:00:00. > :00:08.For the final show tonight, we seek redemption with Beethoven.
:00:09. > :00:11.Get regal with the Queen of Sheba. And we meet the supermodel, 585,
:00:12. > :00:40.who's more than just a number. It's time for Proms Extra.
:00:41. > :00:45.Hello and welcome to Proms Extra, the show that looks back on some
:00:46. > :00:48.of the highlights of the Proms coverage from the last seven days.
:00:49. > :00:52.Tonight we turn to one of Beethoven's biggest choral works,
:00:53. > :00:55.we have one of the international orchestral highlights of the season,
:00:56. > :00:58.plus David Owen Norris gives us one last chord.
:00:59. > :01:02.It's the last show of the current series of Proms Extra, but in the
:01:03. > :02:09.Royal Albert Hall they're not ready for the final curtain just yet!
:02:10. > :02:16.Some of the concerts that happened inside the Royal Albert Hall, both
:02:17. > :02:19.in rehearsal and in performance. And inside the Royal College of
:02:20. > :02:24.Music, l have three esteemed guests joining tonight's Proms Extra.
:02:25. > :02:27.First up, she made her name as a leading cellist, performing
:02:28. > :02:30.and recording to critical acclaim. In 2007, she swapped her cellist's
:02:31. > :02:31.bow for a conductor's baton and turns out she's really rather
:02:32. > :02:39.good at that as well. Making her Proms conducting debut
:02:40. > :02:49.tomorrow with her orchestra, the Qatar Philharmonic.
:02:50. > :02:52.It's Han-Na Chang. Our next guest is a first class
:02:53. > :02:54.trumpeter with legions of fans, and this season who can forget her
:02:55. > :02:57.performing that new concerto with the China Philharmonic.
:02:58. > :03:00.We'd like to say she's not one to blow her own trumpet but she
:03:01. > :03:04.will be, at the end of the show. A warm welcome to Alison Balsom.
:03:05. > :03:07.And our final sofa guest is also playing on the show tonight.
:03:08. > :03:09.She made her BBC Proms debut in 1990, and she notched up her 20th
:03:10. > :03:13.appearance earlier this season. She's a champion of English music
:03:14. > :03:16.and the Queen of English violinists. It's Tasmin Little.
:03:17. > :03:26.Welcome all of you. Your first prom tomorrow, how
:03:27. > :03:31.excited are you feeling, as a conductor I should say? Very
:03:32. > :03:37.excited, the orchestra and I cannot wait to play. You played here as a
:03:38. > :03:41.cellist. I remember the stunning audience and the stunning haul. We
:03:42. > :03:45.always like to talk about how the audience interacts with the
:03:46. > :03:49.performers on stage, but here you have the audience spilling onto the
:03:50. > :03:53.stage and this electric involvement, the tension and
:03:54. > :03:57.concentration motivates me so much, it makes the whole thing great.
:03:58. > :04:02.Allison you made an amazing film about your experiences weighing the
:04:03. > :04:08.new concerto and that was a big challenge. -- weighing. It was an
:04:09. > :04:11.amazing journey and an amazing process. To know I was finishing at
:04:12. > :04:15.the Royal Albert Hall with this audience you know is going to
:04:16. > :04:19.support you whatever you are presenting was such an inspiration
:04:20. > :04:24.for me. The night itself was quite magical because of all the hard work
:04:25. > :04:28.paying off. Even the composer was thrilled with the evening. A
:04:29. > :04:37.fantastic place to make a journey towards. All, your 20th performance
:04:38. > :04:43.at the Proms. I am not sure where the time went. The Proms was the
:04:44. > :04:48.place that launched me, I made my debut in 1990 and released my first
:04:49. > :04:53.recursion or -- my first commercial recording. That is what propelled me
:04:54. > :04:58.in the first part of my career. Such fantastic affection for the
:04:59. > :05:03.audience. As Alison and Han-Na said, they are incredibly open
:05:04. > :05:06.audience. Even if you play something they have never heard before, they
:05:07. > :05:11.will listen with as much respect and excitement as a piece they know very
:05:12. > :05:14.well. Lovely to have all three of you. We will start by discussing
:05:15. > :05:19.Beethoven. A question for you - what do you get
:05:20. > :05:21.when you combine the talents of one of the world's leading
:05:22. > :05:24.maestros, with his illustrious choir and orchestra, performing one
:05:25. > :05:25.of the greatest choral works ever? Well according to
:05:26. > :05:29.the reviews - pure gold. Last night on BBC Four,
:05:30. > :05:31.Sir John Eliot Gardiner led the Monteverdi choir,
:05:32. > :05:33.which he founded 50 years ago, into the spiritual depths of Beethoven's
:05:34. > :05:36.celebrated Missa Solemnis. Let's hear an excerpt now with
:05:37. > :05:38.the Orchestre Revolutionnaire et Romantique, and look out for the
:05:39. > :06:45.early instruments they're playing. That was an excerpt from
:06:46. > :06:48.Missa Solemnis written by Ludwig van Beethoven, which took him four
:06:49. > :06:49.years of blood, sweat and tears. Performed by the Monteverdi Choir,
:06:50. > :07:02.led by Sir John Eliot Gardiner. Beethoven wrote this at the same
:07:03. > :07:06.time as his ninth Symphony, he considered the Missa Solemnis his
:07:07. > :07:11.greatest work, do you agree? Absolutely. Beethoven is one of my
:07:12. > :07:16.heroes. I love his sincerity, his passion, how succinctly he can
:07:17. > :07:21.express himself, no-frills, right? Every word, he found the perfect new
:07:22. > :07:25.form, structure for the expression so that the structure, the
:07:26. > :07:30.expression, the meaning of the peace go hand-in-hand. That is so amazing,
:07:31. > :07:37.that this composer would never tire of correcting and correcting and
:07:38. > :07:42.improving. Tamsin, we don't necessarily associate Beethoven with
:07:43. > :07:48.overt spirituality, is it something the audience can connect to?
:07:49. > :07:54.Beethoven's music is so powerful, people can take from it what they
:07:55. > :08:00.want. If Bach is the god of classical music, Beethoven is surely
:08:01. > :08:06.the giant. They were playing not all block instruments, but certainly of
:08:07. > :08:13.that era. I would love to hear your view. -- by rock. I love it. It
:08:14. > :08:19.exposes the mastery of the piece. I am a huge fan of Sir John Eliot
:08:20. > :08:24.Gardner's interpretations. He makes the music feel so relevant to now,
:08:25. > :08:29.so present. That is very important. The fashions of how to perform this
:08:30. > :08:33.music, they change all the time. I adore the way it is being played,
:08:34. > :08:37.period instruments are just another way of getting closer to what the
:08:38. > :08:44.composer would have heard. Exposing that as one of many things is so
:08:45. > :08:50.important to bring the music alive. What I enjoyed about the excerpt we
:08:51. > :08:53.just heard is the muscle that is prevalent in making this performance
:08:54. > :09:01.go forward with such energy and commitment and vitality. I am not
:09:02. > :09:08.sure I see you agreeing, Han-Na! Beethoven's music is so universal,
:09:09. > :09:14.he is writing for humankind. You can take any kind of instrument and you
:09:15. > :09:18.will still hear Beethoven's voice. To me, that's the strength of his
:09:19. > :09:24.genius, his sincerity shines through. As to the period
:09:25. > :09:31.instruments, being faithful to what the composer heard, I must point out
:09:32. > :09:36.it may not be the vision or what the composer may have wished for, had he
:09:37. > :09:39.a choice of instruments, for example, in use today and in use
:09:40. > :09:45.back then, what would he have chosen? John Eliot Gardiner, one of
:09:46. > :09:51.the pioneers of bringing period instruments to the music Hall, they
:09:52. > :09:55.now have a particular sound. How important is it to have these
:09:56. > :10:01.long-standing relationships with other artists? It's a fantastic
:10:02. > :10:04.thing to have a long-standing relationship, just as it is
:10:05. > :10:10.important to work with different people. To have the two is the best.
:10:11. > :10:13.I have been working with two pianists the 25 years, we know each
:10:14. > :10:21.other very well. We know what risks we can take. The other person will
:10:22. > :10:25.be right there with us. You can grow together. Sometimes you can grow
:10:26. > :10:29.apart. But also I know from the concerto playing I have done over
:10:30. > :10:33.the years that I have had so many fantastic influences from different
:10:34. > :10:37.conductors. It all goes to inform the way you play a piece.
:10:38. > :10:40.You can find this concert, and indeed all of
:10:41. > :10:43.the concerts that we are reviewing tonight, on the BBC iPlayer.
:10:44. > :10:46.Now in every big company there is always a chairman of the board.
:10:47. > :10:48.Here on Proms Extra, we have a Chairman of the Chord.
:10:49. > :10:52.For the final time in this series here's
:10:53. > :10:55.David Owen Norris and Chord of the Week, which takes a look at how
:10:56. > :10:56.three flat notes become the Holy Trinity
:10:57. > :11:08.in Beethoven's Missa Solemnis. The opening of the creed from
:11:09. > :11:15.Beethoven's Missa Solemnis. A big Beethoven even that cord, like the
:11:16. > :11:19.beginning of the Emperor Concerto or the heroica Symphony. You might
:11:20. > :11:23.think that the evil that cord is simple enough, but so often in
:11:24. > :11:32.Beethoven it gains meaning from context. -- the E flat cord. Lori
:11:33. > :11:40.was ind. When Beethoven begins the Creed, it it sounds as if he is
:11:41. > :11:47.pulling his favourite surprise from D in this case to E flat, which is a
:11:48. > :11:51.good key because from Mozart to Brahms, E flat with its key
:11:52. > :11:54.signature of three flats was regarded as the perfect key for the
:11:55. > :12:01.holy Trinity, the father, the sun and the holy coast. -- the Holy
:12:02. > :12:06.Ghost. No sooner have we made these connections in our mind, Beethoven
:12:07. > :12:14.turns a harmonic corner and he says, no, I am not in E flat major, I am
:12:15. > :12:18.in B flat major. B flat major has only got two flats in the key
:12:19. > :12:23.signature. So I wonder if Beethoven is giving us a clue that there is
:12:24. > :12:24.one of the people in the holy trinity that he has his doubts
:12:25. > :12:34.about. Well, David Owen Norris will be
:12:35. > :12:37.missed, that was his final chord of the week of the current series.
:12:38. > :12:40.Still to come on Proms Extra, a review of the Borusan Istanbul
:12:41. > :12:43.Philharmonic Orchestra and Alison Balsom will be playing the show out.
:12:44. > :12:44.But right now we have our first performance courtesy of our guest
:12:45. > :14:53.Tasmin Little, playing a Bach gigue. Tasmin, thank you for that
:14:54. > :14:58.performance, and Tasmin will be rejoining us soon on the sofa. Now,
:14:59. > :15:01.last week in our conductor's special, we had the cellist Leonard
:15:02. > :15:08.Elschenbroich performing in-house judo and seeing him and seeing you
:15:09. > :15:12.in that clip earlier made me wonder if you miss it and what made you
:15:13. > :15:23.make the transition from being a soloist to a conductor? Repertoire
:15:24. > :15:28.is quite small compared to playing piano, so I found myself asking,
:15:29. > :15:32.where do I go from here? I have been playing since the age of 11. So when
:15:33. > :15:37.I started at university, how do I did deeper? I want to look at the
:15:38. > :15:41.stars and not just down a microscope everyday. So I started holding into
:15:42. > :15:46.symphonies. One day I woke up thinking, I want to perform these
:15:47. > :15:49.works myself! Rose I started studying and it was a natural
:15:50. > :15:54.development. And do you still sometimes play your cello? Of
:15:55. > :15:58.course. I play constantly when I am home. But just for yourself? Just
:15:59. > :16:04.for myself for the foreseeable future years. Have you ever been
:16:05. > :16:09.tempted to pick up a bat, Alison? I haven't, because I don't think I
:16:10. > :16:15.have the qualities to be a great conductor. But it is an incredible
:16:16. > :16:20.thing to do and it must be so satiating because of your endless
:16:21. > :16:27.repertoire. Two year you say your repertoire is limited, I am
:16:28. > :16:31.thinking... ! But I am both and exactly what you mean. You
:16:32. > :16:39.constantly look for new ways to fulfil yourself and inspire yourself
:16:40. > :16:44.as a musician. What I find so interesting is, when I was a solo
:16:45. > :16:50.cellist, I am always fighting myself. This is me playing, I am
:16:51. > :16:56.responsible for my playing and that is it. I can't get out of myself,
:16:57. > :16:59.because I am me. But if I am conducting, you give yourself to the
:17:00. > :17:03.orchestral and they give something back. Sometimes it is totally
:17:04. > :17:09.unexpected and it is more than the vision you suggested. So you have a
:17:10. > :17:12.real give and take that I find so different and so satisfying.
:17:13. > :17:17.Fascinating. We turn now to the work of the American composer John Adams
:17:18. > :17:21.and the UK premiere of his new Saxophone Concerto, written for
:17:22. > :17:25.virtuoso lowest Timothy McAllister, conducted by last year's Last Night
:17:26. > :17:26.of the Proms conductor Marin Alsop, with the BBC Symphony Orchestra.
:17:27. > :18:26.Here it is. The UK premiere of John Adams'
:18:27. > :18:30.Saxophone Concerto, performed by Timothy McAllister with the BBC
:18:31. > :18:32.Symphony Orchestra, conducted by Marin Alsop. Many of us think of
:18:33. > :18:37.John Adams and we think of his famous piece, the Short Ride In A
:18:38. > :18:40.Fast Machine, which is awesome, but what did you make of this? What I
:18:41. > :18:45.loved most about the clip we just saw was Marin Alsop, enjoying
:18:46. > :18:50.herself and having so much fun. She embodies what she feels about this
:18:51. > :18:57.music for the orchestral. I love that she has so much energy and
:18:58. > :19:01.enjoyment. Alison, can I ask you what you made of the Saxophone
:19:02. > :19:06.Concerto from the point of view of hearing Timothy play new work and
:19:07. > :19:11.the difference in sound between classical saxophone and Daz
:19:12. > :19:17.saxophone? Watching that, I wanted to clap. It was amazing. But it is a
:19:18. > :19:20.completely different world. A taxi driver will say, I didn't know you
:19:21. > :19:25.could play classical trumpet. I didn't realise it was a classical
:19:26. > :19:29.instrument. I am sure that happens with saxophone players as well. But
:19:30. > :19:33.they are so different, it is like learning a different instrument. The
:19:34. > :19:41.plus added that it is such a great sound for the future and new pieces.
:19:42. > :19:43.-- the plus side. The saxophone and compared to make fantastic Concerto
:19:44. > :19:46.insurance. They have the power and can stand up to the might of an
:19:47. > :19:52.orchestra, but they also have subtlety and different colours, that
:19:53. > :19:57.is something Timothy shows fantastically well in this piece. He
:19:58. > :20:00.was extraordinary. Jasmine, do you ever get tempted to move from
:20:01. > :20:09.classical violin playing to the jazz world? -- Tasmin? It is such a
:20:10. > :20:14.different technique. For a while, we did some Gershwin and I really
:20:15. > :20:17.enjoyed that. But I suppose I am too well classically trained, and I find
:20:18. > :20:22.it difficult to shake that off. I feel like my teachers will work
:20:23. > :20:25.their finger at me and say, what are you doing? I think it has to be
:20:26. > :20:30.something you have done from an early age in order to be able to own
:20:31. > :20:34.that genre. There are people who do it so well, a bit like baroque
:20:35. > :20:38.playing. There are people who play baroque violin so well. They don't
:20:39. > :20:43.need to do it in a second-hand way. I think I am better to stick at
:20:44. > :20:47.doing what I do, playing classical concertos. But I won the whole gamut
:20:48. > :20:50.from baroque to things that were written last week, so I don't think
:20:51. > :20:53.I am starved of repertoire. Talking of things written last week, that
:20:54. > :20:57.brings me to the whole new world of playing a new piece and working with
:20:58. > :21:02.a composer. We saw your film earlier in the season about working on the
:21:03. > :21:06.new concerto, and Timothy works closely with John Adams on the sax
:21:07. > :21:10.Concerto. It must be an honour when a composer approaches you 's
:21:11. > :21:21.absolutely, especially if it is John Adams! And especially if you have an
:21:22. > :21:25.affinity with that person. If you feel you think about music in a
:21:26. > :21:30.similar way, Don Adams has been influenced by many genres of music.
:21:31. > :21:34.-- John Adams. He does not like to stick within the labels of what is
:21:35. > :21:38.expected of him, and that is exciting for the soloist. If you are
:21:39. > :21:44.interested in hearing some new music from this year's Proms, go on to the
:21:45. > :21:47.BBC iPlayer and you will find lots in the new music collection. I am
:21:48. > :21:50.full of gifts tonight. Now, the Proms season is filled with
:21:51. > :22:05.wall-to-wall talent. I have three here. As they know only too well, be
:22:06. > :22:08.they a soloist or with an orchestra at the top takes a lot of hard work
:22:09. > :22:11.to perform before a Proms audience of 6000 people. After performing in
:22:12. > :22:14.the Proms for the last five years, one shining star is moving to make
:22:15. > :22:16.way for a younger model, but what has been the key to their success?
:22:17. > :22:19.Proms Extra went to find out. We give them numbers to identify
:22:20. > :22:25.them, but they are personalities. Number 585 is a gentle monster of a
:22:26. > :22:29.piano. The way a piano feels and sounds are not separate for us,
:22:30. > :22:33.travelling from piano to piano. For example, how much weight do you need
:22:34. > :22:37.to press a key down? This has a big effect. If the action is heavy, you
:22:38. > :22:40.can't play as quickly. If the action is light, you can play quickly, but
:22:41. > :22:46.you may have trouble playing softer passages. I have just marked up on
:22:47. > :22:52.the piano some areas which were slightly too slow, making them fast
:22:53. > :23:00.again to even out with the rest of the springs. The aim is that all 88
:23:01. > :23:02.keys respond the same. If you are playing with orchestra as I am
:23:03. > :23:08.tonight, you need a piano that cuts through with some power, because it
:23:09. > :23:12.is a big space. But you also want a piano that has the ability to play
:23:13. > :23:20.absolute key beautifully hushed, mellow sounds, and for that to carry
:23:21. > :23:26.all the way to the top. Not every piano is suited to being a piano at
:23:27. > :23:30.the Proms. They have a rough time at the Proms. You need a piano which is
:23:31. > :23:35.extremely robust. I think they all have a personality, and I have a
:23:36. > :23:38.whole team of pianos which are all selected for a purpose. It is like a
:23:39. > :23:42.football team when you have some players that are older, some
:23:43. > :23:45.younger. And the younger ones are more suitable for something like
:23:46. > :23:58.that. The older ones are more experienced and more suitable for
:23:59. > :24:04.recitals and accompaniment. The character of the tone of a piano is
:24:05. > :24:06.determined by how you prepare the hammerhead. The hammerhead is made
:24:07. > :24:12.out of wool, with a lot of tension in it. The felt is quite compact.
:24:13. > :24:16.That is what gives a piano it things, its projection. It allows a
:24:17. > :24:19.piano to cut through a large hall. You can soften the hammers with
:24:20. > :24:23.needles. You stick needles in and loosen the felt so that it becomes
:24:24. > :24:27.fluffy. That means that when it hits the string, it doesn't produce as
:24:28. > :24:40.much of a ping. You get a more mellow, rounded sound. Piano 585 has
:24:41. > :24:48.quite a record with the Proms. What characterised the piano is that
:24:49. > :24:52.almost every pianist likes it. To really know an instrument, you need
:24:53. > :24:56.two years, which is why some pianists travel with their
:24:57. > :25:00.instrument. If you encountered a few years later, sometimes you have to
:25:01. > :25:04.start all over again. I need to move the pianos to different roles before
:25:05. > :25:08.they do a job for which they are not up to any more. The Prom piano
:25:09. > :25:13.here, 585, is the oldest of the fleet, so it might well move into
:25:14. > :25:19.the role of orchestral piano axes. I have brought in a new piano, 131,
:25:20. > :25:29.which, if it develops nicely over the next 12 months, might be the
:25:30. > :25:33.solo piano for 2015. Piano 585, which has served the Proms and the
:25:34. > :25:38.Royal Albert Hall very well. Wasn't it fascinating to hear how much
:25:39. > :25:42.Ulrich loves his job? He really does. Alison, does your is John have
:25:43. > :25:48.a number or a name? It doesn't have a name, but it means a lot to me. It
:25:49. > :25:52.certainly has a lot of personality, so much so that if I'm in a hotel
:25:53. > :26:01.room or even at home, if I am trying to relax, I can't have the trumpet
:26:02. > :26:07.anywhere where I can see it. It is not a malevolent presence, but it is
:26:08. > :26:12.something to be treated with respect and taken seriously, not a thing in
:26:13. > :26:17.the corner. It has its personality and I have to put it in the
:26:18. > :26:30.cupboard. Quite demanding. Boy or girl? Boy. Don't know why! What
:26:31. > :26:34.about you, what do you play? I have a wonderful Italian instrument made
:26:35. > :26:43.in 1757, the year after Mozart was born. That is the year of my cello,
:26:44. > :26:53.to! Fantastic! You have to do a Brahms double together. And is your
:26:54. > :26:58.violin boy or girl? Well, I think it is a boy! I love my instrument. Like
:26:59. > :27:01.Alison was saying, it has a personality of its own. I talked to
:27:02. > :27:06.my cello constantly and it is like a living being. But do you ever think
:27:07. > :27:10.you could have a more fulfilling relationship with another musical
:27:11. > :27:16.instrument? I could never betray my instrument. It would be a betrayal!
:27:17. > :27:21.I had a Latin lover of a Stradivarius for about 13 years. You
:27:22. > :27:27.mean! Sadly, it had to be given back. But for a while, I had two
:27:28. > :27:35.beautiful instruments. I am a very bad girl. So you have got these
:27:36. > :27:38.agents which 250 years old. The maintenance, care and responsibility
:27:39. > :27:48.must be huge. Of course. As a cellist, my cello is always next to
:27:49. > :27:52.me. Humidity was a big factor. It is so sensitive. It is almost like
:27:53. > :27:57.caring for a baby. And if you happen to just scratch it ever so
:27:58. > :28:03.slightly, I would feel so bad. The pang of a guilty conscience for not
:28:04. > :28:06.taking care of it. I think I can speak the string instrumentalists in
:28:07. > :28:09.that we feel very responsible for our instrument because that is our
:28:10. > :28:16.voice. Do you have this as well, Alison? It is so interesting,
:28:17. > :28:23.because I think I will outlive my trumpets. I will probably wear them
:28:24. > :28:27.out. But after you two are dead and gone, those instruments will
:28:28. > :28:31.continue to live on with a new life and a new owner.
:28:32. > :28:34.We move on now from our guests' instruments to pianists and the
:28:35. > :28:39.world-renowned artist Lang Lang. He was once described as being the J-Lo
:28:40. > :28:43.of the piano. I don't know if he liked that description, but he has
:28:44. > :28:47.performed with leading orchestras and musicians since he burst onto
:28:48. > :28:50.the scene in 1999. In his very busy schedule, Lang Lang came to visit
:28:51. > :28:56.Proms Extra to tell us his Proms memories.
:28:57. > :29:01.And here he is. Lang Lang is in the building. The Proms is the best
:29:02. > :29:13.festival in the world and it has the best audience. I made my London
:29:14. > :29:17.debut in 2001, playing at the Proms. I will never forget that. It
:29:18. > :29:23.is almost like going into the Colosseum in Rome! The music
:29:24. > :29:33.version. You don't fight, you make music.
:29:34. > :29:42.I really love when people are standing around the pianos. Everyone
:29:43. > :29:50.is like this... Quiet. It felt like the time has been stopped. It's a
:29:51. > :30:01.magical moment. You know, this tension, silent... None of the other
:30:02. > :30:16.places are like that. I wish I can play at the Proms every night.
:30:17. > :30:28.The celebrated pianist Lang Lang dropping in to have a little chat.
:30:29. > :30:31.What do you think it is about Lang Lang that catapulted him from being
:30:32. > :30:42.a great pianist to this phenomenon and? He is a great communicator. He
:30:43. > :30:46.is like a man possessed but at the same time he is so engaging. Look at
:30:47. > :30:50.the following in his home country in China, everyone wants to be Lang
:30:51. > :30:57.Lang in China. That's really wonderful, because his playing is
:30:58. > :31:01.flamboyant, incredibly virtuosic... What a role model for young people
:31:02. > :31:08.to follow someone like him rather than other people we could name! But
:31:09. > :31:13.we won't, because we are terribly polite! He was a child prodigy, all
:31:14. > :31:17.of you played very young as well. Do you remember much about those early
:31:18. > :31:24.days? Did you feel pressure being a child prodigy? I was very fortunate,
:31:25. > :31:29.Rostropovich was one of my mentors and he sat me down and he said don't
:31:30. > :31:33.play more than four concerts per month, give yourself as much time as
:31:34. > :31:40.you possibly can to mature like all other non-musical prodigies. My
:31:41. > :31:43.prodigy colleagues were playing 120 concerts per year, which means
:31:44. > :31:51.pretty much every other night. You factor in the told that takes on a
:31:52. > :31:55.14-year-old. Absolutely. It doesn't allow you enough time to find out
:31:56. > :31:58.who you are, what you want to express. I am a firm believer that
:31:59. > :32:02.you can have an incredible instinct for music when you are young but
:32:03. > :32:06.it's only as you progress through life that you can bring extra things
:32:07. > :32:11.to the music, things you couldn't possibly have known or felt when you
:32:12. > :32:17.were 21. No matter how ahead of the schedule you are. Whenever I hear
:32:18. > :32:19.performers over a length of time, their performance has always become
:32:20. > :32:28.more interesting, deeper and more exciting. More momentous, I think,
:32:29. > :32:33.as people get older. You never felt you were missing out on things your
:32:34. > :32:36.friends were doing? Quite the opposite. I would cite the National
:32:37. > :32:43.youth Orchestra as the perfect example. Not only were we making
:32:44. > :32:49.music to a very high level, and doing it intensively for two weeks
:32:50. > :32:53.at a time, all day, we were also with our best friends, people who I
:32:54. > :32:57.met there I am still great friends with. It became the soundtrack to
:32:58. > :33:01.our teenage lives. We couldn't have thought of anything we would rather
:33:02. > :33:07.be doing than practising to be good enough to do that, that was part of
:33:08. > :33:11.it. We make the choice to play and we love to play, that is why we are
:33:12. > :33:20.motivated and passionate. It is not a sacrifice. We chose this life.
:33:21. > :33:30.This is pro-choice! Last Sunday on BBC Four, the long awaited debut of
:33:31. > :33:35.the Borusan Istanbul Philharmonic Orchestra hit our screens. Their
:33:36. > :33:39.performance featured the familiar and be unfamiliar. They held the
:33:40. > :33:43.audience's attention from the very start. If you have been to a
:33:44. > :33:51.wedding, you will be familiar with handle's arrival of the Queen of
:33:52. > :33:59.Sheba. Borusan did the double, they played Handel's version and also
:34:00. > :34:51.Ottorini Respighi's. Here is his Belkis Queen of Sheba.
:34:52. > :34:57.One of the many highlights to come out of this year's Proms season. The
:34:58. > :35:04.Borusan Istanbul Philharmonic Orchestra conducted by Sascha
:35:05. > :35:09.Goetzel. I know you are a big fan of Ottorini Respighi. We know the Roman
:35:10. > :35:16.trilogy a bit more. That piece of work is not played often, and why
:35:17. > :35:20.not? I can only think of -- it is because of the massive forces. I
:35:21. > :35:27.adore the piece, I couldn't stop listening to it, it takes you over,
:35:28. > :35:31.it's amazing. I loved his use of the orchestra. Obviously it is ballet
:35:32. > :35:36.music, but the way he even opens it, it is supposed to be Solomon's
:35:37. > :35:40.dream, and the duet between the route and the base Caldara net,
:35:41. > :35:47.absolutely fantastic colours. -- the bass clarinet. The live recording of
:35:48. > :35:52.the bird being played and everything, it sounds like he is
:35:53. > :35:56.always wanting to try new effects, Ottorini Respighi. He really uses
:35:57. > :36:01.the orchestra as concerto solo instruments. It is incredibly
:36:02. > :36:07.mysterious, exotic, orgiastic at the end. It's wonderful, I am going to
:36:08. > :36:15.buy a recording of it. Have you seen Sascha Goetzel conduct before,
:36:16. > :36:20.Han-Na? No, it was my first time. He is charismatic to watch. He is an
:36:21. > :36:25.incredible performer. He knows how to make his players play, but also
:36:26. > :36:28.how to draw the audience in. His visible enjoyment of the whole
:36:29. > :36:33.conducting process, he makes it look so easy, and yet what he is asking
:36:34. > :36:37.them to do, it feels very free, it feels like he is spontaneous in this
:36:38. > :36:47.performance. You can't help but be wooed by him. Han-Na, I wanted to
:36:48. > :36:52.get your impression of the Borusan, they love their debut, you could see
:36:53. > :36:56.their energy and their enjoyment. How is your show with the shush
:36:57. > :37:03.going to be? Are they looking forward to it as much? -- with the
:37:04. > :37:09.shush going to be? They are so excited. The most important thing is
:37:10. > :37:16.to play our hearts out, to enjoy every moment of it. If we are having
:37:17. > :37:19.a good time, the audience will join in. It is to show our passion for
:37:20. > :37:22.the repertoire we are playing, just being on that stage. A really
:37:23. > :37:28.exciting time for you. On BBC Four tomorrow night,
:37:29. > :37:31.as part of the Proms live TV weekend, you can
:37:32. > :37:34.witness one of the great American ensembles, the Cleveland Orchestra,
:37:35. > :37:38.making a return to the Proms nine years since their last performance.
:37:39. > :37:41.That's at 7pm on BBC Four. But now as we enter
:37:42. > :37:45.the closing week of Proms 2014, there's just time to cast
:37:46. > :37:47.a reflective eye over the season. We've had the great and the good
:37:48. > :38:03.on Proms Extra. Just take a look.
:38:04. > :38:17.No, don't! You are making it so much worse!
:38:18. > :38:25.People that come and stand in the queue for hours, that shows you you
:38:26. > :38:30.are doing something really right. It's a pity that the word diva has
:38:31. > :38:39.come so pejorative. If that is meant to be diva behaviour, guilty!
:38:40. > :38:43.Guilty! Often I will hear a piece of music that overwhelms me. It could
:38:44. > :38:49.be about slaughtering puppies, I don't know. A bit of plug-in,
:38:50. > :39:00.really, we plugged the right thing into the right hole.
:39:01. > :39:08.We had an enormous thunderstorm. I went back to the trill and then
:39:09. > :39:10.there was applause and laughter and another thunderstorm. I thought I
:39:11. > :39:31.should keep it going! I would urge those currently
:39:32. > :39:34.throwing their shoes at the television to take those pieces of
:39:35. > :39:43.music associated with men and say, why? I am the bad guy. For me,
:39:44. > :39:52.Mozart doesn't represent the culmination of all art. Do you know
:39:53. > :39:56.if John Kavanagh enjoyed my work -- your work? He didn't like my work at
:39:57. > :40:06.all. It was like airing dirty linen in public. That is what I did all my
:40:07. > :40:17.life, suddenly it's not there, I am not with a cello, it's a strange
:40:18. > :40:23.feeling. The joy of playing and making musical decisions, that joy
:40:24. > :40:29.is amazing. Rarely have we seen a more animated conductor. One of the
:40:30. > :40:30.critics wrote that he thought he would get the best dad dancing
:40:31. > :40:50.prize. Where does the time go?
:40:51. > :40:53.Don't weep, there's still plenty of Proms action
:40:54. > :40:56.to be had on your screens tomorrow, Thursday and Friday.
:40:57. > :40:59.Then next Saturday, Proms 2014 bows out with the Last Night
:41:00. > :41:01.of the Proms, conducted by Sakari Oramo and featuring Janine Janssen
:41:02. > :41:06.and Roderick Williams, who have all appeared on Proms Extra this series.
:41:07. > :41:09.Don't forget Radio 3 broadcasts every Prom live.
:41:10. > :41:12.And you can find this episode of Proms Extra and many
:41:13. > :41:15.of the works we feature in this programme in the Proms Extra
:41:16. > :41:17.collection on the BBC iPlayer. And that really is it
:41:18. > :41:20.from us this year. For now.
:41:21. > :41:23.My thanks to my guests tonight, Tasmin Little
:41:24. > :41:27.and Han-Na Chang - good luck with your Prom tomorrow, which will be
:41:28. > :41:30.on our screens next Friday. And my thanks to Alison Balsom,
:41:31. > :41:35.who is playing us out with a track from her new album Paris.
:41:36. > :41:39.Accompanied by Chad Kelly on piano, written by Erik Satie,
:41:40. > :41:42.this is Gymnopedie No 3. Goodbye!