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Tonight at the BBC Proms, a programme of Turkish Delights from | :00:34. | :00:38. | |
an orchestra making their first ever visit to the UK. | :00:39. | :00:42. | |
The Borusan Istanbul Philharmonic Orchestra. | :00:43. | :00:45. | |
The orchestra is just 15 years old, and the players are young too, an | :00:46. | :00:49. | |
average age of 35. Almost all of them are Turkish and the orchestra | :00:50. | :00:56. | |
performs on both sides of the border straddling Asia and Europe. No | :00:57. | :01:01. | |
surprise that music inspire bid the Orient colours the programme with | :01:02. | :01:06. | |
the sounds of the czars. Holst by Mozart, Handel and Respighi. | :01:07. | :01:11. | |
Alongside a brand-new violin concerto by Professor Professor | :01:12. | :01:16. | |
Professor played by Daniel Hope. First though, an orchestral fantasy | :01:17. | :01:23. | |
by Russian composer, Ed Balls, called Islamey. It was so fiendishly | :01:24. | :01:25. | |
difficult that the composer couldn't play it himself! | :01:26. | :01:29. | |
It features traditional melodies from the Caucasus, the mountainous | :01:30. | :01:33. | |
region between Asia and Europe bordered by Turkey with Balakirev | :01:34. | :01:37. | |
made adventurous expeditions to track down folk tunes. The word | :01:38. | :01:40. | |
Islamey refers to a traditional dance of the Muslim tribes which is | :01:41. | :01:47. | |
apparently accompanied by the percussion stylings. There you go! | :01:48. | :01:53. | |
It was turned into a spectacular showpiece by one of Balakirev's | :01:54. | :01:57. | |
students who used every trick in the book to bring out all the colours of | :01:58. | :02:03. | |
the orchestra. And here to conduct Balakirev's | :02:04. | :02:12. | |
Islamey is the Istanbul flock orchestra, the principal conductor, | :02:13. | :02:16. | |
Sascha Goetzel. A rather tremendous flourish with | :02:17. | :12:00. | |
the fancy cuffs, that was Sascha Goetzel conducting the Borusan | :12:01. | :12:04. | |
Istanbul's flock in a lovely, lively start to the first UK debut. That | :12:05. | :12:09. | |
was Islamey by Balakirev. Next we have music from a British | :12:10. | :12:20. | |
composer who's perhaps more aassociationiated with outer space | :12:21. | :12:24. | |
than the Orient. Holst. The planet is his most famous orbing central | :12:25. | :12:29. | |
masterpiece and often eclipses his other work. He was hugely interested | :12:30. | :12:35. | |
in eastern ideas and music. He studied literature, spent holidays | :12:36. | :12:39. | |
in Algeria, heading out into the desert on his bike to collect folk | :12:40. | :12:43. | |
tunes. His piece, Beni Mora, which we are going to hear next was | :12:44. | :12:48. | |
intended as music for a ballet which never materialised. The third | :12:49. | :12:54. | |
movement, it has no fewer than 31 repetitions of the first phrase | :12:55. | :12:56. | |
which has a strange hypnotic effect. Sascha Goetzel, the conductor, | :12:57. | :13:08. | |
returning to the stage, to conduct the Borusan Istanbul Northern Rock | :13:09. | :13:18. | |
in Holst's Beni Mora. -- Istanbul Philharmonic Orchestra in Holst's | :13:19. | :13:22. | |
Beni Mora. Holst's work, Beni Mora. | :13:23. | :31:01. | |
That title, Beni Mora comes from the Garden of Allah, inspired by that, | :31:02. | :31:07. | |
the work was premiered in 1912 and the first performance was a success, | :31:08. | :31:11. | |
a wonderful quote from the critics who were baffled by the exotic music | :31:12. | :31:18. | |
one wrote "we do not ask for the girls to dance to this in Langham | :31:19. | :31:20. | |
Place". As Sascha Goetzel brings the whole | :31:21. | :31:40. | |
orchestra to their feet, we could reflect again on the love Holst had | :31:41. | :31:46. | |
for anything from the East. He was fascinated by the whole region. From | :31:47. | :31:53. | |
Algeria to India. He composed two operas based on Hindu legends. | :31:54. | :32:02. | |
Next, a brand-new work by Gabriel Prokofiev, the grandson of Sergey | :32:03. | :32:09. | |
Prokofiev. Previously, he's written concertos for bass drum and it may | :32:10. | :32:15. | |
surprise you to learn he's taken a traditional one for the violinest. | :32:16. | :32:24. | |
Daniel Hope is the violinist. This The two of them got together to | :32:25. | :32:29. | |
chat earlier about the concerto. We call it 1914, rather than make it | :32:30. | :32:35. | |
a war concerto so the work looks at the hole year and we get the | :32:36. | :32:42. | |
optimism before the war broke out. That's why it started in a playful | :32:43. | :32:46. | |
march. In the third and fourth movement, your role is more | :32:47. | :32:52. | |
representing the soldier on the ground and the tragedy really of the | :32:53. | :32:54. | |
war. I wrote that bit for you knowing how | :32:55. | :33:06. | |
you play and what might appeal to you and I hope that that's working | :33:07. | :33:11. | |
for you. Very much so. A lot of it speaks to the kind of musical | :33:12. | :33:16. | |
language that I love. Yes. You have the lyricism but also the rhythmical | :33:17. | :33:21. | |
fighting. You had me, in a sense, be a soldier coming to battle against, | :33:22. | :33:24. | |
you know, 100 people. It's a very active piece for me. I | :33:25. | :33:40. | |
have to keep my wits about me all the time because there are all sorts | :33:41. | :33:41. | |
of colours going on. It was interesting being in the hall, you | :33:42. | :33:45. | |
hear so much more in a great hall like this, so all the colours that I | :33:46. | :33:49. | |
didn't necessarily hear in the rehearsals, are now coming through | :33:50. | :33:52. | |
to me. So again, it's changing the way I view the piece, the way I jump | :33:53. | :33:55. | |
in on it. As we come to the very end and you | :33:56. | :34:11. | |
are hovering on your dying note really that then becomes this white | :34:12. | :34:17. | |
noise. Yes. And I really like how you have interpreted that. You could | :34:18. | :34:23. | |
see it, really high, you know, so I had the think, how am I going to do | :34:24. | :34:29. | |
it. I'm high so I'm thinking, go even higher into the ether somehow. | :34:30. | :34:37. | |
How are you feeling about tonight's performance and become here? Well, | :34:38. | :34:43. | |
obviously very excited. I mean, you know, it comes in we'ves. There's | :34:44. | :34:49. | |
nerves as well. This is still the first full performance, proper | :34:50. | :34:54. | |
performance of this piece and it's pretty heavy because it's in the | :34:55. | :34:58. | |
Royal Albert Hall and it's the Proms, you know, you can't escape | :34:59. | :35:02. | |
those nervous feelings but I am really excited and we have had a | :35:03. | :35:06. | |
really good rehearsal so I feel that's given me the confidence. I | :35:07. | :35:11. | |
feel like I'm terrified but I'm thrilled! How about you? I'd say | :35:12. | :35:17. | |
about the same. When you go out there for the very first time and | :35:18. | :35:22. | |
play a new piece, it's like you are launching a child out into the world | :35:23. | :35:25. | |
and you never know what is going to happen, so it's that mixture of | :35:26. | :35:30. | |
nerves and excitement, happiness being here but will everything be | :35:31. | :35:35. | |
OK. There's a lot of energy tonight it's going to get close to an | :35:36. | :35:38. | |
explosion. APPLAUSE | :35:39. | :35:44. | |
And there he is, Daniel Hope. Our soloist tonight with the conductor, | :35:45. | :35:54. | |
Sascha Goetzel, to perform Gabriel Prokofiev's concerto 1914. | :35:55. | :39:25. | |
MUSIC: Gabriel Prokofiev's Violin Concerto, "1914" | :39:26. | :11:09. | |
Technical wizardry. Exciting, emotionally draining work | :11:10. | :11:19. | |
by Gabriel Prokofiev. Violin concerto number one, 1914. | :11:20. | :11:25. | |
Sascha Goetzel leaving the stage there with Daniel Hope after that | :11:26. | :11:36. | |
performance by the Borusan Istanbul Philharmonic Orchestra. | :11:37. | :11:46. | |
The perspective often changes from personal views to individual | :11:47. | :11:52. | |
characters to wider historic and mittical aspects often quite | :11:53. | :11:56. | |
quickly, like fast edits in a film, he says. That cheer, you can hear, | :11:57. | :12:05. | |
is for Gabriel Prokofiev, there he is. She a really exciting young | :12:06. | :12:12. | |
composer, very much in demand. Quite the musical man, long association | :12:13. | :12:14. | |
with Daniel Hope. And, as Gabriel continues to thank | :12:15. | :12:29. | |
the orchestra for that premier of his new work, he said earlier, you | :12:30. | :12:35. | |
know, a particular image stuck in his mind when he was writing this | :12:36. | :12:39. | |
which was from the battles of the frontiers early on in the First | :12:40. | :12:44. | |
World War when the French cavalry, many dressed in colourful uniforms, | :12:45. | :12:48. | |
were mowed down by German machine guns and he said that epitomises the | :12:49. | :12:52. | |
old world being destroyed by the modern and that was the sound he was | :12:53. | :12:54. | |
trying to create. The Borusan Istanbul Philharmonic | :12:55. | :13:22. | |
Orchestra are making a flying visit to London for this programme. The | :13:23. | :13:26. | |
Turkish players are utterly passionate about the music they | :13:27. | :13:29. | |
perform and very proud of what they have achieved together as an | :13:30. | :13:34. | |
orchestra so far as I found out when I met up with a couple of the | :13:35. | :13:36. | |
players during rehearsals today. This is a young orchestra and you | :13:37. | :13:42. | |
don't often tour outside of Turkey, so how is it being here in London? | :13:43. | :13:47. | |
It's great. It's wonderful. Touring is nice itself, but being in London | :13:48. | :13:52. | |
and to be a part of Proms and to play in Albert Hall is really | :13:53. | :13:55. | |
fascinating. You were telling us, the last time you were here, you | :13:56. | :14:07. | |
were with the Gustav Youth Orchestra, so how is it different | :14:08. | :14:08. | |
here today? Yes, it's 17 years ago actually in 1997. It was like a | :14:09. | :14:51. | |
miracle for me to What either audiences like in Turkey for this | :14:52. | :14:56. | |
kind of programme? Actually, they enjoy our programme. I am also proud | :14:57. | :15:04. | |
because there are always so many young people enjoying us. It is | :15:05. | :15:14. | |
great. So a good atmosphere and lots of enthusiasm for Western classical | :15:15. | :15:19. | |
music. For the prom is, was it exciting for you to be here? It is a | :15:20. | :15:25. | |
very big thing for the orchestra and for Turkish classical music also. | :15:26. | :15:31. | |
Rascal music is very new in Turkey. -- fascicle music. It started in | :15:32. | :15:36. | |
1923 after the Republic was established by Ataturk. It took a | :15:37. | :15:42. | |
long time to build up a classical music culture in Turkey. This is the | :15:43. | :15:49. | |
proof of the success of the music of Ataturk, so we feel proud. I hope we | :15:50. | :15:55. | |
come again and again, and also to other festivals in other big cities | :15:56. | :15:59. | |
in Europe. And what are you looking forward to particularly tonight, | :16:00. | :16:02. | |
coming to the Albert Hall for the first time? I am waiting for 6000 | :16:03. | :16:09. | |
people! And there certainly is a large and | :16:10. | :16:12. | |
appreciative audience for them in the Royal Albert Hall tonight. Next, | :16:13. | :16:15. | |
proving that an interest in eastern sounds is nothing new, the Borusan | :16:16. | :16:19. | |
Istanbul Philharmonic Orchestra performed the overture to an opera | :16:20. | :16:25. | |
by Mozart, the abduction from the seraglio. It might not be the most | :16:26. | :16:29. | |
authentic oriental music, but at the time, it caused a real stir. The | :16:30. | :16:33. | |
overture reaches exotic percussion and gives a good impression of the | :16:34. | :16:37. | |
music of Turkey, as seen through the eyes of an 18th-century European. It | :16:38. | :16:41. | |
massively popular, despite famously being exercised by the Emperor | :16:42. | :16:50. | |
Joseph II as having too many notes. There is the conductor, Sascha | :16:51. | :17:00. | |
Goetzel, to conduct Mozart's Die Entfuhrung aus dem Serail, performed | :17:01. | :17:05. | |
by Borusan Istanbul Philharmonic Orchestra. | :17:06. | :17:33. | |
MUSIC: "Die Entfuhrung aus dem Serail" by Mozart. | :17:34. | :22:36. | |
APPLAUSE Sascha Goetzel, conducting the Borusan Istanbul Philharmonic | :22:37. | :22:39. | |
Orchestra in Mozart's overture to the Abduction From The Seraglio, | :22:40. | :22:43. | |
which is pretty standard 18th-century fare when you look at | :22:44. | :22:45. | |
the plot. You know the kind of thing, European | :22:46. | :22:48. | |
nobleman rescues pretty girl from wicked eastern pasha, but the music | :22:49. | :23:00. | |
is lovely, isn't it? Next, we have two very different is | :23:01. | :23:05. | |
portraits of none other than the Queen of Sheba, an exotic and | :23:06. | :23:08. | |
mysterious woman of power whose story can be found in the Bible and | :23:09. | :23:13. | |
the Koran as well as in Turkish and Persian paintings. In the old | :23:14. | :23:15. | |
Testament, the story goes that the Queen hears of Solomon's fame and | :23:16. | :23:19. | |
falls in love with him, far, so she decides to set out to Jerusalem to | :23:20. | :23:23. | |
meet him. The Bible says she came with a very great train of camels | :23:24. | :23:27. | |
that bore spices, gold and precious stones. | :23:28. | :23:32. | |
And it is this a rival that we are going to hear now, set to music by a | :23:33. | :23:39. | |
George Frederick Handel and arrange for orchestra by Sir Thomas Beecham. | :23:40. | :24:19. | |
MUSIC: "The Arrival Of The Queen Of Sheba" by Handel. | :24:20. | :27:02. | |
Lovely, the conductors Sascha Goetzel, enjoying that performance | :27:03. | :27:08. | |
from the back of the stage. The players of the Borusan Istanbul | :27:09. | :27:10. | |
Philharmonic Orchestra are on their feet to perform Handel's arrival of | :27:11. | :27:21. | |
the Queen of Sheba. Performed at weddings the world over, that piece | :27:22. | :27:25. | |
of music is one of Handel's most famous pieces. It even featured at | :27:26. | :27:30. | |
the opening ceremony of London 2012. famous pieces. It even featured at | :27:31. | :27:37. | |
Next, we have another portrait of the same Queen, but this time from | :27:38. | :27:42. | |
the Italian composer Ottorino Respighi. His old rate owes less to | :27:43. | :27:47. | |
the Bible and more to the story in the Koran in which the Queen is | :27:48. | :27:51. | |
named Dale Kiss, and the story goes that Solomon could talk to the | :27:52. | :27:54. | |
birds, one of which flew back from the kingdom, telling him of a queen | :27:55. | :27:59. | |
who sat on a throne of gold and silver. So Solomon, obviously, | :28:00. | :28:04. | |
who sat on a throne of gold and invited her to visit him. The ballet | :28:05. | :28:06. | |
was hugely ambitious and lasted well over an hour, with 600 | :28:07. | :28:11. | |
was hugely ambitious and lasted well deploying an orchestral augmented | :28:12. | :28:13. | |
with sitars and wind machines. The concert we are about to hear is a | :28:14. | :28:17. | |
bit more practical, but it still captures the exotic and erotic world | :28:18. | :28:28. | |
of the Queen of Sheba. Conductors Sascha Goetzel, full of | :28:29. | :28:31. | |
beans to conduct Respighi's Queen of Sheba. | :28:32. | :28:59. | |
MUSIC: "Belkis, Queen of Sheba" by Respighi. | :29:00. | :33:09. | |
The final orgiastic dance, bringing to an end Respighi's Queen of Sheba. | :33:10. | :53:32. | |
What a showpiece for the Borusan Istanbul Philharmonic Orchestra, and | :53:33. | :53:38. | |
what a showpiece for the conductor as well. He has got some moves! | :53:39. | :53:44. | |
Tremendous animation, really expressive. He was not clowning | :53:45. | :53:52. | |
around. A wonderful rapport with the orchestra. Sascha Goetzel. A | :53:53. | :53:59. | |
wonderful response here in the Royal Albert Hall. The first performance | :54:00. | :54:07. | |
of that ballet was a huge success, with the audience apparently in a | :54:08. | :54:11. | |
frenzy of excitement. A mighty horde of young men and girls, warriors and | :54:12. | :54:16. | |
slaves of every race and colour, rising up in orgiastic dance. This | :54:17. | :54:24. | |
was the offstage trumpet we heard towards the end of that. There is in | :54:25. | :54:38. | |
fact another Ethiopian version of the Queen of Sheba story. We have | :54:39. | :54:41. | |
heard two of them today, but there is a third. She is considered to be | :54:42. | :54:46. | |
the mother of Ethiopia, a fact that would have escaped those in the | :54:47. | :54:56. | |
1930s as Italy was taking over Ethiopia. | :54:57. | :55:21. | |
And amongst the many legends surrounding Belkis, Queen of Sheba, | :55:22. | :55:28. | |
in the Islamic tradition, my favourite one is that her mother | :55:29. | :55:33. | |
cavorted with a goat was pregnant. That meant the Queen of Sheba had | :55:34. | :55:35. | |
very hairy legs. All of them enjoying the moment | :55:36. | :55:57. | |
here, their first ever prom, their first-ever UK performance. Ladies | :55:58. | :56:10. | |
and gentlemen, of course, we cannot go back to the Bosphorus without the | :56:11. | :56:26. | |
music of the Bosphorus. This is a historic moment, a Turkish orchestra | :56:27. | :56:30. | |
for the first time at the BBC Proms. You have been the most incredible | :56:31. | :56:31. | |
audience we have experienced. You have been the most incredible | :56:32. | :56:50. | |
all believe, as music lovers and musicians, that music does not just | :56:51. | :56:56. | |
reward us. We all want to exchange cultures, want to share, not being | :56:57. | :57:02. | |
afraid of it, but learning from each other, | :57:03. | :57:02. | |
afraid of it, but learning from each offer. This is | :57:03. | :57:06. | |
afraid of it, but learning from each here. This is what we believe. We | :57:07. | :57:11. | |
This orchestra is a union of most of better place. | :57:12. | :57:30. | |
This orchestra is a union of most of the finest musicians of Turkey, and | :57:31. | :57:36. | |
we want to play for you now one of the most famous pieces in Turkey. It | :57:37. | :57:40. | |
we want to play for you now one of starts from the far east and goes | :57:41. | :57:43. | |
all the way through Turkey, and then we arrive in Istanbul from our | :57:44. | :57:48. | |
hearts, from our souls, to give you what you deserve, the best possible | :57:49. | :57:50. | |
excitement in music of all time! The most famous piece of Turkish | :57:51. | :07:35. | |
classical music. That was written in 1943, full of the sounds of | :07:36. | :07:39. | |
classical music. That was written in traditional Turkish music and a gift | :07:40. | :07:48. | |
to us from the Borusan Istanbul Philharmonic Orchestra, on the first | :07:49. | :07:52. | |
occasion, the very first time they have performed at the Proms. And | :07:53. | :08:07. | |
that is it for now at the BBC Proms. Wonderful debut from the Borusan | :08:08. | :08:11. | |
Istanbul Philharmonic Orchestra, conducted by Sascha Goetzel. Every | :08:12. | :08:16. | |
concert is live on BBC Radio 3 and next week, on BBC4, there are four | :08:17. | :08:21. | |
concerts from the programmes, starting on Thursday with music by | :08:22. | :08:27. | |
Mala and John Adams. For now, good night from all of us | :08:28. | :08:32. |