Proms Extra: Episode 7 BBC Proms


Proms Extra: Episode 7

Proms magazine show. Katie Derham, Dame Evelyn Glennie, Jess Gillam and Stephen Hough look at Stravinsky's Violin Concerto, The Big Band Prom and the Jools Holland Stax Prom.


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Transcript


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It's the final one in the current series but we're not going quietly.

:00:25.:00:32.

Stravinsky, Beethoven, Big Band and Stax Records will be

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making a joyous racket tonight and even though our time's up,

:00:35.:00:37.

it's good to know that the Proms continues to swing.

:00:38.:00:53.

# Hear that whistle # There goes the bell

:00:54.:01:02.

# That means we're on our way. # I am feeling swell.

:01:03.:01:06.

# This is my happy day. # Sitting on the dock of a bay

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# Watching the tide roll away #... Another fabulous week.

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Seated patiently in our studio, I have three guests who could only

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I have the queen of percussion, Dame Evelyn Glennie,

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saxophone princess, Jess Gillam and, in Proms Extra's

:01:55.:01:56.

opinion, the king of the piano, Stephen Hough.

:01:57.:01:57.

Jess, you must tell us, first of all, any update on the stolen sax?

:01:58.:02:05.

Unfortunately, not yet. I haven't heard anything. I hope it turns up

:02:06.:02:11.

but I might have to get used to a new friend. Oh, no, we have a

:02:12.:02:15.

picture of it there. If anybody has any clues, this is another chance to

:02:16.:02:20.

get in touch now. You say the police have done everything they can.

:02:21.:02:24.

They've closed the case pretty much now They were so helpful but they've

:02:25.:02:28.

no evidence. No leads. I am hoping maybe the person who has it tries to

:02:29.:02:31.

sell it and eventually it comes home. Meanwhile, you do have a spare

:02:32.:02:35.

which is a bit of luck because you are playing in the Proms in the park

:02:36.:02:43.

in Wales. Yes in Swansea next week. It's equally great saxophone but one

:02:44.:02:49.

I am in the used to but it will be a great night in Swansea. Stephen, no

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stolen pianos? No, it would be hard to carry that around. It's a

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terrible story. Really sorry about that. You had a wonderful Prom

:03:00.:03:03.

earlier in the season playing Brahms, how was that for you? It's

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always such a thrill. That piece is one of the biggest pieces in the

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repertoire played in one of the biggest halls in the world. It fits

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so well into that grand space. It was a great thrill. It seems it's a

:03:16.:03:18.

month ago now, seems like last season almost. I know you have

:03:19.:03:22.

actually had spare time this summer to enjoy the Proms in the audience.

:03:23.:03:25.

That's true. Has it been a good season for you? I have been to a few

:03:26.:03:29.

and other theatre things. I have seen some friends and I have lots of

:03:30.:03:33.

work done at home. It's been a great summer actually. Evelyn, you have

:03:34.:03:39.

another performance coming up at Proms in the park in Glasgow, is

:03:40.:03:44.

that right? Northern Ireland. Oh, my goodness, forgive me, actually I

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will never be forgiven for that! What are you performing there? Well,

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light classics as it were, a little bit of Vivaldi I have transscribed

:03:56.:04:06.

and the first movement of a Brazilian concerto and of course The

:04:07.:04:11.

Flight of the Bumblebee. And you are playing at the end of the show, as

:04:12.:04:15.

well. What are we hearing from you? I suppose it's a reduced version

:04:16.:04:19.

with a little bit of improvisation of a piece called Restless by an

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American composer Rich O Meara. Marvellous. It's a lovely scene here

:04:33.:04:36.

to have all on the sofa. Thank you for joining us.

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As you know, Proms Extra loves to swing and that appetite was sated

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thanks to Radio 2 presenter and singer Clare Teal's Big Band

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Music from the 1920s, 1930s and 1940s took centre stage

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at the Royal Albert Hall, performed by two big bands

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led by sultans of swing, Guy Barker and Winston Rollins.

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# I want to be hugged and squeezed. # Stuff like that there.

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Some of the sounds from the Big Band Prom.

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Just a taster there of music which on the night transported us

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to the world of Gershwin, Berlin, Duke Ellington

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and Glen Miller and the largely ignored Mary Lou Williams

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who perhaps in a different era would have got the credit

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As a sax player you must have been excited to see that Prom. It was

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fantastic and the level of professional lichl, with two big

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bands with leaders like Guy Barker, everybody on the stage obviously was

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loving being there, as well. The quality of the solos, almost

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everyone in both the bands took a solo. The energy and the bands

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conversing with each other, the conversation, it was just a real

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celebration of big band music. You are a big fan of the saxophonist Pee

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Wee Ellis. He is a legend. He has been a huge inspiration to me since

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I was about 11 or 12. All those years ago! The sound, he is just

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such - so connected to his instrument. It's really him speaking

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through the saxophone. I think having the smaller ensemble that he

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played with, I think it was a special moment. Stephen, how did

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this Prom grab you, to me it was joyful and nostalgic concert, that

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sound world is very much of its time. Very much. Yeah. Of course,

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what grabbed me and it's grabbed me again is that extraordinary piano

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solo. It was witty and wonderful and what incredible virto objectsity and

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that dress, it was just wonderful. We have another clip. I suspected

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that we might talk about her. Let's listen to her again in action.

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She's just phenomenal. Stephen, have you ever treated a piano like that?

:07:54.:07:59.

No, I haven't. I don't think I could. It's incredible. Everyone in

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the studio is smiling listening to that. It was fantastic. But also

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such a serious artist and I love that. I have to say, on the whole,

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jazz, I like my jazz best when it's in smaller places, closer in a sense

:08:16.:08:19.

to the roots. It's interesting, I love hearing jazz in a big space

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like this because I think it makes the connection with the composers

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who were influenced by it so much like Stravinsky indeed. I like the

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speak easies, the dives where there are just 50 people there, it's

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Smokey, you are get that connection to the suffering and the pain out of

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which it came. I think there is a sense sometimes in a concert when

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you lose that. You are looking back at jazz, almost as a museum rather

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than there where the grit of what's happening is there. But not to take

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anything away from this thrilling evening. Indeed. Evelyn, certainly,

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I think we could all understand Stephen's point but on the stain

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there was that level of musicianship -- on stage there was that level of

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musicianship and the way they were playing together, a team effort.

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Absolutely. Often you know when you have two entities like that they can

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be battling, we have famous drum battles and so on that are amazing

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from a percussionist's point of view. But this was a real

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celebration, I thought, of an era that perhaps a lot of young people

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may not be so aware of and to see that in a live situation was

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extraordinary. I agree with you, Stephen, that sometimes in a small

:09:35.:09:39.

compact kind of smoky room you can almost smell and taste that music.

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You can feel the contact of the breath on the instrument. On that

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mouthpiece. You can feel that drum stick coming down on the cymbal.

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It's a very different kind of connection there. What I found

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extraordinary was there seemed to be in this particular Prom really

:09:58.:10:02.

pushing the boundaries, as well, as regards to what a human being can do

:10:03.:10:08.

when they have that trumpet there or a saxophone or keyboard, whatever it

:10:09.:10:11.

is. The register of the trumpet seems to be getting higher. You felt

:10:12.:10:18.

the whole roof of the Albert Hall going to explode. It was absolutely

:10:19.:10:25.

fantastic, the musicianship. As you mentioned, the solos, it may only

:10:26.:10:29.

have been a bar or two bars, but they all stood up, it was

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acknowledged and the teamwork and the respect the other musicians had

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was fantastic. A lot of interaction I found between the two bands rather

:10:39.:10:43.

than it being a battle. They were all loving it. I was near the stage

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and they were enjoying themselves hugely.

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Take Route 66 to the BBC iPlayer where you will find the swinging

:10:50.:10:53.

We guarantee you will be transported to the sunny side of the street.

:10:54.:10:57.

Let's turn from the sounds of swing to Johann Sebastian Bach,

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who was one of our talking points last week.

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Anyone who has ever learnt the piano will know

:11:03.:11:04.

The Well-Tempered Clavier - two volumes of preludes and fugues

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The acclaimed pianist and Bach specialist, Sir Andras Schiff,

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will be performing the whole of book one in front of an expectant Royal

:11:12.:11:14.

Inspired by Schiff and by Bach, Proms Extra mischievously

:11:15.:11:19.

raised the piano lid, threw down the baton and challenged

:11:20.:11:23.

a few Bravehearts to take on this KEY challenge.

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It's one of the great classical texts. It's the Bible of the

:11:35.:11:43.

pianists. I think I learned it at the age of 11. I think I was seven

:11:44.:11:47.

when I played it. It's the mountain, all of us can have a go at the first

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one. It's very basic, but it's also very

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intricat. It's long and flowing. You can sing anything on top of it.

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One thing that's easy about it, essentially every phrase is

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repeated, so if you read you have time to look forward to the next

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part and see what that looks like. The piece is just continually

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flowing. It's always searching and trying to get to the end, just takes

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you on a nice journey. Bach knew how to create music of such profound

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beauty with simple means and that's a perfect example of it.

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I never played this piece before. I just play it the first time to see.

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The song is really like smooth. It just like, you don't really have to

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think. I don't really visualise very much but I find it very calming.

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It's like playing waves and it's beautifully melodious and fuel of

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music and fresh and beautiful to play really. It is simplicity at the

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beginning which catches people and if you stay with it love enough you

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can enjoy the fruity harmony later on. It's just the way the harmonies

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just blend into each other. You can make it ebb and flow.

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I have played all my life and my daughter played it and every pianist

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has played it when they were a child.

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Nice applause afterwards, that was jies. I would never give any advice

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to Andre, certainly not. Wonderful to hear so many people

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playing like that. Stephen, is this a piece that you have grown up with

:14:34.:14:38.

and still play now? Not really. I actually don't play any Bach. It's a

:14:39.:14:43.

terrible admission in a way. But of course it's the absolute beginnings

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in a way of all the keyboard works that came after it. Interesting, it

:14:47.:14:50.

wasn't published until 50 years after Bach's death which is

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extraordinary. He went out of fashion for those years and it was

:14:54.:14:56.

beginning of the 19th century people started looking at Bach again. I am

:14:57.:15:00.

intrigued why you don't play him. It's a long story. I think it's

:15:01.:15:04.

just, I recognise that he is the greatest genius of all the

:15:05.:15:09.

composers, but I don't feel enough of a personal connection to him to

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play him. I think people who play Bach really, they play everything

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and lots of it, and I think just to pick up a few little pieces and play

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them, I think I would have to immerse myself. I still have a few

:15:23.:15:24.

years left, so who knows. We will hold you to that, you know.

:15:25.:15:36.

Evelyn, a work like the Well-Tempered Clavier, is there

:15:37.:15:40.

anything like it for a percussionist? I have probably

:15:41.:15:46.

played more Bach venue but on a marimba. Early on, we were close to

:15:47.:15:54.

the rock music and of course Vivaldi and Bach, so we did delve into quite

:15:55.:16:02.

a lot of Bach but we had to imagine that Bach had a marimba layer to

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play for. We had to imagine that was the instrument he was composing for

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rather than to make it sound like something else. I think that really

:16:13.:16:17.

the repertoire for young percussionists learning is still

:16:18.:16:22.

quite sparse. There is a big gap there. So there isn't really a

:16:23.:16:28.

certain book or even study books as such that we go to and in my

:16:29.:16:34.

upbringing in the north-east of Scotland, we basically created our

:16:35.:16:38.

own exercises from pieces of Bach, so scales and arpeggios was all

:16:39.:16:44.

related to pieces of music, really. It was a wonderful thing, really.

:16:45.:16:50.

You always understood that musical sentence, in a way. So, I suppose,

:16:51.:16:55.

to answer your question, no, there isn't really a certain peace. What

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about it, it would work, wouldn't it? A lot of it would work but I

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think the advancement and how we can manipulate it has really developed

:17:13.:17:16.

to such a degree that in the early years we might have thought, it's

:17:17.:17:24.

impossible, to now, yes, it is possible. Not only that, the

:17:25.:17:26.

instrument has developed as well. So there you go. It's not a challenge

:17:27.:17:31.

for me, Katie, it's a challenge for you. No, it would be a big challenge

:17:32.:17:36.

for me. But I think it would be fascinating. The clarity you can get

:17:37.:17:42.

on marimba is greater than you can get on a concept Steinway. Next

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series, tell you. Ever since she burst

:17:45.:17:47.

onto the Proms scene last year, Mirga Grazinyte-Tyla has become one

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of the new conductors to watch. Her ability to inject a shot

:17:51.:17:53.

of adrenalin into core classical work, plus the fervent manner

:17:54.:17:55.

with which she handles new compositions, delivers

:17:56.:17:57.

a soundworld that would wake even Sleeping Beauty

:17:58.:18:00.

from her deep snoring. In her second year as Music

:18:01.:18:03.

Director to the City of Birmingham Symphony Orchestra,

:18:04.:18:05.

she returned with them to the Proms Shown last Sunday on BBC Four,

:18:06.:18:08.

that was a snapshot of the night's performance from the CBSO,

:18:09.:19:19.

featuring violinist Leila Josefowicz, Allan Clayton,

:19:20.:19:20.

all conducted by Mirga Jess, that reaction from Mirga, her

:19:21.:19:38.

laughing at the end of that new work, a work by Gerard Barry called

:19:39.:19:43.

Canada, we don't often see that level of entertainment and levity,

:19:44.:19:49.

do we, on a podium? Have you ever experienced that. No, not quite as

:19:50.:19:56.

extinct if as that. She is so immersed in everything she conducts.

:19:57.:20:01.

She is a musical being. Her movements almost dance-like, like

:20:02.:20:05.

their choreographed. She is so immersed in the character and the

:20:06.:20:08.

personality and emotion behind the music that this is obviously a very

:20:09.:20:13.

playful piece and I think it made the audience laugh and she just

:20:14.:20:16.

showed her instinctive reaction, which I think it's really great to

:20:17.:20:20.

see, because that's what music does. It changes people's emotions and

:20:21.:20:24.

moves us. To see an instinctive reaction like that was fun. New

:20:25.:20:30.

music can be playful but any music can be, but that was a lovely

:20:31.:20:34.

example of somebody having fun with it. Mirga's just brilliant. That is

:20:35.:20:40.

an outrageous piece, isn't it? I loved it. Gerard is a naughty boy. I

:20:41.:20:46.

watched it on the eye player and I thought, he can't be doing this.

:20:47.:20:55.

Because he repeats that Canada about 40 times and it's the sheer outrage

:20:56.:21:02.

of it. It's not just crazy, it's a wonderful concert piece and what a

:21:03.:21:10.

wonderful performance. Now, we had that wonderful moments of Stravinsky

:21:11.:21:19.

and its standard repertoire but somehow it felt very fresh. It's 100

:21:20.:21:24.

years old but it felt very new. I know and I have been a big fan of

:21:25.:21:31.

Leila for many years because it always feels that she is pushing the

:21:32.:21:36.

boundaries, like she is walking on a tightrope and you never quite know

:21:37.:21:39.

what is going to happen. She is a hugely intelligent musician, the

:21:40.:21:46.

nominal execute but the great explorer of music. She really is and

:21:47.:21:52.

she becomes that character. You know, you always feel that her main

:21:53.:21:56.

priority is to give this extraordinary journey to the

:21:57.:22:01.

audience and there's never anything that's too precious. She is really

:22:02.:22:06.

pushing those boundaries as far as the sound colour is concerned, as

:22:07.:22:13.

far as she can do physically and she sweeps us all along. I'm not a

:22:14.:22:19.

massive fan of that particular violin Concerto but under no

:22:20.:22:22.

circumstances could I ever say that when it's in the hands of Leila. She

:22:23.:22:29.

was quite extraordinary. And the CBSO sounding wonderful, Stephen? It

:22:30.:22:35.

was a great concept all the way the choreography, as Jess mentioned, was

:22:36.:22:43.

a reminder that it was made into a ballet twice. A reminder that at

:22:44.:22:49.

some of his finest work. Stravinsky, everything he wrote, it's an

:22:50.:22:50.

essential part of his style. If you want to see one of the UK's

:22:51.:22:51.

best orchestras conducted by a rising superstar

:22:52.:22:54.

then I have just one thing to say to you right

:22:55.:22:57.

now - iPlayer! And if you thought you'd heard

:22:58.:22:59.

enough about Stravinsky's violin concerto, then you couldn't

:23:00.:23:01.

be more wrong. Here is David Owen Norris

:23:02.:23:03.

with his final Chord of the Week. When Igor Stravinsky's publisher

:23:04.:23:20.

asked him to write a violin Concerto, he wasn't quite sure he

:23:21.:23:24.

could as he didn't say the violin himself. But he was urged to have a

:23:25.:23:30.

go, been told that because he was unfamiliar with the violin technique

:23:31.:23:34.

he might invent something new. So, at lunch in a Parisien restaurant,

:23:35.:23:40.

Stravinsky handed the violinist Samuel Disch came a chord written on

:23:41.:23:44.

a napkin and asked him if he could play it. No, he said, he had never

:23:45.:23:51.

seen a chord with the enormous interval at the 11th before and he

:23:52.:23:54.

wasn't sure his fingers could stretch. Quel Dommage said

:23:55.:24:01.

Stravinsky. But when Disch came got home to his violin, he found he

:24:02.:24:04.

could play it after all and he rang Stravinsky to tell him the good

:24:05.:24:13.

news. The cord opened each of the four movements. Stravinsky called it

:24:14.:24:19.

his passport to the Concerto and it takes us to special places. The

:24:20.:24:22.

first movement... In the third movement, it occurred

:24:23.:24:45.

four times and each time it takes us somewhere new. -- it occurs four

:24:46.:24:55.

times. Or... And... And finally... So when the last movement starts, we

:24:56.:25:16.

feel the passport cord is taking us around the world in 20 minutes, not

:25:17.:25:18.

so much Quel Dommage as bon voyage. We don't want to say goodbye,

:25:19.:25:25.

but we have to until to until the next time,

:25:26.:25:30.

David. Let's go from chords to a record

:25:31.:25:32.

label whose brand of southern soul was second only to Motown

:25:33.:25:35.

at the time in terms I'm talking about the Memphis

:25:36.:25:38.

based Stax Records. and Dave, Otis Redding,

:25:39.:25:49.

and Isaac Hayes. Last night in the hall Jools Holland

:25:50.:25:52.

and his Rhythm and Blues Orchestra # I believed with honeys and I

:25:53.:26:17.

proved with fear... # Ain't nobody crying now

:26:18.:26:22.

# I'll take you there # Ain't nobody worrying

:26:23.:26:27.

# Everybody, put your hands together #, on

:26:28.:26:31.

# Hold on # I'm coming

:26:32.:26:34.

# Hold on # I'm coming

:26:35.:26:44.

# Love her, squeeze her, never leave her...

:26:45.:26:47.

# Yeah... # That was just a taster of the some

:26:48.:26:58.

of the pioneering hits featured in last night's Stax Prom which went

:26:59.:27:01.

out live on BBC Four. Jess, I know you were there in the

:27:02.:27:11.

hall loving it. Tell us what you particularly enjoyed. The atmosphere

:27:12.:27:15.

in the hall was incredible. I think everybody that the connection from

:27:16.:27:18.

the performers and to see some of the legends of the Stax record

:27:19.:27:24.

label, to have William Bell Bear, Eddie Floyd, people who wrote those

:27:25.:27:27.

songs and lived it, to have them there in the room, you could feel it

:27:28.:27:32.

was a very special occasion. I know you went and sort out some of the

:27:33.:27:39.

fan -- the stars afterwards. What it William Bell? Yes, it was. That is a

:27:40.:27:47.

good one for your album. I was introduced to his music when I was

:27:48.:27:52.

about 12 and it's incredible. It really touches people's soul and it

:27:53.:27:55.

played such an important part in history as well. When there was

:27:56.:28:00.

segregation in America, Stax records was an oasis where musicians could

:28:01.:28:04.

go and it didn't matter if they were black or white. They made music that

:28:05.:28:09.

people loved together. It was a real home in Memphis. That it was

:28:10.:28:12.

celebrated at the Proms is just fantastic, one of the best things I

:28:13.:28:16.

have ever seen. Evelyn, I know it's not the sort of prom you are

:28:17.:28:19.

familiar with particularly but tell me your impression of the sound

:28:20.:28:23.

world will stop it must be something that you as a percussionist you look

:28:24.:28:26.

at and say, they are pretty important, they are driving this

:28:27.:28:35.

music. I am a big fan, for sure. When you have a really great sound

:28:36.:28:39.

person, it's almost like you don't see them but they make such a

:28:40.:28:44.

difference. Gilson is like that. He is the engine that drives the

:28:45.:28:50.

orchestra. All credit to every single musician there. Jules Holland

:28:51.:28:54.

just seems to tie everything together so well. Again, this is

:28:55.:29:00.

what the Proms do so well. They really present this marvellous

:29:01.:29:05.

occasion that you remember for the rest of your days. There is

:29:06.:29:11.

something there for all people. This was just a fantastic example of

:29:12.:29:15.

that. Stephen, there was a hit after hit after hit. I think people of any

:29:16.:29:20.

generation in the audience watching this now, there would be a song they

:29:21.:29:24.

recognise that. Whether anyone is with resonance there for you? I have

:29:25.:29:29.

to admit that I didn't recognise that many of them but I wish I had

:29:30.:29:34.

gone with just now, because when you were describing it it sounded so

:29:35.:29:37.

interesting. We could have had a drink before, you could have told me

:29:38.:29:42.

about it and then I could have taught you about it afterwards. I

:29:43.:29:45.

think I would have got more out of it. I think you probably have to be

:29:46.:29:50.

there, surrounded by all the lights and the atmosphere to fully

:29:51.:29:56.

experience it. I missed out. There is a whole education waiting for

:29:57.:30:04.

you. Just, I must just ask you, you have played with Jules and and you

:30:05.:30:08.

are now at the ripe old age of 18. 19. Please tell us how you met.

:30:09.:30:17.

I went to watch him in Carlisle. My dad said take your saxophone with

:30:18.:30:24.

you in case and we will meet them back stage and we did. I think I was

:30:25.:30:28.

14 at the time. We queued up and met Jools back stage. He said, well, I

:30:29.:30:33.

guess you don't have a CD but play to us. Took me back stage into the

:30:34.:30:37.

area where all the band were, they were having an Indian after the

:30:38.:30:43.

concert ap said just play, which was terrifying. The whole orchestra was

:30:44.:30:47.

there. I did play and they were so supportive and lovely warm people.

:30:48.:30:50.

He said come back next year and play with us. And you did. I did, didn't

:30:51.:30:55.

know what it was going to be, it was an amazing experience. Fabulous.

:30:56.:31:01.

Another great night. One all of us would enjoy in different ways. I

:31:02.:31:06.

want to test you next year, Stephen, on whether you have done your

:31:07.:31:07.

homework. As always, you can find

:31:08.:31:10.

"Stax" of Proms on the iPlayer, and that is where

:31:11.:31:12.

you will find this soulful Prom featuring Jools Holland

:31:13.:31:15.

and the vocal talents of William Bell, Beverley Knight,

:31:16.:31:17.

Eddie Floyd, James Morrison Talking of talent, it's tradition

:31:18.:31:19.

on the final show of Proms Extra to reflect on some of the best bits

:31:20.:31:23.

of the series and indeed the season Yeah, the Albert Hall, I know, a

:31:24.:31:44.

Prom? Here we go from the top.

:31:45.:32:01.

Cheers. After you have finished performing do you have any rituals?

:32:02.:32:22.

Yes, as soon as I walk off stage I do a happy dance that I will not

:32:23.:32:27.

demonstrate right now. What's your most embarrassing moment on stage?

:32:28.:32:31.

My skirt fell off. Put the shirt on five minutes before the concert

:32:32.:32:34.

which is what I tend to do and it turned out to be owned by my

:32:35.:32:43.

ten-year-old son. You are the only person that cares right now.

:32:44.:32:49.

We just love him. Everything is revving up nicely. There was a

:32:50.:32:54.

moment where I was hoping it would go into the Pink Panther and it

:32:55.:32:57.

didn't. It's our roots really, it goes back

:32:58.:33:15.

to our roots. I like it very, very much

:33:16.:33:20.

You are always listening to see if somebody is faking the funk. You

:33:21.:33:32.

could be a secret jazz fan. I just don't have the right ears. Then you

:33:33.:33:47.

have the bit of the cruisification. All those young people making that

:33:48.:33:51.

wonderful sound. Let's shake on it live on TV. I wouldn't like to see

:33:52.:33:55.

you two on a night out, you would have to put me to bed early, that's

:33:56.:34:01.

for sure. I often feel very smug about it.

:34:02.:34:06.

# What a beautiful morning. You love him, don't you? He has some serious

:34:07.:34:18.

energy. They're like the Navy Seals for this kind of music.

:34:19.:34:36.

Can't believe all that has happened, incredible, and the Proms

:34:37.:34:39.

BBC Four is your friend this Friday as that's where you can

:34:40.:34:47.

see Sir Simon Rattle, followed by the Indian

:34:48.:34:52.

And on Friday, you can see Europe's first predominantly Black

:34:53.:34:55.

and Minority Ethnic orchestra, Chineke!

:34:56.:34:56.

With another phenomenal teenager, Sheku Kanneh-Mason.

:34:57.:35:13.

And then next Saturday the 9th, all roads lead to the Last Night

:35:14.:35:16.

of the Proms which starts on BBC Two, then it jumps to BBC One

:35:17.:35:20.

Evelyn Glennie is poised behind me, by her marimba, to play us out

:35:21.:35:24.

but there's still time to say that all of the Proms we have

:35:25.:35:27.

discussed tonight can be found on the BBC iPlayer.

:35:28.:35:29.

In the remaining eight days that are left of the season,

:35:30.:35:32.

you can listen to Radio 3, who broadcast every single Prom

:35:33.:35:35.

live, plus there is a magnificent podcast to listen to.

:35:36.:35:37.

Proms Extra is over for another year.

:35:38.:35:41.

It's time for me to say thank you to Stephen Hough and to Jess Gillam

:35:42.:35:45.

And thank you to our final guest, performing Restless,

:35:46.:35:52.

Katie Derham presents the final Proms Extra for the Proms season. On this show, she is joined by percussionist Dame Evelyn Glennie, star saxophonist Jess Gillam and acclaimed pianist Stephen Hough as they cast an eye over Stravinsky's Violin Concerto, The Big Band Prom and the Jools Holland Stax Prom.


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