:00:00. > :00:09.Proms Extra really is at the Royal Albert Hall.
:00:10. > :00:11.Tonight, we're all about Tchaikovsky, Holst and Jamie Cullum,
:00:12. > :00:14.plus we'll be getting you in the mood for the John Wilson
:00:15. > :00:48.Think of us as the cheeky best man to the blushing
:00:49. > :00:52.And last week, here inside the Hall, the audience gathered
:00:53. > :02:40.And the Proms just keep on coming, and we're only half way
:02:41. > :02:45.Now, l'm not the only one let loose inside the Hall tonight, l have some
:02:46. > :02:51.First up, a lady who is no stranger to the joys of performing
:02:52. > :02:53.with the John Wilson Orchestra, and indeed the West End stage.
:02:54. > :02:56.She's a real Northern lass, originally from Salford but now
:02:57. > :03:00.She gets her family to bring her pudding when they come to visit
:03:01. > :03:02.as you can't get decent pudding, chips and gravy down South.
:03:03. > :03:08.We could only stretch to chips but she said she'll stay.
:03:09. > :03:13.And also joining us tonight is a renowned jazz musician
:03:14. > :03:17.and celebrated broadcaster who knows Gershwin like the back of his hand,
:03:18. > :03:20.and feet, having performed works like Rhapsody in Blue and other
:03:21. > :03:30.He's also part of the Proms Extra family.
:03:31. > :03:45.And you're going to be forming here in a couple of days. I must learn my
:03:46. > :03:52.repertoire. It is the Shakespeare Prom. And a bit of Kiss me Kate and
:03:53. > :03:57.some orchestral pieces. That is on Thursday, we will be tuning in. And
:03:58. > :04:02.what have you been up to, Julian M quite a few things, a lot of
:04:03. > :04:08.educational initiatives. I'm Ambassador for the BBC and just
:04:09. > :04:13.training young jazz musicians in the ways of jazz, helping them forward.
:04:14. > :04:21.I have a scheme called the trio university, more on that later! Well
:04:22. > :04:25.we have got Gershwin and the John Willesden August, a great
:04:26. > :04:31.combination. Looking forward to it? Very much, John Wilson is a man
:04:32. > :04:37.passionate about music. -- the John Wilson Orchestra. Especially with
:04:38. > :04:42.Hollywood, uncovering some of the scores from the MGM films. Someone
:04:43. > :04:45.like him delving deeply into Gershwin, I think really means that
:04:46. > :04:50.the music is going to be done justice. We will note that you like
:04:51. > :04:53.it if you call him a jazz cat! Well, Proms Extra will be
:04:54. > :04:55.here watching the build up to the Gershwin Gala courtesy
:04:56. > :04:58.of the John Wilson Orchestra, who will be on stage in about half
:04:59. > :05:01.an hour or so to perform some Now, whilst we're here,
:05:02. > :05:05.Proms Extra has pleaded with an Albert Hall insider to guide
:05:06. > :05:08.us into the inner sanctum, to see who's around and smell
:05:09. > :05:10.the excitement building up. Quite frankly, there was only
:05:11. > :05:12.one man for the job. That's broadcaster and head
:05:13. > :05:15.of the John Wilson fanclub, Petroc, I see you got
:05:16. > :05:27.the memo to dress up. If ever there was a night for formal
:05:28. > :05:33.wear at the BBC Proms this is it. One of the most eagerly awaited
:05:34. > :05:37.events in the Proms calendar. This famous stage empty and in darkness
:05:38. > :05:40.at the moment but very soon some of the greatest orchestral players
:05:41. > :05:45.drawn from across the UK will be here making music with a great trio
:05:46. > :05:50.of soloists and fantastic wire as well. Performing music by George
:05:51. > :05:54.Gershwin, lyrics by Ira Gershwin. And let's not forget that famous
:05:55. > :05:58.Proms audience. You do not often see the arena empty, the doors will open
:05:59. > :06:03.very soon and I think it will be packed pretty tightly there this
:06:04. > :06:09.evening. This is the eighth appearance at the Proms by the John
:06:10. > :06:12.Wilson Orchestra full. John Wilson himself is passionate, enthusiastic
:06:13. > :06:16.and incredibly energetic. But I managed to get him to sit down for a
:06:17. > :06:21.couple of minutes after rehearsal this afternoon and we began by
:06:22. > :06:25.talking about authenticity. If the spirit of Ira and George Gershwin we
:06:26. > :06:31.here tonight, he would want them to improve of what he has done. --
:06:32. > :06:38.approved. It is important that we play all the right notes! And in the
:06:39. > :06:43.right style, which is kind of elusive these days. Not many people
:06:44. > :06:49.are playing this music Day in and day out and there was a certain way
:06:50. > :06:54.to play it, the depth of the sound. We have got to work at that every
:06:55. > :06:58.time to stop but every last semi-clear is authentic to the
:06:59. > :07:02.original motion picture sound. What she knew earlier in rehearsal,
:07:03. > :07:06.you're tough with the orchestra but you also have a great relationship
:07:07. > :07:09.with them. They are players that you are personally selected. We have
:07:10. > :07:17.been learning together for 20 years now. I learn from them. I try to
:07:18. > :07:21.guide them to the vision I have of the music. It is very much a
:07:22. > :07:27.collaboration. So many treats coming up this evening, do have a favourite
:07:28. > :07:33.song? The man that got away, it is a song that I wrote and dashed that
:07:34. > :07:38.Ira wrote, it is possibly the greatest popular song of that idiom
:07:39. > :07:42.ever written. It is your eighth appearance of the Proms and I sensed
:07:43. > :07:47.the energy and tension and excitement, it does not get any
:07:48. > :07:50.less. You're pretty geed up when you go out there. Yes, it is the
:07:51. > :07:55.highlight of the year and very exciting. I would be lying if I said
:07:56. > :08:01.anything else. A bit nervous, but the right kind of nervous. No one is
:08:02. > :08:06.complacent. We are on the edge first team spot in the good way. We
:08:07. > :08:10.rehearse hard and we want to do the concert, we are all excited about
:08:11. > :08:15.it. That was John Wilson spitting immediately after rehearsal this
:08:16. > :08:21.morning. His orchestra on BBC Two at 7:30pm and bike every prom, on Radio
:08:22. > :08:25.3 is well this evening. Presented by, forget about the Olympics, the
:08:26. > :08:28.only super Saturday worth considering is here at the Royal
:08:29. > :08:32.Albert Hall. I will go backstage to try to find some solace to talk to
:08:33. > :08:37.later in the programme. Back to you now, Katie.
:08:38. > :08:44.You have worked with John Wilson many times. I would like to show you
:08:45. > :08:57.my all-time favourite clip of you singing with him. Go for it.
:08:58. > :09:17.# Tap your troubles away. # Tap your troubles away.
:09:18. > :09:26.Every time I watch that I just laugh. Will you aware of what was
:09:27. > :09:30.going on? I thought perhaps I had my skirt tucked into my underwear, I
:09:31. > :09:38.could hear 5000 people laughing. And it was Dave and Maude! It was quite
:09:39. > :09:43.amusing. I'm reliably informed that they made the early train. As you
:09:44. > :09:49.can hear from the tannoy, we are in the Albert Hall waiting for the John
:09:50. > :09:52.Wilson orchestra to come on stage and start their prime. Tell us what
:09:53. > :09:59.it is like backstage, getting ready for one of the Proms? We both know
:10:00. > :10:02.the hall so well now, and the bullring that runs around, there is
:10:03. > :10:06.a lot of frenetic activity, people warming up, the fantastic medical
:10:07. > :10:14.singer is getting ready. The soloists applying a lot of make-up.
:10:15. > :10:18.And the orchestra is so large, a lot of people are back there doing their
:10:19. > :10:21.stuff. Tom Croxton who looks after the audience -- the orchestra, make
:10:22. > :10:29.sure everyone has their music sorted out. Those musicians are tremendous
:10:30. > :10:37.and hand-picked. Yes, they are a community. And John has chosen them
:10:38. > :10:42.lovingly, really. If anyone could choose an orchestra that is made up
:10:43. > :10:50.of their favourite players and the most excellent players, then John
:10:51. > :10:53.Wilson is making that a reality. I know everyone, the queue was
:10:54. > :10:57.extraordinary acts out and we have had a lot of people saying one night
:10:58. > :11:04.is not enough, I look forward to this each year. It is going to be
:11:05. > :11:08.great. The amount of music that George and Ira Gershwin Road, there
:11:09. > :11:15.could be three Proms! Well the audience are going to come in any
:11:16. > :11:17.minute. Whilst we wait, with intent to a of repertoire once described as
:11:18. > :11:35.music that sticks out the year. This is a quad piece in the
:11:36. > :11:42.repertoire. Absolutely, every musician is sensitive about what
:11:43. > :11:47.they write. Try Scott the scenes was quite a gentle character. --
:11:48. > :11:51.Tchaikovsky. Many people poking their noses and especially
:11:52. > :11:54.violinists, trying to save his unplayable or it doesn't sound
:11:55. > :12:01.great. When it finally got performed I think two years after he wrote it,
:12:02. > :12:04.it was like, that is how it should sound. Of course the great
:12:05. > :12:09.violinists through the ages have caught on and it has become a staple
:12:10. > :12:14.in the canon of violin repertoire. Would you agree with those who say
:12:15. > :12:22.it is quintessentially Russian peace? I would agree. It is buoyant,
:12:23. > :12:28.it is lively and gritty. But so impressive to see any great
:12:29. > :12:33.violinist play put up and Pekka Kuusisto just does it the most
:12:34. > :12:37.immense justice, it is beautiful. He brings out some of the third
:12:38. > :12:44.Guinness as well, many performers do not. Yes, he enjoys every moment of
:12:45. > :12:49.it. -- some of the folky aspect. You feel that the piece is in safe hands
:12:50. > :12:54.when he does it and it is. He connects in a way that you really
:12:55. > :12:56.appreciate. Well we can see him in action now. With the BBC Scottish
:12:57. > :13:05.Symphony Orchestra. Tchaikovsky's Violin Concerto
:13:06. > :13:09.as performed by Pekka Kuusisto. MUSIC: Tchaikovsky's Violin Concerto
:13:10. > :13:45.performaed by Pekka Kuusisto. Pekka Kuusisto making
:13:46. > :13:47.his debut at the Proms, and l believe on that night,
:13:48. > :14:03.Pekka cemented his place as one That performance, safe and in the
:14:04. > :14:09.hands of a master, but also what a showman. Absolutely, he went further
:14:10. > :14:13.to show his connection with the audience by singing song. We will
:14:14. > :14:21.hear a bit of that, do not give it away! He played that piece just with
:14:22. > :14:26.immense buoyancy and love. When you watch it you can see that he is
:14:27. > :14:29.loving every moment. He's not concerned about himself, he is just
:14:30. > :14:34.loving the music and it comes across. Even before the fun and
:14:35. > :14:39.games started with the encore, he had the audience eating out of his
:14:40. > :14:44.hand. When I watched it, there was virtuosity but also how playful he
:14:45. > :14:51.was. I thought he was just 17! So enthusiastic. And the section, where
:14:52. > :14:55.he plays a cappella without the orchestra is unbelievable. The
:14:56. > :15:00.finger work just stunning and he teases people with some beautiful
:15:01. > :15:06.high notes that he takes on. Really gorgeous to watch. And also the way
:15:07. > :15:10.he connects with the audience. I watched it. The atmosphere was
:15:11. > :15:17.phenomenal by all accounts. He was playing with us. He's a very
:15:18. > :15:22.personable guy, very approachable. And I did not realise it was his
:15:23. > :15:26.debut, that is incredible. He played also with the violin players. When a
:15:27. > :15:31.soloist can connect with the rest of the guys in the gang, that was
:15:32. > :15:35.really lovely. Well be alluded to the encore and it was great. This is
:15:36. > :15:48.what happened when he got the whole hall singing along.
:15:49. > :15:53.One more time, very clear articulation, please! Great, this is
:15:54. > :16:16.the last verse! 6000 people singing in finish in
:16:17. > :16:20.your encore, that's not bad going. You connect with the audience, we
:16:21. > :16:26.saw you earlier in your clip, do you learn that orders it, naturally? I
:16:27. > :16:30.think any stand in this place or any concert hall you play, you have to
:16:31. > :16:35.do that. It's a great thing about being a live performer. You invite
:16:36. > :16:39.people in. Playing to a live audience you have to give it to
:16:40. > :16:42.them. You have to lean in and find eye contact with someone, whether
:16:43. > :16:49.it's at the top of the gallery or the guys down at the front in the
:16:50. > :16:53.mosh pit. Watching your work, you do that as well. It's intimate, and you
:16:54. > :16:59.have to be comfortable with yourself in order to do that. That's the
:17:00. > :17:04.thing that comes across. That inner confidence, that self-confidence. He
:17:05. > :17:08.thought, I'm just going to have a giggle. He trusts in what he's
:17:09. > :17:16.doing. And he trusts the audience to get it. And nobody can not be
:17:17. > :17:21.charmed by that. He includes people. Did it take you a while to get
:17:22. > :17:25.confident before you could enjoy feeding off the audience? It's a
:17:26. > :17:30.funny thing, we talked about it earlier, when you are a musician, an
:17:31. > :17:36.entertainer, it chooses you, it calls to you. For some of us, the
:17:37. > :17:40.ability to connect with the audience, the more people you see
:17:41. > :17:44.either on the stage or offstage, the more comfortable you feel. It's a
:17:45. > :17:49.very strange thing, because even before you go on, you think it will
:17:50. > :17:52.be the opposite. Then you get out and actually, the warmth you feel
:17:53. > :17:57.with the audience and the members of the group on the stage, it's like
:17:58. > :18:01.you are being embraced. It feeds you and the way you want to perform. It
:18:02. > :18:07.really does. Do you think we should see more of that sort of engagement
:18:08. > :18:11.in classical concerts? The great thing about classical concerts, it
:18:12. > :18:18.applies to everyone, my little girls, they are four and nine,
:18:19. > :18:23.hello, girls! The audience for Pekka's prom was all ages. Young
:18:24. > :18:29.children and old people. And the Holst covered all ranges as well.
:18:30. > :18:36.Live art is very inclusive. I've got my nephew coming tonight. I don't
:18:37. > :18:39.think you also you have to do that. What's wonderful about the Proms is
:18:40. > :18:44.that it invites it but doesn't have to have it. It can be completely
:18:45. > :18:48.silent and you can concentrate on the music in the most pure way. It
:18:49. > :18:55.doesn't have to pander to a certain kind of entertainment. But that
:18:56. > :18:56.honesty he radiates is something people really appreciate. And it's
:18:57. > :18:57.obviously him. Do go to the BBC iPlayer to see
:18:58. > :19:00.Pekka's amazing performance. And from one heavenly body
:19:01. > :19:03.to another - I'm talking about Gustav Holst's inimitable
:19:04. > :19:05.work The Planets, This seven movement work has
:19:06. > :19:13.influenced the likes of film composer John Williams,
:19:14. > :19:15.plus tough metal giants Iron Maiden, who apparently used the Mars
:19:16. > :19:17.movement to get the fans going before they came
:19:18. > :19:19.on to perform. In this performance there
:19:20. > :19:21.were no metalheads - just the rough, tough,
:19:22. > :19:23.and fearless National Youth Orchestra of Great Britain
:19:24. > :19:29.giving their all. MUSIC: The Planets -
:19:30. > :20:12.Jupiter by Gustav Holst. What a sight to behold - 164 pumped
:20:13. > :20:16.up teenagers on a Saturday night, giving it some in a hall
:20:17. > :20:18.in South Kensington. It could only be the NYO
:20:19. > :20:21.of Great Britain performing Gustav Holst's
:20:22. > :20:42.The Planets at the Proms. But after. What a combination. And
:20:43. > :20:46.Edward Gardner, the conductor connects with them in such a great
:20:47. > :20:51.way. Every advantage they have in terms of their energy and accuracy,
:20:52. > :20:55.even the swaying of the strings in particular, it just connects it. You
:20:56. > :21:06.relish every single note. This piece really suits them. Anna-Jane was
:21:07. > :21:09.there. My sister was there, and you talk about Iron Maiden, but my
:21:10. > :21:15.sister wanted to walk down the aisle at her wedding to Mars. The youngest
:21:16. > :21:21.player was 14. Millie Ashton, their leader, is just 18. And they all
:21:22. > :21:25.played like soloists, 164 of them. They blended beautifully but all
:21:26. > :21:31.wanted to be the star and that's so exciting. What about your trumpet
:21:32. > :21:35.player? I think her name is Zoe Perkins, remarkable, just 17 or 18.
:21:36. > :21:41.And the gender spread was great. You usually think is the double bass or
:21:42. > :21:51.trumpet being men, but there were women in there as well. If you were
:21:52. > :21:55.here you could hear the roar of the doors being opened and the Proms
:21:56. > :21:59.audience flooding in. It's like the sound of the sea. Do you ever get
:22:00. > :22:02.the impression you are watching a youth Orchestra or could you shut
:22:03. > :22:06.your eyes and think you are listening to professionals? It
:22:07. > :22:13.didn't feel like you are getting any less because of the youth. In fact,
:22:14. > :22:20.you were probably getting more. And the music connected. It spoke
:22:21. > :22:25.powerfully. I think as powerfully as any professionally considered
:22:26. > :22:30.orchestra might deal with it. It was impressive, and it was a sight to
:22:31. > :22:34.behold. That enthusiasm and energy youngsters bring to any performance,
:22:35. > :22:39.you were a child star yourself. I danced around as a small one. It's
:22:40. > :22:44.that thing as an adult, a 44-year-old woman, I think, how do
:22:45. > :22:49.they have that strength? But between 14 and 18 you have that bravado and
:22:50. > :22:52.it came across. Out of the seven pieces, the two I didn't know so
:22:53. > :22:57.well, you're a nurse and Neptune, they were my favourite because they
:22:58. > :23:05.were so beautiful. -- Uranus and Neptune. There was the new Pluto
:23:06. > :23:10.movement, the Conor Matthews peace, not the first time it's been heard
:23:11. > :23:15.here, but it's about 15 years old. Did it fit in? I thought it was
:23:16. > :23:22.absolutely perfect. In the orchestration, the skill that
:23:23. > :23:28.matched the stuff Holst's. The style. I thought it was absolutely
:23:29. > :23:34.in keeping with the style. It was like a revelation. And it came
:23:35. > :23:37.perfectly at the end. Because you've got to really bring it when you are
:23:38. > :23:43.doing the last movement. You have to really bring it, and it was brought.
:23:44. > :23:47.Colin was there as well, and he got a nice applause. He was sat behind
:23:48. > :23:49.me, I whispered well done to him at the end.
:23:50. > :23:52.You are very welcome to get starry-eyed by going to the BBC
:23:53. > :23:55.website to see The Planets by Holst as performed by the NYO
:23:56. > :23:58.And our cosmic journey continues, from the planetary landscape
:23:59. > :24:00.to a space odyssey as explored in Chord of the Week
:24:01. > :24:07.by our own out of this world superstar, David Owen Norris.
:24:08. > :24:15.The crucial cord from Richard Strauss's tone poem Also sprach
:24:16. > :24:20.Zarathustra. Strauss uses different keys to represent different ideas in
:24:21. > :24:25.the Frederick Meacher poem he based his piece on. The poem deals with
:24:26. > :24:31.the relationship between mankind and nature. Strauss makes B the key of
:24:32. > :24:40.man kind, so this is humanity dancing in B Major. And just as we
:24:41. > :24:47.are poised to get our breath back on the cord we call the dominant, in
:24:48. > :24:55.comes the trumpet with this, not in B, but C, Strauss's key of nature.
:24:56. > :24:59.And that's also the theme we here at the very opening of the peace. Our
:25:00. > :25:04.Chord of the Week is really two chords at once. A cord from the
:25:05. > :25:11.world of mankind struggling against a cord from the world of nature.
:25:12. > :25:16.Having set up this opposition between mankind and nature, how does
:25:17. > :25:24.Strauss resolve it at the end? The strings and flutes play Mankind's B
:25:25. > :25:30.Major, but the bases keep plucking away at the theme of nature in C.
:25:31. > :25:41.And its nature that has the last word.
:25:42. > :25:56.Strauss' Also Sprach Zarathustra, and its chord, which the NYO
:25:57. > :25:59.of Great Britain performed in full on the same night as The Planets.
:26:00. > :26:03.Chord of the Week and David Owen Norris will be back next Saturday.
:26:04. > :26:05.Proms Extra is here inside the Royal Albert Hall
:26:06. > :26:07.and we have my guests - jazz musician and broadcaster,
:26:08. > :26:10.Julian Joseph and West End star AJ Casey.
:26:11. > :26:14.We're patiently waiting and bursting with excitement
:26:15. > :26:19.for the John Wilson Orchestra Prom which is a Gershwin Gala.
:26:20. > :26:22.Julian - what is it about George and Ira Gershwin that
:26:23. > :26:35.Trap the amazing thing about George Gershwin, he seems to encapsulate
:26:36. > :26:42.everything that America was about at that golden time from the 1920s
:26:43. > :26:47.onwards. Jazz, Broadway, all these things that are burgeoning, new
:26:48. > :26:53.inventions. New creations that have come out of this new world. That was
:26:54. > :27:03.called America. And he just captured the whole essence of it. He was
:27:04. > :27:09.open, creative, fertile, energetic. The melodies are just to die for.
:27:10. > :27:15.And they are timeless, like you say. Still today they have so much
:27:16. > :27:21.relevance and power. It's really not surprised to hear a Brahmer
:27:22. > :27:24.featuring the music of Gershwin or that John Wilson, the great
:27:25. > :27:30.articulate of music from this period, would choose this as
:27:31. > :27:34.something he would really celebrate. AJ, George's wonderful music and Ira
:27:35. > :27:38.Gershwin's wonderful lyrics. What are they like to sing? Incredible,
:27:39. > :27:42.the melody goes where you wanted to go as a singer. Sometimes you get an
:27:43. > :27:47.interesting song that goes to replace you don't feel you want to
:27:48. > :27:51.go with your voice Gershwin does. Someone to watch over me, you can't
:27:52. > :27:58.believe that song is nearly 100 years old, written in 1926. Stunning
:27:59. > :28:02.tunes. Another thing about Gershwin, I always find, and you probably find
:28:03. > :28:07.this, there is always a counter melody. Yes. There is always a
:28:08. > :28:14.counter melody in the way the music is written. If you take something
:28:15. > :28:19.like Summertime. The moving of the strings under it. All these moving
:28:20. > :28:21.parts. It's a signature thing in all his songs.
:28:22. > :28:23.Well stay tuned, the Gershwin Prom is not far away.
:28:24. > :28:26.Now last Thursday saw a musical giant who can veer from pop,
:28:27. > :28:28.to rock to jazz, taking over the Albert Hall.
:28:29. > :28:31.I'm talking about Jamie Cullum, who had a sensational Prom back
:28:32. > :28:33.in 2010, and was back to show the crowd just what
:28:34. > :28:53.# I've been praying from the start # I'm kicking up a storm
:28:54. > :29:10.# In the Valley I was born # I can hear the
:29:11. > :29:20.# I'm on the edge of something. # So I just keep calling, every
:29:21. > :29:31.time. # I'm on the edge of something.
:29:32. > :29:45.# So I just keep evolving, every time. Three standing ovations for
:29:46. > :29:50.Jamie Cullum at his prom. What is it about Jamie, it just appeals to such
:29:51. > :29:55.a wide audience. Once again he has that open face the same as Pekka
:29:56. > :30:01.Kuusisto, a very easy nature to jump into. The plant was incredible, who
:30:02. > :30:06.could go from that straight on till Cole Porter song. No one else would
:30:07. > :30:10.do that, it was beautiful. And acquire and the Heritage Orchestra
:30:11. > :30:17.were amazing and the guests that he had on. John Wilson player, John
:30:18. > :30:21.Stokes, also played with Jamie. So beautiful performance. He is often
:30:22. > :30:27.referred to as a crossover jazz artist but jazz is always about
:30:28. > :30:30.collaborating with other musicians. Certainly, as a jazz musician,
:30:31. > :30:34.because of the way that we are required to learn our craft, you can
:30:35. > :30:40.very easily or more easily than in some situations, adopt other kinds
:30:41. > :30:45.of music and spirals and really get to the nub of things because you
:30:46. > :30:50.used your ears and you try to be as honest as possible. But Jamie is
:30:51. > :30:59.also generous, he's a generous person, and a generous musician. He
:31:00. > :31:05.had a wonderful vocalist guesting with him and he is prepared to share
:31:06. > :31:09.the stage with whoever he loves. The Heritage Orchestra, it is a
:31:10. > :31:13.collaborative effort. He is the architect of that wonderful show,
:31:14. > :31:20.but he collaborates. Jules Buckley and all the various elements. It is
:31:21. > :31:24.wonderful to see that connection and I really admire that. With any
:31:25. > :31:27.artist you want to connect all the different facets of your life and
:31:28. > :31:33.your art and put it together in your music. We often listen to his radio
:31:34. > :31:39.show and he always brings in new artist. Beverley Knight, he has done
:31:40. > :31:40.a pop single but he covers everything.
:31:41. > :31:42.You can see the broadcast of the Jamie Cullum Prom
:31:43. > :31:46.Now, earlier Proms presenter Petroc Trelawney was onstage in
:31:47. > :32:00.Hello. The front of house looks so glamorous this evening with all the
:32:01. > :32:04.lights and the dry ice. It is little scruffy backstage but just think of
:32:05. > :32:09.the history of the score draw, the thousands of Proms artists, tens of
:32:10. > :32:13.thousands, who have walked down here over the great history of this
:32:14. > :32:19.festival. Three of those artists tonight with me now. Louise Dearman,
:32:20. > :32:27.Julian Ovenden and Matthew Ford. Louise, you onstage in a short time.
:32:28. > :32:31.I am nervous but more excited than nervous, it is an incredible venue,
:32:32. > :32:37.my all-time favourite in the world of performance and my third year
:32:38. > :32:41.running doing the Proms. Other concerts feature Gershwin, other
:32:42. > :32:47.orchestras, other halls, what is so special about this John Wilson
:32:48. > :32:51.Orchestra? There's no other orchestras in the world is good and
:32:52. > :32:56.as dedicated as this. And have the music to play at, of one thing. John
:32:57. > :33:02.has dedicated decades to recreating this music. And the orchestra,
:33:03. > :33:08.they're the experts and it. They're like the SAS for this kind of music!
:33:09. > :33:12.John is a bit like the general commanding the SES. Watching him
:33:13. > :33:21.today at rehearsal, he's pretty tough. He is fierce, he's
:33:22. > :33:25.marvellous, incredible. It is is his enthusiasm, players love playing
:33:26. > :33:31.with him. Many people will know you as an actor in the West End, Julian,
:33:32. > :33:36.but you began as a singer at the age of eight or nine. Age seven as a
:33:37. > :33:40.chorister. At St Paul's Cathedral. And that gives you a good grounding.
:33:41. > :33:47.You would think! I'm still nervous as hell. There is a reason why the
:33:48. > :33:53.call at the Bull run, I always feel I'm about to go in and face a large
:33:54. > :33:58.animal in the hall! Andrew Edis, what is it about George and Ira
:33:59. > :34:03.Gershwin, I think it's important we remember it is both brothers. It is
:34:04. > :34:07.phenomenal music and the programme put together by John Wilson is
:34:08. > :34:11.stunning. The variety in the music George Gershwin is sensational. And
:34:12. > :34:16.thrilling to listen to and thrilling to sing. I'm getting to sing some of
:34:17. > :34:23.my all-time favourite songs. And those lyrics. There are some very
:34:24. > :34:29.wordy tunes that you will hear later on but each of the songs is a story.
:34:30. > :34:32.And that is why they stand the test of time, they are a story that
:34:33. > :34:41.touches peoples hearts when they hear them. And we have plenty of
:34:42. > :34:45.stories to tell tonight. You have and the -- particularly tough first
:34:46. > :34:50.number. Thanks for pointing out! Tell us about the challenge that
:34:51. > :35:02.lies ahead. It is written for an extraordinary French singer. He was
:35:03. > :35:06.one of those incredible French tenors, extra ordinary voices, and
:35:07. > :35:16.this song, I never heard it sung in this key before. I paid John to try
:35:17. > :35:20.to take the key down but sadly lost! It was not authentic enough. So
:35:21. > :35:27.tonight I will be wearing especially tight trousers! Louise, you were
:35:28. > :35:32.here last year, just make a quick comparison with Brent style and
:35:33. > :35:38.Gershwin? That is really hard. They're both men of theatre.
:35:39. > :35:42.Absolutely, for me especially, by doing these Proms, these concerts
:35:43. > :35:46.with the John Wilson Orchestra, I'm getting to explore these composers
:35:47. > :35:50.and I have learned songs that I have to admit I have never heard before,
:35:51. > :35:55.never performed before. It is a whole new ball game for me as well.
:35:56. > :36:00.I know you're going to have a fantastic evening tonight. Thank you
:36:01. > :36:01.for being with us and it will be a thrilling night here at the Royal
:36:02. > :36:04.Albert Hall. The Hall is filling up now
:36:05. > :36:11.for the experience that And as a little treat,
:36:12. > :36:15.Proms Extra thought we'd remind you, and ourselves, what it is that makes
:36:16. > :36:18.the John Wilson Orchestra # It to darned hot.
:36:19. > :36:51.# Lets fly away! I hope that snapshot
:36:52. > :36:53.of John Wilson and his Orchestra has got you in the mood
:36:54. > :36:56.for what is coming at 7:30. My guests are still with me,
:36:57. > :37:09.Anna-Jane Casey and Julian Joseph. It is a celebration of the legacy of
:37:10. > :37:19.Gershwin, which is huge. It is huge. All the different dimensions in
:37:20. > :37:26.which George in particular operated, he wrote Broadway shows, he wrote
:37:27. > :37:33.piano and orchestral pieces, ballets, he wrote the iconic pieces
:37:34. > :37:39.and to coin a phrase from Duke Ellington, he an artist and I would
:37:40. > :37:45.apply the same terms as Duke Ellington, beyond category. And the
:37:46. > :37:49.John Wilson Orchestra also beyond category, I would say. And you said
:37:50. > :37:54.earlier, there is enough repertoire for plenty more Gershwin Prom. They
:37:55. > :37:58.could do three years worth, they really cool. I'm interested to see
:37:59. > :38:02.what songs they will have, perhaps some gems that we do not know. We
:38:03. > :38:04.would like to see something that were not so familiar with.
:38:05. > :38:06.And that's almost it for this evening.
:38:07. > :38:09.Proms Extra will be back next week, where we'll be looking
:38:10. > :38:10.at Rachmaninov's Piano Concerto, the "Proms At" concerts,
:38:11. > :38:13.and there'll be a post-match analysis of tonight's Gershwin Gala.
:38:14. > :38:16.Don't forget the BBC iPlayer - it's not just there to look pretty.
:38:17. > :38:19.There are lots of Proms still online for you to catch up with.
:38:20. > :38:23.And so there's just time for me to say thank you to my guests,
:38:24. > :38:26.AJ Casey - good luck for next Thursday in the Shakespeare -
:38:27. > :38:35.The Proms Extra crew are off to go and watch the concert
:38:36. > :38:37.from their camper van, whilst I'm staying to lead
:38:38. > :38:40.you into the Gershwin Prom, starting in a couple of minutes
:38:41. > :38:45.Don't go too far because, in the words of Ira Gershwin -