0:00:30 > 0:00:34Aurora Orchestra is one of Britain's most innovative ensembles.
0:00:34 > 0:00:37They've embraced a risk-taking approach to classical performance
0:00:37 > 0:00:40and they've challenged what can be achieved on the concert stage.
0:00:40 > 0:00:43They're made of some of the finest of a new generation of players
0:00:43 > 0:00:45from Britain and all over the world,
0:00:45 > 0:00:48under the leadership of their founder and principle conductor,
0:00:48 > 0:00:49Nicholas Collon.
0:00:49 > 0:00:52And together, in this Prom, they're going to play
0:00:52 > 0:00:56Mozart's last symphony, his 41st in C Major, the Jupiter.
0:00:56 > 0:01:00It was written in 1788, and it's probable that Mozart himself
0:01:00 > 0:01:04never heard this piece performed before his death in 1791.
0:01:04 > 0:01:07We are the lucky ones who can.
0:01:07 > 0:01:08However...
0:01:08 > 0:01:10We've never heard it performed at the Proms the way
0:01:10 > 0:01:12that Aurora Orchestra are about to.
0:01:12 > 0:01:15That's because they're going to play the whole of this symphony, all four
0:01:15 > 0:01:19of its movements, thousands upon thousands upon thousands of notes,
0:01:19 > 0:01:21entirely from memory.
0:01:23 > 0:01:27The orchestra have performed pieces from memory at the Proms before.
0:01:27 > 0:01:30In 2014, it was Mozart's 40th Symphony,
0:01:30 > 0:01:33and last year it was Beethoven's Pastoral.
0:01:38 > 0:01:42There won't be a single scrap of written music or even a single
0:01:42 > 0:01:46music stand on this stage when Aurora Orchestra play this piece.
0:01:46 > 0:01:48That's not new for them as a whole,
0:01:48 > 0:01:51but for some of these players this will be a new experience.
0:01:51 > 0:01:54There's also something of a first for me too, because I'm going to be
0:01:54 > 0:01:57joining Nicholas Collon and Aurora Orchestra on stage.
0:01:57 > 0:02:00Now, don't panic, I'm not going to be playing,
0:02:00 > 0:02:03but I will be using the chance that the fact that these players
0:02:03 > 0:02:06have memorised all of this piece to get inside the world of
0:02:06 > 0:02:08the Jupiter Symphony with the Proms audience,
0:02:08 > 0:02:12to reveal something of the wonders of Mozart's musical universe.
0:02:12 > 0:02:14So, before we hear this performance,
0:02:14 > 0:02:17let's meet some of the Aurora players to find out
0:02:17 > 0:02:20just how they've prepared to play Mozart from memory.
0:02:24 > 0:02:26It's eight o'clock in the morning, and sure enough,
0:02:26 > 0:02:29the first thing that I thought of was...
0:02:29 > 0:02:30MOZART MUSIC PLAYS
0:02:30 > 0:02:34People look at me like I'm a lunatic because I'm just sitting there
0:02:34 > 0:02:37with my eyes closed trying to memorise some bowing.
0:02:37 > 0:02:41Being familiar with the melodies and the piece as a whole
0:02:41 > 0:02:44is a very different ballgame to actually learning it from memory.
0:02:44 > 0:02:47My strategy really is to tackle the easiest bits
0:02:47 > 0:02:50and the hardest bits first.
0:02:50 > 0:02:52You've got to try to feel it without learning it.
0:02:52 > 0:02:55It's not something you learn... One, two, three, blah, blah, blah,
0:02:55 > 0:02:59three bars to count - you've got to feel it, like a dance.
0:02:59 > 0:03:02I like to go for a run each day.
0:03:02 > 0:03:05You can use waypoints in your mind of where you are on the run
0:03:05 > 0:03:07for where you are in the piece.
0:03:07 > 0:03:09I remember, like, a sequence of numbers -
0:03:09 > 0:03:12three, five, three, six.
0:03:12 > 0:03:14That's literally how I remember it.
0:03:17 > 0:03:21Memorising music is a great activity with a small baby because
0:03:21 > 0:03:25they quite enjoy you looking silly and humming to them and counting.
0:03:29 > 0:03:32So I've kind of been learning it ten minutes here, ten minutes there,
0:03:32 > 0:03:34when the baby lets me.
0:03:34 > 0:03:35Where do we get this bit?
0:03:41 > 0:03:44I've never learnt a symphony from memory before,
0:03:44 > 0:03:47so there's a whole other type of pressure.
0:03:47 > 0:03:50When I'm walking to work I'll be listening to the Mozart,
0:03:50 > 0:03:53it's just taken over my life for the last week -
0:03:53 > 0:03:56every single spare minute I have, I'll just say,
0:03:56 > 0:03:57"OK, I'll have a listen."
0:04:02 > 0:04:06The trickiest part is going from one section to the next
0:04:06 > 0:04:09because you might get to the end of one section and go,
0:04:09 > 0:04:11"Ah, what comes next? What's the next bit?"
0:04:14 > 0:04:17I actually like to leave the bow
0:04:17 > 0:04:20completely out of the learning process until the first rehearsal.
0:04:20 > 0:04:22The notes themselves are relatively straightforward
0:04:22 > 0:04:26for a Mozart symphony, particularly the viola part.
0:04:26 > 0:04:30The idea really is to ingest it, inhabit it and then devote
0:04:30 > 0:04:34that attention to the imaginative demands of playing.
0:04:37 > 0:04:39Individually, the orchestra have had just a few weeks
0:04:39 > 0:04:44to learn nearly 1,000 bars of meticulously crafted Mozart.
0:04:44 > 0:04:47They come together for the first time just a few days before
0:04:47 > 0:04:52their Proms performance to see if all their hard work has paid off.
0:04:52 > 0:04:55I do think most of it's in my head already.
0:04:55 > 0:04:58There's just always that element of doubt.
0:04:58 > 0:05:02The symphony's really getting into everyone's heads,
0:05:02 > 0:05:04you don't quite know if you know it -
0:05:04 > 0:05:07sometimes you go on automatic and then you question yourself.
0:05:07 > 0:05:10It's very hard to stop thinking about it, I have to say.
0:05:10 > 0:05:13I've been quite stressed the last couple of days, I haven't had
0:05:13 > 0:05:15as much time as I'd have liked.
0:05:15 > 0:05:18I feel a bit behind where I'd like to be with it,
0:05:18 > 0:05:20but hopefully when we're all in the room together,
0:05:20 > 0:05:22it will feel immediately easier.
0:05:35 > 0:05:38When you commit a piece to memory like this,
0:05:38 > 0:05:40it's more liberated, more detailed,
0:05:40 > 0:05:42it's more carefree.
0:05:42 > 0:05:45We know that the music's inside us, and we can just let it out.
0:05:45 > 0:05:48It's a better performance than we would do with the music.
0:05:50 > 0:05:53The act of the music being on the page is something
0:05:53 > 0:05:57we're so obsessed about in the way that we interpret a Mozart symphony.
0:05:57 > 0:06:01And for him it existed mostly in the space in his head,
0:06:01 > 0:06:03and it's quite nice to feel that you're bypassing the page,
0:06:03 > 0:06:07having learnt it, and trying to occupy that space somewhere else.
0:06:10 > 0:06:11What's amazing about this,
0:06:11 > 0:06:14and this is an incredibly early stage of rehearsal, I mean,
0:06:14 > 0:06:16there's no sort of falling apart, "What are we doing?"
0:06:16 > 0:06:18They're absolutely there already -
0:06:18 > 0:06:20it's kind of amazing actually.
0:06:20 > 0:06:23It's quite nice, you may agree or disagree, to just get rid of
0:06:23 > 0:06:26music stands to the side, put your music on the floor.
0:06:26 > 0:06:27There is something different,
0:06:27 > 0:06:30when you have the players in front of you, without the music,
0:06:30 > 0:06:33it dissipates any hierarchy that sits within the orchestra.
0:06:36 > 0:06:40To play from memory, the trust in your colleagues is amazing.
0:06:40 > 0:06:43It's like a rugby team before going out for a massive match
0:06:43 > 0:06:47in the Six Nations, all working together for rhythm,
0:06:47 > 0:06:49for accuracy, for obviously memory,
0:06:49 > 0:06:52but that's something we completely forget by the time we walk on stage.
0:06:52 > 0:06:56The joy of being in an orchestra is everyone else,
0:06:56 > 0:06:59and when I play music, especially these pieces of Mozart,
0:06:59 > 0:07:02it's being aware of the conversation - I think is the main thing
0:07:02 > 0:07:04sort of going on in my head.
0:07:04 > 0:07:07Eyes-up is the thing, concentrate.
0:07:07 > 0:07:09Who's next? Who am I with? Who am I answering?
0:07:09 > 0:07:13And actually getting rid of the music just heightens all of that.
0:07:13 > 0:07:15Second violins and the violas, bar nine...
0:07:15 > 0:07:19The first violins carry most of the melody in this symphony, but other
0:07:19 > 0:07:23sections of the orchestra have an equally important role to play.
0:07:23 > 0:07:25(The people who have the hardest job here are
0:07:25 > 0:07:29(the second violins and the violas, the people inside the orchestra.)
0:07:29 > 0:07:32Look at stuff like this, these arpeggios - imagine memorising this.
0:07:32 > 0:07:34These things have to be so precise,
0:07:34 > 0:07:36changes that are happening that aren't the tune -
0:07:36 > 0:07:39it's actually much harder to get that in your head or in your fingers
0:07:39 > 0:07:41than the tunes on top.
0:07:42 > 0:07:45Shall we just stand up, ladies and gents, and we'll play standing?
0:07:45 > 0:07:47It's hard to minuet while sitting.
0:07:51 > 0:07:55The inner parts are not really designed to be heard,
0:07:55 > 0:07:57they're padding, and they're the nuts and bolts
0:07:57 > 0:07:58of the music on the whole.
0:08:00 > 0:08:03Mozart's just so clever and inventive with the way
0:08:03 > 0:08:04he writes for the middle part.
0:08:04 > 0:08:06He doesn't just give you the obvious thing,
0:08:06 > 0:08:09just subtle variety all the time.
0:08:11 > 0:08:14I have the utmost respect for people playing the inner parts,
0:08:14 > 0:08:17the viola players, the second violins,
0:08:17 > 0:08:20because a lot of their writing is very exciting
0:08:20 > 0:08:23and without them, the piece doesn't live.
0:08:25 > 0:08:27With rehearsals complete,
0:08:27 > 0:08:32the orchestra are ready to put their memorising skills to the test.
0:08:32 > 0:08:36Just a day before their Proms performance, there's enough time
0:08:36 > 0:08:40for a run-through in front of an unsuspecting East End audience.
0:08:55 > 0:08:56I actually need this exercise.
0:08:56 > 0:08:59I take it as an exercise for myself and my memory, so if I can do that
0:08:59 > 0:09:03I guess tomorrow will be fine, with all the distractions we've got here.
0:09:04 > 0:09:09I think this might be even more boomy than the Royal Albert Hall.
0:09:09 > 0:09:12It's good that it's coming the day before the concert.
0:09:12 > 0:09:14I think it's like the ultimate test.
0:09:19 > 0:09:21HE HUMS MOZART
0:09:21 > 0:09:24HE HUMS MOZART
0:09:24 > 0:09:26HE HUMS MOZART
0:09:32 > 0:09:36I'm there, like, 95, 96%.
0:09:36 > 0:09:38A nice early night tonight
0:09:38 > 0:09:41and saving all that kind of brainpower for, like, tomorrow.
0:09:43 > 0:09:44On a scale of one to ten...
0:09:44 > 0:09:46Eight.
0:09:46 > 0:09:48But by tomorrow, it's going to be nine and a half.
0:10:18 > 0:10:21We've seen how much work goes in to preparing a performance like this,
0:10:21 > 0:10:24with the whole orchestra playing from memory.
0:10:24 > 0:10:28But now we've got the chance to explore Mozart's 41st Symphony
0:10:28 > 0:10:29from the inside out.
0:10:29 > 0:10:32So together with Nicolas Collon and Aurora Orchestra,
0:10:32 > 0:10:36we're going to show just how Mozart makes the musical cosmos
0:10:36 > 0:10:37of the Jupiter Symphony.
0:10:47 > 0:10:49In this exploration of the Jupiter Symphony,
0:10:49 > 0:10:52we're going to focus on the finale, the molto allegro.
0:10:52 > 0:10:55And what's wrong with the three previous movements?
0:10:55 > 0:10:56Nothing, I promise.
0:10:56 > 0:10:59This whole piece is full of the most daring acts
0:10:59 > 0:11:01of orchestral imagination.
0:11:01 > 0:11:05But this finale is truly something else.
0:11:05 > 0:11:07So welcome onstage, here at the Royal Albert Hall, please,
0:11:07 > 0:11:11Nicolas Collon and first the violins and violas of Aurora Orchestra.
0:11:16 > 0:11:21Now, this finale is the single most ambitious piece
0:11:21 > 0:11:23of orchestral music that Mozart ever wrote,
0:11:23 > 0:11:26and it's also one of the most thrilling experiences
0:11:26 > 0:11:28that we can all have as listeners,
0:11:28 > 0:11:31and we're going to find out how Mozart does it.
0:11:31 > 0:11:34And we're going to start by all of us here
0:11:34 > 0:11:36in the Royal Albert Hall this afternoon
0:11:36 > 0:11:40composing the most important four notes of this finale together.
0:11:40 > 0:11:42I promise it's not as difficult as it sounds.
0:11:42 > 0:11:45We just need a little help from Nicolas Collon and his musicians.
0:11:45 > 0:11:47So, Nick, over to you.
0:11:47 > 0:11:49Thank you, Tom, very much. Good afternoon, everyone.
0:11:49 > 0:11:53Now, here behind me I have the first violin section
0:11:53 > 0:11:57handily arranged, as you can see, like a human xylophone.
0:11:57 > 0:12:00Now, it turns out if I hit them very softly with the end of my baton...
0:12:00 > 0:12:04- LAUGHTER - ..they sound like this.
0:12:04 > 0:12:06These are the notes of a C major scale.
0:12:15 > 0:12:17Now this is where we get a little bit of...
0:12:17 > 0:12:19- APPLAUSE - Oh, thank you.
0:12:22 > 0:12:25If you think that deserves a round of applause...
0:12:25 > 0:12:26LAUGHTER
0:12:26 > 0:12:29This is where we get a little bit of mild audience participation,
0:12:29 > 0:12:31nothing too terrifying, I promise.
0:12:31 > 0:12:33Can we sing lustily to "La"?
0:12:33 > 0:12:36Nice and big sound.
0:12:36 > 0:12:45# La... #
0:12:46 > 0:12:48It's easy, isn't it? Try this.
0:12:49 > 0:13:10# La... #
0:13:12 > 0:13:15If you hadn't realised, you've just very beautifully sung
0:13:15 > 0:13:16Somewhere Over The Rainbow.
0:13:16 > 0:13:19Deserves a round of applause.
0:13:19 > 0:13:23And I have a new-found respect for Peter Snow on
0:13:23 > 0:13:26Election Night Special, cos that's hard work, I can tell you,
0:13:26 > 0:13:28that's a lot of exercise.
0:13:28 > 0:13:30But Mozart didn't have as much fun as that,
0:13:30 > 0:13:33he only used the first four notes of our scale -
0:13:33 > 0:13:35the C, the D, the E and the F,
0:13:35 > 0:13:37and he swaps round the order of the last two.
0:13:37 > 0:13:40I'm sure we can do this straight off, here we go.
0:13:40 > 0:13:42Got your singing voices?
0:13:42 > 0:13:48# La... #
0:13:48 > 0:13:50That's the four-note theme,
0:13:50 > 0:13:53and he transposes it to the top of the octave as well,
0:13:53 > 0:13:54so you also get these four.
0:13:54 > 0:13:59This is a little bit harder, this is grade six, here we go.
0:13:59 > 0:14:06# La... #
0:14:06 > 0:14:11And he uses both halves of the octave in the last movement
0:14:11 > 0:14:13simultaneously and at the same time and after each other.
0:14:13 > 0:14:16It's an amazing jigsaw puzzle that he puts together.
0:14:16 > 0:14:18So you've got your four-note theme.
0:14:18 > 0:14:19Bravo, everyone.
0:14:19 > 0:14:21Give yourself a round of applause,
0:14:21 > 0:14:24you've just written Mozart, for crying out loud.
0:14:26 > 0:14:28Thank you, Nick, thank you, all of you.
0:14:28 > 0:14:32But not only is that tune as much yours as it is Mozart's,
0:14:32 > 0:14:35it had also been hanging around in musical history for centuries
0:14:35 > 0:14:39before Mozart wrote this symphony in 1788.
0:14:39 > 0:14:42And there is something prayer-like, isn't there, about the way
0:14:42 > 0:14:45those four notes move, especially when it's sung so beautifully
0:14:45 > 0:14:47as it is by all of you in the Royal Albert Hall.
0:14:47 > 0:14:50Now, the first time we hear this musical prayer is right at
0:14:50 > 0:14:54the start of the finale, when it's played by the first violins.
0:14:58 > 0:15:01The question is though, what Mozart does with it.
0:15:01 > 0:15:02Well, first off, he adds harmony,
0:15:02 > 0:15:06giving this little musical prayer body, context, meaning.
0:15:15 > 0:15:17Beautiful, isn't it?
0:15:17 > 0:15:19But it's static - Mozart adds motion.
0:15:19 > 0:15:23Look at the second violins up there, just in front of Henry Wood's bust.
0:15:29 > 0:15:33And that's not all, because as an answer to the four-note prayer,
0:15:33 > 0:15:36Mozart composes a tune which is straight out of comic opera.
0:15:46 > 0:15:50That is, however, only the start of this ten-minute finale,
0:15:50 > 0:15:52so Mozart needs to extend our four-note prayer
0:15:52 > 0:15:55into different musical dimensions,
0:15:55 > 0:15:59and he does that at first by writing a tune for the second violins
0:15:59 > 0:16:02that sounds as natural, as joyous as if he'd come up with it
0:16:02 > 0:16:04whistling in his bath.
0:16:21 > 0:16:23Now, the second violins don't have that to themselves -
0:16:23 > 0:16:26Mozart gives it to every other part of the string section who come in,
0:16:26 > 0:16:30one by one, each with their own version of this melody.
0:16:30 > 0:16:32And this is where it starts to get clever -
0:16:32 > 0:16:34the first to join the second violins
0:16:34 > 0:16:36are the first violins.
0:16:55 > 0:16:56And now, the violas.
0:17:14 > 0:17:15The cellos.
0:17:16 > 0:17:19And last, and most, the double basses.
0:17:23 > 0:17:24Now, here's the thing...
0:17:24 > 0:17:27What the strings of Aurora Orchestra have just built up there
0:17:27 > 0:17:31is a little labyrinth of tunes, each chasing each other,
0:17:31 > 0:17:33hanging onto the tail of the one that comes before it.
0:17:33 > 0:17:35It's a kind of composition that's called fugue,
0:17:35 > 0:17:38from the Latin, "to flee," and it's an absolutely essential
0:17:38 > 0:17:41compositional technique that Mozart is going to use
0:17:41 > 0:17:42throughout this movement,
0:17:42 > 0:17:46an absolutely crucial part of his cosmic compositional arsenal.
0:17:46 > 0:17:49It's time now to introduce you to the three other main thematic ideas
0:17:49 > 0:17:53that Mozart's going to be playing with throughout this finale.
0:17:53 > 0:17:56The first of these is what I call the climbing theme. Why?
0:17:56 > 0:17:58Well, it's pretty obvious.
0:18:03 > 0:18:06You see, it goes up, with a joyously explosive energy.
0:18:06 > 0:18:09And it's not just the upper strings that Mozart gives this tune to,
0:18:09 > 0:18:11the lower strings get it as well.
0:18:17 > 0:18:20And when you put them together as Mozart does, as you'll hear,
0:18:20 > 0:18:22they don't come in at the same time,
0:18:22 > 0:18:25they're dissonating with each other, rhythmically speaking.
0:18:25 > 0:18:27Basically, they come in at different times.
0:18:33 > 0:18:36Well, so far we've only heard the strings.
0:18:36 > 0:18:38There are, of course, other instruments
0:18:38 > 0:18:39and here they come onstage now.
0:18:39 > 0:18:41There are a single flute, two oboes,
0:18:41 > 0:18:45two bassoons, there are a pair of horns, a pair of trumpets
0:18:45 > 0:18:47and a set of timpani.
0:18:47 > 0:18:51The next of our essential musical ideas in this finale is a fanfare.
0:18:51 > 0:18:54So let's hear what it sounds like when all of these musicians
0:18:54 > 0:18:56play the fanfare together.
0:19:01 > 0:19:05Now, the horns can't actually play anything quite that fast,
0:19:05 > 0:19:06here's their contribution....
0:19:06 > 0:19:08LAUGHTER ..to that musical texture.
0:19:08 > 0:19:12I mean, it's not that they can't necessarily, perhaps they choose not to...
0:19:12 > 0:19:15Mozart, we know, had a famously difficult relationship with horn players.
0:19:15 > 0:19:19At any rate, here's what they're doing in that texture.
0:19:22 > 0:19:23CHEERING
0:19:26 > 0:19:28Well, you wait...
0:19:28 > 0:19:31The trumpets have something even more miraculous.
0:19:31 > 0:19:34Let's hear what the trumpets managed to do in this texture.
0:19:36 > 0:19:38SINGLE NOTE PLAYS
0:19:38 > 0:19:39LAUGHTER
0:19:44 > 0:19:47Now, just as he's done with the climbing theme,
0:19:47 > 0:19:51Mozart uses the fanfare theme across the whole orchestra and, again,
0:19:51 > 0:19:53it's coming in at different times all the time,
0:19:53 > 0:19:54if you see what I mean.
0:19:54 > 0:19:57What that means is, that for us listening to it,
0:19:57 > 0:19:59the effect can be quite chaotic because we don't know
0:19:59 > 0:20:02where the first beat of the bar comes.
0:20:02 > 0:20:05Whilst it may sound chaotic and busy on the surface,
0:20:05 > 0:20:08it's made with all of the care of a Swiss clockmaker.
0:20:18 > 0:20:19So we've had the prayer,
0:20:19 > 0:20:22we've had the climbing theme and we've had the fanfare.
0:20:22 > 0:20:24The last part of our symphonic jigsaw puzzle
0:20:24 > 0:20:26is completely different in character,
0:20:26 > 0:20:29it's something gentle and lyrical and flowing -
0:20:29 > 0:20:30a song.
0:20:34 > 0:20:35And...in a moment of inspiration,
0:20:35 > 0:20:39Mozart finishes that song off with an idea that we've heard before.
0:20:45 > 0:20:48The fanfare, beautifully played by the solo flute there.
0:20:48 > 0:20:52That's not all though, because the bassoons are also involved here -
0:20:52 > 0:20:55they're playing the climbing theme underneath all of that.
0:20:57 > 0:20:59So let's put all of that together.
0:21:13 > 0:21:16So now we've heard all of our themes, but what that
0:21:16 > 0:21:20last little passage of music tells us is what you can do if you make
0:21:20 > 0:21:23a musical texture, not just of one idea,
0:21:23 > 0:21:25but from lots of them all working together.
0:21:25 > 0:21:29And this is the key and miraculous revelation of this whole finale,
0:21:29 > 0:21:33indeed this whole symphony, which is that all four of our themes
0:21:33 > 0:21:35your themes, are actually made for each other,
0:21:35 > 0:21:39they're all part of a grand musical design that Mozart reveals
0:21:39 > 0:21:44only at the very end of the symphony, with all the timing of a conjurer.
0:21:44 > 0:21:47So let's hear all of our themes whirling in cosmic harmony.
0:22:18 > 0:22:20And that's not even the very end of the symphony, we're going to
0:22:20 > 0:22:23save that for the performance that we're just about to hear.
0:22:23 > 0:22:26But, ladies and gentlemen, a round of applause for Aurora Orchestra
0:22:26 > 0:22:29and Nicholas Collon for allowing us inside...
0:22:33 > 0:22:37There is, of course, much more than we've had time to go into
0:22:37 > 0:22:38in the Jupiter Symphony.
0:22:38 > 0:22:41Hang on to any of your themes - the prayer, the climbing theme,
0:22:41 > 0:22:42the fanfare or the song,
0:22:42 > 0:22:46and you'll get through this miraculous musical labyrinth.
0:22:46 > 0:22:48Ladies and gentlemen, please welcome onstage
0:22:48 > 0:22:51here at the Royal Albert Hall, to conduct this performance
0:22:51 > 0:22:53with Aurora Orchestra, with heart and by heart
0:22:53 > 0:22:56of Mozart's Jupiter Symphony, Nicholas Collon.
0:56:23 > 0:56:25CHEERING
0:56:42 > 0:56:44CHEERING
0:57:11 > 0:57:14There's a kind of electricity still coursing around here
0:57:14 > 0:57:16at the Royal Albert Hall after that performance,
0:57:16 > 0:57:20a performance for me of huge intensity, courage and commitment.
0:57:20 > 0:57:23We've seen the journey that all of these players have been on,
0:57:23 > 0:57:26individually and collectively, to make that happen,
0:57:26 > 0:57:28to perform Mozart's Jupiter Symphony from memory.
0:57:28 > 0:57:32Is it worth it to memorise a piece of orchestral music?
0:57:32 > 0:57:35The answer, surely, after that performance is a resounding...
0:57:35 > 0:57:37yes.
0:57:37 > 0:57:40From all of us here backstage at the Royal Albert Hall, goodnight.