0:00:27 > 0:00:30Hello. Tonight, works written more than a century apart
0:00:30 > 0:00:32by two pianist-composers -
0:00:32 > 0:00:36Mozart, the star performer, penning pieces to wow audiences
0:00:36 > 0:00:38at his own concerts,
0:00:38 > 0:00:40Ravel using the piano as a composing tool
0:00:40 > 0:00:43to sketch out his massive orchestral vision.
0:00:43 > 0:00:46And we're certainly in good hands with the BBC Symphony Orchestra
0:00:46 > 0:00:49under the baton of Spanish conductor Josep Pons.
0:00:49 > 0:00:51It's a concert of apparent contrast -
0:00:51 > 0:00:53the poised elegance of Mozart in the first half
0:00:53 > 0:00:56but there's a sensory overload of Ravel in the second.
0:00:56 > 0:01:00But the true picture is a more complex and textured one,
0:01:00 > 0:01:02with a melancholy mood overtaking Mozart
0:01:02 > 0:01:04for at least the middle movement
0:01:04 > 0:01:06of his Piano Concerto No. 23 in A Major,
0:01:06 > 0:01:10and a structural discipline underpinning the Dionysian swoon
0:01:10 > 0:01:12of Ravel's Daphnis And Chloe.
0:01:12 > 0:01:15Mozart was 30 when he wrote this concerto.
0:01:15 > 0:01:17It was 1786, he'd moved to Vienna -
0:01:17 > 0:01:19the musical capital of the Western world -
0:01:19 > 0:01:23from Salzburg five years earlier to go freelance, no patron now,
0:01:23 > 0:01:24and he wrote to his father,
0:01:24 > 0:01:28"This is very definitely the land of the piano." And, Nicholas,
0:01:28 > 0:01:29Mozart's last 17 piano concertos
0:01:29 > 0:01:31were written in Vienna, weren't they?
0:01:31 > 0:01:34That's right. He was certainly a busy boy during that period.
0:01:34 > 0:01:36Unfortunately, me as a left-handed pianist,
0:01:36 > 0:01:38Mozart concertos are completely off limits for me.
0:01:38 > 0:01:40But I absolutely adore his music
0:01:40 > 0:01:43and they're still the real backbone of the concert pianist's life today,
0:01:43 > 0:01:46and Mozart really did put the concerto form on the map.
0:01:46 > 0:01:48And with this particular concerto,
0:01:48 > 0:01:52Mozart's choice of keys contributes to its shifting emotional sound.
0:01:52 > 0:01:55It's in A Major, which may have been down to no more than his use of
0:01:55 > 0:01:58the then still relatively new instrument, the clarinet, in A,
0:01:58 > 0:02:00which had only been around for about 30 years.
0:02:00 > 0:02:04And then there's this sister key of F-sharp Minor for the adagio,
0:02:04 > 0:02:05a unique choice from Mozart -
0:02:05 > 0:02:09nowhere is it the home key for a movement across all his concertos.
0:02:09 > 0:02:12And there was this prevailing idea in the Baroque era, wasn't there,
0:02:12 > 0:02:13that composing in a particular key
0:02:13 > 0:02:16- would inspire a particular mood in the listener?- That's right.
0:02:16 > 0:02:19Even a contemporary of Mozart, called Christian Schubart,
0:02:19 > 0:02:20wrote about it in a book, saying,
0:02:20 > 0:02:22"The characteristics of different keys..."
0:02:22 > 0:02:24He described A Major, saying,
0:02:24 > 0:02:26"This key includes declarations of innocent love,
0:02:26 > 0:02:28"youthful cheerfulness and trust in God."
0:02:28 > 0:02:32He goes on to describe F-sharp Minor of the second movement -
0:02:32 > 0:02:35"A gloomy key. It tugs at passion as a dog biting a dress.
0:02:35 > 0:02:39"Resentment and discontent are its language."
0:02:39 > 0:02:41I will have this image of the dog biting the dress
0:02:41 > 0:02:42as I listen to that movement.
0:02:42 > 0:02:44There are other unusual things about the concerto too,
0:02:44 > 0:02:47one being that the cadenza near the end of the first movement
0:02:47 > 0:02:50was written out at the time of its composition.
0:02:50 > 0:02:51Why is that significant?
0:02:51 > 0:02:54Ordinarily pianists use the cadenza as a time to show off
0:02:54 > 0:02:58their virtuosic wizardry at the piano. The cadenza for me
0:02:58 > 0:03:00is always a time I get quite nervous, actually,
0:03:00 > 0:03:02cos it's a time where the orchestra stops
0:03:02 > 0:03:05and you're quite on your own, showing off to the audience.
0:03:05 > 0:03:07And what's really special about this concerto
0:03:07 > 0:03:08is that Mozart's very specific
0:03:08 > 0:03:11as to what he wants the soloist to do here
0:03:11 > 0:03:12and he writes it out in full.
0:03:12 > 0:03:14There's a kind of theory about this.
0:03:14 > 0:03:17I've got a little copy of one of Mozart's manuscripts
0:03:17 > 0:03:19for the clarinet part of this concerto.
0:03:19 > 0:03:21It's a sketch of his student Barbara Ployer,
0:03:21 > 0:03:23she was the daughter of a tax collector in Vienna,
0:03:23 > 0:03:26and I love the way that her hair is apparently made up of
0:03:26 > 0:03:28little rests and quavers and things.
0:03:28 > 0:03:31The idea of this is that Mozart would have written out the cadenza
0:03:31 > 0:03:32for her as guidance.
0:03:32 > 0:03:34That's right. I mean, it could be that Mozart
0:03:34 > 0:03:37had an even higher profile as a teacher and a performer
0:03:37 > 0:03:39at the time he was obviously composing.
0:03:39 > 0:03:42And we know that Barbara Ployer would have played this cadenza
0:03:42 > 0:03:45with flourishes that would probably be too much for us
0:03:45 > 0:03:46in the concert hall today.
0:03:46 > 0:03:48Tonight, the concerto is being performed by
0:03:48 > 0:03:50a highly accomplished student of the piano,
0:03:50 > 0:03:52Argentinian-born Ingrid Fliter.
0:03:52 > 0:03:53And I'm a huge fan of hers
0:03:53 > 0:03:56but I've never heard her play this concerto live.
0:03:56 > 0:03:59I went to the BBC's Maida Vale Studios to watch her rehearse
0:03:59 > 0:04:01and have a proper pianist-to-pianist chat
0:04:01 > 0:04:03ahead of her first-ever Proms appearance.
0:04:05 > 0:04:07We have to never forget the reason why we do what we do.
0:04:07 > 0:04:12We are not going on stage to show off, to show that we can.
0:04:12 > 0:04:14We go on stage
0:04:14 > 0:04:16because we have a mission.
0:04:16 > 0:04:18- To communicate. - To communicate music.
0:04:18 > 0:04:20Have you always loved Mozart?
0:04:20 > 0:04:23Or is it something that's grown on you over time,
0:04:23 > 0:04:25as a performer and as a music listener?
0:04:25 > 0:04:29I would say that it's a composer, together with Chopin,
0:04:29 > 0:04:34that was part of my education since I was a very young age.
0:04:35 > 0:04:38And think it was a great choice for my teachers
0:04:38 > 0:04:42to give me lots of Mozart and Chopin because they both relate in a way,
0:04:42 > 0:04:45they both have this classical soul
0:04:45 > 0:04:48and a romantic expression all mixed together.
0:04:48 > 0:04:53They all deal... They both deal with beauty, with balance, with harmony.
0:04:53 > 0:04:59Um, the sounds that you create in the way you play a phrase,
0:04:59 > 0:05:02it's very important. So how to create a singing tone with the piano
0:05:02 > 0:05:04is one of the most difficult things to achieve
0:05:04 > 0:05:06because the piano naturally doesn't sing.
0:05:06 > 0:05:08So you create the illusion.
0:05:08 > 0:05:11And for Mozart and for Chopin, for both composers,
0:05:11 > 0:05:14it's important to imagine that you are a singer.
0:05:14 > 0:05:18When you look at a Mozart concerto or a Mozart solo piece,
0:05:18 > 0:05:21do you approach your technique differently?
0:05:21 > 0:05:29- There is more space in Chopin for your body participation.- Mm.
0:05:29 > 0:05:34So somehow the arm and the... and the back and your stomach -
0:05:34 > 0:05:36everything participates in Chopin.
0:05:36 > 0:05:38In Mozart, it's much more, um...
0:05:38 > 0:05:40like an arrow, you know,
0:05:40 > 0:05:45- um, that goes right into... into the point.- Yes.
0:05:45 > 0:05:48There's no space, for my taste,
0:05:48 > 0:05:50for playing around too much
0:05:50 > 0:05:52in terms of sound.
0:05:52 > 0:05:55You can play with colour a lot.
0:05:55 > 0:06:00It is a sunny concerto, Sunny Sunday day concerto,
0:06:00 > 0:06:03still there is a veil that covers this happiness over -
0:06:03 > 0:06:06melancholy hidden underneath.
0:06:06 > 0:06:08- And we confirm this with the second movement.- Yes.
0:06:08 > 0:06:11Incredible F-sharp Minor moment.
0:06:11 > 0:06:14But...it moves you deeply.
0:06:14 > 0:06:16And I cannot imagine one person
0:06:16 > 0:06:18that will not feel touched and moved by it.
0:06:18 > 0:06:21I'm sure there won't be a dry eye in the house tomorrow night.
0:06:21 > 0:06:23We will see. We will see.
0:06:23 > 0:06:26APPLAUSE
0:06:26 > 0:06:27Nicholas was talking there
0:06:27 > 0:06:29to Ingrid Fliter at the rehearsal studios.
0:06:29 > 0:06:33And here she is, coming on now to perform
0:06:33 > 0:06:36Mozart's Piano Concerto No. 23 in A Major
0:06:36 > 0:06:38with the BBC Symphony Orchestra
0:06:38 > 0:06:41conducted by Josep Pons.
0:06:41 > 0:06:43APPLAUSE ABATES AND CEASES
0:06:53 > 0:06:57ORCHESTRA PLAYS: "Piano Concerto No. 23 in A Major" by WA Mozart
0:09:01 > 0:09:04LILTING PIANO SOLO
0:11:27 > 0:11:31PIANISSIMO
0:11:52 > 0:11:56PIANISSIMO WOODWIND
0:11:56 > 0:12:00BOLDER PIANO AND STRING RESPONSE
0:12:37 > 0:12:41MELANCHOLY TONE
0:13:13 > 0:13:15LILTING TONE
0:15:40 > 0:15:43MUSIC BUILDS IN VOLUME
0:16:05 > 0:16:09CRESCENDOS
0:16:09 > 0:16:11SILENCE
0:16:11 > 0:16:15MUSIC RECOMMENCES PIANISSIMO
0:16:22 > 0:16:25FORTISSIMO
0:16:35 > 0:16:37PIANISSIMO
0:16:45 > 0:16:47SILENCE
0:16:47 > 0:16:51HALTING NOTES
0:16:51 > 0:16:53SILENCE
0:16:53 > 0:16:56MELANCHOLY TONE
0:17:40 > 0:17:41BRIGHTER TONE
0:18:08 > 0:18:11MUSIC CEASES
0:18:13 > 0:18:17APPLAUSE
0:18:33 > 0:18:37MELANCHOLY SOLO PIANO
0:19:28 > 0:19:31ORCHESTRA JOINS
0:25:22 > 0:25:25SILENCE
0:25:28 > 0:25:30MERRY PIANO SOLO
0:26:14 > 0:26:17FORTISSIMO
0:26:20 > 0:26:24CRESCENDOS AND FADE
0:33:19 > 0:33:20MUSIC CEASES
0:33:20 > 0:33:25APPLAUSE
0:33:31 > 0:33:33CHEERING
0:33:36 > 0:33:39Mozart's Piano Concerto No. 23, the final rondo
0:33:39 > 0:33:42with its invention, boundless energy,
0:33:42 > 0:33:44sparkle and uplifting riposte
0:33:44 > 0:33:48to the earlier sorrow. What did you think of Ingrid Fliter's performance
0:33:48 > 0:33:50there with the BBC Symphony Orchestra
0:33:50 > 0:33:51conducted by Josep Pons?
0:33:51 > 0:33:54I thought her performance absolutely spellbinding.
0:33:54 > 0:33:56Her clarity of her tone
0:33:56 > 0:33:58when she was playing was absolutely fantastic.
0:33:58 > 0:34:01When she first plays,
0:34:01 > 0:34:03she does a kind of gesture with her hands,
0:34:03 > 0:34:05like she's almost stroking the keyboard.
0:34:05 > 0:34:07And then seems to have a quite relaxed...
0:34:07 > 0:34:10and almost understated, yet what a mood change
0:34:10 > 0:34:12between the second and the third movement!
0:34:12 > 0:34:14What I loved about the third movement there was,
0:34:14 > 0:34:17I remember when she said to me how she actually envisages
0:34:17 > 0:34:20the orchestra as members and characters of the opera
0:34:20 > 0:34:23because, obviously, this was composed at the same time as
0:34:23 > 0:34:26Mozart's monumental Marriage Of Figaro.
0:34:32 > 0:34:35So Ingrid Fliter can take a well-earned rest now,
0:34:35 > 0:34:38and Nicholas and I will be turning our attention to the second half of
0:34:38 > 0:34:41tonight's concert with Ravel's Daphnis And Chloe.
0:34:41 > 0:34:45But before we immerse ourselves in nymphs and shepherds,
0:34:45 > 0:34:48here's a word from fellow presenter Katie Derham
0:34:48 > 0:34:49about her show tomorrow night.
0:34:52 > 0:34:55I'm going to be discussing the concert you're watching now
0:34:55 > 0:34:58and so much more, on Proms Extra tomorrow evening.
0:34:58 > 0:35:01My guests on the sofa are the violinist Daniel Hope,
0:35:01 > 0:35:05the singer Carolyn Sampson and the pianist Stephen Hough.
0:35:05 > 0:35:08And we're going to have a special performance by the Heath Quartet
0:35:08 > 0:35:09in the studio as well.
0:35:09 > 0:35:13So do join me tomorrow evening over on BBC Two at 8.15.
0:35:13 > 0:35:15ORCHESTRA TUNING UP
0:35:15 > 0:35:17Katie Derham there.
0:35:17 > 0:35:20And the second half of tonight's Prom is a just a few minutes away.
0:35:20 > 0:35:23Ravel's Daphnis And Chloe came towards the end of a ten-year period
0:35:23 > 0:35:26that was the most productive of the composer's working life.
0:35:26 > 0:35:30Music was absolutely flowing out of him, yet he struggled with Daphnis.
0:35:30 > 0:35:34It took three years to compose - from 1909 to 1912 -
0:35:34 > 0:35:37and, at the same time, he was working on several other pieces
0:35:37 > 0:35:39including his Pavane For A Dead Princess
0:35:39 > 0:35:41and, by contrast, the Mother Goose Suite.
0:35:41 > 0:35:43Part of the reason for the difficult birth of Daphnis And Chloe
0:35:43 > 0:35:46could have been that it wasn't Ravel's own idea.
0:35:46 > 0:35:48It was commissioned by Diaghilev's Ballet Russes
0:35:48 > 0:35:52and the choreography was by the great Russian dancer Fokine,
0:35:52 > 0:35:55who had long dreamed of adapting the authentic Greek myth.
0:35:55 > 0:35:57Well, Ravel's reference point
0:35:57 > 0:36:00was the Greece of nostalgic, 18th-century French art,
0:36:00 > 0:36:02so to Fokine it was essentially phoney.
0:36:02 > 0:36:05In the event, the ballet was overshadowed, wasn't it,
0:36:05 > 0:36:06by the shock value?
0:36:06 > 0:36:08There's Debussy's A L'Apres-midi d'Un Faune,
0:36:08 > 0:36:10also rooted in Greek mythology,
0:36:10 > 0:36:12which premiered just ten days earlier
0:36:12 > 0:36:14with daring choreography by Nijinsky,
0:36:14 > 0:36:16and Stravinsky's earth-shattering Rite Of Spring
0:36:16 > 0:36:17was to come the following year.
0:36:17 > 0:36:20That's right. And the Parisian premiere of Daphnis And Chloe
0:36:20 > 0:36:23was nearly derailed by a quarrel between
0:36:23 > 0:36:26Fokine and Diaghilev over Nijinsky. Diaghilev tried to retaliate
0:36:26 > 0:36:28by not giving the ballet enough rehearsal time
0:36:28 > 0:36:29and even threatened to cancel it.
0:36:29 > 0:36:31It was all very messy and very human.
0:36:31 > 0:36:35Well, at the time, Daphnis And Chloe got mixed reviews
0:36:35 > 0:36:38lacking the first quality of ballet music - rhythm itself.
0:36:38 > 0:36:40And Stravinsky, on the other hand, saying,
0:36:40 > 0:36:42"Not only is it Ravel's best work
0:36:42 > 0:36:46"but also one of the most beautiful products of all French music."
0:36:46 > 0:36:49And the orchestral score has stayed hugely popular.
0:36:49 > 0:36:52The music is so exquisite and the scale of its orchestration,
0:36:52 > 0:36:55you see all those instruments done, it's immense!
0:36:55 > 0:36:56In a way, it's almost surprising to me
0:36:56 > 0:36:59- that there was ever a ballet to go with it.- I know, it's amazing.
0:36:59 > 0:37:02It's stunning, and Ravel must've liked it too, as he called it
0:37:02 > 0:37:04"a choreographic symphony".
0:37:04 > 0:37:07And it really is incredibly musical. It's structured like a symphony.
0:37:07 > 0:37:09It's got a small number of recurring themes,
0:37:09 > 0:37:10tableaux, textures,
0:37:10 > 0:37:13and it's got a lot of layers that are beautifully interwoven.
0:37:13 > 0:37:16And it really is a huge piece. I mean,
0:37:16 > 0:37:18Ravel never got to write for an ensemble this big again.
0:37:18 > 0:37:22It's got harps, a celesta, 15 woodwind, 9 percussionists,
0:37:22 > 0:37:24a wind machine and a wordless choir to boot.
0:37:24 > 0:37:27And there's something about that scale of orchestration
0:37:27 > 0:37:30which I think matters. It's almost filmic in its kind of
0:37:30 > 0:37:32widescreen sense.
0:37:32 > 0:37:34And there's this wordless choir singing.
0:37:34 > 0:37:37And if there's something kind of familiar about it,
0:37:37 > 0:37:39if you've seen any of those great Hollywood epic films
0:37:39 > 0:37:42of the 1930s and '40s, it's that kind of feel to their music
0:37:42 > 0:37:45because a lot of the composers of the generation after Ravel
0:37:45 > 0:37:48went to Hollywood and put this kind of orchestration skill
0:37:48 > 0:37:50into the scores they wrote there.
0:37:50 > 0:37:53Just look a bit at the storyline. It's based on a Greco-Roman
0:37:53 > 0:37:56pastoral romance by Longus
0:37:56 > 0:37:58and it was set, this story before, by other composers -
0:37:58 > 0:38:00of Offenbach and Rousseau -
0:38:00 > 0:38:02and it reflects general musical preoccupation,
0:38:02 > 0:38:05through the centuries, with Greek mythology.
0:38:05 > 0:38:08Well, the plot. Daphnis and Chloe are worshipping the nymphs.
0:38:08 > 0:38:10Daphnis and a rival called Dorcan
0:38:10 > 0:38:12have a dance-off to win a kiss from Chloe.
0:38:12 > 0:38:14Lycaon tries to seduce Daphnis.
0:38:14 > 0:38:16Chloe is carried off by pirates.
0:38:16 > 0:38:19Daphnis faints and is revived by nymphs and shepherds.
0:38:19 > 0:38:22And Chloe is rescued from pirates by Pan, and the lovers are reunited.
0:38:22 > 0:38:26And there's just general joyous dancing throughout the whole thing.
0:38:26 > 0:38:30Basically, a nymph is nearly raped by a pirate - the end!
0:38:30 > 0:38:33And, as you can tell, I'm not big on the plot!
0:38:33 > 0:38:35Um, it's pretty dodgy. But the music -
0:38:35 > 0:38:38I've seen this at the Proms before - is something else.
0:38:38 > 0:38:42APPLAUSE
0:38:46 > 0:38:50APPLAUSE CONTINUES
0:38:55 > 0:38:56APPLAUSE ABATES AND CEASES
0:39:01 > 0:39:03PIANO PLAYS ADAGIO: "Daphnis And Chloe" by Ravel
0:39:21 > 0:39:23ORCHESTRA JOINS
0:39:33 > 0:39:38BBC SYMPHONY CHORUS VOCALISES ECHOING THE MELODY AND HARMONISING
0:55:37 > 0:55:40SILENCE
0:55:40 > 0:55:42MUSIC RECOMMENCES
0:58:05 > 0:58:09CHORUS JOINS
1:08:44 > 1:08:45ORCHESTRA CEASES
1:08:49 > 1:08:56CHORUS VOCALISES A LOW, DESCENDING SCALE
1:09:03 > 1:09:07CHORUS HARMONISES IN ALTERNATING TONES
1:09:11 > 1:09:17CHORUS IN DESCENDING SCALES WITH HARMONIES
1:09:23 > 1:09:28ADAGIO DESCENT OF SCALE
1:09:38 > 1:09:42CHORUS BUILDS
1:10:01 > 1:10:06CHORUS DOLCE
1:10:40 > 1:10:42BRASS SECTION JOIN
1:11:07 > 1:11:10CHORUS ALONE HARMONISES
1:11:16 > 1:11:22BRASS SECTION JOIN
1:11:30 > 1:11:34CHORUS CRESCENDOS AND CEASES
1:14:58 > 1:15:03CHORUS REJOINS WITH RHYTHMIC VOCALISATION
1:15:21 > 1:15:29CRESCENDOS
1:22:41 > 1:22:47CHORUS VOCALISES IN LOW HUM
1:23:02 > 1:23:07SILENCE
1:23:07 > 1:23:08SWEET, TRILLING MUSIC
1:27:49 > 1:27:53CHORUS JOINS WITH HARMONISING VOCALISATIONS
1:36:56 > 1:36:59FORTISSIMO
1:37:05 > 1:37:10CRESCENDOS
1:37:19 > 1:37:22PIANISSIMO
1:37:25 > 1:37:29MUSIC SWELLS
1:37:53 > 1:38:00CRESCENDOS
1:38:48 > 1:38:50CHORUS VOCALISES
1:39:00 > 1:39:04CHORUS FORTISSIMO
1:39:19 > 1:39:22CRESCENDO
1:39:26 > 1:39:32CRESCENDOS
1:39:36 > 1:39:40CRESCENDOS
1:39:50 > 1:39:53MUSIC AND VOCALISATION SWELL AND BUILD
1:39:57 > 1:40:01CRESCENDOS
1:40:05 > 1:40:07FORTISSIMO
1:40:14 > 1:40:16MUSIC CEASES
1:40:16 > 1:40:19APPLAUSE
1:40:26 > 1:40:29APPLAUSE CONTINUES
1:40:29 > 1:40:32Ravel's Daphnis And Chloe.
1:40:32 > 1:40:35A rapturous end to what a bacchanal it was there,
1:40:35 > 1:40:39performed by the BBC Symphony Orchestra and Chorus,
1:40:39 > 1:40:41the conductor Josep Pons.
1:40:41 > 1:40:45And sometimes I think that more really is more.
1:40:45 > 1:40:47I counted 200, I think,
1:40:47 > 1:40:50singers and musicians down there, and it shows.
1:40:50 > 1:40:54It really is a whirlwind of a piece. It's absolutely amazing.
1:40:54 > 1:40:55And it must be so demanding
1:40:55 > 1:40:59for the orchestra to play, yet they seem to make it look so effortless
1:40:59 > 1:41:02in some parts and then, you know, so virtuosic in others.
1:41:02 > 1:41:03It was really, really wonderful.
1:41:03 > 1:41:06I'm just thinking of some of the complex orchestrations,
1:41:06 > 1:41:09where you've got the dawn chorus coming up with the sunrise
1:41:09 > 1:41:12all evoked on instruments, and yet somehow so real!
1:41:12 > 1:41:17And that whirlpool of sound we got at the end there.
1:41:17 > 1:41:19Ravel said he ripped it off from Rimsky-Korsakov - Scheherazade.
1:41:19 > 1:41:22He said he put it on the piano and just copied it.
1:41:22 > 1:41:24NICHOLAS LAUGHS
1:41:25 > 1:41:27APPLAUSE CONTINUES
1:41:27 > 1:41:30CHEERING
1:41:30 > 1:41:33The chorus master, Stephen Jackson there,
1:41:33 > 1:41:36being embraced on stage by conductor Josep Pons.
1:41:36 > 1:41:38The sound of that wordless choir
1:41:38 > 1:41:41was such an integral part of the power of this piece.
1:41:41 > 1:41:45I think it really gave the sense of that mystery
1:41:45 > 1:41:47and that familiar sound that we have,
1:41:47 > 1:41:50you know, from Hollywood films and things,
1:41:50 > 1:41:53yet was so mysterious at the same time.
1:41:53 > 1:41:56APPLAUSE CONTINUES
1:42:03 > 1:42:05Time to go now.
1:42:05 > 1:42:08Trailing clouds of glory and dancing to Pan's pipes
1:42:08 > 1:42:11as that brings tonight's Prom to a close.
1:42:11 > 1:42:13Hopefully you've been as moved and uplifted
1:42:13 > 1:42:15by what you've heard as we have,
1:42:15 > 1:42:18and as, clearly, the audience here at the Albert Hall have.
1:42:18 > 1:42:21You can catch up with performances and much more via the Proms website
1:42:21 > 1:42:23and BBC iPlayer,
1:42:23 > 1:42:25including an extra-special performance
1:42:25 > 1:42:27from tonight's concert -
1:42:27 > 1:42:30a world premiere of the BBC Proms commissioned by Jonathan Dove,
1:42:30 > 1:42:32Gaia Theory.
1:42:32 > 1:42:35Katie Derham will be hosting Proms Extra on BBC Two tomorrow night.
1:42:35 > 1:42:37And I'll be back here on BBC Four this time next Friday
1:42:37 > 1:42:39with Suzy Klein,
1:42:39 > 1:42:41when the programme includes more Ravel
1:42:41 > 1:42:44that's very close to my heart - a core part of my own repertoire -
1:42:44 > 1:42:46it's his Piano Concerto For The Left Hand.
1:42:46 > 1:42:48- Until then, good night.- Good night.