:00:11. > :00:16.Beethoven not once, not twice, but three times. We have an interview
:00:16. > :00:26.with Nigel Kennedy, and we bring you 24 hours of hope - Daniel Hope. This
:00:26. > :00:50.
:00:51. > :00:55.am joined by a trio of guests who will be giving me their thoughts on
:00:55. > :00:59.what they have seen, heard and are looking forward to at the Proms. We
:00:59. > :01:03.are four weeks in, halfway through, but there has been no letup in the
:01:03. > :01:07.range of concerts from the past seven days. Never mind the new
:01:07. > :01:17.football season and retaining the Ashes, we have had the classical and
:01:17. > :01:17.
:01:17. > :02:14.Apology for the loss of subtitles for 57 seconds
:02:14. > :02:18.athletic big hitters performing in that have taken place in the past
:02:18. > :02:21.week of Proms 2013. Inside our studio, based in the Royal College
:02:21. > :02:26.of Music, I am joined by a triumvirate of talent from the Proms
:02:26. > :02:31.family. First, she is a Proms old hand . She starred in the Last Night
:02:31. > :02:34.of the Proms in 2009 and has just played her fourth Proms concert at
:02:34. > :02:38.Cadogan Hall. She will be playing for us at the end of the show. It is
:02:38. > :02:42.trumpeter Alison Balsom. Then we have a conductor who has been
:02:42. > :02:45.rehearsing for his prom with our National Youth Orchestra tomorrow.
:02:45. > :02:49.He is officially known as the principal conductor of the Royal
:02:49. > :02:53.Liverpool Philharmonic Orchestra, but unofficially, he is the Russian
:02:53. > :02:59.Scouser, Vasily Petrenko. And one of the world's greatest harpsichord
:02:59. > :03:04.players who made his Proms debut in 2009, Mahan Esfahani. Welcome to all
:03:04. > :03:10.of you. Members of the Proms family. Alison and Mahan, you have played at
:03:10. > :03:16.the prom together? We did. Quite some time ago. Nice to see you
:03:16. > :03:19.again. Vasily, how are they rehearsals going? As always, very
:03:19. > :03:24.intense. We did a couple of performances in Northern Ireland.
:03:25. > :03:28.They have been amazing. The achievement over the week was
:03:28. > :03:32.amazing. Well, the Proms has hundreds of artists appearing over
:03:32. > :03:37.the course of the season. One example is the violinist annual
:03:37. > :03:39.Hope, based in Vienna. But he was here a couple of weeks ago,
:03:39. > :03:43.performing with the BBC National Orchestra of Wales and with
:03:43. > :03:47.conductor Thomas Sondergard. For that concert, Daniel allowed Proms
:03:47. > :03:56.Extra to follow him for the day. How could we refuse ready for hours of
:03:56. > :04:02.Hope? This world is on the move. That is what it is. Violinist travel
:04:02. > :04:07.a lot. We are wandering minstrels, basically. It is now the fourth or
:04:07. > :04:13.fifth time I have worked with the BBC National Orchestra of Wales. I
:04:13. > :04:16.have played with Thomas Sondergard three times. The piece is very
:04:16. > :04:26.tricky. There are lots of things which could go wrong that we hope
:04:26. > :04:28.
:04:28. > :04:38.won't. Sometimes, one does have longer run throughs, but today is a
:04:38. > :04:42.
:04:42. > :04:48.hectic day, so we take whatever we can. Now we are hurtling through the
:04:48. > :04:51.UK on our way to Manchester, where there is a Breakfast News appearance
:04:51. > :04:55.tomorrow morning, very early. From there, we are getting on the train
:04:55. > :04:59.to London, hopefully in time for the general rehearsal for the concert at
:05:00. > :05:03.the Albert Hall. You learn to make your own normality and you learn to
:05:03. > :05:07.be at home in different places very quickly. That is a consequence of
:05:07. > :05:17.the fact that you are on the road all the time. Delicious. I missed
:05:17. > :05:21.
:05:21. > :05:25.this. It is early in the morning. It was a very long journey yesterday.
:05:25. > :05:33.We got here late last night. Breakfast TV. This is hectic even
:05:33. > :05:38.for me. How often do you practice a day? Is it hours? You try and get in
:05:38. > :05:44.four hours a day if you can, but if you are travelling, it is difficult.
:05:44. > :05:48.To cope with the level of stress that you have from travelling,
:05:48. > :05:51.performing, nerves, it needs great discipline. You have to know your
:05:51. > :05:59.needs. So when an audience comes and they see the performer, they don't
:05:59. > :06:03.know what that person has gone through to get to that stage. It is
:06:03. > :06:07.a real experience being at the Proms. You have got this
:06:07. > :06:11.unbelievable concert Hall, surrounded by people standing close
:06:11. > :06:15.by. The music is the most important thing, but without the audience, you
:06:15. > :06:24.have no one to communicate with. You hope it will be good, you never know
:06:24. > :06:29.what the audience reaction will be like. I am nervous and excited. We
:06:29. > :06:33.are backstage for the dress rehearsal, Rob agreed the most
:06:33. > :06:39.important rehearsal. This is a chance to play the piece the whole
:06:39. > :06:43.way through without stopping. In the musical world, there is often a
:06:43. > :06:48.saying that if you have a bad dress rehearsal, you have a good concert
:06:48. > :06:51.and if the dress rehearsal goes too well, you had better be careful.
:06:51. > :06:55.Having a televised prom is fantastic, because you have a record
:06:55. > :06:59.to look back on, but it is also an added element of stress because if
:06:59. > :07:05.you look up occasionally, you will see a camera or a red light to
:07:05. > :07:12.remind you of where you are. Certainly at this stage, it is
:07:12. > :07:18.getting close, so you feel the adrenaline beginning to rush. It is
:07:18. > :07:25.basically the worst moment. You want to go out and play, but you can't
:07:25. > :07:30.yet, so you feel like a caged tiger. Do you feel like a caged tiger,
:07:30. > :07:34.Alison, before going on stage? is something special about being
:07:34. > :07:39.about to go out. The adrenaline is pumping and you can't wait to get on
:07:39. > :07:45.with it. To see him doing that, I felt for him. It is an exciting
:07:45. > :07:49.moment. He says it is the worst it, but it is also when you feel alive.
:07:49. > :07:52.It was interesting to realise how complicated your lives are as
:07:52. > :07:58.international performers. People don't realise the amount of
:07:58. > :08:03.travelling and the logistics. light is never easy. They think
:08:03. > :08:06.about travelling in limos and drinking champagne, but in fact, it
:08:06. > :08:12.is a lot of very early morning flights, travelling straight to
:08:12. > :08:15.rehearsals, then straight to the concert. For the concert, there is a
:08:15. > :08:19.reception, interviews, media activity. Talking about a caged
:08:19. > :08:23.tiger, I am always trying to postpone the moment when I dress
:08:23. > :08:27.myself and go on stage. I do it at the last minute, because then you
:08:27. > :08:31.come in fresh. Your mind is ready. The benefit of conducting is that
:08:32. > :08:36.you don't need to warm up your hands or your breath. You are just warming
:08:37. > :08:41.up your mind. Mahan, how do you prepare 's if I had any moment of
:08:41. > :08:45.difficulty doing this, I would not be a musician. My friends know I
:08:45. > :08:48.have to be terribly unsociable. I will not be a good friend if I don't
:08:48. > :08:52.feel good about the performance. Someone said to me the other day
:08:52. > :08:58.after a concert, you must find it difficult to do all this travelling
:08:58. > :09:06.and all these concerts. I said, well, I have found that the days on
:09:06. > :09:11.which I don't perform are worse. That is terribly deep. It is not. I
:09:11. > :09:15.just don't like life that much outside of the stage. You choose to
:09:15. > :09:21.do it because it is your life and it gives it meaning. I see no reason to
:09:21. > :09:25.apologise for that. I was interested in the comment that Daniel made when
:09:25. > :09:30.hitting his Tunbridge about creating his own normality. How do you do
:09:30. > :09:33.that? It depends where you are. If I am playing at the Proms, it is my
:09:33. > :09:43.hometown. But on the other side of the world, there are certain things
:09:43. > :09:44.
:09:44. > :09:49.you need to make it feel like a routine. Materialistic clique, it is
:09:49. > :09:52.not much. A good cup of tea and a paper, maybe. But psychologically,
:09:52. > :09:58.you have to be strong and disciplined about making sure you
:09:58. > :10:02.feel at your peak fitness by the time of the concert. Sometimes I
:10:02. > :10:06.feel sad, because you are travelling a lot, you come to the place, and
:10:06. > :10:09.all you see is the hotel, the rehearsal venue and probably the
:10:09. > :10:14.railway station or airport. You never have time to discover the
:10:14. > :10:18.places. London is London, of course, and we perform regularly
:10:18. > :10:25.hear, so we know the city. That when you go to the beautiful parts of the
:10:25. > :10:31.planet, you are missing that. is because you are too much in
:10:31. > :10:36.demand, Vasily ! I think that savers us the problem of going on holiday.
:10:36. > :10:42.I have a staycation when I have a vacation. I sit at home and watch
:10:42. > :10:50.The Simpsons, basically. But for me, normalcy is about holding to what is
:10:50. > :10:55.close to you. For me, I talk to my father every day. I ask him about
:10:55. > :10:59.what I should do, and he listens to broadcasts and says, I think this
:10:59. > :11:08.did not go well. You should have done that. And that keeps you
:11:08. > :11:12.grounded. I think, would my father like this? Would you approve?
:11:12. > :11:16.is what you are thinking when you are playing? It is a matter of
:11:16. > :11:21.trust. We see all these audience members and we think, we don't know
:11:21. > :11:27.these people, but they like us. I want to be our friends. But we don't
:11:28. > :11:31.know them. You grab for people that you know and trust, and that makes
:11:31. > :11:36.home. Welcome lets have a look at the moment from Daniel Potts Mac
:11:36. > :11:46.performance at the Royal Albert Hall. -- from Daniel Potts Mac
:11:46. > :11:46.
:11:46. > :12:30.Apology for the loss of subtitles for 57 seconds
:12:30. > :12:34.watch on the iPlayer on till tomorrow night. Still to come, the
:12:34. > :12:38.enfant terrible of the classical world, Nigel Kennedy. But now, the
:12:38. > :12:43.biggest, boldest, loudest naming classical music, Beethoven. Since
:12:43. > :12:46.the first days of Henry Wood, his music has been the backbone of the
:12:46. > :12:56.Proms repertoire. We are about to hear the beginning of a piece that
:12:56. > :12:56.
:12:56. > :13:40.Apology for the loss of subtitles for 57 seconds
:13:40. > :13:46.incredibly popular, at why was this works a revolutionary? Firstly, to
:13:46. > :13:52.create a melody from just three notes was a revolutionary thing. And
:13:52. > :13:57.all this intense journey from C minor to C major at the very end,
:13:58. > :14:07.through so many circumstances and obstacles and so many tensions, was
:14:08. > :14:08.
:14:08. > :14:12.something revolutionary for that time. The piece goes through a big
:14:12. > :14:21.journey, a fight for eternal glory and paradise at the end, the
:14:21. > :14:26.paradise of C major, which is very modern now. Usually, people don't
:14:26. > :14:30.want to have something given to them. They value much more something
:14:30. > :14:35.they have achieved through hard work. That is what this is about.
:14:35. > :14:38.And in the 20th century, of course, it becomes one of the most difficult
:14:39. > :14:45.pieces for conductors to start. wanted to ask you about this,
:14:45. > :14:54.because it is an upbeat. You can treat it in various ways. There have
:14:54. > :15:03.been various masterclasses given in the 70s. They were given by someone
:15:03. > :15:06.who came from the Soviet Union to teach conducting. All of them were
:15:06. > :15:10.struggling to stop the peace, because the Leningrad Philemon Nick
:15:10. > :15:20.had been famous -- the Leningrad Philharmonic had been famous for
:15:20. > :15:22.
:15:22. > :15:26.dealing with the sound. If you give a downbeat, nothing happens. If you
:15:26. > :15:29.are not experienced enough, it can fall down there. All young
:15:29. > :15:37.conductors were struggling because they did not have enough authority
:15:37. > :15:45.for this orchestra. Then someone said, what is so difficult? Look,
:15:45. > :15:51.look at me. Just do it like that. One 2... And the whole orchestra
:15:51. > :15:55.waits. That is one of the examples that you need to have certain
:15:55. > :16:00.authority with the orchestra. And you need to trust the orchestra to
:16:00. > :16:06.know that this up heat will happen in time, right with you, in the
:16:06. > :16:14.right character -- this upbeat. know the beginning of that piece so
:16:14. > :16:19.well. It has been performed 144 times at the Proms in 119 seasons,
:16:19. > :16:26.so it is played twice! It is not just the famous movement, there is a
:16:26. > :16:31.lot to listen out for. I know you have picked out a favourite clip.
:16:31. > :16:38.am ready for you to disagree with me as a conductor, I have only played
:16:38. > :16:44.the forehand piano version of this a few times in college. I think...
:16:44. > :16:47.This symphony and this performance made me realise I am bitterly
:16:47. > :16:52.opposed to playing only one movement of a work on the radio. I think we
:16:52. > :16:58.have to fear the whole thing. Funny, the gift of Beethoven, what
:16:58. > :17:04.he does is so special # for me, the gift of Beethoven is that all
:17:04. > :17:07.movements are a rhetorically statement. If we look at and Elgar
:17:07. > :17:13.statement it is one cyclical statement. For Beethoven to do this,
:17:13. > :17:17.it is very revolutionary. When I listen to the second movement, I
:17:17. > :17:22.realise this blustery loudmouth that Beethoven is, he shows you his heart
:17:22. > :17:26.a little bit. He says, I am a weak person. When I listen to that second
:17:26. > :17:32.and third movement and when I listen to the last chords of the fourth
:17:32. > :17:36.movement, I think, it is not heroic. I feel a great sadness when
:17:36. > :17:46.Beethoven is blustery and I think this clip will show a bit why that
:17:46. > :17:46.
:17:46. > :18:26.Apology for the loss of subtitles for 57 seconds
:18:26. > :18:30.in C minor but ends in C major. The record of the week, David Owen
:18:30. > :18:40.Norris takes us on a trip and is our guide to the last chord in
:18:40. > :19:10.
:19:10. > :19:14.Beethoven's fifth Symphony. So much has happened up by the time we get
:19:14. > :19:17.to the finale, Beethoven is fizzing with energy and he can't stop. He is
:19:17. > :19:20.like an athlete who keeps running long after he has passed the
:19:20. > :19:25.finishing tape. We hear accord which finishing tape. We hear accord which
:19:26. > :19:32.could be the but in fact there is a third as much music still to come --
:19:32. > :19:37.that could be the end, but in fact there is as dead as much music still
:19:37. > :19:43.to come. Beethoven tries and tries to finish and eventually gets to
:19:43. > :19:53.this point. Will he manage it? No. Can't stop. Still can't stop. Have
:19:53. > :20:07.
:20:07. > :20:15.about this? No. Just can't stop! In fact, you can't stop until he plays
:20:15. > :20:23.not a C major chord but the single note C. And then he can stop, at
:20:23. > :20:28.last. Now, one definition of a discord is something that you can't
:20:28. > :20:34.stop on. Amazingly enough, the effect of the fifth Symphony has
:20:34. > :20:44.been to turn this lovely C major chord technically into a discord.
:20:44. > :20:48.
:20:48. > :20:51.And Beethoven can't stop until he will be back next week. If you go to
:20:51. > :20:56.our Proms website you will find an extended version of David and his
:20:56. > :21:01.musings as well. I think we have come principally discussed that
:21:01. > :21:06.particular symphony. Vasily, you are in the midst of rehearsing for
:21:06. > :21:12.Beethoven's ninth. What is it about the ninth that remain so eternally
:21:12. > :21:20.the ninth that remain so eternally popular? It is a very special piece.
:21:20. > :21:24.It is somehow about what we can achieve in our lives. It starts from
:21:24. > :21:28.this creation of the universe. The beginning is really like someone
:21:28. > :21:33.creating the universe from nothing, from the fifth, then it creates the
:21:33. > :21:37.massive storm. It is global, a global symphony, one of the most
:21:37. > :21:42.performed in the world. It is also very personal because each person
:21:42. > :21:47.understands it in a very personal way. I would love to ask you how you
:21:47. > :21:51.feel the National youth Orchestra at their energy to a piece that is so
:21:51. > :21:57.well-known. They are amazing kids we will have nearly 400 performers on
:21:57. > :22:03.Sunday. Of course, most of them are doing it for the first time. The
:22:03. > :22:08.very first time. That makes it so special. You have an immense amount
:22:08. > :22:15.of energy. Sometimes I feel you need to control this energy very
:22:15. > :22:20.carefully. Because it can blow away. They give themselves 100% for
:22:20. > :22:28.every single note. Every single person. Because of that, the energy
:22:28. > :22:34.and the blast is absolutely massive. You were in that orchestra, weren't
:22:34. > :22:39.you? I was, that was my first experience and I agree, the energy
:22:39. > :22:43.committee is very hard to recapture that. You have been practising your
:22:43. > :22:49.instrument for a long time, the standard of the orchestra is very
:22:49. > :22:53.high. Technically it is fantastic. My memories of playing on the
:22:53. > :22:57.stage, particularly at the Proms with the National Youth Orchestra,
:22:58. > :23:04.some of my greatest musical memories. Can you ever have too much
:23:04. > :23:07.Beethoven? Clearly not at the Proms, nor on Proms Extra. We are going to
:23:07. > :23:13.talk about Beethoven's fourth Piano Concerto. After an absence of nearly
:23:13. > :23:16.20 years, on Thursday night the Beatles stage saw the return of the
:23:16. > :23:22.Japanese born soloist Mitsuko Uchida with one of the great visiting
:23:22. > :23:26.orchestras, the Bavarian radio Symphony and conductor Mariss
:23:26. > :23:29.Jansons. It was all was going to be a highlight and it did not
:23:29. > :23:39.disappoint. The queue was around the block, the anticipation was
:23:39. > :23:41.phenomenal. What is it about her? Who knows her? It was so marvellous
:23:41. > :23:46.that we saw the fourth Piano Concerto of Beethoven. These people
:23:46. > :23:52.talk about eight woven as an inheritor of Mozart which he is not
:23:52. > :24:01.really. -- talk about Beethoven as an inheritor of Mozart. This is the
:24:01. > :24:07.one piece in which he tries to have the charm of Mozart. She has such a
:24:07. > :24:17.way with drama, sometimes understated, sometimes in the style
:24:17. > :24:18.
:24:18. > :24:24.of Mitsuko Uchida. For me it was the operatic ambivalence, we have been
:24:24. > :24:34.talking about heroic and I think she stood away from that kind of eight
:24:34. > :24:34.
:24:34. > :26:13.Apology for the loss of subtitles for 57 seconds
:26:13. > :26:18.performer. Her face is so expressive. It goes without saying
:26:18. > :26:21.that her technique is formidable but more importantly she is musically
:26:21. > :26:25.intelligent and she is able to reveal her personality through her
:26:25. > :26:29.playing. She takes wonderful risks, she is almost perfect, if you can
:26:29. > :26:35.ever use that word in an art form. She is perfect, the all-round
:26:35. > :26:42.musician. I want a slight piano nerd question here, I was fascinated by
:26:42. > :26:52.how still her forearms are, Italy seems to be in the fingers. Is that
:26:52. > :26:58.
:26:58. > :27:04.something you would aspire to -- it wonderful Viennese objectivity to
:27:04. > :27:10.her playing. She can take the swell of the voice and it goes from loud
:27:10. > :27:14.to very soft in one phrase. That sort of nuance, think the technique
:27:14. > :27:19.is so well suited to that concerto. I would be very curious to hear her
:27:19. > :27:25.play the Emperor Concerto or the first Concerto, which are so
:27:25. > :27:33.irritatingly blustery as Beethoven can be. I would love to hear what
:27:33. > :27:41.she does with that. This is where Beethoven is Mozart. I enjoyed it so
:27:41. > :27:45.much last night. The one thing which I took from Mike quick meeting with
:27:45. > :27:51.-- my quick meeting with was how she described her experience of
:27:51. > :27:56.Beethoven. She says she sees him as a man who was in hell but who was
:27:56. > :28:00.constantly questing for heaven, for the light. I had that image in my
:28:00. > :28:03.mind throughout the performance, does that resonate with you? I don't
:28:03. > :28:08.think he was so much in hell himself. Of course his life wasn't
:28:08. > :28:13.easy. You can see a lot of troubles which were happening with him and
:28:13. > :28:21.which he made himself. It is just he was always trying to find something
:28:21. > :28:28.new, something rather radical for this time in life, music, the
:28:28. > :28:34.organisation of concerts. This fourth Concerto was premiered in a
:28:34. > :28:41.concert of music only by Beethoven. It was a four-hour concert and there
:28:41. > :28:46.hadn't been one rehearsal. The fact that Beethoven even stopped in the
:28:46. > :28:51.middle because someone made a mistake, he said, we offer is for
:28:51. > :28:57.it, we need to start from the beginning. -- we are very sorry. He
:28:57. > :29:02.was always trying to satisfy his wish for progress, his wish to go
:29:02. > :29:07.forward, his wish to move the music forward and find this other world.
:29:07. > :29:10.It might be paradise, it might be hell. He wanted to go somewhere.
:29:10. > :29:16.Only those people who do something like that, they move the music
:29:16. > :29:24.forward. You can find both Beethoven concerts on the BBC iPlayer. We are
:29:24. > :29:28.going to move onto a man who delights whenever he appears. This
:29:28. > :29:35.year he was back with the work that catapulted his work into the
:29:35. > :29:39.classical stratosphere. He is unconventional, opinionated, debris
:29:39. > :29:42.and violinist with a love of Aston Villa. I am talking about Nigel
:29:42. > :29:46.Kennedy who I caught up with after his rehearsal of Vivaldi's four
:29:46. > :29:55.seasons. Typically for Nigel Kennedy, nothing is what you would
:29:55. > :30:00.expect. There is so much going on behind us. The deconstruction of it
:30:00. > :30:04.at the moment! A lot of people will be coming to see Nigel Kennedy
:30:04. > :30:07.playing the four seasons and they will get a surprise. They will get
:30:07. > :30:17.more for the money because there is this section where are my Arab
:30:17. > :30:51.
:30:51. > :30:55.friends and Pulis Denny and friends improvisation. Bach was a great
:30:55. > :30:59.improviser. If you literally play what Vivaldi wrote, it sounds
:30:59. > :31:09.ridiculous. So having jazz musicians is taking forward the art of
:31:09. > :31:16.
:31:16. > :31:26.improvisation from the 1600s, but is then linked into The four Seasons
:31:26. > :31:38.
:31:38. > :31:43.hoping. I never like to count my chickens before the gig.
:31:43. > :31:49.Nigel talked a lot about improvising, and particularly about
:31:49. > :31:54.how normal improvisation was during the baroque period. Allison, you are
:31:54. > :31:59.steeped in the period. Is that something you entertain? Absolutely.
:31:59. > :32:05.There are so many parallels between jazz and the baroque period. It is
:32:05. > :32:10.mainly about rhythm and getting this elusive groove. It is very subtle
:32:10. > :32:15.between getting and not getting it, but it applies to both genres. And
:32:15. > :32:22.improvisation is important in both of them, in terms of being
:32:22. > :32:28.spontaneous and alive and exciting. It is never quite the same two times
:32:28. > :32:38.in a row. It is fascinating. Although it is a disciplined art
:32:38. > :32:43.form, you are able to express yourself as a performer. I also like
:32:43. > :32:49.that jazz and Barack doesn't need a conductor. That is a nice side.
:32:49. > :32:53.Nigel's concert is on the iPlayer and will be showed on the TV on the
:32:53. > :32:58.23rd of August. There are still a lot more to look forward to at the
:32:58. > :33:02.BBC Proms. Anything particularly caught your eye? I am excited about
:33:02. > :33:12.Vasily's prom, not least because the soloist are fabulous. And he's
:33:12. > :33:12.
:33:12. > :33:17.sitting next to you. And Vasily, you have got your prom. I am very much
:33:17. > :33:22.looking forward to tomorrow, but if I can pick something else, I need to
:33:22. > :33:27.be in Oslo in the next week, so I can't stay at the Royal Albert
:33:27. > :33:35.Hall. But there is a concert on Tuesday where the audience will be
:33:35. > :33:44.able to listen to the second piano Concerto by a soloist that is rarely
:33:44. > :33:53.played. And Mahan, how about you? Well, I have got to plug one of my
:33:53. > :34:00.favourite pieces. I think it will be on the 14thth, but I am not sure. If
:34:00. > :34:06.you say check music, it is of course some of the best music. This country
:34:06. > :34:12.punches above its weight in terms of musical quality. Anything nation
:34:12. > :34:15.macro, I like. So I have to plug my adopted people. And you have. Thank
:34:15. > :34:19.you very much. We have Alison's performance still to look forward
:34:19. > :34:29.to, but here is a Proms Extra preview of one of the BBC for
:34:29. > :34:29.
:34:29. > :35:16.Apology for the loss of subtitles for 57 seconds
:35:16. > :35:21.You can see that performance in full on BBC Four on Thursday night. That
:35:21. > :35:25.is it for Proms Extra. Next week, I will be joined by another trumpeter,
:35:25. > :35:29.the Norwegian sensation Tine Thing Helseth, the vocal polymath, Mary
:35:29. > :35:32.King. I will talk to the first woman ever to conduct the Last Night of
:35:32. > :35:37.the Proms, Marin Alsop. And on the sofa, fresh from performing at the
:35:37. > :35:42.open class ROM, Britain's late Laura Mvula. You can catch the Urban
:35:42. > :35:47.Classic Prom later tonight live on radio one, 1Xtra and Radio 3 at
:35:47. > :35:53.eight o'clock, which is something you don't often say ! You can also