:00:00. > :00:09.Tonight we're all about the 3 Bs - Bernard, Bowie and Berlioz.
:00:10. > :00:12.You just need to learn the 3 Rs - relax, reflect, and rejoice -
:00:13. > :00:47.We're the semi-skimmed companion to the full-fat Proms.
:00:48. > :00:50.Tonight's show is brimming with romance, nature and stardust.
:00:51. > :00:52.The Olympics have just started in Rio but here
:00:53. > :00:54.in London's South Kensington, the Athletic Proms is
:00:55. > :02:35.It's been an eclectic week at the Hall!
:02:36. > :02:38.Things will be a little quieter in our studios at the Royal College
:02:39. > :02:43.My first guest is a rising star of the conducting world.
:02:44. > :02:45.She's worked with BBC Scottish Symphony Orchestra
:02:46. > :02:53.She is about to make her Albert Hall Proms debut conducting
:02:54. > :02:55.the BBC Concert Orchestra at the end of August.
:02:56. > :02:58.This promises to be one of the Proms highlights of the season,
:02:59. > :03:01.with top household names appearing such as Mr Bloom and
:03:02. > :03:06.To be honest, we think it's the Prom to go to - especially
:03:07. > :03:08.if you're 8 or under, or a grateful parent.
:03:09. > :03:11.My next guest is a composer, singer and arranger.
:03:12. > :03:14.She's one of the creative brains behind the David Bowie Prom.
:03:15. > :03:16.A former student here at the Royal College of Music whose
:03:17. > :03:18.work has been broadcast both here and in France.
:03:19. > :03:20.She's sung on Radiohead's latest album, and with Proms
:03:21. > :03:31.Please welcome Josephine Stephenson.
:03:32. > :03:33.And our final guest is an award-winning soprano.
:03:34. > :03:35.Her huge range of repertoire includes the works of Mozart
:03:36. > :03:38.to Mahler also Irish folk songs to name but a few,
:03:39. > :03:41.so we're delighted she is also going to perform for us
:03:42. > :03:45.We read that Kate Bush's Wuthering Heights is her karaoke song
:03:46. > :03:48.of choice, which was a surprise to us, as we had her down
:03:49. > :04:03.Jessica, the CBeebies Prom, are you ready for the toddlers? I can't
:04:04. > :04:08.wait, it will be the most exciting thing to have the entire Albert Hall
:04:09. > :04:12.full of young people and I heard that it was sold out within an hour
:04:13. > :04:21.of going online so I think it will be pretty electric. Josephine, you
:04:22. > :04:26.have had an amazing week. The Bowie Prom was something else. It's been
:04:27. > :04:30.nearly a week now. Just about. It has been everywhere since online. I
:04:31. > :04:37.am taking a bit of time to come down. The Royal Opera House beckons
:04:38. > :04:42.in the autumn? Yes, great excitement. Except that I've just
:04:43. > :04:50.been looking at the score and one of the last line is that the lead
:04:51. > :04:53.character says, losing his nose during the Opera, that I will refuse
:04:54. > :04:59.to marry that ugly woman, in relation to me! I have only just
:05:00. > :05:04.realised and I would never have taken the role if I was going to be
:05:05. > :05:12.characterised as ugly! You have already signed the contract? I'm
:05:13. > :05:19.only joking. I would never pull out. Shostakovich's the Nose. We are
:05:20. > :05:21.delighted to have you all here. It is the 400th anniversary
:05:22. > :05:23.of Shakespeare's death, and of course the Proms is marking
:05:24. > :05:26.it in its own way with numerous Last Sunday's Proms concert
:05:27. > :05:30.on BBC Four was an evening filled with love and romance,
:05:31. > :05:32.with Sir John Eliot Gardiner conducting the choral
:05:33. > :05:34.symphony of Romeo and Juliet From the Royal Albert Hall that was
:05:35. > :06:46.Sir John Eliot Gardiner, aka Jiggy, conducting Romeo
:06:47. > :06:49.and Juliet by Berlioz. You can't underestimate what a God
:06:50. > :06:51.Shakespeare was to Berlioz. He fell in love with his future wife
:06:52. > :06:54.when she was playing Ophelia He didn't speak a word of English,
:06:55. > :07:03.couldn't understand a word of what was going on,
:07:04. > :07:20.but was utterly smitten. It's a wonderful piece, isn't it?
:07:21. > :07:24.Gold -- it is interesting how he called him the supreme creator,
:07:25. > :07:30.second only to God. There was a link for him between his great love,
:07:31. > :07:35.Harriet Smithson, and Shakespeare, his works encapsulate the world, the
:07:36. > :07:50.best and worst. And he saw Harriet playing Ophelia and then Juliet. His
:07:51. > :07:55.love was sublimated in the Symphony Fantastique. It is a crazy piece,
:07:56. > :07:59.there is this huge orchestra, and I thought John Eliot Gardiner, he is
:08:00. > :08:05.such a poet in the way he brings these colours and these emotions out
:08:06. > :08:10.from all of his players and singers. You know, the hairs on the back of
:08:11. > :08:16.my neck were well up when I listened to it. Josephine, you are half
:08:17. > :08:19.French, does that make you feel close to Billy 's or does it give
:08:20. > :08:27.you a different relationship with the music? -- Berlioz. He is better
:08:28. > :08:32.treated here than in France, people like Debussy criticised him. I
:08:33. > :08:36.admire him in having come from nowhere, really self-taught in his
:08:37. > :08:42.composition, he knocked on the door of the consummate -- of the
:08:43. > :08:50.conservatory and decided he would be a composure. It is bold. I should
:08:51. > :08:53.feel patriotically my feel a fondness for the character, and the
:08:54. > :08:59.idea of him, but for some reason I've never quite fallen in love with
:09:00. > :09:03.the music. There is that obsessive quality? It is like Beethoven, you
:09:04. > :09:08.have the sense that he's banging his head against a wall constantly. It
:09:09. > :09:14.is the same with Berlioz. Finding his way forward with the melodies
:09:15. > :09:22.that he writes. It's amazing, it is amazing that he got to Rome and all
:09:23. > :09:28.of these amazing achievements. Maybe he is held in more higher steam over
:09:29. > :09:37.here but I'm not sure about that, I did a performance at the Opera
:09:38. > :09:43.Comique, and the director added English dialogue. Everyone was
:09:44. > :09:47.talking in French and he had extra dialogue added that was superfluous
:09:48. > :09:50.and the first night, I love the bit of controversy and I would rather
:09:51. > :09:55.have a bit of controversy than having everything going swimmingly,
:09:56. > :10:03.but when the artistic team came out the audience went mad, billing and
:10:04. > :10:07.everything. It was great craic. They seemed pretty passionate about
:10:08. > :10:12.Berlioz in Paris when I was there. Is this a work that you know? This
:10:13. > :10:18.was new to me and I love the dedication of the instruments and
:10:19. > :10:25.all of those unusual instruments, the work that people have to put in,
:10:26. > :10:29.it is a lights work getting those instruments to sound, so much can go
:10:30. > :10:35.wrong. I have been in performances when people have had disasters with
:10:36. > :10:42.natural horns and things. It is very demanding and it brings up the whole
:10:43. > :10:47.idea that as musicians we do have to kind of play with danger in order to
:10:48. > :10:51.find that excitement. Exactly. When I listened to it I felt those
:10:52. > :10:55.instruments almost gave it a raucous and rustic feel that added to it.
:10:56. > :10:57.You listen to it differently and I love that.
:10:58. > :11:00.You can find the complete performance of Romeo and Juliet
:11:01. > :11:03.From the romance of Shakespeare, to the loves and passions
:11:04. > :11:06.of a puppet - it could only be Stravinsky's Petrushka
:11:07. > :11:09.which was shown on BBC Four last night, and is also online
:11:10. > :11:15.in the early 20th century, this is one of three Stravinsky
:11:16. > :11:17.ballets being played this weekend, with the remaining two,
:11:18. > :11:19.The Firebird and The Rite of Spring being broadcast live
:11:20. > :11:26.This feels like the right moment to bring in David Owen Norris,
:11:27. > :11:29.who has a thing or two to say about the Petrushka chord
:11:30. > :11:44.That chord is actually named the Petrushka chord. As so often with
:11:45. > :11:51.Stravinsky you can see exactly how he found it as he was composing at
:11:52. > :11:58.the piano, his right hand is playing a C major. His right hand plays F
:11:59. > :12:08.sharp major. Together they make this fascinating noise. C And F sharp.
:12:09. > :12:15.Stravinsky gives them an important part all through the ballet. The
:12:16. > :12:21.Russian dance ends in C. And then it comes then bring in on an F sharp.
:12:22. > :12:29.When Petrushka first appears the piano plays an F sharp and then
:12:30. > :12:37.decorates a C major chord. That is when the clarinet 's first slyly
:12:38. > :12:47.suggest the famous chord. And the chord also underlies the trumpet
:12:48. > :12:54.tune. Even the peasant and his bear are represented by the chords of C
:12:55. > :13:02.and F sharp. At the very end when the trumpets are playing the
:13:03. > :13:13.Petrushka chord, the piece ends not on that C but on this F sharp. You
:13:14. > :13:16.end on a question? David Willey back again next Saturday. -- David will
:13:17. > :13:18.be back. Still to come is a performance
:13:19. > :13:21.from my sofa guest Ailish Tynan performing Strauss, and we catch
:13:22. > :13:23.a glimpse of Bernard Haitink Now, 2016 had barely begun before
:13:24. > :13:28.the news came in that David Bowie had died from cancer
:13:29. > :13:30.at the age of 69. His influence spanned more than five
:13:31. > :13:32.decades across music, fashion and art, and shows no sign
:13:33. > :13:42.of waning even after his death. His last album Black Star has just
:13:43. > :13:45.been short listed for the Mercury music prize.
:13:46. > :13:47.This promised to be one of the Proms highlights,
:13:48. > :13:56.according to some of the masses queuing up on the night.
:13:57. > :14:08.# Oh you pretty things. # Don't you know you're driving your
:14:09. > :14:13.mothers and your father 's insane. Electrifying. Please stay in the
:14:14. > :14:21.queue. I have grown up with his music all my life. Everything he has
:14:22. > :14:25.done always has meaning. We came out because we are fans of David Bowie
:14:26. > :14:31.and we wanted to see what the Albert Hall was about. I would like to see
:14:32. > :14:36.life on Mars. Change is my favourite. It will not be quite like
:14:37. > :14:40.a rock concert or crackle -- classical concert, just a bit
:14:41. > :14:46.different. It is all orchestral, a bit of a twist to it. People are in
:14:47. > :14:49.there are now listening to Mahler and then David Bowie and they like
:14:50. > :14:56.both. It will be an amazing performance. Very emotional, I have
:14:57. > :15:09.eyelash glue in my bag but it will be good crying! That was a taste of
:15:10. > :15:13.the reaction before the concert. For British people especially he is
:15:14. > :15:18.someone who came from Brixton and decided what to do with his life and
:15:19. > :15:22.I think he is such an inspiring person and has been for so many
:15:23. > :15:32.people. All generations and all backgrounds. Even within the music
:15:33. > :15:34.itself he is explored -- he explored some in a different genres.
:15:35. > :15:36.Let's have a look at the David Bowie Prom
:15:37. > :15:39.with the conductor Andre de Ridder and his ensemble stargaze
:15:40. > :16:23.# Fame, makes a man think things over...
:16:24. > :16:48.On the night there was a roll call of people coming
:16:49. > :16:52.Laura Mvula, John Cale, Marc Almond, Anna Calvi,
:16:53. > :16:55.Paul Buchanan, Amanda Palmer, Neil Hannon, Phillipe Jarrousky,
:16:56. > :17:03.Conor O'Brien, Jherek Bischoff and a House Gospel choir performing
:17:04. > :17:04.a range of David Bowie tracks with Stargaze
:17:05. > :17:21.Josephine, you were one of the Rangers, how did it come about? I
:17:22. > :17:24.got a call from Andre de Ridder asking for help and asking free to
:17:25. > :17:32.arrange a track. I said yes, of course. And how did you set about
:17:33. > :17:36.arranging the tracks for this famous environment? I listen to the songs a
:17:37. > :17:42.few times and then put them away and tried to write down what had stayed.
:17:43. > :17:47.I had some ideas already from Andrea De Ridder and we exchanged ideas. I
:17:48. > :17:53.needed not to go too far away from the original songs, they needed to
:17:54. > :17:56.be recognisable for the fans and for the singers who were not
:17:57. > :18:01.necessarily, would not have much time to get used to the new feeling
:18:02. > :18:10.of them. And switched tracks did you arrange? I did three, the man who
:18:11. > :18:18.sold the world, then from Blackstar, the last of his whole discography
:18:19. > :18:24.and that was sung by Paul Buchanan. After all is well. I'm just trying
:18:25. > :18:28.to imagine how you felt when you realised you had this musical legacy
:18:29. > :18:34.on your shoulders. I tried not to think about it too much! That is the
:18:35. > :18:39.best way to do it. If I started thinking 5000 people in the Albert
:18:40. > :18:43.Hall plus radio and television, it might not have gone anywhere. So I
:18:44. > :18:51.just sat and did my thing is that it was just for the two of us. It got a
:18:52. > :18:55.mixed response. Some positive feedback, someone said that it was
:18:56. > :18:59.riveting and inspiring, experimental, a little bit chaotic
:19:00. > :19:06.and David Bowie would have approved. A lot of people saying maddening,
:19:07. > :19:10.brilliant. And another which made me laugh, I'm not saying that the prom
:19:11. > :19:17.is bad but Mike Catt has tried to ring the RSPCA three times! Other
:19:18. > :19:22.things of that ilk. Not everyone got it I think. I went straight to the
:19:23. > :19:26.airport to fly somewhere and I had this time that you have before a
:19:27. > :19:33.flight and I thought, let's look it up and I saw on twitter this huge
:19:34. > :19:39.list of negative messages. I thought easy for people to sit at home and
:19:40. > :19:44.think, this is rubbish without thinking about the amount of work
:19:45. > :19:48.that has gone into it. And I think perhaps the most difficult thing has
:19:49. > :19:53.been the expectations that people had or did not have from this
:19:54. > :19:58.concert. Perhaps it was a bit vague as to what exactly was going to be.
:19:59. > :20:03.Actually it was something a bit more personal and special and really
:20:04. > :20:06.one-off. And it was a work in progress pretty much until the day
:20:07. > :20:13.of the performance. You were told one month before, tickets went on
:20:14. > :20:18.sale three months previously. Hugely popular in that sense. When I
:20:19. > :20:23.suddenly tuned in and I literally was mesmerised by the whole thing.
:20:24. > :20:29.I'm not sure what I'm made of it to be honest, I spent 15 years of my
:20:30. > :20:33.career getting used to an orchestral sound. And it is a different sound
:20:34. > :20:37.and something that you have got to tune into. Suddenly there were
:20:38. > :20:40.people from a pop singing background with all these classical
:20:41. > :20:45.instruments. It is kind of hard to make sense of that. The Blackstar
:20:46. > :20:51.stuff I think was more successful because perhaps it was far out. I
:20:52. > :20:56.felt people were a little bit enslaved to the music but then when
:20:57. > :21:00.I spoke to you, Josephine, and you said about Conor O'Brien, and I
:21:01. > :21:05.thought that was quite successful, he only just received the music the
:21:06. > :21:12.day before. I could not do that in a million years. I think the fact that
:21:13. > :21:17.it was not curated, we need a number that makes people cry, to dance to,
:21:18. > :21:22.it was personal and heartfelt and it was a melting pot. It was always
:21:23. > :21:27.going to be divisive. And David Bowie would have loved that because
:21:28. > :21:32.he was always divisive. What I also loved, Amanda brought her baby on
:21:33. > :21:38.and that for me set a great president because I have got a hairy
:21:39. > :21:43.baby at home, a Jack Russell, and when I'm next at the Proms, he is
:21:44. > :21:52.coming with me! And if the conductor asks I can say that the president
:21:53. > :22:05.has been set. My dog would not be as good as that baby! What division! --
:22:06. > :22:11.at vision. It was a hugely on task for Andre de Ridder, being
:22:12. > :22:14.conductor, Jack of all trades. The whole concept of a David Bowie Prom
:22:15. > :22:18.I find fascinating because as artists we have two engage with the
:22:19. > :22:24.audience. It brings into question for me what we do and how we can
:22:25. > :22:28.play with this idea of genius. And David Bowie was a genius, he
:22:29. > :22:33.encapsulated so much about life and what it means and the philosophy of
:22:34. > :22:38.life and how then we can bring that into a different setting now that he
:22:39. > :22:44.is no longer alive. I think it is such a big task. And do you feel
:22:45. > :22:46.from that perspective that it was a successful and creative endeavour?
:22:47. > :22:50.There were many things that were exciting onstage and many people
:22:51. > :22:59.coming together with a lot of energy and love as well. And that is what
:23:00. > :23:02.music is often about. For me, with my background, I would have loved to
:23:03. > :23:07.have heard say a massive symphony orchestra. Let's just go full hog
:23:08. > :23:13.with all of this. And have something really kind of big. Big for the
:23:14. > :23:19.Albert Hall, big for this massive musical mind. That perhaps would
:23:20. > :23:25.have been my preference. So we could revisit! Definitely worth
:23:26. > :23:27.revisiting. Josephine, would you do it again? Any time!
:23:28. > :23:31.Do go on to the BBC iPlayer and take a look at the David Bowie Prom,
:23:32. > :23:40.Now the David Bowie Prom was one of several concerts from the Proms
:23:41. > :23:42.season so far, that audiences had earmarked for their diary,
:23:43. > :23:45.and had people queuing in their droves on the night
:23:46. > :23:48.Many people plan in advance to buy their Proms tickets
:23:49. > :23:51.However, if you're one of the many hundreds
:23:52. > :23:54.who like to be more impulsive, then coming to the Proms
:23:55. > :23:56.as a Prommer might just be the ticket.
:23:57. > :24:00.Well Gospel Prom saxophone star, YolanDa Brown asked herself
:24:01. > :24:12.She made her debut at the Proms this year and witnessed the mosh pit up
:24:13. > :24:15.close and personal! So we asked her to get
:24:16. > :24:27.in line and find out more. I'm on my way to the Royal Albert
:24:28. > :24:31.Hall to join the legendary Proms queue. It is my first time at the
:24:32. > :24:36.Proms, I have got my lunch, my blanket and a bag full of supplies.
:24:37. > :24:52.I'm good to go and so excited. See you in there.
:24:53. > :25:02.Excuse me. Hello. I'm interested in coming to the Proms tonight and I'm
:25:03. > :25:10.not sure where to go. I will give you a raffle ticket and you join
:25:11. > :25:15.this queue. You are welcome to leave for half an hour but only that. And
:25:16. > :25:18.when I get inside is there an order, do we push forward? Do not push
:25:19. > :25:34.forward! Gently nudge! I have got my space in the queue, got
:25:35. > :25:40.my lunch and my blanket. I'm going to set up on the wall, everyone
:25:41. > :25:44.seems to be here. Then I will go into my bag of goodies for things to
:25:45. > :25:51.keep me entertained while I'm working. My trusty book. When that
:25:52. > :25:56.gets too much, I do not go anywhere without my Rubik 's cube. I'm not an
:25:57. > :25:59.old lady but I'm going to do a bit of crochet. So I'm ready and set up.
:26:00. > :26:18.Lunch is here, ready to prom. We are in prime position, first in
:26:19. > :26:24.the queue. Is it easy to get towards the rail when I enter the arena? You
:26:25. > :26:39.have got to stride across. You look like a chicken! We have moved from
:26:40. > :26:43.our original position and just about to go through the door. There is a
:26:44. > :26:47.sense of anticipation with everyone reading their programmes, I can hear
:26:48. > :26:53.discussions about the music and the composers. Really exciting. In we
:26:54. > :26:57.go. We have now entered and ticket scanned, we are waiting in the wings
:26:58. > :27:06.to go into the main arena. I have seen the walk, by the way! One, two,
:27:07. > :27:19.three, go. Now running, please. -- no running.
:27:20. > :27:27.We can get to the rail when we go quickly. I have touched the Holy
:27:28. > :27:33.Grail! We are here at the rail. What do you most like about being here? I
:27:34. > :27:37.like to be on the front obviously because you can see everything and
:27:38. > :27:42.hear everything so well. How do you deal with standing up? It is so
:27:43. > :27:46.lengthy. You do not really think about it. You get taken in by the
:27:47. > :27:51.music and you do not think about your legs hurting. When you get out
:27:52. > :27:56.you might want to have a stretch! One thing that is interesting is
:27:57. > :28:00.people then sit down when they're in here. I never thought about setting
:28:01. > :28:18.on the floor of the Albert Hall! It is about begin.
:28:19. > :28:25.What an exhilarating experience! To hear the full choir, the orchestra
:28:26. > :28:31.pulled up my goodness, you really feel a part of the music. Every
:28:32. > :28:35.dynamic, you can hear every breath that the singers take, everything I
:28:36. > :28:40.heard this morning so true, is amazing to be a Prommer and even
:28:41. > :28:42.more amazing to be at the rail. I had a fantastic time and I will be
:28:43. > :28:43.back again. Saxophonist YolanDa Brown being
:28:44. > :28:56.a Prommer for the first time and, Sometimes I would go really early or
:28:57. > :29:01.sometimes I would risk it and go quite late. I had amazing musical
:29:02. > :29:05.experiences, I'll whiz went to the gallery because I like to feel the
:29:06. > :29:11.collective energy of that many people. -- I always went. You can
:29:12. > :29:15.sit or you can lie down if there is enough room. You have no excuse
:29:16. > :29:23.because you only had toward the hundred yards. I went so many times,
:29:24. > :29:27.it is such an amazing thing. And for a fiver, it's incredible. But I
:29:28. > :29:32.always go downstairs. Interesting. Now you have made me want to go
:29:33. > :29:38.upstairs. Just to see the performers up close and feel connected. Would
:29:39. > :29:45.you do the funny walk to get to the rail? I've done it. Yes. It does
:29:46. > :29:50.look very funny. I am looking at the height of your heels. I'm five foot
:29:51. > :29:55.tall if I've been to see three Osteopaths and I have two where
:29:56. > :29:59.these heels everywhere, there is no way I could stand for all of those
:30:00. > :30:04.hours. I would need to bring three burly men to hoist me up to sit up
:30:05. > :30:14.there before it starts. I buy a ticket and I sit down. A velvet
:30:15. > :30:18.seat, a bit of plush? I love that. That is a Proms Extra insight into
:30:19. > :30:20.promming. And once you've made it
:30:21. > :30:23.inside the Hall you might come away feeling inspired to pick up
:30:24. > :30:26.an instrument in your own time. BBC's Get Playing could just be
:30:27. > :30:29.the thing for you because it is an initiative to encourage
:30:30. > :30:33.you to get playing. and you can join the BBC
:30:34. > :30:38.Virtual Orchestra on the Last Now last Friday BBC Four showed
:30:39. > :30:41.Mahler's Third Symphony. This mighty work, an hour
:30:42. > :30:44.and a half long, was conducted by the 87 year old Bernard Haitink
:30:45. > :30:46.who made his Proms That was Sarah Connolly performing
:30:47. > :32:02.Mahler's Third Symphony, with the London Symphony Orchestra,
:32:03. > :32:12.conducted Bernard Haitink. Another spine tingling moment, I
:32:13. > :32:17.think. I can tell that you are a big fan of Mahler. That is heaven for
:32:18. > :32:25.me. I love Mahler anyway. Sarah Connolly singing like a goddess, and
:32:26. > :32:29.Bernard had all of these orchestral forces and the whole thing felt like
:32:30. > :32:41.an epic journey. I was just in heaven watching this. And the
:32:42. > :32:46.trombone solo, Dudley Bright, it started sinister and menacing almost
:32:47. > :32:53.and then it gets so mellow and mellifluous. Everything about it I
:32:54. > :33:04.loved. The LSO, they are spectacular. The little clip, the
:33:05. > :33:06.oboe player is a friend of Jo. Every single person... Playing those
:33:07. > :33:14.beautiful melodies, and it is full of young players, they are really
:33:15. > :33:19.supporting young players. Phil Cobb is only a young guy, leading the
:33:20. > :33:25.trumpets. The whole brass burst movement was exceptional. The whole
:33:26. > :33:33.thing blew me away, monumental. The way that he paced it, Haitink he
:33:34. > :33:39.said the music speaks for itself, and I love that about him because so
:33:40. > :33:42.many conductors, sorry Jessica, won't stop talking! Come on, let's
:33:43. > :33:48.just make the music. I love that about him. I've never worked with
:33:49. > :33:54.him but he sounds like heaven. That is the thing with Haitink on it is
:33:55. > :34:03.like he conducts with his aura. It is so minimal. It is so seeped in
:34:04. > :34:06.life and all of life's experiences and struggles which are so deep
:34:07. > :34:11.within his bone marrow that he just stands there, this incredible work,
:34:12. > :34:16.extraordinary work, that is about struggle and life, it encapsulates
:34:17. > :34:23.the world. All of these tiny things that he does, it is there in the
:34:24. > :34:31.ether. And the energy around him. The only thing wrong with Mahler 3
:34:32. > :34:35.is that there is no Sopranos part! I have seen a bit of an opening for
:34:36. > :34:45.myself, we could do an experimental piece like David Bowie. A little
:34:46. > :34:49.song at the beginning of the third movement, a little song about a
:34:50. > :34:54.cuckoo who is going to fall out of the tree to his death. Hopefully we
:34:55. > :34:55.have a nightingale to serenade us in the summer. I could seriously join
:34:56. > :34:58.in. If you head to the BBC iPlayer
:34:59. > :35:01.you can find Mahler's Third Symphony as conducted by Bernard Haitink
:35:02. > :35:04.along with many more Proms delights. Talking of delights,
:35:05. > :35:05.ahead of their performance from memory at the Royal Albert Hall
:35:06. > :35:08.last Sunday, which you can watch later in the month,
:35:09. > :35:11.the Aurora Orchestra did a surprise performance, a flash mob,
:35:12. > :35:13.inside a London shopping centre, playing to enthralled shoppers -
:35:14. > :35:50.have a look at this. That was the Aurora Orchestra,
:35:51. > :35:52.giving the captivated audience of shoppers
:35:53. > :35:57.there a surprise bargain. In our opinion that definitely beats
:35:58. > :36:00.a 'buy one get one free' offer. And that is almost it,
:36:01. > :36:02.but whilst there's some major sporting event happening somewhere
:36:03. > :36:05.in Rio, there's a bit of a change So tonight after Proms Extra you can
:36:06. > :36:09.watch the National Youth And for the next couple of weeks,
:36:10. > :36:14.Saturday night is Proms stockpiled as a pentathlon
:36:15. > :36:19.equivalent of Proms offerings, on BBC Four for a week
:36:20. > :36:22.after the Olympics have finished! And don't worry Proms
:36:23. > :36:25.Extra is going nowhere. Next week, Proms Extra has got
:36:26. > :36:32.a pass out to do the show from the Royal Albert Hall
:36:33. > :36:34.for one night only. It's a night of Gershwin
:36:35. > :36:39.with the John Wilson Orchestra, and Proms Extra is the warm up act -
:36:40. > :36:42.we're even going to So please join us as we'll also be
:36:43. > :36:46.taking a look at Tchaikovsky's Violin Concerto, Holsts' Planets
:36:47. > :36:48.and Jamie Cullum's Prom. My thanks to my guests
:36:49. > :36:58.tonight, Jessica Cottis, good luck with the CBeebies Prom,
:36:59. > :37:00.and Josephine Stephenson. And my thanks to Ailish Tynan
:37:01. > :37:03.who is accompanied by pianist, Ian Tindale, performing
:37:04. > :37:04.Strauss' Zueignung. # heilig, heilig an's Herz
:37:05. > :38:39.dir sank, MUSIC: Toreador Song from Carmen
:38:40. > :38:52.by Bizet It doesn't matter what level you are
:38:53. > :38:56.or what you play.