59:22that start at 10pm. They last an hour.
0:59:22 > 0:59:23There's no slacking.
0:59:23 > 0:59:26Then the Tonhalle is turned into something akin to a night club,
0:59:26 > 0:59:31with live music and electronica into the early hours.
0:59:31 > 0:59:34Zinman faced resistance to this idea when he first pitched it.
0:59:34 > 0:59:37I think a lot of the older supporters of the orchestra thought
0:59:37 > 0:59:39that the concert hall was going to be trashed,
0:59:39 > 0:59:42the kids were going to run amok. But he stuck by it. He won through.
0:59:42 > 0:59:44And it's been a real success.
0:59:44 > 0:59:47I have to say, I'm all for breaking down musical barriers
0:59:47 > 0:59:51and getting new audiences, young audiences, exposed to music.
0:59:51 > 0:59:53We obviously love what we do.
0:59:53 > 0:59:55It's wonderful to share it with other people.
0:59:55 > 0:59:57I'm very passionate about changing the venues a little bit.
0:59:57 > 1:00:00Even though we have wonderful times in places like Royal Albert Hall,
1:00:00 > 1:00:03to actually go and take music somewhere else, where maybe,
1:00:03 > 1:00:05there might be people who are a little uncomfortable
1:00:05 > 1:00:08trying something out in a big classical venue for the first time.
1:00:08 > 1:00:10- You took classical music underground.- Absolutely.
1:00:10 > 1:00:12I have done some crazy concerts.
1:00:12 > 1:00:15I did one in Bermondsey tunnel, beneath the Tube.
1:00:15 > 1:00:16So we were singing Handel,
1:00:16 > 1:00:20with beer bottles and nightclub atmosphere. It was incredible.
1:00:20 > 1:00:23It just actually proved that you don't have to change
1:00:23 > 1:00:27the power of what we do. Classical music is totally brilliant
1:00:27 > 1:00:32as it is and we took that in its complete entirety down into a tunnel.
1:00:32 > 1:00:35The audience were spellbound. It was absolutely perfect.
1:00:35 > 1:00:38But I think there is a real danger when people start apologising
1:00:38 > 1:00:40and saying the only way to get young people in
1:00:40 > 1:00:42is to somehow make it a bit simpler and a bit easier.
1:00:42 > 1:00:44- You have to keep the standards up. - Absolutely.
1:00:44 > 1:00:47I don't think we need to compromise what we do or water it down.
1:00:47 > 1:00:49I really believe in people's ability to see something
1:00:49 > 1:00:52that is wonderful and moving. And classical music, let's face it,
1:00:52 > 1:00:54it has withstood the test of time already.
1:00:54 > 1:00:57So I really, really strongly support getting music out
1:00:57 > 1:01:01into different venues, trying it out. Getting a slightly new audience.
1:01:01 > 1:01:04And we are young musicians. It's our responsibility.
1:01:04 > 1:01:07Well, Beethoven's music has long spoken to ordinary people,
1:01:07 > 1:01:09young and old, across the centuries.
1:01:09 > 1:01:12His Pastoral Symphony coming up in just a moment here on BBC Four.
1:01:12 > 1:01:17But first of all, a word from our fellow Proms presenter Katie Derham.
1:01:19 > 1:01:21Proms Extra returns tomorrow
1:01:21 > 1:01:24and I will be talking about this concert and so much more
1:01:24 > 1:01:28with my guests Imogen Cooper, Sir Mark Elder and Eric Whitacre.
1:01:28 > 1:01:32We have an interview with the inimitable Jessye Norman, sharing her Proms memories.
1:01:32 > 1:01:35We have Alison Balsom's video diary from China
1:01:35 > 1:01:38and we have the exciting young pianist Haochen Zhang
1:01:38 > 1:01:40performing for us at the end of the show.
1:01:40 > 1:01:43It's what can only be described as a classical feast.
1:01:43 > 1:01:46So do join me over on BBC Two tomorrow at 8:25.
1:01:49 > 1:01:51So, looking forward now to the second half
1:01:51 > 1:01:54and the main event of tonight's programme,
1:01:54 > 1:01:56Beethoven's 6th or Pastoral Symphony,
1:01:56 > 1:01:59which he composed contemporaneously with the 5th
1:01:59 > 1:02:02and in fact they were premiered to the world
1:02:02 > 1:02:03at the same concert in 1808,
1:02:03 > 1:02:06a fairly mammoth and trying one by all accounts.
1:02:06 > 1:02:08Like Strauss's Till Eulenspiegel,
1:02:08 > 1:02:10the 6th is what's known as a programmatic,
1:02:10 > 1:02:14in that it sets out to evoke a non-musical scene through music,
1:02:14 > 1:02:17in this case, the beauty of the natural landscape.
1:02:17 > 1:02:20Yeah, there's a great sort of tradition of composers doing this.
1:02:20 > 1:02:22Composers evoking the outdoors,
1:02:22 > 1:02:24journeys, special places, rustic weddings.
1:02:24 > 1:02:28Glazunov, Ralph Vaughan Williams, also wrote pastoral symphonies.
1:02:28 > 1:02:31There's Vivaldi's Four Seasons, Haydn's The Seasons.
1:02:31 > 1:02:33Wonderful evocation of pastoral scenes
1:02:33 > 1:02:37in Handel's Messiah. Mozart portrayed a peasant wedding.
1:02:37 > 1:02:39I suppose the point is that most composers were,
1:02:39 > 1:02:42by the nature of their work, urban dwellers
1:02:42 > 1:02:47and cities 2-300 years ago were dirty, smelly, crowded places.
1:02:47 > 1:02:48Not a nice place to be.
1:02:48 > 1:02:50- Little in the way of sanitation. - Industrialisation.
1:02:50 > 1:02:53Industrialisation was under way, smoking chimney stacks,
1:02:53 > 1:02:57by Beethoven's time, were beginning to appear around Vienna.
1:02:57 > 1:03:00So the countryside, this Arcadian landscape,
1:03:00 > 1:03:03offered a sense of escape, a sort of soothing balm.
1:03:03 > 1:03:05I think that's quite relevant for today, actually.
1:03:05 > 1:03:08We all have feelings of needing to escape the city.
1:03:08 > 1:03:11And actually music itself is an escape
1:03:11 > 1:03:13and I think, especially this Beethoven symphony,
1:03:13 > 1:03:16we have a need to affirm this sheer splendour of life
1:03:16 > 1:03:19through experiencing nature and beauty.
1:03:19 > 1:03:23Yeah, and I think for Beethoven personally,
1:03:23 > 1:03:27let's remember his deafness meant that city life was really hell.
1:03:27 > 1:03:30Talking to people around him had become increasingly difficult
1:03:30 > 1:03:32and something that he really didn't want to do.
1:03:32 > 1:03:34He much preferred being alone outdoors.
1:03:34 > 1:03:36He liked to take some sort of walk every day.
1:03:36 > 1:03:38Vienna was a much smaller place in those days than it is now.
1:03:38 > 1:03:40So it was very easy to escape to the woods.
1:03:40 > 1:03:43Yes, he wrote, "To stay in town during the summer is torture to me."
1:03:43 > 1:03:45I feel that Beethoven sort of invites others
1:03:45 > 1:03:48to take a journey with him into the countryside.
1:03:48 > 1:03:51He opens a door and it's warm outside, much like this summer.
1:03:51 > 1:03:52Yeah, I mean, the first movement,
1:03:52 > 1:03:55Happy Feelings On Arrival In The Countryside.
1:03:55 > 1:03:58Later on, you hear this wonderful burbling brook
1:03:58 > 1:04:03and it's this glorious evocation of water gently babbling away in music.
1:04:03 > 1:04:07Absolutely. All the themes also, they all sort of repeat and repeat
1:04:07 > 1:04:10and expand and they reinvent themselves, much like nature does.
1:04:10 > 1:04:14Now, you're lucky enough to live in one of the most glorious places
1:04:14 > 1:04:15in the country, at Glyndebourne
1:04:15 > 1:04:18where that wonderful opera house is down in Sussex,
1:04:18 > 1:04:19surrounded by an Arcadian landscape,
1:04:19 > 1:04:22- I don't know if you got caught up in that storm last weekend.- We did!
1:04:22 > 1:04:25His musical portrait of the storm,
1:04:25 > 1:04:28has a storm ever been portrayed anywhere in art?
1:04:28 > 1:04:31Well, it's one of the more dramatic movements I've ever heard.
1:04:31 > 1:04:33It is so contrasting with the previous movements.
1:04:33 > 1:04:36We hear the thunder, we hear the storm, the clouds.
1:04:36 > 1:04:38They're all very accurately represented.
1:04:38 > 1:04:40You don't actually need to know the piece
1:04:40 > 1:04:42to be able to hear these colours in the music.
1:04:42 > 1:04:46It's absolutely thrilling and then of course everything calms down.
1:04:46 > 1:04:48Yeah, and that sense of relief.
1:04:48 > 1:04:50Joyful feelings,
1:04:50 > 1:04:54grateful feelings after the storm, as the clouds finally roll away.
1:04:54 > 1:04:58The oboe promises better things to come in what is it glorious phrase,
1:04:58 > 1:05:02and the flute seems to raise the curtain on a fresh country scene
1:05:02 > 1:05:07- as the peasants, the rural folk, celebrate their survival.- Exactly.
1:05:07 > 1:05:10APPLAUSE
1:05:22 > 1:05:26MUSIC: "Symphony No 6 in F major, Op 68" by Ludwig van Beethoven
1:45:15 > 1:45:18APPLAUSE
1:45:33 > 1:45:38A spectacular way to end this great partnership
1:45:38 > 1:45:41that's lasted 20 years between
1:45:41 > 1:45:46maestro David Zinman and the Tonhalle Orchestra of Zurich,
1:45:46 > 1:45:50playing Beethoven's 6th Symphony, his Pastoral Symphony,
1:45:50 > 1:45:52here at the BBC Proms.
1:45:52 > 1:45:55What a performance.
1:45:55 > 1:45:59I mean, that is the power of music. It can paint a picture with notes.
1:45:59 > 1:46:04I feel so privileged to I feel so privileged to have been able to hear that, here at the Royal Albert Hall.
1:46:04 > 1:46:07- It's the first time for me hearing it live.- What?!
1:46:07 > 1:46:11- Yeah, I have never heard this before. - You are a Pastoral version.- I am,
1:46:11 > 1:46:13so I feel immensely privileged
1:46:13 > 1:46:17and I have to say that I know for all the people watching at home,
1:46:17 > 1:46:19they will have felt like I have,
1:46:19 > 1:46:22just absolutely transported to another world.
1:46:22 > 1:46:25I think there is a danger in being carried away by the event
1:46:25 > 1:46:26and gushing, but I am not sure
1:46:26 > 1:46:30you could have heard a better first performance, live, than that.
1:46:30 > 1:46:36Because he brings such style and such elegance and such clarity
1:46:36 > 1:46:38and such storytelling.
1:46:38 > 1:46:42Absolutely. It must be bittersweet for him as a last performance.
1:46:42 > 1:46:46What I love about David Zinman is it's not about being
1:46:46 > 1:46:51"the maestro" but it's about making beautiful, beautiful picture
1:46:51 > 1:46:53and he's really done that tonight.
1:46:53 > 1:46:56APPLAUSE CONTINUES
1:47:00 > 1:47:04Well, the 6th Symphony is one of those great Proms favourites.
1:47:04 > 1:47:10It's been performed more than 100 times here at the BBC Proms,
1:47:10 > 1:47:14but this is David Zinman's first time conducting it
1:47:14 > 1:47:18at the BBC Proms. And you'll notice,
1:47:18 > 1:47:22there's a bit of movement on stage as David Zinman returns.
1:47:22 > 1:47:26There are some more players on stage, percussionists.
1:47:26 > 1:47:28Not actually wearing the tails
1:47:28 > 1:47:30that the rest of the orchestra are wearing.
1:47:30 > 1:47:33- That's exciting!- I think that's a special dispensation
1:47:33 > 1:47:36because they weren't performing in the Pastoral Symphony.
1:47:36 > 1:47:37Which means an encore.
1:47:38 > 1:47:42Now we'd like to play something really Swiss for you.
1:47:42 > 1:47:44LAUGHTER
1:47:54 > 1:47:57MUSIC: "Evviva I Soci" trad arr. Florian Walser
1:52:03 > 1:52:05LAUGHTER
1:52:12 > 1:52:13APPLAUSE
1:52:16 > 1:52:19MUSIC CONTINUES
1:52:42 > 1:52:46APPLAUSE
1:52:51 > 1:52:54That was very Swiss.
1:52:54 > 1:52:59It's a piece called Evviva I Soci, a traditional Swiss work,
1:52:59 > 1:53:03arranged by Florian Walser, who is E Flat Clarinettist
1:53:03 > 1:53:06- in the Zurich Tonhalle Orchestra. - Fantastic.- David Zinman,
1:53:06 > 1:53:11conducting the Zurich Tonhalle Orchestra here at the BBC Proms.
1:53:11 > 1:53:13Well, that wraps things up for tonight.
1:53:13 > 1:53:18- All Proms across the season are live on BBC Radio 3.- Of course.
1:53:18 > 1:53:21And there's lots more to explore on the Proms website
1:53:21 > 1:53:24Don't forget to watch Proms Extra on BBC Two tomorrow night
1:53:24 > 1:53:28with Katie Derham and watch out for more Beethoven later in the season
1:53:28 > 1:53:34with the Eroica and the Missa Solemnis both here on BBC Four.
1:53:34 > 1:53:36From the BBC Proms at the Royal Albert Hall,
1:53:36 > 1:53:39- from us, for now, good night. - Good night.