:00:07. > :00:10.Tonight we take flight with a symphony.
:00:11. > :00:15.We pay our respects to war composers. And come to blows in
:00:16. > :00:42.Battle of the Bands. It is time for Proms Extra.
:00:43. > :00:49.Hello and welcome to Proms Extra, the show that digests the highlights
:00:50. > :00:55.of the last seven days. You remember the Beatles? Tonight we have
:00:56. > :01:04.civilians Vaughan Williams Butterworth and Ellington. --
:01:05. > :01:08.civilians. It has been a week of results. The England women's rugby
:01:09. > :01:13.team took the World Cup. Teenagers are celibate in their exam passes
:01:14. > :01:18.and the England cricket team won a Test series. At the Royal Albert
:01:19. > :02:29.Hall, everybody comes out on top. Just some of the Proms action taking
:02:30. > :02:37.place in the other pole. In our studio I have three special guests.
:02:38. > :02:41.First, a broadcaster and jazz singer who refereed the action at the
:02:42. > :02:48.Battle of the Bands prom. She will not be singing the blues tonight, we
:02:49. > :02:54.hope. It is Clare Teal. Next we have the conductor of the Istanbul
:02:55. > :02:58.Philharmonic Orchestra, whose energetic display woad audience and
:02:59. > :03:11.critics. We hope for some of the same tonight. -- Weld audience and
:03:12. > :03:17.critics. It is Sascha Goetzel. And finally, one of the UK's most talked
:03:18. > :03:21.about classical composers. Who else could be influenced by Led Zeppelin,
:03:22. > :03:29.Miles Davis and write a successful opera about a Playboy Bunny? On
:03:30. > :03:31.Mark-Anthony Turnage. opera about a Playboy Bunny? On
:03:32. > :03:38.of you. Claire, opera about a Playboy Bunny? On
:03:39. > :03:42.Proms. It was a banging gig? It was. I did not know we would be allowed
:03:43. > :03:47.in but we were. And embraced warmly by the whole Proms team. That is
:03:48. > :03:54.what you guys do so brilliantly, remind people that this music is for
:03:55. > :04:00.everyone. Marc Anthony, for you it must be a rare summer after not
:04:01. > :04:06.having ever world premiere? Yes, I enjoy the concerts. It is pretty
:04:07. > :04:09.relaxed. I am never that relaxed! It was your first time at the Proms.
:04:10. > :04:18.You made quite an impression. Have you recovered? No! How can I? How
:04:19. > :04:23.can any artists recover from that? It is such an impact to your system.
:04:24. > :04:29.It is more than giving a performance to audiences so warm-hearted and
:04:30. > :04:36.energetic. People are still talking about it. For those of you eagerly
:04:37. > :04:39.awaiting the chance to see the Istanbul thermite Orchestra on your
:04:40. > :04:44.screens, you can see them on BBC Four on August 31. When it comes to
:04:45. > :04:50.cultural and sporting battles, there have been a few. In the 70s, it was
:04:51. > :04:55.Ahmed Ali and George Foreman. The 80s have Alexis and Krystle
:04:56. > :04:59.Carrington. But those scraps do not compare to the fight that took place
:05:00. > :05:03.in the Royal Albert Hall before a baying crowd. There may be
:05:04. > :05:07.exaggerating a touch. It was one of the hot tickets of the Proms season.
:05:08. > :05:13.That'll have the bands, refereed by Clare Teal. Shaun Lunt BBC Four last
:05:14. > :05:19.Sunday. The music came from Count Basie and Duke Ellington. There were
:05:20. > :05:27.two Proms bands, one led by James Pearson and the other bike juke
:05:28. > :05:33.Windsor. -- juke winter. They call it a battle, really it was an excuse
:05:34. > :05:37.for a damn good show? It was, yes. By the end I don't think anybody
:05:38. > :05:45.wanted a winner. They did not care. It was so joyous. Using the music of
:05:46. > :05:50.these two guys, what I wanted to try to get across to anybody who had not
:05:51. > :05:54.heard big band music before, and this is a dying art form, something
:05:55. > :05:59.that needs preserving and embracing and nurturing, but by having the
:06:00. > :06:05.kind of driving relentless sort of swing of Count Basie, some of the
:06:06. > :06:09.people who had not heard of this kind of music before, on the first
:06:10. > :06:14.hearing, are drawn to the Count Basie side. But also in that hour
:06:15. > :06:19.and a quarter I wanted to show just how much a big-band can do. And you
:06:20. > :06:26.need Ellington. That is all you need! He was the guy who could do it
:06:27. > :06:32.all. All those wonderful colours and textures, all the usual -- unusual
:06:33. > :06:37.stuff, hopefully it was a winning combination. Let's have a quick look
:06:38. > :06:44.at a little excerpt. Here are the Duke of Windsor band. It is time for
:06:45. > :06:51.a Gregory Porter and jump for joy. # when you stop up in heaven, tell
:06:52. > :07:15.that boy, jump for joy. # jump right in and jump for joy.
:07:16. > :07:25.Jump for joy song by the brilliant Gregory Porter. And the Duke Windsor
:07:26. > :07:30.Proms band. Claire, you said Ellington had it all. How, what,
:07:31. > :07:35.quite? He was beyond definition. He stood alone. It amazes me, the
:07:36. > :07:40.complexity of the harmonies and these crazy rhythms, how they can
:07:41. > :07:46.just erupt from this one-man. He is just stunning. He could do it all.
:07:47. > :07:51.In the case of someone like Ellington, a great American
:07:52. > :07:56.composer, the band members played within four years and years and were
:07:57. > :08:02.very special players. Each of them had an amazing personality. He had
:08:03. > :08:05.an incredible gift to get them together and make it very special
:08:06. > :08:10.and influence a huge amount of people. People take it for granted.
:08:11. > :08:16.When people look at Louis Armstrong they say, he is an entertainer, but
:08:17. > :08:22.he is one of the jazz magicians. He revolutionised jazz in some ways.
:08:23. > :08:25.People remember wonderful world. Lots more to talk about. Let's have
:08:26. > :09:07.another burst of music, this time from Count Basie.
:09:08. > :09:16.Another great clip from the Battle of the Bands. Both bands really
:09:17. > :09:20.going from it. It was phenomenal. What we wanted to do was when one
:09:21. > :09:25.band finished, the next would start. There was never any silence. That
:09:26. > :09:30.particular bit, Count Basie had that Britain when he went into battle. It
:09:31. > :09:39.was nice we managed to get that in. We talked about how talented these
:09:40. > :09:42.musicians are. Have you ever worked with the kind of musical tapestry
:09:43. > :09:47.rehab and discussing? I was trained very traditional. When I came to
:09:48. > :09:54.America and was studying there, I had to improvise. They told me I
:09:55. > :09:59.should try it. I just could play my skills and that was it. I was not
:10:00. > :10:04.improvising. They said I should try it. They learned me the scales. Then
:10:05. > :10:10.I tried it and it felt fantastic. When I listened to it it sounded
:10:11. > :10:13.awful. But they said to me that I sounded fantastic. I am sure they
:10:14. > :10:20.were just complimenting me. It was terrible. It felt wonderful. It was
:10:21. > :10:27.free. I think it is one of the greatest gifts to be so great in
:10:28. > :10:35.your mind to improvise. Your performance was amazing. I didn't do
:10:36. > :10:40.anything. I just think about. To it was amazing, really. Music always
:10:41. > :10:45.goes to the heart. If music does not go to the heart, it is not really
:10:46. > :10:52.good music. But in terms of all kinds of music, does not matter. Is
:10:53. > :10:55.trans. If it is some heavy metal. It does not matter. If it goes to your
:10:56. > :11:05.heart, it stimulates your inner system. And provokes reaction. Music
:11:06. > :11:14.is the only art, I think, where there are no sense as possible. The
:11:15. > :11:19.art which goes directly to our soul and triggers the emotions are from
:11:20. > :11:25.places we don't even know exist. That makes it the only art form
:11:26. > :11:28.doing that. There is no future, there is no past. It is infinity.
:11:29. > :11:39.Music is connecting us. We are there. It is really about that,
:11:40. > :11:44.right? Always more to talk about. What I want to remind people they
:11:45. > :11:50.can still see the fabulous Battle of the Bands concert on BBC iPlayer.
:11:51. > :11:58.Talking about all that jazz, Proms Extra asked ourselves, can classical
:11:59. > :12:04.musicians freestyle? Can they improvise like the great jazz
:12:05. > :12:16.masters? Julian Joseph explains who's line is it anyway?
:12:17. > :12:21.One of the great aspect of improvising is that you don't know
:12:22. > :12:30.what the moment is going to bring. Sometimes that moment is going to
:12:31. > :12:33.bring stuff that even surprises you. It is similar to how we improvise as
:12:34. > :12:38.human beings when we talk to one another. I am not looking at a
:12:39. > :12:41.script, thinking, what do I need to say to you? I am thinking of the
:12:42. > :12:48.words and putting them together in sentences. I am going to play a
:12:49. > :12:53.whole Gershwin passage and then I am going to replay the same music,
:12:54. > :13:04.improvising it, changed it to my way, if you like.
:13:05. > :13:09.This is what Gershwin wrote. It is OK to have an instruction manual as
:13:10. > :13:14.to how to play music. But the culture of writing music down in the
:13:15. > :13:17.early days is like recording method. It is what the musician imbues these
:13:18. > :13:18.tunes with It is what the musician imbues these
:13:19. > :13:23.tunes that then is so fascinating and so magical. And then you can
:13:24. > :13:44.replay at like this. I understand how the Harmony works,
:13:45. > :13:55.how the melody works, and I can replay at in my own way. Every time
:13:56. > :14:00.I would do it it would be different. The joy of playing and making
:14:01. > :14:12.musical decisions of my own, that joy is amazing. The improvisational
:14:13. > :14:15.art is nothing new. All of the musicians we admire through the
:14:16. > :14:23.ages, be it Mozart, Beethoven, Schubert, Schumann, all of these
:14:24. > :14:34.guys could improvise. So that kind of freedom exists in the great
:14:35. > :14:36.music. The idea of the cadenza is an improvisational moment when the
:14:37. > :14:47.orchestra stops and it is all about the soloist. And in silence, the
:14:48. > :14:51.soloist then fills that sound. And they have got everybody's attention.
:14:52. > :15:02.It is their chance to take everybody on their own journey. They can
:15:03. > :15:05.display great virtuosity or it can just be about bringing everybody's
:15:06. > :15:18.concentration into a particular aspect of the music.
:15:19. > :15:23.There was a tradition where the musicians used to invent their own
:15:24. > :15:43.cadenzas. But inventing them some have meant they wouldn't write it
:15:44. > :15:50.out. At the end of a cadenza, the artist would indicate to the
:15:51. > :15:51.audience where they would enter. They would
:15:52. > :15:59.audience where they would enter. make it a subtle and musically
:16:00. > :16:05.tasteful. The final statement in the orchestra can then happen.
:16:06. > :16:11.tasteful. The final statement in the orchestra There is one musical
:16:12. > :16:14.world, a lot of flavours and you should drink it all. Some might not
:16:15. > :16:34.be to your taste, but some might be. How can you ask your musicians to
:16:35. > :16:40.improvise? It is impossible. I did not grow up learning to improvise.
:16:41. > :16:49.It is not part of any of the courses. Organists get upset because
:16:50. > :16:57.there is a tradition with them. But a violinist, most composers, even
:16:58. > :17:00.though they might not add knitted, there is an element of
:17:01. > :17:08.improvisation. I started writing music through messing around on the
:17:09. > :17:11.piano. It was a form of improvisation and that is how high
:17:12. > :17:15.started writing music. It is still an element, but it is never taught.
:17:16. > :17:21.When you get players, other than jazz players, they are scared
:17:22. > :17:29.because they on Lott looking at a page of music. -- not. It is not
:17:30. > :17:34.taught, it used to be something classical musicians did. Do you
:17:35. > :17:42.think, Clare you are taught to improvise? It goes back to
:17:43. > :17:49.confidence. Worrying about what people think, do you know what, let
:17:50. > :17:54.go and have a go. All composition is at some point, improvisation. It
:17:55. > :18:00.cannot happen. Do you improvise a lot when you are performing? Yes I
:18:01. > :18:07.do. It is easier for the singer 's van players. Somebody like Ella
:18:08. > :18:16.Fitzgerald, she would do something like, How High The Moon, she did it
:18:17. > :18:23.for years. Listening to her performance, you can see how it
:18:24. > :18:29.develops. You will hear the same thing time and time again, but it
:18:30. > :18:35.gets longer and longer. Sometimes you can improvise and when you are
:18:36. > :18:41.happy with that bit, you can lock it down and move onto bit, it is using
:18:42. > :18:46.both styles. You are commenting what a conductor does when a soloist is
:18:47. > :18:54.playing the cadenza and doing their own thing. It must be scary for you
:18:55. > :19:01.as to what will happen next? Most of the time they are very kind to the
:19:02. > :19:05.conduct is. They give them a hand with their cadenzas. But when the
:19:06. > :19:10.end comes to their cadenza, the difficult part is to get in with the
:19:11. > :19:14.right tempo. Sometimes the cadenza is lusting for a few minutes and the
:19:15. > :19:21.soloist is going through the different rhythms, everything. Every
:19:22. > :19:29.variation. It is fascinating and then you have to go back to the
:19:30. > :19:35.initial motive. So when conductors, most of the time they take a big
:19:36. > :19:41.breath before, just to get the pulse of the original music back in his
:19:42. > :19:50.body. We will have been taken away, hopefully. On a different planet,
:19:51. > :19:57.then back. It is interesting, I have always felt if I was a good enough
:19:58. > :20:03.player and I do dabble, but behind closed doors, never in front of
:20:04. > :20:10.anybody. I am talking about jazz, but I always felt if I had been a
:20:11. > :20:16.good enough player, I would have done it, because I like improvising.
:20:17. > :20:21.It is very lonely writing music. I am improvising and doing other
:20:22. > :20:27.things and calculating things as well, but improvisation is part of
:20:28. > :20:32.it. I would not have the guts in a way. I tell people off for not doing
:20:33. > :20:36.it, but I know what they are feeling, it is very naked. Being up
:20:37. > :20:45.there and I very much write my music out, I don't improvise in my pieces.
:20:46. > :20:50.I am improvising in a slow way at home on paper. When I give it out it
:20:51. > :20:55.is very technical and people have to get the notes right. I have always
:20:56. > :21:01.felt I would like to be a great jazz player, but it is not going to
:21:02. > :21:04.happen. I am a bit too old! It is interesting about what you are
:21:05. > :21:08.saying about intuition and listening. Julian said in the film
:21:09. > :21:15.about feeling it and listening with your ears. So if you take that to
:21:16. > :21:20.the next stage, what is the point of sheet music? The Aurora Orchestra
:21:21. > :21:28.did that last weekend for a performance of Mozart's Symphony
:21:29. > :21:35.number 40. How daunting but it is for the musicians? We to learn this
:21:36. > :21:49.from memory and it was a bit of a shock. It does feel very exposed. No
:21:50. > :21:53.chairs, no stands, so it feels like you are on stage without your
:21:54. > :21:57.clothes. There is an interesting shift during rehearsals when your
:21:58. > :22:12.mental energy stops focusing on remembering what you are meant to
:22:13. > :22:16.play and you play the shapes. It is wonderful to be able to look at the
:22:17. > :22:30.conductor and get as much of the expression into the music as you
:22:31. > :22:45.can. Some of the opinions of the... Anyway, that was a bad joke, talking
:22:46. > :22:56.about memory. For the audience in the hall, it was a vibrant and
:22:57. > :22:59.exciting experience, seeing those musicians released, if you like from
:23:00. > :23:03.the tyranny of the music stand. Sascha, would you like your
:23:04. > :23:08.musicians to focus our new all of the time? I have scheduled that next
:23:09. > :23:10.year for the orchestra. I want to make it a dark experience, in the
:23:11. > :23:12.term all visual possibilities of connecting to the music are gone. I
:23:13. > :23:20.am still figuring out how to do that because they have to see my bat on
:23:21. > :23:26.somehow. What about a glow stick. That is a bit weird? Listening to
:23:27. > :23:32.music in the dark isn't? It will be very intense. I have scheduled that,
:23:33. > :23:38.it has always been a dream of mine. The musicians are ready. They had to
:23:39. > :23:43.trust. 80 to 100 people. We will do that and I am happy to tell you how
:23:44. > :23:50.it went. But I will add a little point, it is not about the music
:23:51. > :23:53.stand or no music stand, it is about the interpretation of the music. We
:23:54. > :24:00.have to be careful being superficially attract to something.
:24:01. > :24:05.Doing that as a project is fantastic, but music first, not the
:24:06. > :24:16.outside triggers, it is not important. Clare, how is your
:24:17. > :24:23.memory? Sorry? I do have memory issues. I can remember 85% of
:24:24. > :24:31.lyrics. Hundreds of songs I have taken in as a kid, songs I had not
:24:32. > :24:36.even sung yet. But I never know which 85% it is going to be. I have
:24:37. > :24:41.an internal battle about worrying about perfection. Live music is
:24:42. > :24:52.about being in that moment. Don't you worry if you are telling a story
:24:53. > :25:02.in a song, you can miss a bit of a keyline? As a singer, I hear the
:25:03. > :25:12.music first, it is always overwhelming and the lyrics come
:25:13. > :25:16.later. When I decide to sing a song I will get inside the song and find
:25:17. > :25:18.out the story. Often I will hear a piece of music that overwhelms me.
:25:19. > :25:22.They could be about slaughtering puppies, I don't know. I have two
:25:23. > :25:26.as, is it a good song? And then I will look at the lyrics. Even if you
:25:27. > :25:27.have missed a few lines, there is still a connection and taking people
:25:28. > :25:33.on a journey. Let's turn to the sounds of Jean
:25:34. > :25:36.Sibelius and his symphony Number 5 which was shown on BBC Four last
:25:37. > :25:40.Thursday. As a 50th birthday gift to himself Sibelius started to compose
:25:41. > :25:42.it in 1915, and then spent the next four years revising it.
:25:43. > :25:44.Here's an extract performed by the BBC National Orchestra of Wales
:25:45. > :26:14.under Thomas Sondergard. of Wales under Thomas Sondergard.
:26:15. > :26:27.Symphony number five. He rebuys but these over and over again, did he
:26:28. > :26:31.get it right? The first version is strange. It is more adventurous.
:26:32. > :26:39.Lots of different keys clashing. It you know the final version, you can
:26:40. > :26:44.sense he is scrabbling around trying to get it right. It is not right, it
:26:45. > :26:48.does not work at all. You can see why he rejected ideas and came up
:26:49. > :26:52.with the final version. It is fascinating. I am not sure if we
:26:53. > :27:01.should know that version, you can hear it has been recorded. He got it
:27:02. > :27:05.right in the end. Sascha, the six years you were conductor of a
:27:06. > :27:13.symphony orchestra in Finland? You had to get to know your soberly said
:27:14. > :27:26.very well in that time? You have to know the Finnish culture very well.
:27:27. > :27:33.At midnight, the horizon is like red sunshine. I could not speak -- sleep
:27:34. > :27:42.at all because you have about four hours of night time. In the winter,
:27:43. > :27:49.it is opposite. Sid bilious has a lot of connections to his people and
:27:50. > :27:55.his country. The famous swansong. He was writing as he was sitting in a
:27:56. > :28:00.chair and he seized his Swans circling around him. Although the
:28:01. > :28:06.circle is not changing, there is a slight change each circle where he
:28:07. > :28:15.changes the harmonies slightly. I think this Finnish national sound he
:28:16. > :28:35.created is a reflection directly on the nature and culture.
:28:36. > :28:46.It must be hard for composers coming after Sibelius. It is kind of that
:28:47. > :28:50.frontier openness. It sounds like music of the people. It is
:28:51. > :28:57.accessible. It is time for the cord of the week. We dissect well-known
:28:58. > :28:59.chords in short bites, it is a welcome highlight and we do aim to
:29:00. > :29:27.please. This is David. Cord of the week comes from the end
:29:28. > :29:32.of Sibelius's Symphony number five in flat. I call it the drummer's
:29:33. > :29:38.despair. We to go back to the beginning of the Symphony and we had
:29:39. > :29:45.to sit in front of the cattle drums. They like to play what we call
:29:46. > :29:53.perfect cadences. They are proper, perfect cadence courts. It gets
:29:54. > :30:02.underway very nicely. But when the drummer tries his perfect cadence,
:30:03. > :30:21.the horns get the cord wrong. Instead of laying E flat, he gets it
:30:22. > :30:28.wrong. On the very last page the drummer has a last go. The orchestra
:30:29. > :30:34.disagrees. So the drummer gives up. Then the orchestra plays the cord
:30:35. > :30:41.they have wanted him to play all the way through. B-flat. Then they play
:30:42. > :30:47.the cord of the week. When they have him properly despairing they take
:30:48. > :30:51.pity and play the B-flat accord so he can join in. Then the orchestra
:30:52. > :30:58.is a happy family at the end. Then they just played the two notes the
:30:59. > :31:00.drummer wants to do. By the way, he is supposed to play early. Don't
:31:01. > :31:16.shoot the timpanist. night on BBC Four there was a
:31:17. > :31:19.concert by the BBC Scottish Symphony Orchestra which featured great works
:31:20. > :31:26.by composers who fought and died during World War I. That is turned
:31:27. > :31:33.to George Butterworth, who died at the Battle of the Somme. He composed
:31:34. > :31:37.a large, very little survives. His psalms from a Shropshire Lad are his
:31:38. > :31:43.best-known work. Shed some light on the background of this man and his
:31:44. > :31:48.work? I had not heard it for awhile and I had never heard of the
:31:49. > :31:55.orchestration of these songs. In someways I preferred the intimacy of
:31:56. > :32:04.just piano. Roderick Williams is fantastic on his songs. But I think
:32:05. > :32:09.the last song is very special. The form of it, with the different
:32:10. > :32:13.voices and the way he captures that. There is something very melancholic,
:32:14. > :32:19.very English in a way. Something I think melodically is very strong. It
:32:20. > :32:25.really stands out. You do not know how it develops. It makes me very
:32:26. > :32:33.sad when you hear his work. Let's have a listen to the BBC Scottish
:32:34. > :32:44.Symphony Orchestra and Roger Williams performing.
:32:45. > :32:56.# is my girl happy that I thought her to leave?
:32:57. > :33:08.# and has she tired of weeping, as she lies down at ease?
:33:09. > :33:19.# I shall lie down lightly, she lies not down to weep.
:33:20. > :33:29.# your girl is untainted, be still my lad and sleep.
:33:30. > :33:35.From the man taking centre stage, Roddy Williams, accompanied by the
:33:36. > :33:40.BBC Scottish Symphony Orchestra performing George Butterworth's six
:33:41. > :33:45.songs from a Shropshire Lad. What did you make of his performance? I
:33:46. > :33:51.thought it was breathtaking. His communication with the audience was
:33:52. > :33:54.stunning. I thought it was faultless. I was absolutely drawn
:33:55. > :33:57.in. It is not something I would usually listen to but I was there. I
:33:58. > :34:04.thought it was absolutely mesmerising. What is it about that
:34:05. > :34:07.set of songs that really does speak so powerfully, knowing what we know
:34:08. > :34:13.about what was going to happen to George Butterworth? The poems are
:34:14. > :34:16.very famous, they have never been out of print. There is a certain
:34:17. > :34:27.baggage with that. There is a certain Englishness. They were very
:34:28. > :34:32.famous at the time, a houseman. A lot of people have gone on to set
:34:33. > :34:39.them. These are outstanding. There is a real ability to communicate,
:34:40. > :34:46.and also the way he sets words. It is very skilful. What really was
:34:47. > :34:49.striking when you listen to the performance is the way the music is
:34:50. > :34:57.supporting the voice, and what the music speaks in the background, the
:34:58. > :35:00.voice tells. That is always the big masterwork thing. Subconsciously
:35:01. > :35:03.everything happens in the music. The voices telling the story but you
:35:04. > :35:12.sense the emotion in the music. When I listen to this performance, this
:35:13. > :35:15.will be performed in Istanbul pretty soon. It is really amazing. It
:35:16. > :35:22.strikes you so much. It must be performed more. It just sums up from
:35:23. > :35:27.a wildlife performance is about and how it can differ from a recording.
:35:28. > :35:31.Having heard Roderick sing those songs on a recording, it is
:35:32. > :35:37.wonderful. But seeing him, you get all different dimensions. Maybe it
:35:38. > :35:41.was because it was the event of the Proms, or whatever the occasion,
:35:42. > :35:48.people were feeling emotional. I think that added a whole new level
:35:49. > :35:53.to his performance. Outstanding. We are going to stay with war composers
:35:54. > :35:59.and that English song. We are going to turn to Vaughan Williams. He also
:36:00. > :36:04.featured in the same Proms. Both Butterworth and Williams went to
:36:05. > :36:09.war. Butterworth did not return. Williams composed a Pastoral
:36:10. > :36:13.Symphony. You may think it was all about sheep and bucolic hills but it
:36:14. > :36:16.was inspired by his time serving with the medical corps as an
:36:17. > :36:20.ambulance driver. As time went on, it became a fitting epitaph for
:36:21. > :36:26.those who lost their lives in that war. Letters have a listen. -- let
:36:27. > :37:25.us. A pastoral symphony by Vaughan
:37:26. > :37:31.Williams performed by the Scottish Symphony Orchestra. Mark, you do not
:37:32. > :37:36.think beautiful scenes of countryside when you hear that, do
:37:37. > :37:43.you? No, but if you go to the psalm or any of those First World War
:37:44. > :37:47.graveyards, it is not like that. You cannot believe this actually
:37:48. > :37:52.happened. It is must like all this stuff is under the surface. In a way
:37:53. > :38:01.it's sort of reflects what happened in someways. -- some ways.
:38:02. > :38:03.it's sort of reflects what happened this piece particularly. I love a
:38:04. > :38:06.lot of Vaughan Williams symphonies but I particularly love this one.
:38:07. > :38:13.There is something buried here and that is what is special. When did
:38:14. > :38:20.you first hear Vaughan Williams? I think it was in my early teenage
:38:21. > :38:24.years. Immediately I was taken away with the beauty of it. Especially
:38:25. > :38:37.the symphony, as Mark said, it has some any intimate moments. You can
:38:38. > :38:43.hear that he was -- you can hear little bit of Viennese music on
:38:44. > :38:48.there. It is very delicate. It is a layer of something just touching the
:38:49. > :38:50.music and going away. That is vibrating in the First World War as
:38:51. > :38:55.well. It vibrating in the First World War as
:38:56. > :39:01.symphony. As somebody who came to Vaughan Williams on Tuesday, I feel
:39:02. > :39:09.a great, not knowing the back story as you do, I felt a tremendous peace
:39:10. > :39:13.throughout a lot of that music. And again I could see a great landscape.
:39:14. > :39:21.But I felt it was very reflective and allowed me space to think about
:39:22. > :39:28.things. You don't do that in classical, I suppose ice Whatever
:39:29. > :39:33.was going through his mind, he must have witnessed terrible stuff. A lot
:39:34. > :39:39.of people who came back from the First World War, could not talk
:39:40. > :39:45.about it. Never talked about. Vaughan Williams did have this
:39:46. > :39:53.outlet of writing music about it. He did not have the job. He just rolled
:39:54. > :39:56.his pieces. Claire, you have obviously picked up in that sense of
:39:57. > :40:03.being a balm for Vaughan Williams themselves? It is very powerful,
:40:04. > :40:11.very beautiful. Yes, I can feel the pain. But I do think there is a
:40:12. > :40:15.sense of calm and peace there. It has been great talking to you. We
:40:16. > :40:19.have to stop there. It is almost it for the night's show. Tomorrow night
:40:20. > :40:24.on BBC Four, the Melbourne Symphony Orchestra makes its debut under the
:40:25. > :40:26.watchful eye of Sir Andrew Davies. It features one of the most famous
:40:27. > :40:58.pieces to come out of World War I. If you love Elgar's cello concerto,
:40:59. > :41:03.you can catch the full concert tomorrow night at 7pm. You can watch
:41:04. > :41:08.Proms every Thursday, Friday and Sunday. Radio 3 broadcasts every
:41:09. > :41:11.prom live. You can find this episode and many of the works featured in
:41:12. > :41:18.the programme, on the iPlayer. That is it for I -- for Proms Extra. I
:41:19. > :41:25.will be back next week with Rebecca Miller. Wish me luck! What is the
:41:26. > :41:28.collective noun for a if you can doctors? I don't know. Tui does if
:41:29. > :41:38.you do or indeed if you have any questions? ! My thanks to my guests.
:41:39. > :41:43.Clare Teal is playing the show I had accompanied by Grant Windsor on
:41:44. > :42:07.piano and Simon Little on double bass. Here is get happy. Goodbye.
:42:08. > :42:10.# BOP Doo Wah... # forget your troubles, come on get
:42:11. > :42:12.happy. # you better chase all your cares
:42:13. > :42:19.away. # shout hallelujah, come on get
:42:20. > :42:23.happy, get ready for Judgement Day. # the Lord is waiting to take your
:42:24. > :42:26.hand. # shout hallelujah, come on get
:42:27. > :42:32.happy, we are going to the promised land.
:42:33. > :42:40.# were heading cross the river # it is oh so peaceful on the other side.
:42:41. > :42:46.# forget your troubles, come on get happy.
:42:47. > :42:52.# shout hallelujah,, get ready. # forget your troubles, come on get
:42:53. > :42:59.happy. # shout hallelujah get happy.
:43:00. > :43:05.# before the judgement day. # the sun is shining, come on get
:43:06. > :43:09.happy. # shout hallelujah, get happy, we are going to be promised
:43:10. > :43:15.land. # we're heading across the river #
:43:16. > :43:26.it is quiet and peaceful on the other side.
:43:27. > :43:34.# forget your troubles, get happy. # get ready for your judgement day.
:43:35. > :43:37.# come on, get happy. # shout hallelujah, come on get
:43:38. > :43:44.happy. # get ready for the Judgement Day. #
:43:45. > :43:49.sun is shining, come on get happy. # shout hallelujah, come on get
:43:50. > :43:53.happy, # we are going to be promised land.
:43:54. > :44:00.# it is so peaceful on the other side.
:44:01. > :44:04.# forget your troubles, come on get happy.
:44:05. > :44:09.# you better chase all your cares away.
:44:10. > :44:13.# shout hallelujah, come on get happy.
:44:14. > :44:15.# get ready, get ready, get ready...
:44:16. > :44:20.# for the Judgement Day.