:00:25. > :00:27.Hello and welcome to a brand new series of Proms Extra.
:00:28. > :00:30.After four years at the Royal College of Music, we've moved
:00:31. > :00:32.home to Central London, brought the decorators in and given
:00:33. > :00:36.the whole Proms 2017 season a good lick of paint.
:00:37. > :00:52.And week one of the Proms began with a full coat of gloss.
:00:53. > :02:14.Now let's have a look at what else is going on today.
:02:15. > :02:17.BBC Proms has headed north to this year's City of Culture, Hull,
:02:18. > :02:20.and taken over Stage at the Dock, an historic site which overlooks
:02:21. > :02:22.the tranquil waters of the River Hull and the Humber
:02:23. > :02:27.Conductor Nicholas McGegan, with The Royal Northern Sinfonia,
:02:28. > :02:29.played music inspired by water, which of course included
:02:30. > :02:37.And this is one of five 'Proms AT' events occurring
:02:38. > :02:40.throughout this season, the other four will be in London,
:02:41. > :02:43.but it's nice to be out further afield.
:02:44. > :02:45.Let's leave the Proms AT in Hull and let me tell
:02:46. > :02:48.you about who and what is on our show this evening.
:02:49. > :02:50.We'll be taking a look at the John Williams celebration
:02:51. > :02:52.Prom, Daniel Barenboim conducting Elgar's Second Symphony
:02:53. > :02:55.and John Adams' Harmonium from the First Night.
:02:56. > :02:57.Plus we have a performance by the clarinettist,
:02:58. > :03:01.Annelien Van Wauwe to take us out at the end of the show.
:03:02. > :03:04.Now, I can't do all of this on my own, why would l?
:03:05. > :03:07.To ease me through this evening I'm joined by a sofa full
:03:08. > :03:12.The conductor, Sofi Jeannin The composer, Nitin Sawhney
:03:13. > :03:29.Welcome to all of you. Nice to have a packed sofa this first episode
:03:30. > :03:40.Proms actor. Jonathan, you have just come from rehearsals? Yes, it is a
:03:41. > :03:46.replica of a Sergeant's 500th... He was an incredible figure in the
:03:47. > :03:59.Proms? Yes, after Henry Ward, who ran the thing so many years. I used
:04:00. > :04:05.to go on the tube from what would and I had a lot of Sergeant's
:04:06. > :04:10.concerts. We will be re-enacting that on Monday. It will be rather a
:04:11. > :04:19.responsibility. I have tried to lose weight to look like him, but it
:04:20. > :04:24.hasn't worked. Sofi's, congratulations, you have your debut
:04:25. > :04:30.prom this year, tell us about that? It is on the 20th of August. It is
:04:31. > :04:37.part of the 500 years since the Reformation. We are going to do sort
:04:38. > :04:42.of a patchwork passion. We are going to play extracts from passions by
:04:43. > :05:06.composers spanning over 500 years. That sounds fabulous. Knitting
:05:07. > :05:10.sunny, congratulations on your lifetime achievement award at the
:05:11. > :05:19.Ivor Novello Awards. You seem too young for that! We are marking
:05:20. > :05:26.Indian independence at the Proms? I am performing with my band on the
:05:27. > :05:34.30th of August. That will be at the glow. And the Sam Wanamaker
:05:35. > :05:40.Playhouse, on the 13th. I am doing a one-man show, but I do have some
:05:41. > :05:44.guests. I am just talking, improvising about feelings and
:05:45. > :05:53.thoughts around India and my relationship with India. It sounds
:05:54. > :06:02.brilliant. Nicola Benedetti, happy birthday. It is a big one this year?
:06:03. > :06:09.This was good to have the concept first and the party afterwards. Were
:06:10. > :06:18.you pleased with your reviews? Who knows, it requires more stun. The
:06:19. > :06:24.focus to play with that intensity of the piece itself into an audience
:06:25. > :06:29.that is so actively focused in the way they listen and the type of
:06:30. > :06:32.attention, it is an experience you don't forget, the combination is
:06:33. > :06:34.quite something. I think the audience would agree.
:06:35. > :06:37.It's a pleasure to have you all here, get stuck in,
:06:38. > :06:40.as I'm looking forward to hearing what you have to say about our first
:06:41. > :06:43.piece of music tonight which came from the First Night of the Proms.
:06:44. > :06:45.It was an evening that contained new music,
:06:46. > :06:48.courtesy of Tom Coult, and a big musical moment courtesy
:06:49. > :06:50.of Beethoven's third Piano Concerto performed by Igor Levit,
:06:51. > :06:52.but it is the work of the American composer, John Adams,
:06:53. > :07:28.that we delve into and his piece 'Harmonium'.
:07:29. > :07:31.The BBC Symphony Orchestra on the First Night of the Proms,
:07:32. > :07:33.performing John Adams' Harmonium conducted by Ed Gardner.
:07:34. > :07:35.John Adams couldn't make the night in person,
:07:36. > :07:38.but he did tweet that he would be listening from his Mahler Hut
:07:39. > :07:40.in the Californian Redwoods and after the performance he tweeted
:07:41. > :07:57.Sofi, there were a lot of singers, 370, how do you approach conducting
:07:58. > :08:04.that many bodies? This is the wonderful thing about choral
:08:05. > :08:09.singing, the community itself, it is the fusion you feel when you stand
:08:10. > :08:12.next to each other and sing, it does work for the conductor to connect
:08:13. > :08:18.with that many people. I was so moved to see all those young people
:08:19. > :08:24.from these different choruses, making that wonderful sound. I think
:08:25. > :08:31.it goes so well with the poem as well, freshness of tone and
:08:32. > :08:35.intensity of character. It was spine tingling. Andrew, the BBC's in the
:08:36. > :08:40.orchestra, with whom you have a long and fun relationship, they were
:08:41. > :08:44.shown of to their best? I was talking to someone at the rehearsal
:08:45. > :08:49.about it and they were saying how fantastic it was and how they
:08:50. > :08:54.enjoyed being a part of it. They have had a long association with
:08:55. > :08:59.John Adams now, he has been composer in residence, I forget what his
:09:00. > :09:04.title is, but he has been working with them a great deal. He is
:09:05. > :09:10.extraordinary. It is rare for a conductor, a composer to be a
:09:11. > :09:16.fantastic conductor. He is extraordinary. This is what put John
:09:17. > :09:21.Adams on the map when it was first performed in the US, it was a
:09:22. > :09:25.tremendous choice for the Albert Hall as well. Perfect location. I
:09:26. > :09:31.love the Albert Hall and the sound is fantastic in this performance.
:09:32. > :09:34.The Royal Albert Hall is interesting, a lot of people who
:09:35. > :09:38.play their complain about big sticks. But I love the acoustics, it
:09:39. > :09:48.is my favourite venue in London, possibly the world. Ditto. You
:09:49. > :09:53.always get excited performing there, so I imagine they would have been
:09:54. > :09:59.excited to perform this piece. We had Beethoven and a piece by Tom
:10:00. > :10:05.Coult as well, eclectic, what do you think? Absolutely perfect. So
:10:06. > :10:09.diverse, but to end with something of that magnitude, something so
:10:10. > :10:13.grand, that many people on stage, it is an overwhelming part of this
:10:14. > :10:19.festival, but certainly of that venue, it can take that scale. I
:10:20. > :10:23.just wish I'd been there. The footage is incredible, I've watched
:10:24. > :10:29.it several times and it is so moving and the stories of the individuals
:10:30. > :10:31.and the choir. Experience for them to partake in something so large.
:10:32. > :10:34.If you wish to see John Adams' Harmonium and indeed the epic
:10:35. > :10:37.First Night of the Proms do head over to the BBC iPlayer where
:10:38. > :10:42.Right, in less than half an hour, the Royal Albert Hall plays host
:10:43. > :10:44.to the Aurora Orchestra, and our friend, Tom Service,
:10:45. > :10:47.whom we can talk to right now at the Royal Albert Hall,
:10:48. > :10:49.accompanied by the Aurora Orchestra's Conductor,
:10:50. > :11:03.We know the audience are coming in now, lovely to see you so close to
:11:04. > :11:09.start. We get on very well. We are only one part of it because the
:11:10. > :11:13.whole first week is about the promise behind us and this hall,
:11:14. > :11:18.which will be full tonight. The interesting thing is what you can
:11:19. > :11:23.see behind us, you cannot see any music stands. The aurora Orchestra
:11:24. > :11:27.is playing from memory. This is not the first Symphony you have done
:11:28. > :11:30.from memory, but why do it like this, it makes everything harder for
:11:31. > :11:36.you and the players? It is the fourth year we have been at the BBC
:11:37. > :11:39.is performing a symphony from memory and we love doing it, it gives us a
:11:40. > :11:43.new perspective on the music and hopefully it gives the audience are
:11:44. > :11:47.different appreciation and glands into what an orchestra can deliver.
:11:48. > :11:52.Also it gives us the opportunity in the first half of the concert, Tom
:11:53. > :11:58.and I will be presenting on the stage, and it will give a close-up
:11:59. > :12:02.look at the symphony, delving into it for 25 minutes. And try to sing
:12:03. > :12:07.in tune. It is much harder than you think when you have thousands of
:12:08. > :12:10.people looking at you. But also these experiences create a sense of
:12:11. > :12:14.community between what happens on the stage, the way the players look
:12:15. > :12:18.at each other when there is no music in the way, and the way you can make
:12:19. > :12:23.eye contact with everyone here. There's no better space to be doing
:12:24. > :12:28.something like this band here. It is so extraordinary we are able to
:12:29. > :12:33.communicate with them in this way. You are looking forward to this?
:12:34. > :12:35.Very much so. As an high. Back to you.
:12:36. > :12:37.We look forward to hearing you at 7:30 tonight
:12:38. > :12:42.If you would like both sound and vision, then you can see this
:12:43. > :12:45.performance by the Aurora Orchestra on Friday 18th August on BBC Four.
:12:46. > :12:47.Still to come on Proms Extra, more review chat with my sofa
:12:48. > :12:49.guests, Nitin Sawhney, Nicola Benedetti, Sir Andrew Davis,
:12:50. > :12:55.Shortly we're going to take a look at the John Williams celebration
:12:56. > :12:57.Prom, we have the magnificent David Owen Norris with
:12:58. > :12:59.his Chord of the Week, plus the clarinettist,
:13:00. > :13:03.Annelien Van Wauwe will be performing.
:13:04. > :13:06.Now Sofi, you're about to make your Proms debut in exactly a month,
:13:07. > :13:13.Proms Extra found this picture of you singing with the BBC
:13:14. > :13:18.Symphony Chorus in 2003 as conducted by Andrew Davis,
:13:19. > :13:39.That is so funny. It was the Royal prom when we did the correlation and
:13:40. > :13:46.it was all glorious. Sounds like the concert I am doing on Monday. Shall
:13:47. > :13:50.we see it Sofi can come along and sing at that? This is your
:13:51. > :13:57.opportunity? It would be wonderful. It is true, I went to the BBC since
:13:58. > :14:02.in the said during my time as a student to see if they would let me
:14:03. > :14:06.sing with them, although I was already a conducting student to see
:14:07. > :14:10.what it was like to work with a symphony chorus on that scale,
:14:11. > :14:16.working with an amateur group and seeing how that group of people work
:14:17. > :14:19.together from the inside. I wasn't a spy, because I loved what I did, but
:14:20. > :14:23.it was an interesting experience and I got to sing under your direction.
:14:24. > :14:26.And you didn't put her off. Well Sofi's official debut is next
:14:27. > :14:28.month and talking of debuts, Jess Gillam, a finalist last year
:14:29. > :14:31.in the BBC Young Musician competition made her debut last week
:14:32. > :14:34.at the Proms and Proms Extra decided, quite helpfully,
:14:35. > :14:52.to add to her nerves I'm at my hometown in Ulverston
:14:53. > :14:58.England and it's 11 days before the Prom. I practise for about four
:14:59. > :15:04.hours every day, sometimes a bit more at my parents' tearoom. People
:15:05. > :15:10.walk past and they don't see me. But they definitely hear me. It's been
:15:11. > :15:14.my dream since I was about nine or ten years old to perform at the
:15:15. > :15:18.Royal Albert Hall and I thought it would be much later on in my career
:15:19. > :15:23.if it was ever going to happen. I'm so pleased it's happening now. I
:15:24. > :15:26.knew I wanted to memorise this piece so I've just been playing the same
:15:27. > :15:38.bar, the same passage over and over. We've had a few stoppers. There was
:15:39. > :15:40.one lady that walked away. I think the proms audience might be a bit
:15:41. > :15:49.more receptive. We are just leaving Ulverston now
:15:50. > :15:55.ready to go to London. Mainly I travel with my dad who drives in our
:15:56. > :16:01.van. He's definitely a calming influence before I go on stage. It's
:16:02. > :16:06.an amazing building. The time is 6. 20 in the morning and I'm about to
:16:07. > :16:08.play on BBC Breakfast for the First Night of the Proms in the Albert
:16:09. > :16:25.Hall. It's so big. The 123rd proms season gits under
:16:26. > :16:29.way this evening. You are listening to Jess Gillam and she's making her
:16:30. > :16:34.proms debut this year. We'll be talking to her. You are looking
:16:35. > :16:39.beautiful, as always... . Time for breakfast. We have just arrived at
:16:40. > :16:42.the hotel. I'm feeling quite nervous just because of the size of the hall
:16:43. > :16:58.and how prestigious the event is. I think I'm going to be quite
:16:59. > :17:04.nervous. I need to make sure my head's in the right place and I'm
:17:05. > :17:08.feeling on top form and I've got to be properly focussed.
:17:09. > :17:16.Probably memory is the thing that makes me most nervous because
:17:17. > :17:26.there's no sort of backup in performances before, I've thought, I
:17:27. > :17:33.can't remember what's coming next. And we are going to welcome another
:17:34. > :17:36.new young soloist to the stage, saxophonist Jess Gillam makes her
:17:37. > :17:50.proms debut! APPLAUSE.
:17:51. > :17:58.The saxophone is such a reliable instrument. We have been through a
:17:59. > :18:03.lot together. It's only me that's variable in this relationship.
:18:04. > :18:09.The only thing I'm slightly worried about is the long high note at the
:18:10. > :18:13.end. I want to put absolutely everything into it and I want it to
:18:14. > :18:15.fill the hall but the hall's so big, I don't think that's going to be
:18:16. > :18:23.quite possible. Well Sofi's official debut is next
:18:24. > :18:36.month and talking of debuts, Jess Gillam making her
:18:37. > :18:51.unannounced Proms debut She is exploding with energy and a
:18:52. > :18:54.desire to communicate which is the most fantastic quality. All of my
:18:55. > :19:01.conversations with her revolved around, you just have to contain it
:19:02. > :19:08.and channel it and because she's just bursting with wanting to give.
:19:09. > :19:12.She's just got such a won'tderful future ahead of it. To be such a
:19:13. > :19:21.genuine person, you know, she's just incredible. I can see you nodding as
:19:22. > :19:28.well. Well, it's fantastic to see somebody like that who A has the
:19:29. > :19:33.confidence and the love for the passion is bursting out of her and,
:19:34. > :19:37.at the same time, she's very acutely aware of what an important event
:19:38. > :19:44.this is for her. Yes. We were talking about this earlier, this
:19:45. > :19:51.thing about nerves and how they can be used very positively to find
:19:52. > :19:52.their own ways of being channelled. She's achieving that at a very young
:19:53. > :19:56.age. Let's turn to a veteran
:19:57. > :19:59.of the Albert Hall and indeed the Proms, Daniel Barenboim,
:20:00. > :20:02.who made a weekend of it with two performances of Edward Elgar's first
:20:03. > :20:04.and second symphonies, and it's the second symphony that
:20:05. > :20:14.we're going to. -- that we are going to talk about
:20:15. > :20:18.now. Elgar said he wrote his soul into this piece of music? They are
:20:19. > :20:23.very different pieces. The first of course ends what did he say, a
:20:24. > :20:29.massive hope for the future. The second, in a way, is the opposite.
:20:30. > :20:37.There is a nostalgia maybe for the past. It was always said, the lights
:20:38. > :20:43.are going out all over Europe, and, there's that sense of, you know,
:20:44. > :20:49.leaving something, there is a sort of sorrow at the end of the piece
:20:50. > :20:51.despite its tremendous exuberance and virtue sty of the piece. There
:20:52. > :20:57.is a special feeling at the end. Shown last Sunday on BBC four,
:20:58. > :21:00.here is the Staatskapelle Berlin performing Elgar's second symphony,
:21:01. > :21:31.conducted by Daniel Barenboim. Daniel Barenboim and Staatskapelle
:21:32. > :21:42.Berlin with Elgar's Second Symphony. Nitin, do you agree that composers
:21:43. > :21:46.always put a bit of their soul into what they write? That's important.
:21:47. > :21:50.It's got to start from a feeling that you want to express. I think
:21:51. > :21:56.whatever you're doing, even if it's commissioned for a film or TV
:21:57. > :21:59.series, you've got to find something within yourself that you're drawing
:22:00. > :22:04.from in the first place. It was regarded as a very fine performance.
:22:05. > :22:06.I don't know if any of you had any particular feelings about what
:22:07. > :22:10.Daniel Barenboim brought to that performance. I know you have all
:22:11. > :22:15.worked and known him in different ways. I didn't go to see it. I
:22:16. > :22:21.wasn't here so I haven't seen it but Daniel of course is a very, very
:22:22. > :22:26.long history of Elgar performances and very distinguished ones too.
:22:27. > :22:36.He's always brought a tremendous insight. Also when people like Danny
:22:37. > :22:41.and of course others as well did them all over the world which
:22:42. > :22:46.actually helped the idea that Elgar is not just a composer appreciated
:22:47. > :22:51.by the British, you know, I mean I've done a lot of Elle forward in
:22:52. > :22:59.different places as well. But I think it's important. Yes. And we
:23:00. > :23:04.are all moved by Elgar. It works everywhere because there is some
:23:05. > :23:10.very special emotions there. As you say, this loss of something, perhaps
:23:11. > :23:18.the loss of something in some way, the loss of a time that's past and
:23:19. > :23:24.gone. You have this melancholy, this soaring feeling, whistfulness. I
:23:25. > :23:29.think even when you open a score of Elgar's music, it couldn't be
:23:30. > :23:35.written by anybody else, it's just such a unique image. It's just one
:23:36. > :23:39.of the other treasures you have here in Great Britain, it's just
:23:40. > :23:45.wonderful for us abroad to experience it. We are sensitive to
:23:46. > :23:50.that I think. When you play Elgar, do you feel that emotional
:23:51. > :23:54.connection with him? Absolutely. One of the requirement force a classical
:23:55. > :23:58.musician is to step whole heartedly into the culture and feeling of
:23:59. > :24:03.things that can be very close or very far away. And the power of a
:24:04. > :24:07.great come pore, of course, is to make that possiblior you, regardless
:24:08. > :24:11.of whether you were alive in 1830 and lived in Germany or this is your
:24:12. > :24:16.time and place now, the power of their voice is something that brings
:24:17. > :24:22.you deep into that world. Of course, Elgar is absolutely up there with
:24:23. > :24:29.the best of them in being able to do that. We are so luck you be able to
:24:30. > :24:34.do what we do, you know what I mean! Adventures presenting opportunities
:24:35. > :24:37.for us all the time. That is true. You never get tired of it.
:24:38. > :24:41.Now we're staying with Elgar for a little bit longer
:24:42. > :24:44.as Proms Extra's finest, David Owen Norris, brings home
:24:45. > :25:09.a little understanding of Elgar's Second Symphony.
:25:10. > :25:17.A marvellous chord, a dominant 13th from Ed ahhed ward Elgar's Second
:25:18. > :25:23.Symphony conceived in Venice walking around St Mark's. What makes it
:25:24. > :25:30.sound so colourful is the fact the most discore Dan notes are on the
:25:31. > :25:35.outside of the chord. Four French horns playing that rising phrase.
:25:36. > :25:39.And they certainly give it a great air of triumph. And Elgar's very
:25:40. > :25:44.good at triumph. But there's more to him than that. In his greatest
:25:45. > :25:54.music, there's always a sense of yearning, a sense of loss, think of
:25:55. > :25:59.the cello concerto. When our Chord of the Week comes back later in the
:26:00. > :26:12.movement, the triumphant rising phrase is played only on the choir
:26:13. > :26:18.Anglais and two choir trumpets then Elgar writes "fff" which is really
:26:19. > :26:24.loud. For all the violins and Violas with the passionate word "vibrata".
:26:25. > :26:26.Two horns this time and they're overwhelmed by the grief of the
:26:27. > :26:45.violins. Elgar's Master of the Orchestra
:26:46. > :26:47.allows him to paint a kaleidoscope of emotion on to one and the same
:26:48. > :26:51.chord. David Owen Norris and his
:26:52. > :26:54.illuminating chords will return next Time for us to turn our spotlight
:26:55. > :26:59.on to the American film composer, John Williams,
:27:00. > :27:02.who celebrated his 85th birthday this year, and to commemorate this
:27:03. > :27:05.he got his own Prom. Even if you didn't know him
:27:06. > :27:09.by name, you will have Nitin, as a fellow film composer,
:27:10. > :28:58.what is it about John Williams Just a sample of some of it, Harry
:28:59. > :29:02.Potter, Star Wars, lots of stuff. As a fellow film composer, how does he
:29:03. > :29:05.get it so right, he's extraordinary? It's the breadth and diversity of
:29:06. > :29:10.his work that is amazing. It's just how long he's been going and
:29:11. > :29:20.creating incredible work, you know. He even worked with Bernard Herman
:29:21. > :29:23.and Mancini. He played the piano part in Peter Gunn, he's done so
:29:24. > :29:28.many things. This only touches on the breadth of what he's capable of.
:29:29. > :29:33.It's interesting just that short snip that you heard there that I was
:29:34. > :29:36.just saying it felt like parallel universes because it was so
:29:37. > :29:45.different hearing what he's done. You have actually worked with him
:29:46. > :29:54.when he's had themes? He came over to London to record them and it's
:29:55. > :29:58.true that he uses phenomes. We heard extracts there and sometimes it's
:29:59. > :30:10.about textures and sometimes he goes and does a text treatment. It's true
:30:11. > :30:17.he has this extreme diversity. He started off like a great
:30:18. > :30:21.orchestrator, he has a great understanding of jazz. That is
:30:22. > :30:35.great, most composers have a good grounding. There are brilliant jazz
:30:36. > :30:37.pianists. It's great hearing the diversity and brilliance of John
:30:38. > :30:48.Williams' work. With every new film he does, he has
:30:49. > :30:53.never sought relied on a past formula, he has taken the idea, the
:30:54. > :31:00.concept, the mood of the film... He goes with the character of the film,
:31:01. > :31:11.whatever it is, you have to serve the film, the ideas. You have played
:31:12. > :31:16.some of his music, Nicola, some of the music from Schindler 's list was
:31:17. > :31:28.on your album. How on earth do you decide to put into a John Williams
:31:29. > :31:35.concert? Unbelievable quality. So nice to hear, an extract of Catch Me
:31:36. > :31:43.If You Can and surprising scores which you don't expect. It is true,
:31:44. > :31:57.it is difficult to make choices. How do you leave out The Raider's March?
:31:58. > :32:02.People loved it, we had thousands of tweets coming in all evening. Sort
:32:03. > :32:07.of saying, it was worth the licence fee on its own. But I would say
:32:08. > :32:13.that, wouldn't eye. Do you think it's fair to say he saved the role
:32:14. > :32:19.of the orchestra in film music? When he started getting famous in the
:32:20. > :32:25.early 70s, it was slightly going out of fashion having a full-blooded
:32:26. > :32:29.orchestral sound? There was a move towards pop music and people were
:32:30. > :32:35.focusing more on pop music in the 70s. I think he brought it back,
:32:36. > :32:41.with Star Wars, particularly. Normally, you would hear weird
:32:42. > :32:49.science fiction sounds, like you do in Blade Runner for example with Van
:32:50. > :32:54.Doug Ellis' incredible score. But he that power of the orchestra.
:32:55. > :33:05.Briefly, Andrew I know you have met John Williams? I have met him
:33:06. > :33:15.briefly. They have the student orchestra. Do you have a favourite
:33:16. > :33:22.John Williams theme? No, they are all... Answers on a postcard later.
:33:23. > :33:24.If you want to relive this prom, the BBC iPlayer, make like a storm
:33:25. > :33:39.trooper in your own living room. Tomorrow night on BBC Four, we have
:33:40. > :34:15.a preview of some lovely Schumann. Bernard Haitink with
:34:16. > :34:17.the Chamber Orchestra of Europe which you can see in its entirety
:34:18. > :34:21.tomorrow night on BBC Four at 7:00. The Proms as you'd expect has a busy
:34:22. > :34:28.week ahead with the likes of Sir Andrew Davis recreating
:34:29. > :34:31.Malcolm Sergeant's 500th Prom this Monday and Jarvis Cocker curates
:34:32. > :34:34.a Prom dedicated to the genius of Scott Walker amongst
:34:35. > :34:36.other Proms on offer. Do remember every Prom
:34:37. > :34:38.is broadcast live on Radio 3, and there is of course the BBC
:34:39. > :34:42.iPlayer if you want more Proms catch up, plus we have a Proms
:34:43. > :34:44.podcast - it's all there. Proms Extra and I will return next
:34:45. > :34:47.week with more nuggets I'd like to thank my guests,
:34:48. > :34:56.Nitin Sawhney, Nicola Benedetti, Sir Andrew Davis, and Sofi Jeannin -
:34:57. > :34:59.good luck Andrew and And we'll leave you with
:35:00. > :35:02.a performance recorded earlier today by one of the current Radio 3
:35:03. > :35:05.New Generation artists, the clarinettist Annelien Van Wauwe
:35:06. > :35:08.playing Stravinsky.