:00:00. > :00:11.Tonight, we have two pieces from Ten Pieces. We raise our voices with a
:00:12. > :00:14.Child of Our Time. We meet the new leaders of the classical pack. It
:00:15. > :00:44.can only be Proms Extra. Hello and welcome to Proms Extra. If
:00:45. > :00:48.the Proms season is a designer label, we are the high street
:00:49. > :00:52.equivalent. Giving you the latest updates on what has been happening
:00:53. > :02:18.across the road. Take a look at these catwalk performances.
:02:19. > :02:34.# Is ground control to Major Tom # You really made the grade
:02:35. > :02:42.# And the papers want to know whose shirt you wear
:02:43. > :02:48.# Now it's time to leave the capsule, if you dare
:02:49. > :02:52.# We dare... # That's just a regular week in the
:02:53. > :02:58.life of the Proms. Overlooking the hall is our Studio in the Royal
:02:59. > :03:09.College of Music. Proms Extra isn't the same without guests. This is one
:03:10. > :03:18.of the top mezzo-soprano. She's no stranger to the Proms. She is no
:03:19. > :03:30.longer a stranger to Proms Extra. It's a warm welcome to Susan
:03:31. > :03:32.Bakeley. An award-winning multi instrumentalist, producer, writer
:03:33. > :03:38.and broadcaster who worked with the biggest names in pop, classical,
:03:39. > :03:43.dance, film and theatre. He's also a world-class DJ which will come in
:03:44. > :03:52.handy for the Proms Extra wrap party. Welcome. Talking of parties,
:03:53. > :03:57.our final guest has made his mark as a new and exciting composure. He
:03:58. > :04:01.invited everyone to join him for a noisy, wild party that will raise
:04:02. > :04:06.the roof in London. In other words, he has a world premier being
:04:07. > :04:12.performed at the Royal Albert Hall for the last night of the Proms.
:04:13. > :04:22.Welcome Tom Howard. Full-term fer forming is Oliver Castes at the end
:04:23. > :04:30.of the show -- performing. How was that? An exciting experience. To be
:04:31. > :04:35.surrounded by the choir and the BBC National Orchestra of Wales who
:04:36. > :04:39.played wonderfully. The choir who cushioned us with an amazing sound
:04:40. > :04:44.was a privilege. Moving. We will talk more about that work and 245
:04:45. > :04:48.Prom later. Just, you are no Strangers to the Proms. You had your
:04:49. > :04:54.own back in 2017. The Human Planet Prom. It's quite something? Amazing.
:04:55. > :04:59.I performed at the Royal Albert Hall many times. It's my favourite venue
:05:00. > :05:04.in the world. It has a sense of occasion performing there. Actually,
:05:05. > :05:08.for the Human Planet series I originally also recorded with the
:05:09. > :05:13.National Orchestra of Wales as well. It was great to see them performing
:05:14. > :05:18.on Saturday in Child of Our Time. That was our great. Tom, how
:05:19. > :05:24.terrified are you about last night of Proms? Terrified is not the right
:05:25. > :05:27.word. Extremely excited. An incredible opportunity and
:05:28. > :05:36.incredible gig to get. I'm looking forward to hearing what the Proms
:05:37. > :05:42.Youth Ensemble do with it. Can you give us clues about the work? It
:05:43. > :05:49.starts loud, stays loud and gets louder. Nice I see what you are
:05:50. > :05:59.aiming for. Nice to you have here. The Proms tries to have something
:06:00. > :06:04.for everybody. This season there is the CBeebies Proms and Ten Pieces
:06:05. > :06:08.made a welcome return to the hall. It's the BBC initiative to encourage
:06:09. > :06:12.children to be inspired by classical music. They listen to Ten Pieces and
:06:13. > :06:17.respond creatively. Last year was aimed at primary school children.
:06:18. > :06:20.This year it's the turn of the secondary kids much you are
:06:21. > :06:25.ambassador, were you impressed by what the kids came up with?
:06:26. > :06:30.Absolutely. I think it's very exciting to be engaging with young
:06:31. > :06:42.people who are going to be inspired by the 10 pieces. Last year I worked
:06:43. > :06:47.at a school, Mary Magdalene. They looked at the Wagner piece. Great to
:06:48. > :06:51.be involved on a practical level and encourage people to listen to those
:06:52. > :07:11.pieces. Let us listen to one of the featured pieces at the Prom.
:07:12. > :07:55.The BBC Philharmonic Orchestra there. Accompanied by dancers. You
:07:56. > :07:58.said you worked with young people, is it a tricky age to engage with
:07:59. > :08:04.classical music? Not really. They were open to it. That piece was
:08:05. > :08:12.powerful. It's quite an arousing piece. They can hear something they
:08:13. > :08:17.can identify with in terms of the, I guess, the motif that comes back. It
:08:18. > :08:23.feels liken an exciting piece. The energy is infectious. Overall, it
:08:24. > :08:26.hasn't been difficult to talk to young people about the 10 pieces.
:08:27. > :08:31.They have been excited when they have talked about it. It is key to
:08:32. > :08:35.choice the right works. There is a big story behind that. We can get
:08:36. > :08:38.involved in the context. When you worked with young people, have you
:08:39. > :08:46.found that is the way to really get them sparked up? I'm interested in
:08:47. > :08:53.the cross curriculum boundaries broke down for kids to know what was
:08:54. > :08:56.going on around that time that helped the composer write the piece.
:08:57. > :09:01.What art was being done at that time. Not only the historical
:09:02. > :09:07.context, everything that was going. The science being done. I think
:09:08. > :09:12.that's the way forward to encourage and inspire children. I have to say,
:09:13. > :09:16.they obviously had great discussions working on that dance they did. I
:09:17. > :09:20.thought it was fabulous. That's very important as well, that children
:09:21. > :09:26.understand that it's about storytelling and expression and that
:09:27. > :09:32.music should be an extension of your identity, feelings and thoughts and
:09:33. > :09:36.ideas. It's great to actually contextualise thises muse You are
:09:37. > :09:40.write sick. Ing a piece for the Last Night of the Proms. How will that
:09:41. > :09:43.work? The first rehearsal is in a week's time. What we will do is try
:09:44. > :09:48.and build up this working relationship together. And to really
:09:49. > :09:53.see... I write the piece so they can making it theirs. So they have
:09:54. > :09:58.ownership to it. That's important to me as composer with all the work I
:09:59. > :10:03.do and all the artists and groups that they have an ownership and put
:10:04. > :10:08.their own identity on it. I will not be precious if they want to do
:10:09. > :10:13.something different or have their own interpretation. It's easy to
:10:14. > :10:20.have an interpretation of the story and what is going on. Which is why
:10:21. > :10:26.it's one of the strong 10 pieces. Were you inspired in 10 pieces at
:10:27. > :10:30.their age. Was anyone a catalyst for you in classical music? I went to
:10:31. > :10:37.children's classic concerts in Glasgow much I don't know if they go
:10:38. > :10:41.on. It's a same vain as 10 Pieces. I saw an orchestra and being in a
:10:42. > :10:46.rated through what was going on. And being inspired by it. It really
:10:47. > :10:51.planted the seed with me, as I'm sure 10 Pieces it doing the same.
:10:52. > :10:54.What got you inspired? I was thinking about the fact when I was a
:10:55. > :11:03.child my father was a musician. A school teacher, but a musician. We
:11:04. > :11:07.watched Fantasia am I wrong in thinking it's a similar thing. There
:11:08. > :11:15.were lots of short pieces of music with a visual which helped when you
:11:16. > :11:23.were a young child. It's - for me, I am a film composer. I loved
:11:24. > :11:28.listening to and watching great film composer like Bernard Herman. I
:11:29. > :11:31.should have been Psycho. I watched it one night iechl was 10 or 11. I
:11:32. > :12:03.was blown away by it. Herman was us influenced by... More -- It put me
:12:04. > :12:09.off sweeping and mopping... I'm still allergic. One of the featured
:12:10. > :12:18.pieces, Vaughan William The Lark Ascending is about to fly high with
:12:19. > :12:22.Chord of the Week. The chord that underpins The Lark Ascending.
:12:23. > :12:26.Vaughan William gives his lark, the solo violin, only five notes of the
:12:27. > :12:30.scale, the mode that underlies so much of the folk music. It hes a as
:12:31. > :12:39.if the lark is the voice of the countryside itself.
:12:40. > :12:45.There is a curious emptiness about the chord. Most chords have a note
:12:46. > :12:53.three notes up from the base. This chord has no third. If it did, it
:12:54. > :12:57.would sound like this. Yet, anyone who knows this lovely piece will
:12:58. > :13:01.have had that low G in mind all along much you might have thought I
:13:02. > :13:05.was missing something out when I played our Chord of the Week.
:13:06. > :13:08.Vaughan William put the G in our mind at the beginning of the piece
:13:09. > :13:10.before the soloist comes in, down in the second violins. They play it and
:13:11. > :13:25.then they leave it. The colour of the harmony depends on
:13:26. > :13:33.us remembering that G. Remembering something that's no longer there.
:13:34. > :13:38.Nostalgia. Vaughan William composed nostalgia into the first moments of
:13:39. > :13:42.the place. He put the first draft in the draw when he signed up to the
:13:43. > :13:46.army and didn't finished it until he came home. Thatter ared G has come
:13:47. > :14:45.to signify a whole lost world. Tom, seeing those young lads there
:14:46. > :14:49.in uniform, it really does make that piece of music feel even more
:14:50. > :14:52.powerful it was always a beautiful listen, always charming, it sets
:14:53. > :14:58.that dark and political tone to it as well, doesn't it? How could it
:14:59. > :15:04.get more poignant. What a contrast this beautiful music and the
:15:05. > :15:18.absolute horrors of war. It's seen as Mel conic and nostalgic but very
:15:19. > :15:22.pastoral. How do you respond to it? He wrote it when staying on holiday
:15:23. > :15:32.in Margate down the coast from where I live. Looking out at the sky over
:15:33. > :15:36.the sea, I can well see how he was inspired because, when we can, we do
:15:37. > :15:40.that every single night, go out and look at the unis set. There is a
:15:41. > :15:45.dark side. A boy saw him on that occasion writing and thought he was
:15:46. > :15:49.writing secret messages and reported him as being a German spy. He was
:15:50. > :15:52.arrested on that occasion. It's interesting all of this because
:15:53. > :15:56.after that, after the war, he revise is advised the piece much he had
:15:57. > :16:00.been a stretcher bearer during the course of the war. You wonder how
:16:01. > :16:02.those experiences would have impacted on the revision of the
:16:03. > :16:11.music. I find it very powerful because it
:16:12. > :16:18.reminds me a lot of those... The pentatonic scale, which is known by
:16:19. > :16:21.a different name in India. Yehudi Menuhin performed with rubbish and
:16:22. > :16:41.grow. -- Dubai. It has a drone sound come
:16:42. > :16:47.in the same way as an Indian classical piece. -- Ravi Shankar.
:16:48. > :16:53.The fact he stays so harmonically consistent all the way through, it
:16:54. > :16:57.almost makes it more poignant he has created this soundscape. Which draws
:16:58. > :17:02.you in. Over which the violin can do its thing. It's interesting hearing
:17:03. > :17:05.you talk about the influences on different composers. We know how
:17:06. > :17:09.much Vaughan Williams loved folk music, he and his colleagues went
:17:10. > :17:13.uncollected old English tunes, which one could argue you could hear in
:17:14. > :17:19.that. How much do you come in your work, put up on music of the people,
:17:20. > :17:23.if you like? It's very important to me to drop on all kinds of different
:17:24. > :17:30.forms. For example I'm a flamenco guitarist, play a lot of classical
:17:31. > :17:36.and jazz piano, different forms of guitar. Flamenco for me is a form of
:17:37. > :17:40.music that has been elevated over time to almost a classical form. It
:17:41. > :17:47.was originally a folk form from Rajasthan in India. It started that
:17:48. > :17:54.way and developed and picked up Moorish traditions. In the hands of
:17:55. > :18:00.other people it became a much more elevated form. Originally, there was
:18:01. > :18:05.a lot of protest from people, Andrei Segovia, who said he wanted to take
:18:06. > :18:09.the guitar away from the noisy hands of the flamenco guitarist. It's
:18:10. > :18:13.interesting when you see a folk form that rises above those initial
:18:14. > :18:24.prejudices against the musicians. I think it's wonderful. You can find
:18:25. > :18:28.the Ten Pieces from online. A look at Child of Our Time from Tippett
:18:29. > :18:33.and a performance by cellist Oliver Coates. When you started composing
:18:34. > :18:36.did you feel like you were breaking down boundaries, Nitin? When you're
:18:37. > :18:40.composing a piece you don't think about the aftermath of what happens
:18:41. > :18:43.when you've composed it all when it heard, you're thinking about the
:18:44. > :18:47.feeling at the time, you have to be very present minded and follow the
:18:48. > :18:51.flow of what you feel. It's different if you are writing for a
:18:52. > :18:55.commission. If you're writing for yourself it's just about flow of
:18:56. > :19:01.feeling, channelling what is around you, trying to give it a voice. Do
:19:02. > :19:07.you label yourself as a certain type of composer? Classical-
:19:08. > :19:12.contemporary? I hate labels, but I suppose I've worked in so many
:19:13. > :19:18.different genres, I work in film, television, I work as a composer for
:19:19. > :19:22.classical orchestras as well. I've done lots of different things. I
:19:23. > :19:27.don't really like labels, I like working as a DJ Haswell. The labels
:19:28. > :19:32.just restrict your imagination and possibility. You'll like the next
:19:33. > :19:35.film. There continues to be a new wave of young contemporary composers
:19:36. > :19:38.emerging, making classical music their own way. We had the decks with
:19:39. > :19:58.one composer in particular. Classical music is such an important
:19:59. > :20:02.part of human culture. In the whole world now. Often it feels like it's
:20:03. > :20:08.hiding itself in a bit of a bubble and has become a kind of historical
:20:09. > :20:16.art form for some people, a highbrow academic art form for others.
:20:17. > :20:22.I see myself as a classical composer. I'm writing music that
:20:23. > :20:27.reflects the world I live in, I want to share with my peer group. The
:20:28. > :20:31.solution for me was to put it on in clubs and bars where most people go
:20:32. > :20:35.for music. Instantly, the public's more relaxed, they don't feel they
:20:36. > :20:39.have to behave in any particular way. And if they don't like the
:20:40. > :20:41.piece they are not stuck in a seat, they can go to the bar and get a
:20:42. > :20:56.drink. When you bring in electronics to
:20:57. > :21:05.classical music it's important you make it interactive with the live
:21:06. > :21:09.performance. With the cello multi-tracks, a school has freed a
:21:10. > :21:15.minute, it tells the cellist to play certain phrases, which is imitating
:21:16. > :21:22.sounds of recorded cello, I then imitate the live cello bag, a
:21:23. > :21:35.secular feedback loop between us. -- imitate the live cello back. -- a
:21:36. > :21:39.circular feedback loop. I'm not trying to make pop music dressed up
:21:40. > :21:43.with classical instrumentation, I'm more interested in the deeper
:21:44. > :21:46.essence or energy of contemporary culture, taking that on board into a
:21:47. > :22:10.serious classical composition. People always ask me, would your
:22:11. > :22:15.grandfather approve of you using electronic instruments? Do you think
:22:16. > :22:19.he would have made electronic music? When we look at the history of
:22:20. > :22:23.farcical music you see technology evolving. Mozart wrote his clarinet
:22:24. > :22:31.concerto for early models of the clarinet. We are always looking for
:22:32. > :22:35.new sounds. It's totally natural that second user, when there is a
:22:36. > :22:38.new way of making sounds, they take that on board. They think there is
:22:39. > :22:45.this new strand of classical music connecting with electronic music. It
:22:46. > :22:46.perhaps has a closer connection with contemporary life as well, and
:22:47. > :23:20.contemporary culture. That was composer Gabriel Prokofiev,
:23:21. > :23:24.whose work is also featured in the Ten Pieces from. One of many
:23:25. > :23:27.classical composers doing it their way. Tom, did it resonate with you,
:23:28. > :23:32.hearing Gabriel talk about his inspiration and what he's trying to
:23:33. > :23:37.achieve? It's really important for composers to stay current, stay
:23:38. > :23:40.engaged in your community, to demystify the compositional process.
:23:41. > :23:44.It's really important for us to do this. I have utmost respect for
:23:45. > :23:49.Gabriel to be doing this. I know a of my colleagues from the Royal
:23:50. > :23:54.College of music have similar nights, where they put on
:23:55. > :23:57.contemporary music in pubs, clubs and venues where you wouldn't expect
:23:58. > :24:03.contemporary music to be. I think it's absolutely fantastic, I think
:24:04. > :24:11.it is the future. Nitin, do you feel there is an actor to -- appetite for
:24:12. > :24:17.it? If you decontextualised classical music, you hear it in a
:24:18. > :24:20.different way, come to it in a different perspective. If you make
:24:21. > :24:27.it more accessible to people who wouldn't come across it otherwise...
:24:28. > :24:34.Years ago I had written a piece for the Britten symposium. I played it
:24:35. > :24:39.at a club called Tim Ferri. A man had seen me a few days ago, there
:24:40. > :24:48.was somebody who had come to see something totally different. -- a
:24:49. > :24:52.club called Fabric. People have preconceptions that music, certain
:24:53. > :24:56.types of music can only be for a certain audience. They understand
:24:57. > :25:02.you studied electronic music back in the day. That in the day. It was in
:25:03. > :25:06.the day, the late 70s. I went to city University. The degree there
:25:07. > :25:12.included an element of electronic music. There was nothing digital
:25:13. > :25:17.about it at that point. We're talking tapes and cutting tapes and
:25:18. > :25:23.splicing tapes and that. There were some really cutting edge composers
:25:24. > :25:28.at the time. An Argentinian composer was there. Simon Emmerson was one of
:25:29. > :25:32.our tutors. All very involved in the contemporary music scene. I got very
:25:33. > :25:36.involved in the contemporary music scene, not necessarily electronic.
:25:37. > :25:42.We did work alongside them at the time. You do a lot of contemporary
:25:43. > :25:46.repertoire, you were constantly with composers on new works. I have done
:25:47. > :25:51.a lot of contemporary music, yes. It's a huge challenge. Sometimes I
:25:52. > :25:56.think, maybe I won't... Yes, I will, actually. Because it's great to feel
:25:57. > :26:02.you're part of a new history of music. Do you notice an evolving
:26:03. > :26:07.sound world? Do you think there are real changes you could sort of
:26:08. > :26:11.document, if you like? In recent times, it's come back to being more
:26:12. > :26:15.melodic contemporary music, I find, I don't know whether you think the
:26:16. > :26:26.same thing? There was a point when it became quite obscure and not very
:26:27. > :26:29.helpful to listeners, really. Now, I think, there are elements... It
:26:30. > :26:34.doesn't mean it's easier for listeners, but the challenge is in a
:26:35. > :26:40.different way. I also like it when people like Gabriel Prokofiev, he's
:26:41. > :26:46.mixing electronic music with classical music and live players. I
:26:47. > :26:51.really like that because it's a natural evolution from people who
:26:52. > :26:57.compose with no packages on computer, called Logic or sieve
:26:58. > :27:08.alias, you use these to compose for orchestras. -- or Sibelius.
:27:09. > :27:12.Sometimes you want to blend the two. I find myself doing that more and
:27:13. > :27:20.more. It's nice to see something active as well. They used to be a
:27:21. > :27:24.time electronic music, you sit in the audience and listen. There is
:27:25. > :27:28.more to see, people working at it and doing it live, which I think is
:27:29. > :27:31.incredibly exciting and much more involving for the audience. It must
:27:32. > :27:35.be because technology is so incredible now. From the tape you
:27:36. > :27:39.were doing. I dabbled in it a bit. You can do anything with
:27:40. > :27:43.electronics, anything. That's why it's such a good Ten Pieces piece,
:27:44. > :27:48.you are showing young people how kind of cool and orchestra can be. I
:27:49. > :27:52.use that word in the best possible way. You can show the crossover
:27:53. > :27:58.between the two works so well, it's why it's such a good piece for Ten
:27:59. > :28:04.Pieces. From new pieces to a piece that is a modern classic, Tibet's A
:28:05. > :28:35.Child of Our Time. Let's have an excerpt. -- Tippett.
:28:36. > :28:42.A Child of Our Time, shown on BBC for last Sunday. Use one of the five
:28:43. > :28:46.spirituals Tippett included in his setting. I wish I'd been in the
:28:47. > :28:50.hall, it looks tremendous, very moving. How did you prepare yourself
:28:51. > :28:55.to immerse yourself in such a very moving work? Well, you don't need to
:28:56. > :28:59.go very far from reading what's going on in the newspapers these
:29:00. > :29:09.days to make that contextual contact. It was an incredibly tense
:29:10. > :29:13.evening, you can almost tell how engaged audiences are by how quiet
:29:14. > :29:18.they are. There was no coughing, anything like that. It was
:29:19. > :29:26.incredibly intense. In that extraordinary, amazing acoustic, it
:29:27. > :29:31.reverberate even more. You were there, weren't you, Nitin? It was
:29:32. > :29:36.wonderful giving you think you sounded incredible, the whole piece
:29:37. > :29:40.was so moving. I found, it's interesting, originally TS Eliot was
:29:41. > :29:45.going to be writing the libretto and turned it down. It ended up being
:29:46. > :29:48.Tippett writing himself. It's such a powerful libretto. There is one
:29:49. > :29:54.phrase I've got here, described in part two of the piece as corners of
:29:55. > :29:59.the self-righteous. It says, we cannot have them in our empire, they
:30:00. > :30:03.shall not work, nor draw dole. Let them starve in no man's land.
:30:04. > :30:10.Incredibly powerful, still pertinent, still very poignant. What
:30:11. > :30:13.I find is the way Tippett is able to build up tension and use the five
:30:14. > :30:19.spirituals to release the tension, everybody size, like they are almost
:30:20. > :30:25.home. I find that incredibly fantastic to deal with such a
:30:26. > :30:29.horrible subject matter. -- everybody sighs. It adds five points
:30:30. > :30:35.of focus, then carry on with the Yanks to. It was strange seeing that
:30:36. > :30:41.but I thought it was brilliant to have these spirituals, they seemed
:30:42. > :30:46.out of context, but they worked. They had this allegorical power to
:30:47. > :30:51.them. It's interesting Tippett went on to go to New York and studied
:30:52. > :30:55.jazz more, and get into lots of different forms of music later on in
:30:56. > :30:58.life. It was interesting, this felt like something that just worked,
:30:59. > :31:11.that you wouldn't expect to work. If if you take the aria for Ain't
:31:12. > :31:17.Got No Money for Bread. He was influenced by bread. You have to do
:31:18. > :31:22.performance with everybody in the hall singing the spirituals. It
:31:23. > :31:28.wasn't a them and then us as well. The chorus, it's a safety in numbers
:31:29. > :31:31.thing. We will prevail. We are here. That's what the spirituals are
:31:32. > :31:36.about, I think. We will get through the dark side and we'll come
:31:37. > :31:40.through. Despite the world turning, which is one of the texts. Despite
:31:41. > :31:44.the fact that this will happen again. This will happen again. We
:31:45. > :31:49.will prevail. It would be wonderful to do a performance with everybody -
:31:50. > :31:53.maybe one day in the future. It's a good idea much I trust our new
:31:54. > :31:58.Director of the Proms is listening and make a note. You can watch this
:31:59. > :32:11.performance of Child of Our Time on the BBC iPlayer. Last night there
:32:12. > :32:27.was a Prom dedicated to Dudley Boys. Here is a clip from the Dudley Boys
:32:28. > :32:35.-- David Bowie Prom. -- David Bowie. .
:32:36. > :32:52.#, I will be king # And you, you will be Queen
:32:53. > :32:58.# Nothing, nothing can drag them away
:32:59. > :33:06.# We can be heroes # Just for one day... #
:33:07. > :33:14.The Proms own tribute there to the late, David Bowie? He was a hero of
:33:15. > :33:18.yours? The one rock concert I went to was ziggy star dust, what more
:33:19. > :33:22.can I say. I adored him. That is most of my age group. Huge numbers
:33:23. > :33:28.of my age group. It's a perfect tribute to have a Prom about him.
:33:29. > :33:33.Across generations. You are 25, loads of people in your age group
:33:34. > :33:41.love David Bowie too? I came to him quite late. It's a shame. I love his
:33:42. > :33:45.collaborations with Brian. They are dark and powerful. So the time, so
:33:46. > :33:49.unusual. I find it so powerful and so exciting. Yeah, I mean, I
:33:50. > :33:56.wouldn't say that he's on my desk all the time, but he's definitely
:33:57. > :34:00.ticking away in the background. What I love about Bowie every single
:34:01. > :34:05.decade was different. He changed totally. When you're making albums
:34:06. > :34:09.they are like diary entries, they are who you are at the time much you
:34:10. > :34:14.don't go back and fix what you did then. It's who you were, it's pure
:34:15. > :34:19.expression. He was constantly evolving in so many different
:34:20. > :34:25.directions. It's very difficult to say exactly who Bowie was. I was
:34:26. > :34:30.lucky recently to be in the company of his producer, Tony, he told me a
:34:31. > :34:38.lot about the passion and the feeling of Bowie for his work, but
:34:39. > :34:43.also the fact, with his last album, it wasn't a requiem as many people
:34:44. > :34:46.thought he believe he was going to be making another album later on. It
:34:47. > :34:53.was sad it turned out to be his last. You can be a hero for one day
:34:54. > :35:01.are or even longer, by viewing the Proms tribute to Davided Bowie on
:35:02. > :35:04.the Prom website or iPlayer. There are concerts shown on BBC Four on
:35:05. > :35:11.Fridays and Sundays evening and every Prom goes out live on BBC
:35:12. > :35:19.Radio 3. Join us next week when we will look at the David Bowie
:35:20. > :35:24.problem. We will have Mahler and Romeo and Juliet. You bring the
:35:25. > :35:30.popcorn, we'll bring the ice-cream. Thank you to my guests tonight. Good
:35:31. > :35:46.luck and I hope the rehearsals go well. We talked about new music.
:35:47. > :35:51.Oliver Coates is one of these, here he is performing a piece of his own
:35:52. > :35:53.work. Goodbye.