:00:00. > :00:10.It is the return of the magnificent seven, seven whole weeks of Proms
:00:11. > :00:17.extra. Tonight it is all about contemplation, Paradise and
:00:18. > :00:22.spirituality, we worship with Elgar and Faure and the Gospel Prom for
:00:23. > :00:53.your pleasure. Welcome to Proms Extra, the dashing
:00:54. > :00:54.consort to the very regal Proms, and the season opened with a poignant
:00:55. > :02:27.tribute. What a first week, and the Proms has
:02:28. > :02:30.more in store for you over the next seven weeks, just stay with us. I
:02:31. > :02:36.couldn't do the show alone, why would I! Joining us, in a studio in
:02:37. > :02:39.the Royal College of music, three distinguished guests. First up, a
:02:40. > :02:43.guest who has been doing her own orchestral manoeuvres, last year
:02:44. > :02:49.launching her own orchestra and last week she played in one of her three
:02:50. > :02:55.Proms with an orchestra, the age of Enlightenment.
:02:56. > :03:01.Welcome back to Proms Extra family member! For more than four decades
:03:02. > :03:07.this gentleman was one of the leading cellists in the world,
:03:08. > :03:10.before 2014, when you retired because of a neck injury, he is
:03:11. > :03:15.still involved in music, working tirelessly in education, he got the
:03:16. > :03:20.first licence to bask in the London Underground, did you know that?
:03:21. > :03:28.Neither did I! He works still in the Birmingham preparatory. --
:03:29. > :03:33.conservatory. One of the toughest jobs in broadcasting, becoming
:03:34. > :03:36.director of the BBC Proms, leaving Glyndebourne, consequently, everyone
:03:37. > :03:40.around here would like to be his friend, for some strange reason(!)
:03:41. > :03:44.David Picard. Performing at the end of the show, an emerging new talent,
:03:45. > :03:51.who will be getting his own invitation to perform at the Proms
:03:52. > :03:55.in the near future, he has just finished his AS-level is and happens
:03:56. > :04:04.to be the winner of BBC Young Musician 2016, Sheku Kanneh-Mason.
:04:05. > :04:14.-- AS Levels. Extremely busy year for you. Multi-busy! Fantastic array
:04:15. > :04:18.of different practices. You were a student here. This is your old
:04:19. > :04:24.stomping ground. If Walls could talk... I am not going to tell you
:04:25. > :04:29.what they would say! But, I'm having... I miss playing a lot, but
:04:30. > :04:33.I do not have much time to miss it at the moment, I have an
:04:34. > :04:38.extraordinary job and I love it there. Wonderful news. Extraordinary
:04:39. > :04:42.first week for you as director of the Proms. Wonderful variety but
:04:43. > :04:48.also a key decision that you had to make on the first night, making a
:04:49. > :04:51.big change to the programming, putting in a tribute to the victims
:04:52. > :04:55.of Nice. It is not how I expected the first concert of my first season
:04:56. > :05:00.to start, I woke up with everybody else to hear the terrible news...
:05:01. > :05:06.This is a moment when music can speak louder than words, and to play
:05:07. > :05:09.that, without any introduction, for everybody to understand what that
:05:10. > :05:14.meant, that is the wonderful thing that music can do. Every body was on
:05:15. > :05:21.their feet immediately, when you played La Marseillaise. --
:05:22. > :05:25.everybody. It can really bring people together in an incredible
:05:26. > :05:28.way, rather like nothing else can. I'm looking forward to our
:05:29. > :05:32.discussions this evening, do not hold back, thank you for being here.
:05:33. > :05:36.Without further ado, the deep ocean that is the first night of the
:05:37. > :05:40.Proms, let's dive in, after the tribute to the Nice victims, it
:05:41. > :05:45.began with Romeo + Juliet overture by Tchaikovsky, marking the 400th
:05:46. > :05:50.anniversary of Shakespeare's death. Dosing, Prokofiev, and Nicky Samuels
:05:51. > :05:55.between the two, and launching the first of many Proms cello
:05:56. > :05:59.performances was Elgar's Cello Concerto, what is it about this that
:06:00. > :06:04.makes it resonate so much with audiences. -- closing. It is one of
:06:05. > :06:07.the test of a great piece of music, that it can take many different
:06:08. > :06:13.interpretations, I feel that strongly about Elgar, incredibly
:06:14. > :06:18.responsive work, different concert halls, different audiences and
:06:19. > :06:22.conductors. Although I have probably played it more than any other
:06:23. > :06:30.concerto, it was always different, and I think that is one of the great
:06:31. > :06:35.qualities about this work, for Elgar himself, he said, when he first
:06:36. > :06:40.heard it played, he said, I never knew that my music or sound so
:06:41. > :06:46.international, nobody was ever sure if that was a condiment, but it
:06:47. > :06:50.showed, when it was played by Pablo Casals, that it can be done in
:06:51. > :06:53.different ways. And in the reflective passages, what we heard,
:06:54. > :06:58.I really enjoyed it, she did very clever things with the Royal Albert
:06:59. > :07:03.Hall acoustics, one of the problems for the cello, it can only play to a
:07:04. > :07:08.certain volume, it is not a trumpet or a violin, that soars above the
:07:09. > :07:11.orchestra, so you cannot do too much fortissimo in the Albert Hall, that
:07:12. > :07:17.is the victimisation, it is such a big hall, you want to play out all
:07:18. > :07:20.the time, but Sol really did it, and that is what you have got to do, you
:07:21. > :07:24.have got to draw the listeners in. Let's listen to the performance from
:07:25. > :07:26.the first night, the Argentinian star, rising star, Sol Gabetta,
:07:27. > :08:18.making her Proms debut. APPLAUSE
:08:19. > :08:22.With a flourish, Sol Gabetta. Firmly in the spotlight, the cello. Ten
:08:23. > :08:27.will be performed. Was that a good choice for the first night?
:08:28. > :08:33.Absolutely perfect. Perfect choice. You know where you are. Really
:08:34. > :08:37.interesting to hear the quote from Elgar, because I associate this
:08:38. > :08:40.piece with Jacqueline du Preez, and English countryside and
:08:41. > :08:48.performances, everything that looks and sounds English, but of course,
:08:49. > :08:53.it is everybody's peace. -- Jacqueline du Pre. They say that it
:08:54. > :08:59.went to a slow start, but everybody played, all of the big cellists,
:09:00. > :09:05.they all had to play it. That is a mark of being a great cellist, those
:09:06. > :09:06.great players want to play it. What did you think of the performance by
:09:07. > :09:12.Sol Gabetta? did you think of the performance by
:09:13. > :09:16.Sol Wonderful, and getting back to what makes a great piece of music,
:09:17. > :09:22.Elgar, we have always associated with English conductors and soloists
:09:23. > :09:25.but is now a favourite of all of international conductors, we have
:09:26. > :09:31.not thought about the conductor, so beautiful. What I have seen doing at
:09:32. > :09:35.the Barbican, the Elgar Symphony is, sublime, having a Finnish conductor
:09:36. > :09:41.and an Argentinian soloist, and later we will have a Spaniard as
:09:42. > :09:46.well... It is really something which the world owns, and not just this
:09:47. > :09:54.country. Much of the season was programmed before you started, but
:09:55. > :09:58.are you delighted to see cello in the spotlight? I was a very poor
:09:59. > :10:03.amateur cellist. I have heard that you still play... My speciality is
:10:04. > :10:08.this one, playing that with an orange, that gives you an idea of...
:10:09. > :10:14.You are frowning, I think you can see what it does to the strings!
:10:15. > :10:18.What does it do to the orange?! I was party animal cellist rather than
:10:19. > :10:25.serious cellist, but I love the instrument, and everybody loves the
:10:26. > :10:30.cello, I inherited two or three new Cello Concertos and I was told I had
:10:31. > :10:34.the option, either not put any more in or out a few more. The great
:10:35. > :10:42.thing is to not do all the same old ones, how many... Altogether...
:10:43. > :10:45.Five, I think. And, as you say, the other nice thing, the majority of
:10:46. > :10:51.the rest are from the 20th or 21st-century. -- all together.
:10:52. > :10:57.Semi-people writing for the cello, that goes to show what inspiration
:10:58. > :11:00.it gives to composers. You can continue to relive Elgar's Cello
:11:01. > :11:03.Concerto and the first night of the Proms for many more nights or
:11:04. > :11:10.mornings, by going to the BBC Proms website. If you did not already
:11:11. > :11:14.know, the Proms is not just about listening and going to concerts,
:11:15. > :11:19.there is talks, singing sessions, films, lots of opportunities to be
:11:20. > :11:21.involved with the season, and presumably, participation in
:11:22. > :11:26.classical music is a big thing, something you want to develop. It is
:11:27. > :11:29.key to me, the whole principle behind the Proms, about bringing the
:11:30. > :11:34.best of classical music to the widest possible audience, that is as
:11:35. > :11:39.true today as it was in 1895, we have got to think about what that
:11:40. > :11:43.audience is and participation is one brilliant way, I think, of getting
:11:44. > :11:49.young people engaged with classical music. Wings like the ten pieces
:11:50. > :11:53.project, contributions from all around the country, from young
:11:54. > :11:56.people, somebody yesterday was speaking so enthusiastically about
:11:57. > :12:00.it, in the peace they have created around it, it is really brilliant,
:12:01. > :12:07.the way that people are discovering the world for the first time.
:12:08. > :12:10.Julian? I wish they would get shown on BBC One at peak time, some great
:12:11. > :12:14.stuff, they will you deserve to be, brilliant films. You and I have
:12:15. > :12:20.spent a lot of time with amateur orchestras over the last few months.
:12:21. > :12:25.We have seen first-hand how people love to play. More than 800 amateur
:12:26. > :12:29.orchestras in the UK, can you believe it? So many came forward and
:12:30. > :12:35.wanted to be part of this, and they do not even audition to get into the
:12:36. > :12:41.orchestra, if they turn up they are welcome. Putting themselves forward,
:12:42. > :12:45.this series has been something where they want to up their game, expand
:12:46. > :12:49.their game, it has been fantastic. This is a new series called
:12:50. > :12:53.altogether now, amateur orchestra competition coming to the BBC very
:12:54. > :12:58.soon, that is my plug over, in case you did not know, gentlemen. Really
:12:59. > :13:01.good example of how participation is happening but should be in courage
:13:02. > :13:05.all the more, especially with young people. If you fancy doing something
:13:06. > :13:09.different, why not take part in the new initiative by the BBC, Get
:13:10. > :13:13.Playing, which aims to inspire people to pick up an instrument and
:13:14. > :13:19.learn it all reacquaint yourself with it, I know that it might be in
:13:20. > :13:26.the attic, under the bed... Go to the website, and you can get playing
:13:27. > :13:31.to find out more. You too can join the BBC virtual orchestra, even I am
:13:32. > :13:37.having a go, be warned! We have a performance coming up by the cellist
:13:38. > :13:42.Sheku Kanneh-Mason which you will not want to miss. And David Owen
:13:43. > :13:49.Norris will be returning with Chord of the Week. A lot of noise in the
:13:50. > :13:52.Albert Hall, at the Proms, you, the audience at home, or listening on
:13:53. > :13:55.Radio 3, have some of the best seats in the house when it comes to
:13:56. > :13:58.experiencing the sound from the concert but what if you are in the
:13:59. > :14:01.velvet seats or standing in the gallery or the arena of the Royal
:14:02. > :14:06.Albert Hall? With an air to the ground, the wall and ceiling, we
:14:07. > :14:12.went to find out what it takes to help all come alive with the sound
:14:13. > :14:21.of music. -- to help the hall, live the sound of music. -- come alive.
:14:22. > :14:23.If acoustics are right, you do not notice them, it supports the
:14:24. > :14:28.orchestra, makes the music sound more beautiful, when it is wrong,
:14:29. > :14:31.when there is an echo, when it is too dry, when you can hear
:14:32. > :14:38.background noise, when it is wrong, you just know. A bit too soft... We
:14:39. > :14:44.really need them... Every venue has its own challenges.
:14:45. > :14:51.It is our job to work out how you best get that experience. In the
:14:52. > :14:53.rehearsal the conductor will be experimenting with the acoustics and
:14:54. > :15:05.balance, making it all work. You also want to have somebody in
:15:06. > :15:10.the audience chairs listening to that rehearsal saying, maybe the
:15:11. > :15:18.brass should come down, they are too allowed, or maybe have a look at the
:15:19. > :15:24.orchestral layout. -- too loud. If you have the horns playing onto a
:15:25. > :15:28.hard surface, of course, the noise was flecked backwards. Depending on
:15:29. > :15:36.where they are sitting it can be too allowed. -- deflects backwards. You
:15:37. > :15:39.would not want to play very fast music in a very reverberant church,
:15:40. > :15:57.because it would get lost in the venue.
:15:58. > :16:02.They have walls, floors, and ceiling that completely absorbed the sound.
:16:03. > :16:06.That means when you play the sound goes from the instrument of the
:16:07. > :16:10.microphone and you do not hear any reflections. The chamber gives us a
:16:11. > :16:14.sense of what is happening when you take all of the reverberation away.
:16:15. > :16:19.It is not what you would want from a concert hall. In contrast, you have
:16:20. > :16:31.the reverberation chamber where you get that wonderful blooming of the
:16:32. > :16:36.sound. But that is too reverberant and everything turned into a marsh.
:16:37. > :16:45.The ideal venue somewhere the two here. -- mush.
:16:46. > :16:50.Science has given us precise details of what an acoustic should be like.
:16:51. > :16:54.You need this reverberant where you can hear the sound lingering for a
:16:55. > :16:55.couple of seconds in the space before dying away. But that is going
:16:56. > :17:09.on all the time. The big acoustic change to the Royal
:17:10. > :17:14.Albert Hall was in the 1960s when they brought in the mushrooms to
:17:15. > :17:17.block off the dome. Otherwise the noise would be reflected back onto
:17:18. > :17:21.the audience and you would hear multiple trumpet and multiple
:17:22. > :17:26.singers, and that is what the mushrooms on the ceiling are there
:17:27. > :17:32.to do. Modern acoustic science has shown that people are split into two
:17:33. > :17:37.groups. Some like clarity where all of the details are obvious. For them
:17:38. > :17:39.it is better to sit near the front, so they don't get too much
:17:40. > :17:45.reverberant and they can pick out all of the detail. But there is
:17:46. > :17:48.another group of people who like to be enveloped in this wash of
:17:49. > :17:52.reverberation. For them it is better to be maybe up on the first gallery
:17:53. > :17:57.where you are hearing more of the room and less of the distinct
:17:58. > :18:01.clarity. We want the audience to have a fantastic experience of the
:18:02. > :18:04.concept. They have really good music played fantastically and to be
:18:05. > :18:06.thrilled by the experience of hearing live music.
:18:07. > :18:21.CHEERING Wonderful. When you are playing in a
:18:22. > :18:28.big venue, what are you hoping for from the acoustic? A response. A
:18:29. > :18:32.personal response. Every time you touch the string you want to know
:18:33. > :18:38.you are making the most beautiful sound possible. And you get an
:18:39. > :18:42.immediate sensation of, my sound is only going that far, or you get a
:18:43. > :18:46.feel back from the room and you want to know how you can fill that room.
:18:47. > :18:53.But I'm also very aware of how it sounds. Quite different when you're
:18:54. > :18:56.on your own on a stage, which I am sometimes, and sometimes you cannot
:18:57. > :18:59.always tell how you sound. I remember in the old Festival Hall
:19:00. > :19:04.feeling terrified in concerts because you felt as though you your
:19:05. > :19:09.own. It is great in one way because you can hear what you are doing. But
:19:10. > :19:14.you can be quite terrified. You think everyone can hear what I am
:19:15. > :19:17.doing in amongst an orchestra. As a member of the audience, did that
:19:18. > :19:21.mean they were able to clearly pick out individual instruments? I think
:19:22. > :19:30.they don't, actually. Not necessarily. Julian is shaking his
:19:31. > :19:35.head. You are right. It was and still is a very strange feeling on
:19:36. > :19:38.that platform. You feel alone. You can only really hear yourself. But
:19:39. > :19:42.in the audience it does not sound like that. I think Festival Hall is
:19:43. > :19:50.a good concert hall because I think it makes people up their game. I
:19:51. > :19:54.have had some of the best performances of my life there. Also,
:19:55. > :19:59.we are talking about acoustics, but atmosphere is a crucial part of it.
:20:00. > :20:03.The Royal Albert Hall is a good case in point. It isn't the perfect
:20:04. > :20:09.acoustic for every type of music. But it is a fantastic atmosphere
:20:10. > :20:15.whatever it is. Actually, if you play solo on stage, you would think
:20:16. > :20:21.a cello would get completely lost in a 6000 seater. But actually it fills
:20:22. > :20:25.the hall. It is a beautiful sound. You are right, those smaller
:20:26. > :20:33.groups... Last year I was in the gallery. I was interested if you
:20:34. > :20:42.could hear all the way up there. It's campaigning across. It can be
:20:43. > :20:52.fantastic for smaller pieces. -- it is pinging across. Everyone has been
:20:53. > :20:56.on there, even as diverse as Frank Sinatra. Talking about atmosphere
:20:57. > :21:01.and acoustics, I think they are linked to the visual aspect of being
:21:02. > :21:06.in a concert hall. There are some holes in the world where the
:21:07. > :21:13.audiences are completely blacked out -- halls. I find that I'm helpful. I
:21:14. > :21:20.think it is a communicative experience for both sides. In the
:21:21. > :21:26.Royal Albert Hall you can... You would them to be slightly dim, but
:21:27. > :21:26.you need to know they are there, you don't agree.
:21:27. > :21:33.CHUCKLES It does help to an extent. I used to
:21:34. > :21:39.fill the output hall -- fill the Royal Albert Hall, it almost looked
:21:40. > :21:42.like playing at home. You cannot take in that number. Whereas if you
:21:43. > :21:46.are playing in a small room, all of your friends and family are there,
:21:47. > :21:51.it can be more nerve wracking. That is intimidating. The Proms is going
:21:52. > :22:02.to go to the someone a maker theatre. An exquisite gem of a
:22:03. > :22:08.theatre. -- Sam Wannamaker. It was about putting music in different
:22:09. > :22:13.settings. Where music might have a connection. I suppose Shakespeare
:22:14. > :22:19.and the Globe is kind of a gift in this anniversary year. You would not
:22:20. > :22:24.necessarily want to hear every single piece of music in that car
:22:25. > :22:29.park. But actually, with that concrete around it, and the very
:22:30. > :22:37.enclosed sound, and you... I have played there. With John Adams. It
:22:38. > :22:42.was the... When I arrived I thought, what have I agreed to do? I had to
:22:43. > :22:48.park my car, going around, all the way to the top floor. When I got
:22:49. > :22:52.there it was the most fantastic atmosphere. I think I was the oldest
:22:53. > :22:56.person there. The rest of the orchestra were the same age as my
:22:57. > :23:00.children. They were looking at me thinking, what is she doing here?
:23:01. > :23:04.But as soon as we started playing it was great. Before we leave the
:23:05. > :23:12.subject of acoustics. When you work basking in the Tube how was that?
:23:13. > :23:15.That was great. I've played in many extraordinary places, but I never
:23:16. > :23:23.played in the bat car park. I am regretting it. Let's turn to matters
:23:24. > :23:27.of spirituality. Gabrielle Faure, and one of his best works, Requiem.
:23:28. > :23:33.It is a piece about Solas, comfort, and the notion that one should not
:23:34. > :23:36.look upon death as fear, but as a joyful delivery, a yearning for the
:23:37. > :23:43.happiness of the beyond. You played as the double bassist in the age of
:23:44. > :23:50.Enlightenment, and I felt it was a special performance. It was. --
:23:51. > :23:54.Orchestra of Enlightenment. We were told it would be as a tribute to
:23:55. > :24:01.those who lost their lives recently in Nice. It was something which was
:24:02. > :24:10.very personal. I always find this Requiem a very personal experience,
:24:11. > :24:15.unlike Verdi, and the ones which are loud. But this one, especially with
:24:16. > :24:25.this early version of it, my dear friend and colleague calls it the
:24:26. > :24:31.70% chocolate version. CHUCKLES
:24:32. > :24:36.And it is very warm and touching. And everybody has a very unique,
:24:37. > :24:45.singular space to express themselves. As you say, Gabriel
:24:46. > :24:52.Faure's experience of it being a joyful deliverance, rather than
:24:53. > :24:56.doom, gloom, death, ending it all. And it is all about what paradise
:24:57. > :25:03.can be like. Very happy. Let's listen to the King's College choir.
:25:04. > :26:20.At the baton, Roderick Williams. That was severely performed by the
:26:21. > :26:24.choir of King's College Cambridge and Roderick Williams was
:26:25. > :26:31.accompanied by the Orchestra of the Age of Entitlement. It is
:26:32. > :26:37.interesting. We just did the Verdi Requiem in Birmingham. It was so
:26:38. > :26:42.different. This one is a lot more small-scale. It is heavenly,
:26:43. > :26:47.unworldly, a fantastic piece. Yet, quite a departure from Gabriel
:26:48. > :26:57.Faure. He hadn't written such a big work before. Yes. That's right. He
:26:58. > :27:01.certainly handles it well. Although, you could say that the sections are
:27:02. > :27:05.quite small. But it is an apt salute the gorgeous piece of music. I am a
:27:06. > :27:12.huge fan of Roderick Williams. I think we all are. He has done a lot
:27:13. > :27:17.for British music. He is quite a specialist. We will stay with
:27:18. > :27:20.Gabriel Faure a bit longer as David Owen Norris explores how the great
:27:21. > :27:26.composer delivered his audience into heaven and kept them there courtesy
:27:27. > :27:31.of horde of the week. -- called the week.
:27:32. > :27:38.Paradise, eternity, how does Gabriel Faure go about composing eternity?
:27:39. > :27:44.The opposite would be a stop, and the opposite to that is a perfect
:27:45. > :27:52.cadence. What the Americans call a full close. One way of composing
:27:53. > :28:00.eternity would be to avoid C Sharp. Gabriel Faure begins with gentle
:28:01. > :28:08.rocking cause, no hint of a C Sharp. -- chords. And as we expect this,
:28:09. > :28:21.with a nice C Sharp, he twists it to a C natural. More heavenly chords.
:28:22. > :28:29.And now, the obvious thing would be... But once again, he side steps
:28:30. > :28:35.to a C natural. And when at last he does run into C Sharp, he makes it
:28:36. > :28:40.rich and strange with a minor chord. And we arrived at eternity. Gabriel
:28:41. > :28:49.Faure sweeps us to defeat of the angels as the hearts join in. -- the
:28:50. > :28:51.feet. It is a piece which need never end. And perhaps it is still going
:28:52. > :29:13.on... Somewhere. STUDIO: How we have missed him!
:29:14. > :29:18.Another Chord of the Week next week. That will be on BBC One player, but
:29:19. > :29:26.sadly, not for eternity. Last Tuesday, saxophonist Yolanda Brown,
:29:27. > :29:28.to name but a few, this was the night of the Gospel Prom is
:29:29. > :30:44.returning to the Royal Albert Hall. Performing the blood, Michelle
:30:45. > :30:47.Williams, on stage with an elite super quiet, made up from the best
:30:48. > :30:51.vocalists from the top gospel choirs all around the country, near is a
:30:52. > :30:55.fact, the first use of the term gospel, referring to this music,
:30:56. > :31:02.1874, a good ten years before the Requiem was composed by Faure! A lot
:31:03. > :31:06.of joy in the hall, do you think you need to be religious to enjoy that
:31:07. > :31:13.kind of music? I don't think so, it has come from the African slave,
:31:14. > :31:17.from the fields, of America, where, at the end of the day, people would
:31:18. > :31:25.gather and sing under trees, they would have the leader of the pack
:31:26. > :31:33.calling and answering. Coded songs of a better life, escape, deep
:31:34. > :31:40.river... Steal away... All of these things... Anybody with a human
:31:41. > :31:47.heart... And knowing what is behind all of this... Can be moved and
:31:48. > :31:51.transported. Does gospel music move you? I went up to Harlem once, by
:31:52. > :31:57.chance, I saw this gospel choir up there, massive church. It was one of
:31:58. > :32:01.the most extraordinary things I have ever seen. Actually, one of the
:32:02. > :32:07.things I noticed about the concert the other night, they are so
:32:08. > :32:13.together, they are really absolutely on beat all of the time. Incredible,
:32:14. > :32:17.so many different things in that concert, and I think what I liked
:32:18. > :32:21.best was the vocal and the saxophone, the improvising, that was
:32:22. > :32:25.great. A lesson for us all, not just one type of gospel music, lovely
:32:26. > :32:29.thing about my job, I'm discovering these things at the same time as the
:32:30. > :32:35.rest of the audience, I had a similar experience to you, in New
:32:36. > :32:37.York City, a gospel choir, it was extraordinary, I had no idea about
:32:38. > :32:42.the variety and the different aspects, I did not know the
:32:43. > :32:45.background of the text, a fascinating world. The audience
:32:46. > :32:50.clearly loved it, rocking night in the Albert Hall, packed with an
:32:51. > :32:54.audience who were not your standard Proms audience, would you agree?
:32:55. > :32:57.That is absolutely right, and I think those non-classical concerts
:32:58. > :33:01.that we do in the Albert Hall are a very important way of getting people
:33:02. > :33:04.into the hall to hear something like that and getting them engaged with
:33:05. > :33:08.the whole experience of live music, I met one or two people coming to
:33:09. > :33:12.the Albert Hall, they had clearly never been there before, they did
:33:13. > :33:14.not know where they were going. I am sorry they did not know where they
:33:15. > :33:18.were going but I thought, yes, coming ever the first time! As the
:33:19. > :33:23.new director of the Proms, you will have to get used this line of
:33:24. > :33:34.questioning a when we have a themed prom, like the Gospel Prom,
:33:35. > :33:40.like the Ibiza Prom, people will say that it is dumbing down, and they
:33:41. > :33:46.will say it is not classical music. Well the Vienna Philharmonic, and
:33:47. > :33:52.Gershwin, I love both of them, they are both at the top of their field.
:33:53. > :34:00.I like that quote, it is about the quality of the people coming in. We
:34:01. > :34:05.had the capital to strictly Prom, they thought it would be a collision
:34:06. > :34:09.of world too long, and I suspect you may have been dancing! -- Strictly
:34:10. > :34:13.Prom. Thank you for being a part of it and an important part of putting
:34:14. > :34:16.it together, that is a very good example of something where the
:34:17. > :34:24.audience last night heard music by so many different people, including
:34:25. > :34:26.Debussy and Strauss. A lot of them may have seen the television
:34:27. > :34:30.programme and now for the first time in their lives were hearing an
:34:31. > :34:34.amazing orchestra, the BBC concert Orchestra, playing that stuff, and
:34:35. > :34:36.the dancers were thrilled to be playing with a full-sized August,
:34:37. > :34:42.and what they were playing was indeed classical. I hope that the
:34:43. > :34:47.people that came to the first time will come back, that is the key.
:34:48. > :34:50.That is what we have got to work at, it is no use pulling an audience
:34:51. > :34:54.from somewhere else in and then they go back, it is a real challenge, we
:34:55. > :34:59.should not underestimate how hard it is to do. I am determined that at
:35:00. > :35:03.the Proms we will do what we can to address that. I'm going to be
:35:04. > :35:05.self-indulgent, let's have a look at the Royal Albert Hall from last
:35:06. > :35:50.night, in full on sparkle mode! You can still see the spray tan
:35:51. > :35:53.marks on the podium, if you look hard enough(!) if you want to see
:35:54. > :35:59.that all the Gospel Prom is, both on the eye player, that is almost hit
:36:00. > :36:02.for this evening, we will be back next evening, looking at the ten
:36:03. > :36:06.pieces to prom and a child of our time, both can be seen tomorrow. We
:36:07. > :36:10.have a performance by an instrumentalist very shortly whose
:36:11. > :36:14.world has changed from school boy to music star in the making when he
:36:15. > :36:19.became BBC Young Musician 2016 back in May, near is about to perform
:36:20. > :36:31.this evening, it remains to me to thank my guests,. -- to thank my
:36:32. > :36:34.guess is. -- guests. Performing for us now, Sheku Kanneh-Mason.