Proms Extra: Episode 1 BBC Proms


Proms Extra: Episode 1

The weekly Proms magazine show. This week's review includes Elgar's Second Symphony conducted by Daniel Barenboim and a trip to the movies courtesy of the iconic John Williams.


Similar Content

Browse content similar to Proms Extra: Episode 1. Check below for episodes and series from the same categories and more!

Transcript


LineFromTo

Hello and welcome to a brand new series of Proms Extra.

:00:25.:00:27.

After four years at the Royal College of Music, we've moved

:00:28.:00:30.

home to Central London, brought the decorators in and given

:00:31.:00:32.

the whole Proms 2017 season a good lick of paint.

:00:33.:00:36.

And week one of the Proms began with a full coat of gloss.

:00:37.:00:52.

Now let's have a look at what else is going on today.

:00:53.:02:14.

BBC Proms has headed north to this year's City of Culture, Hull,

:02:15.:02:17.

and taken over Stage at the Dock, an historic site which overlooks

:02:18.:02:20.

the tranquil waters of the River Hull and the Humber

:02:21.:02:22.

Conductor Nicholas McGegan, with The Royal Northern Sinfonia,

:02:23.:02:27.

played music inspired by water, which of course included

:02:28.:02:29.

And this is one of five 'Proms AT' events occurring

:02:30.:02:37.

throughout this season, the other four will be in London,

:02:38.:02:40.

but it's nice to be out further afield.

:02:41.:02:43.

Let's leave the Proms AT in Hull and let me tell

:02:44.:02:45.

you about who and what is on our show this evening.

:02:46.:02:48.

We'll be taking a look at the John Williams celebration

:02:49.:02:50.

Prom, Daniel Barenboim conducting Elgar's Second Symphony

:02:51.:02:52.

and John Adams' Harmonium from the First Night.

:02:53.:02:55.

Plus we have a performance by the clarinettist,

:02:56.:02:57.

Annelien Van Wauwe to take us out at the end of the show.

:02:58.:03:01.

Now, I can't do all of this on my own, why would l?

:03:02.:03:04.

To ease me through this evening I'm joined by a sofa full

:03:05.:03:07.

The conductor, Sofi Jeannin The composer, Nitin Sawhney

:03:08.:03:12.

Welcome to all of you. Nice to have a packed sofa this first episode

:03:13.:03:29.

Proms actor. Jonathan, you have just come from rehearsals? Yes, it is a

:03:30.:03:40.

replica of a Sergeant's 500th... He was an incredible figure in the

:03:41.:03:46.

Proms? Yes, after Henry Ward, who ran the thing so many years. I used

:03:47.:03:59.

to go on the tube from what would and I had a lot of Sergeant's

:04:00.:04:05.

concerts. We will be re-enacting that on Monday. It will be rather a

:04:06.:04:10.

responsibility. I have tried to lose weight to look like him, but it

:04:11.:04:19.

hasn't worked. Sofi's, congratulations, you have your debut

:04:20.:04:24.

prom this year, tell us about that? It is on the 20th of August. It is

:04:25.:04:30.

part of the 500 years since the Reformation. We are going to do sort

:04:31.:04:37.

of a patchwork passion. We are going to play extracts from passions by

:04:38.:04:42.

composers spanning over 500 years. That sounds fabulous. Knitting

:04:43.:05:06.

sunny, congratulations on your lifetime achievement award at the

:05:07.:05:10.

Ivor Novello Awards. You seem too young for that! We are marking

:05:11.:05:19.

Indian independence at the Proms? I am performing with my band on the

:05:20.:05:26.

30th of August. That will be at the glow. And the Sam Wanamaker

:05:27.:05:34.

Playhouse, on the 13th. I am doing a one-man show, but I do have some

:05:35.:05:40.

guests. I am just talking, improvising about feelings and

:05:41.:05:44.

thoughts around India and my relationship with India. It sounds

:05:45.:05:53.

brilliant. Nicola Benedetti, happy birthday. It is a big one this year?

:05:54.:06:02.

This was good to have the concept first and the party afterwards. Were

:06:03.:06:09.

you pleased with your reviews? Who knows, it requires more stun. The

:06:10.:06:18.

focus to play with that intensity of the piece itself into an audience

:06:19.:06:24.

that is so actively focused in the way they listen and the type of

:06:25.:06:29.

attention, it is an experience you don't forget, the combination is

:06:30.:06:32.

quite something. I think the audience would agree.

:06:33.:06:34.

It's a pleasure to have you all here, get stuck in,

:06:35.:06:37.

as I'm looking forward to hearing what you have to say about our first

:06:38.:06:40.

piece of music tonight which came from the First Night of the Proms.

:06:41.:06:43.

It was an evening that contained new music,

:06:44.:06:45.

courtesy of Tom Coult, and a big musical moment courtesy

:06:46.:06:48.

of Beethoven's third Piano Concerto performed by Igor Levit,

:06:49.:06:50.

but it is the work of the American composer, John Adams,

:06:51.:06:52.

that we delve into and his piece 'Harmonium'.

:06:53.:07:28.

The BBC Symphony Orchestra on the First Night of the Proms,

:07:29.:07:31.

performing John Adams' Harmonium conducted by Ed Gardner.

:07:32.:07:33.

John Adams couldn't make the night in person,

:07:34.:07:35.

but he did tweet that he would be listening from his Mahler Hut

:07:36.:07:38.

in the Californian Redwoods and after the performance he tweeted

:07:39.:07:40.

Sofi, there were a lot of singers, 370, how do you approach conducting

:07:41.:07:57.

that many bodies? This is the wonderful thing about choral

:07:58.:08:04.

singing, the community itself, it is the fusion you feel when you stand

:08:05.:08:09.

next to each other and sing, it does work for the conductor to connect

:08:10.:08:12.

with that many people. I was so moved to see all those young people

:08:13.:08:18.

from these different choruses, making that wonderful sound. I think

:08:19.:08:24.

it goes so well with the poem as well, freshness of tone and

:08:25.:08:31.

intensity of character. It was spine tingling. Andrew, the BBC's in the

:08:32.:08:35.

orchestra, with whom you have a long and fun relationship, they were

:08:36.:08:40.

shown of to their best? I was talking to someone at the rehearsal

:08:41.:08:44.

about it and they were saying how fantastic it was and how they

:08:45.:08:49.

enjoyed being a part of it. They have had a long association with

:08:50.:08:54.

John Adams now, he has been composer in residence, I forget what his

:08:55.:08:59.

title is, but he has been working with them a great deal. He is

:09:00.:09:04.

extraordinary. It is rare for a conductor, a composer to be a

:09:05.:09:10.

fantastic conductor. He is extraordinary. This is what put John

:09:11.:09:16.

Adams on the map when it was first performed in the US, it was a

:09:17.:09:21.

tremendous choice for the Albert Hall as well. Perfect location. I

:09:22.:09:25.

love the Albert Hall and the sound is fantastic in this performance.

:09:26.:09:31.

The Royal Albert Hall is interesting, a lot of people who

:09:32.:09:34.

play their complain about big sticks. But I love the acoustics, it

:09:35.:09:38.

is my favourite venue in London, possibly the world. Ditto. You

:09:39.:09:48.

always get excited performing there, so I imagine they would have been

:09:49.:09:53.

excited to perform this piece. We had Beethoven and a piece by Tom

:09:54.:09:59.

Coult as well, eclectic, what do you think? Absolutely perfect. So

:10:00.:10:05.

diverse, but to end with something of that magnitude, something so

:10:06.:10:09.

grand, that many people on stage, it is an overwhelming part of this

:10:10.:10:13.

festival, but certainly of that venue, it can take that scale. I

:10:14.:10:19.

just wish I'd been there. The footage is incredible, I've watched

:10:20.:10:23.

it several times and it is so moving and the stories of the individuals

:10:24.:10:29.

and the choir. Experience for them to partake in something so large.

:10:30.:10:31.

If you wish to see John Adams' Harmonium and indeed the epic

:10:32.:10:34.

First Night of the Proms do head over to the BBC iPlayer where

:10:35.:10:37.

Right, in less than half an hour, the Royal Albert Hall plays host

:10:38.:10:42.

to the Aurora Orchestra, and our friend, Tom Service,

:10:43.:10:44.

whom we can talk to right now at the Royal Albert Hall,

:10:45.:10:47.

accompanied by the Aurora Orchestra's Conductor,

:10:48.:10:49.

We know the audience are coming in now, lovely to see you so close to

:10:50.:11:03.

start. We get on very well. We are only one part of it because the

:11:04.:11:09.

whole first week is about the promise behind us and this hall,

:11:10.:11:13.

which will be full tonight. The interesting thing is what you can

:11:14.:11:18.

see behind us, you cannot see any music stands. The aurora Orchestra

:11:19.:11:23.

is playing from memory. This is not the first Symphony you have done

:11:24.:11:27.

from memory, but why do it like this, it makes everything harder for

:11:28.:11:30.

you and the players? It is the fourth year we have been at the BBC

:11:31.:11:36.

is performing a symphony from memory and we love doing it, it gives us a

:11:37.:11:39.

new perspective on the music and hopefully it gives the audience are

:11:40.:11:43.

different appreciation and glands into what an orchestra can deliver.

:11:44.:11:47.

Also it gives us the opportunity in the first half of the concert, Tom

:11:48.:11:52.

and I will be presenting on the stage, and it will give a close-up

:11:53.:11:58.

look at the symphony, delving into it for 25 minutes. And try to sing

:11:59.:12:02.

in tune. It is much harder than you think when you have thousands of

:12:03.:12:07.

people looking at you. But also these experiences create a sense of

:12:08.:12:10.

community between what happens on the stage, the way the players look

:12:11.:12:14.

at each other when there is no music in the way, and the way you can make

:12:15.:12:18.

eye contact with everyone here. There's no better space to be doing

:12:19.:12:23.

something like this band here. It is so extraordinary we are able to

:12:24.:12:28.

communicate with them in this way. You are looking forward to this?

:12:29.:12:33.

Very much so. As an high. Back to you.

:12:34.:12:35.

We look forward to hearing you at 7:30 tonight

:12:36.:12:37.

If you would like both sound and vision, then you can see this

:12:38.:12:42.

performance by the Aurora Orchestra on Friday 18th August on BBC Four.

:12:43.:12:45.

Still to come on Proms Extra, more review chat with my sofa

:12:46.:12:47.

guests, Nitin Sawhney, Nicola Benedetti, Sir Andrew Davis,

:12:48.:12:49.

Shortly we're going to take a look at the John Williams celebration

:12:50.:12:55.

Prom, we have the magnificent David Owen Norris with

:12:56.:12:57.

his Chord of the Week, plus the clarinettist,

:12:58.:12:59.

Annelien Van Wauwe will be performing.

:13:00.:13:03.

Now Sofi, you're about to make your Proms debut in exactly a month,

:13:04.:13:06.

Proms Extra found this picture of you singing with the BBC

:13:07.:13:13.

Symphony Chorus in 2003 as conducted by Andrew Davis,

:13:14.:13:18.

That is so funny. It was the Royal prom when we did the correlation and

:13:19.:13:39.

it was all glorious. Sounds like the concert I am doing on Monday. Shall

:13:40.:13:46.

we see it Sofi can come along and sing at that? This is your

:13:47.:13:50.

opportunity? It would be wonderful. It is true, I went to the BBC since

:13:51.:13:57.

in the said during my time as a student to see if they would let me

:13:58.:14:02.

sing with them, although I was already a conducting student to see

:14:03.:14:06.

what it was like to work with a symphony chorus on that scale,

:14:07.:14:10.

working with an amateur group and seeing how that group of people work

:14:11.:14:16.

together from the inside. I wasn't a spy, because I loved what I did, but

:14:17.:14:19.

it was an interesting experience and I got to sing under your direction.

:14:20.:14:23.

And you didn't put her off. Well Sofi's official debut is next

:14:24.:14:26.

month and talking of debuts, Jess Gillam, a finalist last year

:14:27.:14:28.

in the BBC Young Musician competition made her debut last week

:14:29.:14:31.

at the Proms and Proms Extra decided, quite helpfully,

:14:32.:14:34.

to add to her nerves I'm at my hometown in Ulverston

:14:35.:14:52.

England and it's 11 days before the Prom. I practise for about four

:14:53.:14:58.

hours every day, sometimes a bit more at my parents' tearoom. People

:14:59.:15:04.

walk past and they don't see me. But they definitely hear me. It's been

:15:05.:15:10.

my dream since I was about nine or ten years old to perform at the

:15:11.:15:14.

Royal Albert Hall and I thought it would be much later on in my career

:15:15.:15:18.

if it was ever going to happen. I'm so pleased it's happening now. I

:15:19.:15:23.

knew I wanted to memorise this piece so I've just been playing the same

:15:24.:15:26.

bar, the same passage over and over. We've had a few stoppers. There was

:15:27.:15:38.

one lady that walked away. I think the proms audience might be a bit

:15:39.:15:40.

more receptive. We are just leaving Ulverston now

:15:41.:15:49.

ready to go to London. Mainly I travel with my dad who drives in our

:15:50.:15:55.

van. He's definitely a calming influence before I go on stage. It's

:15:56.:16:01.

an amazing building. The time is 6. 20 in the morning and I'm about to

:16:02.:16:06.

play on BBC Breakfast for the First Night of the Proms in the Albert

:16:07.:16:08.

Hall. It's so big. The 123rd proms season gits under

:16:09.:16:25.

way this evening. You are listening to Jess Gillam and she's making her

:16:26.:16:29.

proms debut this year. We'll be talking to her. You are looking

:16:30.:16:34.

beautiful, as always... . Time for breakfast. We have just arrived at

:16:35.:16:39.

the hotel. I'm feeling quite nervous just because of the size of the hall

:16:40.:16:42.

and how prestigious the event is. I think I'm going to be quite

:16:43.:16:58.

nervous. I need to make sure my head's in the right place and I'm

:16:59.:17:04.

feeling on top form and I've got to be properly focussed.

:17:05.:17:08.

Probably memory is the thing that makes me most nervous because

:17:09.:17:16.

there's no sort of backup in performances before, I've thought, I

:17:17.:17:26.

can't remember what's coming next. And we are going to welcome another

:17:27.:17:33.

new young soloist to the stage, saxophonist Jess Gillam makes her

:17:34.:17:36.

proms debut! APPLAUSE.

:17:37.:17:50.

The saxophone is such a reliable instrument. We have been through a

:17:51.:17:58.

lot together. It's only me that's variable in this relationship.

:17:59.:18:03.

The only thing I'm slightly worried about is the long high note at the

:18:04.:18:09.

end. I want to put absolutely everything into it and I want it to

:18:10.:18:13.

fill the hall but the hall's so big, I don't think that's going to be

:18:14.:18:15.

quite possible. Well Sofi's official debut is next

:18:16.:18:23.

month and talking of debuts, Jess Gillam making her

:18:24.:18:36.

unannounced Proms debut She is exploding with energy and a

:18:37.:18:51.

desire to communicate which is the most fantastic quality. All of my

:18:52.:18:54.

conversations with her revolved around, you just have to contain it

:18:55.:19:01.

and channel it and because she's just bursting with wanting to give.

:19:02.:19:08.

She's just got such a won'tderful future ahead of it. To be such a

:19:09.:19:12.

genuine person, you know, she's just incredible. I can see you nodding as

:19:13.:19:21.

well. Well, it's fantastic to see somebody like that who A has the

:19:22.:19:28.

confidence and the love for the passion is bursting out of her and,

:19:29.:19:33.

at the same time, she's very acutely aware of what an important event

:19:34.:19:37.

this is for her. Yes. We were talking about this earlier, this

:19:38.:19:44.

thing about nerves and how they can be used very positively to find

:19:45.:19:51.

their own ways of being channelled. She's achieving that at a very young

:19:52.:19:52.

age. Let's turn to a veteran

:19:53.:19:56.

of the Albert Hall and indeed the Proms, Daniel Barenboim,

:19:57.:19:59.

who made a weekend of it with two performances of Edward Elgar's first

:20:00.:20:02.

and second symphonies, and it's the second symphony that

:20:03.:20:04.

we're going to. -- that we are going to talk about

:20:05.:20:14.

now. Elgar said he wrote his soul into this piece of music? They are

:20:15.:20:18.

very different pieces. The first of course ends what did he say, a

:20:19.:20:23.

massive hope for the future. The second, in a way, is the opposite.

:20:24.:20:29.

There is a nostalgia maybe for the past. It was always said, the lights

:20:30.:20:37.

are going out all over Europe, and, there's that sense of, you know,

:20:38.:20:43.

leaving something, there is a sort of sorrow at the end of the piece

:20:44.:20:49.

despite its tremendous exuberance and virtue sty of the piece. There

:20:50.:20:51.

is a special feeling at the end. Shown last Sunday on BBC four,

:20:52.:20:57.

here is the Staatskapelle Berlin performing Elgar's second symphony,

:20:58.:21:00.

conducted by Daniel Barenboim. Daniel Barenboim and Staatskapelle

:21:01.:21:31.

Berlin with Elgar's Second Symphony. Nitin, do you agree that composers

:21:32.:21:42.

always put a bit of their soul into what they write? That's important.

:21:43.:21:46.

It's got to start from a feeling that you want to express. I think

:21:47.:21:50.

whatever you're doing, even if it's commissioned for a film or TV

:21:51.:21:56.

series, you've got to find something within yourself that you're drawing

:21:57.:21:59.

from in the first place. It was regarded as a very fine performance.

:22:00.:22:04.

I don't know if any of you had any particular feelings about what

:22:05.:22:06.

Daniel Barenboim brought to that performance. I know you have all

:22:07.:22:10.

worked and known him in different ways. I didn't go to see it. I

:22:11.:22:15.

wasn't here so I haven't seen it but Daniel of course is a very, very

:22:16.:22:21.

long history of Elgar performances and very distinguished ones too.

:22:22.:22:26.

He's always brought a tremendous insight. Also when people like Danny

:22:27.:22:36.

and of course others as well did them all over the world which

:22:37.:22:41.

actually helped the idea that Elgar is not just a composer appreciated

:22:42.:22:46.

by the British, you know, I mean I've done a lot of Elle forward in

:22:47.:22:51.

different places as well. But I think it's important. Yes. And we

:22:52.:22:59.

are all moved by Elgar. It works everywhere because there is some

:23:00.:23:04.

very special emotions there. As you say, this loss of something, perhaps

:23:05.:23:10.

the loss of something in some way, the loss of a time that's past and

:23:11.:23:18.

gone. You have this melancholy, this soaring feeling, whistfulness. I

:23:19.:23:24.

think even when you open a score of Elgar's music, it couldn't be

:23:25.:23:29.

written by anybody else, it's just such a unique image. It's just one

:23:30.:23:35.

of the other treasures you have here in Great Britain, it's just

:23:36.:23:39.

wonderful for us abroad to experience it. We are sensitive to

:23:40.:23:45.

that I think. When you play Elgar, do you feel that emotional

:23:46.:23:50.

connection with him? Absolutely. One of the requirement force a classical

:23:51.:23:54.

musician is to step whole heartedly into the culture and feeling of

:23:55.:23:58.

things that can be very close or very far away. And the power of a

:23:59.:24:03.

great come pore, of course, is to make that possiblior you, regardless

:24:04.:24:07.

of whether you were alive in 1830 and lived in Germany or this is your

:24:08.:24:11.

time and place now, the power of their voice is something that brings

:24:12.:24:16.

you deep into that world. Of course, Elgar is absolutely up there with

:24:17.:24:22.

the best of them in being able to do that. We are so luck you be able to

:24:23.:24:29.

do what we do, you know what I mean! Adventures presenting opportunities

:24:30.:24:34.

for us all the time. That is true. You never get tired of it.

:24:35.:24:37.

Now we're staying with Elgar for a little bit longer

:24:38.:24:41.

as Proms Extra's finest, David Owen Norris, brings home

:24:42.:24:44.

a little understanding of Elgar's Second Symphony.

:24:45.:25:09.

A marvellous chord, a dominant 13th from Ed ahhed ward Elgar's Second

:25:10.:25:17.

Symphony conceived in Venice walking around St Mark's. What makes it

:25:18.:25:23.

sound so colourful is the fact the most discore Dan notes are on the

:25:24.:25:30.

outside of the chord. Four French horns playing that rising phrase.

:25:31.:25:35.

And they certainly give it a great air of triumph. And Elgar's very

:25:36.:25:39.

good at triumph. But there's more to him than that. In his greatest

:25:40.:25:44.

music, there's always a sense of yearning, a sense of loss, think of

:25:45.:25:54.

the cello concerto. When our Chord of the Week comes back later in the

:25:55.:25:59.

movement, the triumphant rising phrase is played only on the choir

:26:00.:26:12.

Anglais and two choir trumpets then Elgar writes "fff" which is really

:26:13.:26:18.

loud. For all the violins and Violas with the passionate word "vibrata".

:26:19.:26:24.

Two horns this time and they're overwhelmed by the grief of the

:26:25.:26:26.

violins. Elgar's Master of the Orchestra

:26:27.:26:45.

allows him to paint a kaleidoscope of emotion on to one and the same

:26:46.:26:47.

chord. David Owen Norris and his

:26:48.:26:51.

illuminating chords will return next Time for us to turn our spotlight

:26:52.:26:54.

on to the American film composer, John Williams,

:26:55.:26:59.

who celebrated his 85th birthday this year, and to commemorate this

:27:00.:27:02.

he got his own Prom. Even if you didn't know him

:27:03.:27:05.

by name, you will have Nitin, as a fellow film composer,

:27:06.:27:09.

what is it about John Williams Just a sample of some of it, Harry

:27:10.:28:58.

Potter, Star Wars, lots of stuff. As a fellow film composer, how does he

:28:59.:29:02.

get it so right, he's extraordinary? It's the breadth and diversity of

:29:03.:29:05.

his work that is amazing. It's just how long he's been going and

:29:06.:29:10.

creating incredible work, you know. He even worked with Bernard Herman

:29:11.:29:20.

and Mancini. He played the piano part in Peter Gunn, he's done so

:29:21.:29:23.

many things. This only touches on the breadth of what he's capable of.

:29:24.:29:28.

It's interesting just that short snip that you heard there that I was

:29:29.:29:33.

just saying it felt like parallel universes because it was so

:29:34.:29:36.

different hearing what he's done. You have actually worked with him

:29:37.:29:45.

when he's had themes? He came over to London to record them and it's

:29:46.:29:54.

true that he uses phenomes. We heard extracts there and sometimes it's

:29:55.:29:58.

about textures and sometimes he goes and does a text treatment. It's true

:29:59.:30:10.

he has this extreme diversity. He started off like a great

:30:11.:30:17.

orchestrator, he has a great understanding of jazz. That is

:30:18.:30:21.

great, most composers have a good grounding. There are brilliant jazz

:30:22.:30:35.

pianists. It's great hearing the diversity and brilliance of John

:30:36.:30:37.

Williams' work. With every new film he does, he has

:30:38.:30:48.

never sought relied on a past formula, he has taken the idea, the

:30:49.:30:53.

concept, the mood of the film... He goes with the character of the film,

:30:54.:31:00.

whatever it is, you have to serve the film, the ideas. You have played

:31:01.:31:11.

some of his music, Nicola, some of the music from Schindler 's list was

:31:12.:31:16.

on your album. How on earth do you decide to put into a John Williams

:31:17.:31:28.

concert? Unbelievable quality. So nice to hear, an extract of Catch Me

:31:29.:31:35.

If You Can and surprising scores which you don't expect. It is true,

:31:36.:31:43.

it is difficult to make choices. How do you leave out The Raider's March?

:31:44.:31:57.

People loved it, we had thousands of tweets coming in all evening. Sort

:31:58.:32:02.

of saying, it was worth the licence fee on its own. But I would say

:32:03.:32:07.

that, wouldn't eye. Do you think it's fair to say he saved the role

:32:08.:32:13.

of the orchestra in film music? When he started getting famous in the

:32:14.:32:19.

early 70s, it was slightly going out of fashion having a full-blooded

:32:20.:32:25.

orchestral sound? There was a move towards pop music and people were

:32:26.:32:29.

focusing more on pop music in the 70s. I think he brought it back,

:32:30.:32:35.

with Star Wars, particularly. Normally, you would hear weird

:32:36.:32:41.

science fiction sounds, like you do in Blade Runner for example with Van

:32:42.:32:49.

Doug Ellis' incredible score. But he that power of the orchestra.

:32:50.:32:54.

Briefly, Andrew I know you have met John Williams? I have met him

:32:55.:33:05.

briefly. They have the student orchestra. Do you have a favourite

:33:06.:33:15.

John Williams theme? No, they are all... Answers on a postcard later.

:33:16.:33:22.

If you want to relive this prom, the BBC iPlayer, make like a storm

:33:23.:33:24.

trooper in your own living room. Tomorrow night on BBC Four, we have

:33:25.:33:39.

a preview of some lovely Schumann. Bernard Haitink with

:33:40.:34:15.

the Chamber Orchestra of Europe which you can see in its entirety

:34:16.:34:17.

tomorrow night on BBC Four at 7:00. The Proms as you'd expect has a busy

:34:18.:34:21.

week ahead with the likes of Sir Andrew Davis recreating

:34:22.:34:28.

Malcolm Sergeant's 500th Prom this Monday and Jarvis Cocker curates

:34:29.:34:31.

a Prom dedicated to the genius of Scott Walker amongst

:34:32.:34:34.

other Proms on offer. Do remember every Prom

:34:35.:34:36.

is broadcast live on Radio 3, and there is of course the BBC

:34:37.:34:38.

iPlayer if you want more Proms catch up, plus we have a Proms

:34:39.:34:42.

podcast - it's all there. Proms Extra and I will return next

:34:43.:34:44.

week with more nuggets I'd like to thank my guests,

:34:45.:34:47.

Nitin Sawhney, Nicola Benedetti, Sir Andrew Davis, and Sofi Jeannin -

:34:48.:34:56.

good luck Andrew and And we'll leave you with

:34:57.:34:59.

a performance recorded earlier today by one of the current Radio 3

:35:00.:35:02.

New Generation artists, the clarinettist Annelien Van Wauwe

:35:03.:35:05.

playing Stravinsky.

:35:06.:35:08.

Katie Derham returns with the magazine show Proms Extra to review the opening week of Proms 2017 with her special guests. This week's review includes Elgar's Second Symphony conducted by Daniel Barenboim and a trip to the movies courtesy of the iconic John Williams.


Download Subtitles

SRT

ASS