0:00:27 > 0:00:30Hello, and welcome to the last in our series of Friday Night Proms!
0:00:30 > 0:00:33During this Proms season, we've had more orchestras
0:00:33 > 0:00:35from around the world than ever before,
0:00:35 > 0:00:37many here for the first time.
0:00:37 > 0:00:41And tonight, the Qatar Philharmonic Orchestra makes its Proms debut.
0:00:41 > 0:00:44They'll be conducted by their music director Han-Na Chang,
0:00:44 > 0:00:48a superstar in her own right, more about that and the orchestra later.
0:00:48 > 0:00:49In an evening of high romanticism,
0:00:49 > 0:00:52they'll be performing two of the world's most popular classics -
0:00:52 > 0:00:54Rachmaninov's Second Piano Concerto,
0:00:54 > 0:00:58famously used to great effect in the film Brief Encounter
0:00:58 > 0:01:00and afterwards, Tchaikovsky's Fifth Symphony.
0:01:00 > 0:01:02When we think of romanticism today,
0:01:02 > 0:01:05some of us may visualise candlelight and roses,
0:01:05 > 0:01:06but when it was written,
0:01:06 > 0:01:10this music was actually a rather daring form of expression.
0:01:10 > 0:01:13The Rachmaninov concerto was ground-breaking in its writing for piano,
0:01:13 > 0:01:16achieving the most expressive qualities from the instrument,
0:01:16 > 0:01:18whilst pushing the technical level to its limit.
0:01:18 > 0:01:22Rachmaninov performed the concerto himself at the premiere in 1901.
0:01:22 > 0:01:25In fact, he even performed the concerto right here
0:01:25 > 0:01:27in the Royal Albert Hall in 1938
0:01:27 > 0:01:30conducted by Sir Henry Wood.
0:01:30 > 0:01:32Danni, he must have been the most incredible musician?
0:01:32 > 0:01:34Absolutely! At the piano,
0:01:34 > 0:01:37Rachmaninov was himself a great pianist.
0:01:37 > 0:01:40I consider him a virtuoso in the calibre of Liszt even.
0:01:40 > 0:01:44He was brilliant at achieving the most expressive qualities in the instrument.
0:01:44 > 0:01:47Perhaps due to the fact that Rachmaninov had quite a troubled life.
0:01:47 > 0:01:51His inner turmoil was expressed deeply through his music.
0:01:51 > 0:01:54As a composer who performed his own pieces,
0:01:54 > 0:01:56Rachmaninov had a gigantic hand span.
0:01:56 > 0:02:01His hands were so big he could span 13 keys on the piano,
0:02:01 > 0:02:03quite useful for a pianist!
0:02:03 > 0:02:06- For a violinist, perhaps not as useful!- No.
0:02:06 > 0:02:09I've listened to some recordings of Rachmaninov, there are a few,
0:02:09 > 0:02:13and what strikes me is the freedom with which he makes music.
0:02:13 > 0:02:15There are some Chopin recordings,
0:02:15 > 0:02:18the Minute Waltz has got an incredible time taken.
0:02:18 > 0:02:21He must've been a communicator, and yet, at the same time,
0:02:21 > 0:02:26he was able to focus on music in such a unique way.
0:02:26 > 0:02:28One of my favourite things about this Rachmaninov concerto
0:02:28 > 0:02:32is the passing of the main motif between the instruments.
0:02:32 > 0:02:35I think Rachmaninov is wonderful at creating a true dialogue.
0:02:35 > 0:02:39He passes between the instruments even sometimes in "mid-sentence".
0:02:39 > 0:02:40As a singer, when I do my concerts,
0:02:40 > 0:02:44I always talk with the orchestra about the idea of the "give and take".
0:02:44 > 0:02:48I always say, "You're not accompanying me. Don't be soft, we're in this together."
0:02:48 > 0:02:51I feel this piano concerto makes it almost impossible
0:02:51 > 0:02:54for the orchestra not to take a proactive role in the piece
0:02:54 > 0:02:56because of the passing of the melody between them.
0:02:56 > 0:03:00It's interesting you say "back and forth", but the opening of the piece is very unusual.
0:03:00 > 0:03:02The pianist comes in completely on his own.
0:03:02 > 0:03:05There are not many concertos that start that way,
0:03:05 > 0:03:08and so this amazing concentration at the beginning of that piece,
0:03:08 > 0:03:10I think, also decides how the piece will go.
0:03:10 > 0:03:13And we have a wonderful Russian virtuoso, Denis Matsuev, today.
0:03:13 > 0:03:17Winner of the Tchaikovsky Competition, somebody very much in the mould of Rachmaninov.
0:03:17 > 0:03:21- Also, I think, a pretty big fellow by all accounts!- Yes!
0:03:21 > 0:03:25APPLAUSE
0:03:25 > 0:03:28And here comes soloist Denis Matsuev with conductor Han-Na Chang
0:03:28 > 0:03:31to perform Rachmaninov's Piano Concerto Number 2.
0:03:38 > 0:03:40SILENCE DESCENDS
0:13:57 > 0:13:59MOVEMENT ENDS
0:13:59 > 0:14:01APPLAUSE
0:14:09 > 0:14:11SILENCE DESCENDS
0:34:52 > 0:34:54PIECE ENDS
0:34:54 > 0:34:55LOUD CHEERING AND APPLAUSE
0:35:04 > 0:35:08Denis Matsuev was the soloist in Rachmaninov's Piano Concerto Number 2,
0:35:08 > 0:35:12performed by the Qatar Philharmonic Orchestra conducted by Han-Na Chang.
0:35:23 > 0:35:27- And what a glorious performance that was!- Oh, that was amazing!
0:35:27 > 0:35:32Quite swift, as well, if I may say. I just love this piece.
0:35:32 > 0:35:35I feel like this piece is about Rachmaninov sort of surrounded
0:35:35 > 0:35:37almost by mirrors of himself,
0:35:37 > 0:35:40and the orchestra are sort of the mirrors,
0:35:40 > 0:35:42showing him the different sides of himself
0:35:42 > 0:35:43and as he plays the piano,
0:35:43 > 0:35:45he comments on all of these musings of his soul.
0:35:48 > 0:35:54- A very, very original and very, very personal performance of that magnificent concerto.- Absolutely.
0:35:54 > 0:35:58Those chords, I think they pulsated so intensively through him at the beginning
0:35:58 > 0:36:01- that I thought he was going to have whiplash!- Yes!
0:36:01 > 0:36:04It was very, very intense. He let it go through his entire body.
0:36:04 > 0:36:09Well, for me, I think this music will always be associated with Brief Encounter.
0:36:09 > 0:36:11Especially that love theme, the unrequited love.
0:36:11 > 0:36:16And it seems to fit so beautifully to the feeling of Rachmaninov.
0:36:16 > 0:36:20It's sadness, and yet, happiness at the same time.
0:36:21 > 0:36:24Wonderful ovation here for Denis Matsuev -
0:36:24 > 0:36:26rightly so after that magnificent performance.
0:36:26 > 0:36:29But it's so tragic, Rachmaninov,
0:36:29 > 0:36:31he's so plagued by his own self-doubt.
0:36:31 > 0:36:34He never felt that his music was good enough and today,
0:36:34 > 0:36:37- that seems absolutely impossible to believe, doesn't it?- It really does.
0:36:52 > 0:36:55I wonder if anyone can hear in the second movement,
0:36:55 > 0:36:56there's a theme in there
0:36:56 > 0:37:00that echoes a song called All By Myself by Eric Carmen.
0:37:00 > 0:37:03Some people remember that it was used in Bridget Jones!
0:37:03 > 0:37:05LOUD CHEERING
0:37:07 > 0:37:10And I think he's going to give us an encore.
0:37:13 > 0:37:15SILENCE DESCENDS
0:40:50 > 0:40:52PIECE ENDS
0:40:52 > 0:40:55LOUD APPLAUSE
0:41:01 > 0:41:03Denis Matsuev performed
0:41:03 > 0:41:06Rachmaninov's Prelude Number 5 in G Minor, Opus 23 -
0:41:06 > 0:41:09a particular favourite with pianists.
0:41:12 > 0:41:15Rachmaninov himself premiered the piece
0:41:15 > 0:41:18on 10th February, 1903, in Moscow.
0:41:18 > 0:41:22I don't know about you, but I have the feeling, when I listen to Rachmaninov's music,
0:41:22 > 0:41:26- it's as if even when he smiles, it's somehow through tears. - Absolutely.
0:41:26 > 0:41:30There's always tragedy and yet, that's a phenomenal performance
0:41:30 > 0:41:33by Denis Matsuev again, rousing to the end!
0:41:40 > 0:41:42In the second half of tonight's Prom,
0:41:42 > 0:41:44Han-Na Chang and the Qatar Philharmonic
0:41:44 > 0:41:47will be playing music by another great Russian romantic.
0:41:47 > 0:41:49But before we leave the world of Rachmaninov,
0:41:49 > 0:41:54there's one more fact about his Second Piano Concerto that's intrigued scholars for decades -
0:41:54 > 0:41:57he dedicated it to his hypnotist Dr Nikolay Dahl,
0:41:57 > 0:42:01who helped him to overcome a creative block lasting almost three years.
0:42:01 > 0:42:04The trigger had been the catastrophic premiere
0:42:04 > 0:42:08of his First Symphony in St Petersburg in 1897.
0:42:08 > 0:42:12There were accounts that the conductor was drunk at the time of the premiere,
0:42:12 > 0:42:16that there wasn't enough rehearsal time, they changed the venue,
0:42:16 > 0:42:20and as a result of all of those factors, the reviews were awful
0:42:20 > 0:42:22and Rachmaninov took it quite badly.
0:42:22 > 0:42:26- I'm convinced there's been no drinking going on with the Qatar Philharmonic.- No, definitely not.
0:42:26 > 0:42:30- Obviously, they've had lots of rehearsal time and sound fantastic.- They do.
0:42:30 > 0:42:34But as a singer as you are, I'm a violinist, I mean,
0:42:34 > 0:42:37- to work so hard to create something and for it to be such a failure, I mean...- Yeah.
0:42:37 > 0:42:42- What can that have felt like to...? - We don't often talk about our worst performances,
0:42:42 > 0:42:46but a bad performance, a bad review, a bad reception of something that's very personal,
0:42:46 > 0:42:47it can really ruin your confidence.
0:42:47 > 0:42:50And, I suppose, if you're a singer and you get a bad review,
0:42:50 > 0:42:53you might be able to say to yourself,
0:42:53 > 0:42:59"OK, well, maybe it's just the interpretation that I gave of the particular work."
0:42:59 > 0:43:02With a composer, the interpretation is 100% your creation,
0:43:02 > 0:43:04so a bad review can be incredibly destructive,
0:43:04 > 0:43:07and in the case of Rachmaninov, he was very affected by all of this
0:43:07 > 0:43:09and he fell into an abyss of drinking and depression.
0:43:09 > 0:43:13- It became very toxic. - But he turned to hypnotherapy.- Yeah.
0:43:13 > 0:43:16- At least, that's what we're told. - It's pretty interesting.
0:43:16 > 0:43:18It actually took place over three months
0:43:18 > 0:43:21and there are some accounts that say that he may have
0:43:21 > 0:43:24just gone over there to court Dr Dahl's lovely young daughter.
0:43:24 > 0:43:27He was a family friend though. I mean, what do you think?
0:43:27 > 0:43:31- Which one do you think was true? - It's very difficult, in hindsight,
0:43:31 > 0:43:33but he did dedicate the piece to Dr Dahl.
0:43:33 > 0:43:37- I think the fact that he came out of it, a comeback, if you like... - Absolutely!
0:43:37 > 0:43:38..and with such a phenomenal piece!
0:43:38 > 0:43:41Thank goodness Rachmaninov recovered!
0:43:41 > 0:43:44- Well, it was ultimately a huge success, wasn't it?- Yes.
0:43:44 > 0:43:46- So it all worked out in the end. - Yeah.
0:43:46 > 0:43:49There's another success story here tonight -
0:43:49 > 0:43:50the Qatar Philharmonic Orchestra
0:43:50 > 0:43:53and its music director, Han-Na Chang, from South Korea.
0:43:53 > 0:43:57She's fast emerging as one of the brightest conducting talents of her generation,
0:43:57 > 0:43:59but she initially achieved remarkable success
0:43:59 > 0:44:01as a cellist, winning both the First prize
0:44:01 > 0:44:03and the Contemporary Music Prize
0:44:03 > 0:44:07in the Fifth Rostropovich International Cello Competition in Paris
0:44:07 > 0:44:09in 1994 at the age of just 11.
0:44:24 > 0:44:26Well, I was born into a very musical family.
0:44:26 > 0:44:29My mother is a composer and my father loves music,
0:44:29 > 0:44:31and I'm an only child!
0:44:31 > 0:44:33So, we always had music in the home
0:44:33 > 0:44:36and my parents thought that it would be lovely
0:44:36 > 0:44:38to have music as a lifelong friend.
0:44:38 > 0:44:41At the age of three, I started to play around on the piano.
0:44:41 > 0:44:43I moved onto the cello at the age of six,
0:44:43 > 0:44:47thanks to my parents, who gave me the instrument as a gift.
0:44:47 > 0:44:49And, a few years later, when I was 11 years old,
0:44:49 > 0:44:54I went to play for Rostropovich at the Rostropovich competition.
0:44:54 > 0:44:55Won the first prize,
0:44:55 > 0:44:58and that started my career off.
0:45:07 > 0:45:11The move from cello to conducting was very natural for me, actually.
0:45:11 > 0:45:14It didn't happen overnight. There were all these great symphonies
0:45:14 > 0:45:18I wanted to perform and then I started learning conducting,
0:45:18 > 0:45:20studying the technique of conducting.
0:45:23 > 0:45:26I remember hearing this wonderful interview from Herbert von Karajan,
0:45:26 > 0:45:29when he said, "A mark of the great orchestra
0:45:29 > 0:45:32"is that they are able to give back to the conductor,
0:45:32 > 0:45:35"something greater than what the conductor expected."
0:45:35 > 0:45:38And I look forward every single day,
0:45:38 > 0:45:41to every single orchestra rehearsal that I do
0:45:41 > 0:45:43because always there's anticipation.
0:45:43 > 0:45:46This is what I came here with, this is my vision,
0:45:46 > 0:45:47this is what I suggest to you.
0:45:47 > 0:45:50Now, give me that sound, the early morning,
0:45:50 > 0:45:53the sun just about rising and birds starting to sing. That kind of sound?
0:45:53 > 0:45:56And, what do they give back to me!
0:45:56 > 0:45:58I cannot wait. It's like opening a gift!
0:45:58 > 0:46:00Opening a present, you know!
0:46:00 > 0:46:03We have 30 different nationalities in the orchestra.
0:46:03 > 0:46:07But all within a similar generation.
0:46:09 > 0:46:11It's a young orchestra, naturally,
0:46:11 > 0:46:18and I was asked to become their music director from September 2013.
0:46:18 > 0:46:21Our common language during the rehearsals is English,
0:46:21 > 0:46:23everybody speaks English very well.
0:46:23 > 0:46:26But, what unites us is the music.
0:46:26 > 0:46:29The heartbeat of the music that we're performing.
0:46:31 > 0:46:36The members must agree with the music director's vision,
0:46:36 > 0:46:38suggestion of sound
0:46:38 > 0:46:42and I think we've done great work collaborating together
0:46:42 > 0:46:43to finding this sound.
0:46:43 > 0:46:46For example, same part of the bow,
0:46:46 > 0:46:49the same speed of bow, breathe together.
0:46:49 > 0:46:53If one of your colleagues are playing a little bit flat, then adjust!
0:46:53 > 0:46:56That kind of thing that one takes for granted in an orchestra
0:46:56 > 0:46:59with a long tradition, we cannot take for granted.
0:46:59 > 0:47:03We work for it very hard and it's been a journey of discovery.
0:47:03 > 0:47:05Allegro vivace, no?
0:47:05 > 0:47:08SHE VOCALISES
0:47:08 > 0:47:13Shorter! If you're in doubt, don't play longer than your colleagues.
0:47:13 > 0:47:15Allegro vivace, please.
0:47:26 > 0:47:29Quite a few European orchestras, they just say,
0:47:29 > 0:47:33"We don't invite female conductors." Period.
0:47:33 > 0:47:37And my manager has heard this from two or three, four orchestras.
0:47:37 > 0:47:42So, this kind of mentality, I hope will go away within the next 20-30 years for the next generation.
0:47:46 > 0:47:49I had the most amazing experience three months ago in Qatar
0:47:49 > 0:47:52when I had a 12-year-old Qatari girl come up to me and say,
0:47:52 > 0:47:56"You're my role model. I'm going to be a conductor when I grow up."
0:47:56 > 0:48:00And I was just so happy and thrilled to hear this! That's the way to go!
0:48:00 > 0:48:03That's why we are here! To share music and joy of music making.
0:48:03 > 0:48:08Her eyes were sparkling and I was just so happy to hear that.
0:48:13 > 0:48:15Han-Na Chang.
0:48:15 > 0:48:16She'll be back on stage shortly
0:48:16 > 0:48:18to conduct one of my favourite works -
0:48:18 > 0:48:20Tchaikovsky's Fifth Symphony.
0:48:20 > 0:48:22Tchaikovsky wrote it at his summer house near Moscow -
0:48:22 > 0:48:24and unlike his Fourth Symphony,
0:48:24 > 0:48:26composed a decade earlier,
0:48:26 > 0:48:29it was written at a fairly stable time in his personal life.
0:48:29 > 0:48:33He'd recently finished an international tour conducting his own music.
0:48:33 > 0:48:37And the idyllic summer location proved helpful to inspiration,
0:48:37 > 0:48:39although he was plagued by self-doubt
0:48:39 > 0:48:45and even described the introduction to the symphony as "a complete resignation before fate."
0:48:45 > 0:48:47The audience, however, loved the Fifth Symphony,
0:48:47 > 0:48:50but after the premiere -
0:48:50 > 0:48:55which Tchaikovsky conducted himself in St Petersburg in 1888 - the critics reacted negatively.
0:48:55 > 0:48:58Tchaikovsky later wrote, "Having played my symphony twice in Petersburg
0:48:58 > 0:49:03"and once in Prague, I have come to the conclusion that it is a failure."
0:49:03 > 0:49:05Fortunately, he did manage to recover and yet,
0:49:05 > 0:49:09there's a great parallel between these two composers.
0:49:09 > 0:49:11That's why I think this programme is so great tonight.
0:49:11 > 0:49:14They both went through depressions in earlier life,
0:49:14 > 0:49:16they both went through an artistic block.
0:49:16 > 0:49:20- And they did know each other, even though there was a difference in years?- Yes, they did meet.
0:49:20 > 0:49:23Tchaikovsky was already a famous and established composer
0:49:23 > 0:49:26at the time, but Rachmaninov was only 12.
0:49:26 > 0:49:29They met at the home of Rachmaninov's piano teacher,
0:49:29 > 0:49:31a man by the name of Nikolay Tzverev.
0:49:31 > 0:49:33Very severe teacher, but a very good teacher.
0:49:33 > 0:49:36Tchaikovsky took a liking to him immediately and saw his great talent
0:49:36 > 0:49:41and watched over Rachmaninov during his schooling at the conservatory.
0:49:41 > 0:49:44His piano composition for his final in school,
0:49:44 > 0:49:48Tchaikovsky gave him five stars and then added four little pluses
0:49:48 > 0:49:51to the score on his paper.
0:49:51 > 0:49:54- That's wonderful.- A stunning grade from someone like Tchaikovsky.
0:49:54 > 0:49:58Of course, he was duly devastated after his death.
0:49:58 > 0:50:01As I think so many people were. It was unexpected.
0:50:01 > 0:50:04And Rachmaninov went straight to the piano
0:50:04 > 0:50:07and sat down and started to write his second piano trio
0:50:07 > 0:50:10which he dedicated to the memory of "a great artist".
0:50:10 > 0:50:13To Tchaikovsky. And I think it's important to say
0:50:13 > 0:50:17that it's impossible to get away from Tchaikovsky, even nowadays.
0:50:17 > 0:50:20The two main concert halls in Moscow are named after Tchaikovsky
0:50:20 > 0:50:23and the Russians, if I may say so, are very good at collective grief.
0:50:23 > 0:50:27Especially when it comes to major figures, major musical figures.
0:50:27 > 0:50:29And I think this overwhelmed so many people.
0:50:29 > 0:50:33I think it took Rachmaninov a long time before he got over this terrible loss.
0:50:33 > 0:50:36I think Rachmaninov was deeply dependent on Tchaikovsky
0:50:36 > 0:50:38who was obviously his idol.
0:50:38 > 0:50:41But I think he was also haunted by his reputation.
0:50:41 > 0:50:43How was he ever going to measure up to his idol?
0:50:43 > 0:50:46A man who has had many halls named after him.
0:50:46 > 0:50:49If I can say, Tchaikovsky was also a man with a heavy burden,
0:50:49 > 0:50:51homosexuality was illegal in Russia at the time.
0:50:51 > 0:50:54And he had to keep his sexuality a secret, a very heavy burden to bear.
0:50:54 > 0:50:58Not just illegal in Russia, but in England and many countries, in fact.
0:50:58 > 0:51:00We know that he suffered as a result.
0:51:00 > 0:51:02But this symphony, the Fifth,
0:51:02 > 0:51:07perhaps not as popular as the Sixth, and yet, people do love it. I certainly love it.
0:51:07 > 0:51:09That horn theme in the second movement, for one.
0:51:09 > 0:51:14- Oh! The opening, as well, it's so haunting.- It's incredible.
0:51:14 > 0:51:18Apparently, even in 1941, there was a performance of the Fifth
0:51:18 > 0:51:22in Leningrad as the bombs were falling.
0:51:22 > 0:51:25And this was, in fact, broadcast live to London.
0:51:25 > 0:51:27And, the orchestra stayed at their seats
0:51:27 > 0:51:29even though everything was coming down.
0:51:29 > 0:51:34And also because it's a symphony about the triumph over grief and over angst,
0:51:34 > 0:51:36and in the end, there is some kind of triumph.
0:51:36 > 0:51:39- That's correct.- And so, they held on to the bitter end.
0:51:39 > 0:51:42I think that says a lot about what the Russian people felt,
0:51:42 > 0:51:45and perhaps, still feel about this piece.
0:51:45 > 0:51:48You know, not many people know that Tchaikovsky
0:51:48 > 0:51:51had a wealthy Patron Of The Arts. Her name was Nadejzhda von Meck
0:51:51 > 0:51:54who paid him 6,000 roubles a year. She was deeply stirred by his music
0:51:54 > 0:51:56but she was sort of in awe of him.
0:51:56 > 0:51:59She put him on a pedestal and stipulated that they should never meet.
0:51:59 > 0:52:01And I think he'd written to her at one point,
0:52:01 > 0:52:05"You are the only person in the world whom I'm not ashamed to ask for money.
0:52:05 > 0:52:09"First, you are very kind and generous. And second, you are rich."
0:52:09 > 0:52:11And thank goodness she supported him!
0:52:11 > 0:52:13APPLAUSE
0:52:16 > 0:52:21So here comes Han-Na Chang to conduct the Qatar Philharmonic Orchestra
0:52:21 > 0:52:24in Tchaikovsky's Symphony Number 5.
0:52:31 > 0:52:33SILENCE DESCENDS
1:07:17 > 1:07:19MOVEMENT ENDS
1:07:19 > 1:07:20MURMURING
1:07:48 > 1:07:50SILENCE DESCENDS
1:20:35 > 1:20:37MOVEMENT ENDS
1:20:39 > 1:20:42MURMURING
1:21:01 > 1:21:02SILENCE DESCENDS
1:38:50 > 1:38:53WILD CHEERING AND APPLAUSE
1:39:01 > 1:39:06Han-Na Chang conducted the Qatar Philharmonic Orchestra
1:39:06 > 1:39:09in that performance of Tchaikovsky's Fifth Symphony.
1:39:14 > 1:39:18And huge applause here for the orchestra.
1:39:18 > 1:39:22Han-Na Chang has appeared twice before at the Proms as a cellist,
1:39:22 > 1:39:27but tonight has been her first Prom as a conductor.
1:39:27 > 1:39:31- A very successful debut for the Qatar Philharmonic Orchestra, I would say.- Absolutely.
1:39:33 > 1:39:38Well, from dark to light, from tragedy to triumph - what a piece!
1:39:38 > 1:39:41Talk about Ha-Na Chang, she's little,
1:39:41 > 1:39:44but there's a powerhouse packed inside that small frame!
1:39:44 > 1:39:47She really is a powerhouse. She was really going for it.
1:39:47 > 1:39:50- What a fantastic performance! - Gosh, just incredible!
1:39:50 > 1:39:53It just confirms what a great season this has been
1:39:53 > 1:39:55with so many orchestras from around the world.
1:39:55 > 1:39:56Oh, it's been incredible tonight,
1:39:56 > 1:39:59playing two very closely linked composers as we've seen.
1:39:59 > 1:40:01A wonderful programme.
1:40:01 > 1:40:04A culmination of all of the emotion in Russian music.
1:40:10 > 1:40:13And that brings us to the end of this evening's Prom -
1:40:13 > 1:40:15and the last Prom here on BBC FOUR.
1:40:15 > 1:40:18Tomorrow night, I hope you'll tune in to the climax of the season -
1:40:18 > 1:40:22The Last Night Of The Proms, starting at 7.30 on BBC TWO.
1:40:22 > 1:40:25Katie Derham will be here with music ranging
1:40:25 > 1:40:28from the late Sir John Tavener's iconic Song For Athene
1:40:28 > 1:40:31to William Walton's Facade.
1:40:31 > 1:40:35And the grand finale continues on BBC ONE at 9.10.
1:40:35 > 1:40:38Don't miss the Mary Poppins sing-along around the UK
1:40:38 > 1:40:41as we celebrate the 50th anniversary of that classic Walt Disney film.
1:40:41 > 1:40:44There'll be all the traditional favourites, too.
1:40:44 > 1:40:49- But for now, from Daniel and myself, good night.- Good night.