:00:00. > :00:07.Tonight on Proms Extra, we have a song and dance about Kiss Me Kate,
:00:08. > :00:10.we get vocal about Mozart, Strauss and Mahler and we have three
:00:11. > :00:44.Hello and welcome to Proms Extra, the show that delves into
:00:45. > :00:48.Amongst the goings on this week, the Albert Hall entertained
:00:49. > :00:57.a horse named Joey, had unfinished business with Mozart,
:00:58. > :02:02.faced a Battle of the Bands and got too darn hot with Cole Porter.
:02:03. > :02:04.And that was week three of the Proms.
:02:05. > :02:06.From the Albert Hall to our studio in the Royal College
:02:07. > :02:10.of Music and to the question ? just who are on the sofa tonight?
:02:11. > :02:13.First up, a gentleman with a voice that has had Proms audiences
:02:14. > :02:35.a tremble, he is one of the titans of the operatic world.
:02:36. > :02:49.family and quite a brilliant violinist to boot.
:02:50. > :02:52.Ahead of her appearance on the Last Night of the Proms.
:02:53. > :02:54.It?s a welcome return to Janine Jansen.
:02:55. > :02:56.And talking of this year?s Last Night of the Proms,
:02:57. > :02:59.the honour of steering that colossal ship of performers,
:03:00. > :03:11.orchestra -and Janine - is here with us tonight, it?s Sakari Oramo.
:03:12. > :03:13.And we have two exciting performances on the show tonight;
:03:14. > :03:17.for the first time on Proms Extra all of our guests will be performing
:03:18. > :03:19.including Sakari who will be dropping his baton and playing a
:03:20. > :03:26.violin duet with Janine, and Sir Willard White will close
:03:27. > :03:29.the show with a touch of Figaro ? and you really don't
:03:30. > :03:37.Sakari you and Janine are going to perform,
:03:38. > :03:45.How did this happen? It was Janine's idea. But I used to be a violinist
:03:46. > :03:51.in my previous life and I have tried to keep it up as much as I could. I
:03:52. > :03:57.love playing. I love playing more than ever before. So it is suitable.
:03:58. > :04:01.And the two of you will be performing in a chamber Proms on
:04:02. > :04:07.Monday. Yes. That will be splendid for you both. It is fantastic and he
:04:08. > :04:12.is a wonderful violinist. It is great to play together. And it is
:04:13. > :04:18.exciting to be back in the thick of the Proms? It is, I have had dreams
:04:19. > :04:24.and part of the dream is being here and looking at the Albert Hall
:04:25. > :04:31.brought back fond memories and maybe one day stoon I will -- soon I will
:04:32. > :04:39.sing there. Who knows. The last night of the Proms, this is the big
:04:40. > :04:43.one isn't it? Conducting the Last Night of the Proms, how do you feel?
:04:44. > :04:50.Yes, I can't imagine what the atmosphere will be like on stage. I
:04:51. > :04:54.am sure it will be hot and I will be busy getting through all the music.
:04:55. > :05:00.But I'm happy with the programme. I'm happy that Janine is playing and
:05:01. > :05:08.I'm happy with the rest of it as well. Just looking forward. The one
:05:09. > :05:13.thing people worry about is having to make a speech in the Hall. So we
:05:14. > :05:21.thought we would give you some help so here is something to inspire you.
:05:22. > :05:27.Your very impatient up there. You want me to talk? I have been told
:05:28. > :05:31.I'm not to make a long speech. But I'm quite overcome. You're the
:05:32. > :05:36.greatest audience in the world. Well nearly all of you. They told me it
:05:37. > :05:49.would be like this. It is your focus, your energy. Your sensible
:05:50. > :05:54.shoes! Don't be so rude! Any ideas? Any inspiration? I will keep this to
:05:55. > :05:59.myself! I won't give out anything before. If you have any questions,
:06:00. > :06:06.we have the man here to answer them. You're a veteran of the last night
:06:07. > :06:12.of Last Night of the Proms, what was your experience on that night?
:06:13. > :06:18.Before the singing it was amazing to step on the stage and be welcomed
:06:19. > :06:24.with such a wall of shouting and applause, it was most inspiring.
:06:25. > :06:29.Daunting. But one has to breathe and continue. And at every moment it is
:06:30. > :06:35.the only audience I have sang with or sang to or sang for that kept on
:06:36. > :06:40.supporting from the ones leaning right at the very front, through,
:06:41. > :06:48.you felt this energy of support all the time. Love. So tips for Janine
:06:49. > :06:51.and Sarari this year? Be yourself and enjoy. We have had the most
:06:52. > :06:57.extraordinary week. standout performances to bring
:06:58. > :07:00.the house down came via the staged production of ?Kiss Me Kate?, the
:07:01. > :07:03.award winning musical written by one of the greatest songwriters
:07:04. > :07:05.of all time - Cole Porter. For once at the back
:07:06. > :07:08.of the stage rather than the front was the hugely popular John Wilson
:07:09. > :07:11.Orchestra, led by their talented maestro with a knack for giving
:07:12. > :07:13.the audiences what they want. Taking our lead from Cole Porter,
:07:14. > :07:24.when it comes to the Wilson and his orchestra
:07:25. > :07:47.are just too darn hot. # I'd like to pitch some woo with my
:07:48. > :08:14.baby tonight # But it's just too darn hot!
:08:15. > :08:20.by John Wilson and his amazing orchestra.
:08:21. > :08:27.He tleet treats that music with such respect as if it were Mahler or
:08:28. > :08:33.Beethoven. Yes it is incredible. John has forensic interest in what
:08:34. > :08:38.was originally written and for this production he went back to the very
:08:39. > :08:44.originals that Cole Porter wrote. Because this musical and any others
:08:45. > :08:49.have been done a lot sips and they have always been modified. John goes
:08:50. > :08:56.back to the original and treats the music as if it would be the most
:08:57. > :09:01.valuable thing. Let me ask you about Cole Porter. He is considered one of
:09:02. > :09:06.the great American song writers, the father of the great American song
:09:07. > :09:11.book. What is is about his tunes that make him so marvellous. It is a
:09:12. > :09:17.particular ability to go straight to the heart. To go simply express a
:09:18. > :09:23.longing, a great desire of a lifetime and an eternal question. To
:09:24. > :09:31.present it in a way not high brow, but really speaking directly to the
:09:32. > :09:40.people, to their hearts. That is for simple Mol dis, the or -- melodies.
:09:41. > :09:45.The melodies are the tune you get in your head and they stay there for
:09:46. > :09:51.days. Yes, he knows how to marry one note to the next. The thing which
:09:52. > :09:56.striebs me with the -- strikes me with the John Wilson Orchestra is
:09:57. > :10:05.how much fun they're having. Yes and everyone wants to play in the
:10:06. > :10:10.orchestra. I saw a solo musician and people want to join that. I also get
:10:11. > :10:16.itching fingers to. When we spoke about John Wilson last year, you
:10:17. > :10:21.said if you got the phone call you could be there. Yes and I missed it.
:10:22. > :10:25.But it is so great what you have programmed at the Proms, I want to
:10:26. > :10:31.be at all these concerts. They did bring together a wonderful enCemable
:10:32. > :10:35.to perform a piece that requires cometic timing and wonderful acting
:10:36. > :10:45.skills and dancing skills and they had them all. We are going to see a
:10:46. > :10:51.clip of the character Kate. Who really hates men!
:10:52. > :11:07.# I hate men! # Avoid the travelling salesman, from China he may bring
:11:08. > :11:18.you jade, but don't forget it is he who will have the fun and I hate
:11:19. > :11:26.men! # I have never heard you sing like that, I must say. But what a
:11:27. > :11:30.great example, the Broadway star, now a classical star. How do you
:11:31. > :11:35.sing when you're having to be so active on stage like that? I haven't
:11:36. > :11:41.done many parts where I have had to be that active. But there is one
:11:42. > :11:47.thing that I learned and which has carried me through a lot of
:11:48. > :11:51.experiences is the central core of breathing. Keep that breath loose
:11:52. > :11:55.and in balance, don't make the breath tight, because that tires
:11:56. > :12:01.you. And if you keep the breath in balance, you actually build your
:12:02. > :12:10.stamina and you can go on. Do you ever dance? Willard? Do I ever
:12:11. > :12:21.dance? I mean on stage, off stage? I made a mistake in one production, in
:12:22. > :12:28.on aria I did a dance move and they said, do that. After that, I have
:12:29. > :12:32.been careful not to dance too much! We have to learn Kiss Me Kate there.
:12:33. > :12:36.If that isn't painful enough that, performance won't be on your screens
:12:37. > :12:50.until December, but it is worth the wait. Now Mahler's symphony No 5.
:12:51. > :13:45.Let's have a listen. Sakari, tell us as we regain our
:13:46. > :13:52.stability after the emotion of that piece, what is the story of Mahler
:13:53. > :14:00.5? When he started writing this symphony, sketching it at least, he
:14:01. > :14:06.met a young woman. Alma Schindler, who became pregnant and they got
:14:07. > :14:13.together. I think this can be seen as containing the process from the
:14:14. > :14:18.brooding, depressed conductor, composer, looking for something in
:14:19. > :14:24.his life, then wooing this young woman and at the end in the last
:14:25. > :14:30.movement, the relationship is born. She unlocks some beautiful music
:14:31. > :14:36.from Mahler. I saw you getting all misty-eyed there. What is your
:14:37. > :14:44.emotional response to Mahler? I love Mahler's music of course as a
:14:45. > :14:51.violinist, and not playing in an orchestra, very often, I don't get
:14:52. > :14:57.to play his music. But there is one movement, a piano quartet and
:14:58. > :15:03.wonderful to play it, but also I think maybe even more wonderful, I
:15:04. > :15:12.need to listen to it and just... Just get taken by this you know...
:15:13. > :15:18.Power and it reaches so deep and t unleashes so many different
:15:19. > :15:24.emotions. It is just one cannot... Describe it, one cannot touch it. It
:15:25. > :15:33.is... Is marveer an important part of your sound When I decide to
:15:34. > :15:39.follow like one instrument in the orchestra and it takes me on a dream
:15:40. > :15:44.and it takes me into an area of fascination of this composer,
:15:45. > :15:49.touching on a human aspect, a human longing, a human dream, a human fear
:15:50. > :15:56.and through one note, one instrument will take you and then take you
:15:57. > :16:06.right into a mountainous experience of avalanches and it's staggering.
:16:07. > :16:09.We've been curating all our favourite bits of the Proms for you
:16:10. > :16:12.in our Proms Extra Collection, but you do need the latest version of
:16:13. > :16:16.Once you've got it you can watch Mahler 5 and so much more.
:16:17. > :16:19.Very soon Sakari and Janine are going to perform
:16:20. > :16:25.But, before they go and get ready, we're going to stay
:16:26. > :16:28.for a moment more with Mahler and learn about his relationship
:16:29. > :16:31.with his wife and muse, Alma, with a few simple notes according to David
:16:32. > :17:09.That's an astonishing dischord rkts C sharp, F, D, it goes to the heart
:17:10. > :17:14.of what the symphony is all about. It starts in C sharp minor. This is
:17:15. > :17:21.in the key of F. We are going to end in D. So our chord, C sharp, F, D,
:17:22. > :17:27.spells out the tonal argument of the symphony. But though it's a dischord
:17:28. > :17:32.with a point it's an astonishingly ugly chord to put into what is
:17:33. > :17:38.really a love song to Mahler's new young wife Alma. Mahler found his
:17:39. > :17:42.marriage was very difficult. He even consulted Freud about his impotence.
:17:43. > :17:51.The movement is full of dischord. This very harsh dischord at the
:17:52. > :18:00.beginning. And Mahler drags that E up to the harmony note F. For me,
:18:01. > :18:04.that E is like mall's spirit of independence -- like Alma's spirit
:18:05. > :18:10.of independence. He wouldn't let Alma compose or play the piano. Once
:18:11. > :18:12.he has the E to the F, he invents very strange chords to keep it
:18:13. > :18:29.there. Only after our chord of the week is
:18:30. > :18:37.the F free to fall, but not to an E, to an E flat. It's as if Mahler
:18:38. > :18:44.having won Alma, have woulded her from E to -- wooed her from E to F,
:18:45. > :18:48.dare not let her go. Still to come on Proms Extra we'll
:18:49. > :18:55.be looking into the concerts of Strauss and Mozart and how
:18:56. > :18:57.musicians cope with their health Now a rare treat, here are Sakari
:18:58. > :19:02.and Janine to perform a very short piece entitled Duo
:19:03. > :20:51.for Two Violins, No 36, by Bartok. Sakari Oramo and Janine Jansen
:20:52. > :20:52.performing together and if you loved that why not listen to
:20:53. > :20:56.their lunchtime Prom at Cadogan Hall Now before they rejoin the sofa,
:20:57. > :21:00.I have Sir Willard White still with We're about to review
:21:01. > :21:13.Strauss' Four Last Songs. I know you adore that piece, why?
:21:14. > :21:18.Well, I had a very fine singer, who did an interpretation. I'm not
:21:19. > :21:21.really given to tears, I think, because I haven't cried very much in
:21:22. > :21:30.my life. But I felt the tears welling up. I was wondering why. And
:21:31. > :21:35.Strauss manages to strike a line of understanding, I feel, of the human
:21:36. > :21:40.journey. Because his journey, in my opinion, was so profound, full of
:21:41. > :21:46.conflicts, full of important issues that he needs to declare who he is.
:21:47. > :21:53.You can hear it in the music that he makes bold, very strong statements,
:21:54. > :21:57.not against anyone, but for the revelation of self. The horns speak
:21:58. > :22:00.in such a way, the cellos takes over and they sing their tune, it's just
:22:01. > :22:06.in praise of what is. Grab a shoulder to cry
:22:07. > :22:10.on or a cushion to hug ? here's one of the emotional highlights
:22:11. > :22:54.of Strauss' Four Last Songs. That was a wonderful performance.
:22:55. > :23:00.But one great performance to another. We heared Inger Dam-Jensen
:23:01. > :23:05.pulling at our heart strings there. What are the challenges of pulling
:23:06. > :23:11.this work off? It's immeasurably challenging for everybody. The
:23:12. > :23:18.orchestral part is written in such long lines, you need to have
:23:19. > :23:22.incredibly long and focussed and centred breath. For a conductor,
:23:23. > :23:26.it's always so important to support the singer, to breathe with the
:23:27. > :23:30.singer, not before, not after, just with. It's so important to make the
:23:31. > :23:33.orchestra listen to the voice, even though when they play they can't
:23:34. > :23:36.actually hear it, but there is a kind of listening that goes beyond
:23:37. > :23:48.that, that you know what's there, you know there's a voice and you
:23:49. > :23:54.place your part accordingly. This piece is an emotional journey. It
:23:55. > :23:59.has so much of what is best in our musical heritage and tradition. What
:24:00. > :24:03.is so lovely about listening to that Strauss is to hear all the different
:24:04. > :24:06.parts of the orchestra working beautifully together with the
:24:07. > :24:12.soloist and that marvellous violin segment, which I asked them to put
:24:13. > :24:17.in specially for you. Thank you! It's beautiful. I mean, when one
:24:18. > :24:24.listens to this beautiful violin solo, one is, I mean, I would always
:24:25. > :24:33.try to be like a voice, to breathe. You make long lines, the tension
:24:34. > :24:37.that one needs to create, it's all about breathing and the human voice
:24:38. > :24:47.is the most natural instrument. I would very much try to go for that
:24:48. > :24:50.and to yeah, deliver it. What's fascinating this season, we have the
:24:51. > :24:55.opportunity to hear not just the work like this, right at the end of
:24:56. > :24:59.his life, but we've heard something 40 years previously, the range of
:25:00. > :25:04.his work is extraordinary. It's incredible. He lived a very long
:25:05. > :25:11.life. In times, that changed greatly. He lived, he was born in
:25:12. > :25:15.the late 19th century and his family was all musical. He was very
:25:16. > :25:21.talented. He very soon got very famous as a composer and conductor
:25:22. > :25:27.as well. His music from his last years, which he always described as
:25:28. > :25:34.coming from the work station of an invalid. He had great self-irony and
:25:35. > :25:40.wit. And this music is then almost the last item to come out of that.
:25:41. > :25:45.I'm totally fascinated by the expression he creates in the Four
:25:46. > :25:52.Last Songs. I've contemplated death and I see that this man in his 85
:25:53. > :25:59.years old must be contemplating death and the way he treats the
:26:00. > :26:06.final phrase, you don't hear a cutting off. It's a continuation
:26:07. > :26:10.with a question, with a dream, with a statement and I found that most
:26:11. > :26:15.inspiring, because we don't know what death means. But that's, I
:26:16. > :26:24.think, that interested Strauss early in his life. Because he has had
:26:25. > :26:30.early tempo with death and transfiguration. It comes at the end
:26:31. > :26:32.too He quotes himself. I think he had a lifelong... That's what life
:26:33. > :26:38.does, isn't it? You can find more about Strauss
:26:39. > :26:41.and everything to do with the Proms Now, it's been a busy old summer
:26:42. > :26:50.of sport. We've got the cricket Test match
:26:51. > :26:53.series, the Commonwealth Games has just finished, we've had Wimbledon,
:26:54. > :26:56.the World Cup, and the football season is just around the corner,
:26:57. > :26:59.but it's not only sportsmen and women who have to train
:27:00. > :27:02.and keep their fit Double bassist with the Orchestra
:27:03. > :27:07.of the Age of Enlightenment Chi-chi Nwanoku led Proms Extra to
:27:08. > :27:10.the starting blocks to find out the highs and lows of staying
:27:11. > :27:20.on track as a classical musician. I was on track for an international
:27:21. > :27:24.athletics career as a sprinter until at 17-and-a-half a life-changing
:27:25. > :27:31.injury left me hungry to find another outlet for my energy and
:27:32. > :27:37.passion. My knee injury completely devastated me. My life changed from
:27:38. > :27:39.one second to the next. So how do musicians and performers, at the
:27:40. > :27:44.peak of their careers pro, tect themselves? -- protect themselves?
:27:45. > :27:49.There should be more attention played to warming up. All athletes
:27:50. > :27:55.do their stretching and they also do warm down, don't they? Warm down? I
:27:56. > :28:03.don't think we do that. We play our concert, go out to the pub. I think
:28:04. > :28:10.people don't realise just how physically tiring a two-hour resital
:28:11. > :28:14.is. The left hand on the cellos is incredibly strenuous, the stressing
:28:15. > :28:17.and there's a massive weight on the fingertips with quite thin strings.
:28:18. > :28:27.The bowing is something that is physically very exhausting. The idea
:28:28. > :28:30.that you have a flow of breath with singing, through part of your own
:28:31. > :28:41.body, anything your body is doing that is extreme is going to be
:28:42. > :28:47.detrimental to that. Of course, you get very strong physical reactions.
:28:48. > :28:51.I've had concerts where my lips have stuck to my top teeth because my
:28:52. > :28:57.mouth has suddenly gone so dry. I've had a very difficult year last year.
:28:58. > :29:03.I had whopping cough followed by viral pneumonia. I was poorly for a
:29:04. > :29:07.long time. Having been a very robust, healthy woman, I think, I
:29:08. > :29:11.had not anticipated the things that I would normally be able to do with
:29:12. > :29:18.the voice, I couldn't do. My worst fear was that I would never
:29:19. > :29:23.sing again. That it was over. I had laser treatment to remove this tiny
:29:24. > :29:28.polyp. It healed clean as a whistle. It was six to nine months of no
:29:29. > :29:34.singing at all, which was like losing part of myself. It was quite
:29:35. > :29:39.shocking, what an eenterprisous part of my -- what an enormous part of my
:29:40. > :29:48.identity being able to sing each day was. The difficulty with playing
:29:49. > :29:51.some of our instruments is that we have to often consort into weird
:29:52. > :29:56.positions in order to play them. Some of them are design -- were
:29:57. > :30:00.designed centuries ago. However fantastic they sound, if we're not
:30:01. > :30:07.careful, they can really challenge our bodies. My left-hand fingerers
:30:08. > :30:18.still today much longer than my right. That's constant stretching
:30:19. > :30:22.with the left hand over the years. I lost power in my bowing arm. That
:30:23. > :30:27.stopped me playing the big pieces, which is obviously what I've always
:30:28. > :30:31.done. It was a serious problem. When it happened, it came very suddenly.
:30:32. > :30:35.I knew about it last October, in the middle of a concert. Because you
:30:36. > :30:43.play that extra 10%. When you practice at home, I didn't realise I
:30:44. > :30:47.had a problem. Then suddenly, in the first movement, I suddenly thought,
:30:48. > :30:51."What's wrong? I can hardly hold the bow." The most embarrassing moment
:30:52. > :30:56.of my life, I went to the concert organiser in the interval and said I
:30:57. > :31:10.wasn't sure if I could do the second half. I can't hold the bow. It's
:31:11. > :31:15.ridiculous. We have seen footballers being stretchered off the pitch in
:31:16. > :31:24.agony. But it is equally tragic when a musician is forced to take their
:31:25. > :31:30.final bow. I had two MRI scans on my neck and showed the disk pressing on
:31:31. > :31:36.a nerve root. I am thinking it is time for me to move on. I have to
:31:37. > :31:40.say I miss the playing enormously. I really do. But that is the way it
:31:41. > :31:51.is. And I want to move on and do something that makes a difference.
:31:52. > :31:55.There is a kind of bereavement there. That is what I did all my
:31:56. > :31:57.life and suddenly it is not there. I'm not with the cello any more and
:31:58. > :32:14.it is a strange feeling. It was great to see Christine Rice
:32:15. > :32:20.performing Mozart's Requiem. But Julian shared something very sad to
:32:21. > :32:25.hear. As a fellow string player, what was your reaction about him
:32:26. > :32:31.losing his love? It is very sad. I could not imagine that it is losing
:32:32. > :32:38.your, I mean, yeah, part of who you are. And yeah, impossible to imagine
:32:39. > :32:46.that. Of course, one realises watching it even more how much one
:32:47. > :32:49.has to watch out for you know something happening and... I mean
:32:50. > :32:56.probably I don't warm up enough when I take the violin and I kind of, I'm
:32:57. > :33:01.quite impatient in the way I maybe practice. Also I just pick it up and
:33:02. > :33:06.want to play. But also in exercise. It is not a natural way to be like
:33:07. > :33:10.this. Of course, so many emotions and also tension goes through body.
:33:11. > :33:16.Maybe it is not continuous. But it goes through it. What are the danger
:33:17. > :33:23.points, is it the fingers, the hands the wrists? You know, it can be
:33:24. > :33:29.shoulders and of course the fingers. For myself, I think it is mostly
:33:30. > :33:35.like between the should irblades and lower back. But mostly here. Because
:33:36. > :33:39.there is so much emotion. In teaching we are told as
:33:40. > :33:45.instrumentalists to kind of be relaxed and play like you know, how
:33:46. > :33:49.can you when you feel things that you feel and you feel the tension
:33:50. > :33:56.and the stress. It has to go into the muscles. It is not an easy job
:33:57. > :34:00.standing on that podium with that emotion going through your for two
:34:01. > :34:06.hours. The concerts are minor problems. The rehearsal days are
:34:07. > :34:13.worse. I insist mostly in rehearsing standing, because if I'm sitting, I
:34:14. > :34:18.find it has more adverse effects to my body than standing. Neither is
:34:19. > :34:24.ideal. But also I feel that I can't give the orchestra my energy and
:34:25. > :34:29.activity if I don't stand. If I sit it has no meaning. It has to come
:34:30. > :34:35.from the floor. The power comes through the floor. Through the feet
:34:36. > :34:41.upwards. I stretch regularly. It is very important. And I keep myself
:34:42. > :34:46.hydrated, which helps. Water is a solution to almost anything. How
:34:47. > :34:54.about you? And breathing. Breathing. Yeah. You have it. Is it all about
:34:55. > :34:59.the breath for you Willard? If you're breath is relaxed the rest
:35:00. > :35:08.follows? Well, I had a challenge in my life at one time and I met a
:35:09. > :35:12.thing called Shingun and it transformed, well it didn't
:35:13. > :35:16.transform, but my meeting with it assisted a transformation in my
:35:17. > :35:22.approach to my singing. My approach to my speaking. My approach to my
:35:23. > :35:27.being. And it wasn't through any instructions you must do this, it
:35:28. > :35:34.was about breathing, gently and allow the tension to be dissolved as
:35:35. > :35:41.if the breath is dissolving it. And everything, whether we like it or
:35:42. > :35:49.not, happens from here. It all starts from here. The beginning. The
:35:50. > :35:54.idea. Be at home with that which you are. I feel like I'm going to come
:35:55. > :35:59.out of this programme with a whole new approach to breathing, to
:36:00. > :36:03.sitting and I will have learned so much from hearing you speak. My
:36:04. > :36:08.goodness. That is fascinating. We are going to hear you close the show
:36:09. > :36:12.with a performance from Mozart's Figaro and we will see all those
:36:13. > :36:17.techniques in action. Now in this episode, we have had a show stopping
:36:18. > :36:23.kiss me state and a love-struck Mahler and Strauss. Now the final
:36:24. > :36:29.bars that Mozart ever wrote. His Requiem. You have performed this at
:36:30. > :36:34.the Proms, Willard. Tell us your response to this work. There is so
:36:35. > :36:40.much myth and legend about Mozart. Was he writing his own Requiem. What
:36:41. > :36:48.is your take? You listen to the music and it's a resignation. So the
:36:49. > :36:55.death has actually taken place. So it is an honouring, the actual life
:36:56. > :37:01.and coming to the point of a peaceful death. At least that is the
:37:02. > :37:09.dream any way. And in the Mozart Requiem, I actually hear this
:37:10. > :37:16.encouragement that we and even maybe Mozart himself feel that yes,
:37:17. > :37:25.getting to that point will be a wonderful cadence. Now we are going
:37:26. > :38:25.to hear Mozart's Requiem. Certainly when you listen to that,
:38:26. > :38:30.what you're saying about Mozart having a sense of acceptance about
:38:31. > :38:38.the end of life, there was no rage there was there? I didn't detect the
:38:39. > :38:41.rage. Even in the DS era, there is a passionate expression, but rage
:38:42. > :38:46.against nothing. It is an acceptance of the death. It is the end and I
:38:47. > :38:51.can't do anything else. And they will sing over my dead body. Often
:38:52. > :38:58.it is tempting to put Mozart on a pedestal and I know I will call your
:38:59. > :39:03.bluff, I know you don't particularly rate the Requiem. I want to hear you
:39:04. > :39:08.defend yourself. I'm the bad guy here. Never say never. But I would
:39:09. > :39:13.never choose to conduct it. Because for me, Mozart is a fantastic
:39:14. > :39:18.composer, but he doesn't represent the kind of culmination of all art
:39:19. > :39:26.that many people want to hear in him and see in him. Generally they do.
:39:27. > :39:34.For me, he is another very good composer, that wrote great pieces,
:39:35. > :39:39.the E flat major spring trio. But some that are I don't know. They're
:39:40. > :39:44.a bit standardised often. Some of the symphonies. I so appreciate your
:39:45. > :39:49.honesty on this subject. I really do. But I very much look forward to
:39:50. > :40:00.hearing the tweeteds, the calls the letters. Keep them coming. We will
:40:01. > :40:08.stay with Requiem and a premiere of John Taverner's Requiem Fragments
:40:09. > :40:36.now. The world prepremiere can be seen
:40:37. > :40:41.tomorrow on BBC Four. Now let me remind you BBC Four is where you can
:40:42. > :40:51.watch the Proms every Thursday, Friday and Sunday. Radiothree
:40:52. > :40:57.broadcasts every -- radio three broadcasts every Prom live. I'm back
:40:58. > :41:05.next week with rose Arya and another star, Roger Williams. Thank you to
:41:06. > :41:12.my guests. To Janine Jensen and Sakari and good luck with Last Night
:41:13. > :41:22.of the Proms and our guest giving a rare TV performance. Here is Willard
:41:23. > :41:26.with a performance from Figaro.