:00:00. > :00:00.It's all about stage and screen tonight as we make
:00:00. > :00:08.merry with Shakespeare, wax lyrical with Gershwin,
:00:09. > :00:11.and find out how this viola had us in pieces.
:00:12. > :00:41.It could only be the curtain raising Proms Extra.
:00:42. > :00:46.If the Proms is the stirring string section,
:00:47. > :01:13.And this week there's a lot to listen to.
:01:14. > :01:18.# What's new # That's fine
:01:19. > :01:23.# Nice weather we are having. # I have taken my umbrella so of
:01:24. > :01:26.course it doesn't rain # How's the wife?
:01:27. > :02:08.# Got to run Now Proms Extra loves
:02:09. > :02:13.a guest or three joining us And our first guest
:02:14. > :02:16.hasn't been that busy since his last appearance
:02:17. > :02:18.on Proms Extra. All he's been doing
:02:19. > :02:20.is writing a children's opera for the Royal Opera House
:02:21. > :02:23.and working on a piece for Sir Simon That is nothing to be
:02:24. > :02:26.excited about is it. Our next guest is busy directing
:02:27. > :02:40.operas but perhaps she is better She has thrilled audiences
:02:41. > :02:43.on stage and screen, due to her acclaimed work
:02:44. > :02:47.with the Royal Shakespeare Company and the National Theatre,
:02:48. > :02:49.and appearing in films such as the Harry Potter blockbusters
:02:50. > :02:51.and our personal favourite, Our final guest is the founder
:02:52. > :03:00.and Principal Conductor of one of the most exciting and adventurous
:03:01. > :03:03.orchestras to grace the Proms. I'm talking about the Aurora
:03:04. > :03:05.Orchestra who have made a name for themselves more recently
:03:06. > :03:07.for performing works by memory. We won't forget which ones they've
:03:08. > :03:10.done, they were stunning. It's hello to conductor
:03:11. > :03:13.Nicholas Collon. And performing at the end
:03:14. > :03:17.of the show is the London Symphony Orchestra's principal
:03:18. > :03:26.trombonist, Peter Moore. Welcome to all of you. How is that
:03:27. > :03:31.Sir Simon Rattle piece going? It's done. Are you pleased with it? Think
:03:32. > :03:39.so. We had a run through with the orchestra. I used to do with the
:03:40. > :03:46.CBSO, it was like going back to old times. Sglt can you give us a clue?
:03:47. > :03:51.It's in memory of a jazz guitarist whose son died. It's a memorial for
:03:52. > :03:56.a friend. I have been doing a few memorials, as you get older, people
:03:57. > :04:00.dying, but friends and so, it's quite a mournful piece in a way but
:04:01. > :04:04.there are happy bits. A great pleasure to be working with your old
:04:05. > :04:09.friend. Absolutely, it's fantastic. Fiona, you are doing another opera,
:04:10. > :04:13.I understand, what is in store this time? Next year for the Wexford
:04:14. > :04:17.Festival, I have always been a fan of the Wexford Festival and hardly
:04:18. > :04:21.get to it. It will be nice to land there. Tremendous. Nick, you are
:04:22. > :04:24.always busy. The Aurora Orchestra seem to be everywhere, highlights
:04:25. > :04:28.you are looking forward to? You can't be at the Proms, we were here
:04:29. > :04:32.last week at the Albert Hall which was thrilling for us. Doesn't get
:04:33. > :04:35.better than playing in the Albert Hall in the Proms season. It looked
:04:36. > :04:40.as if you were enjoying yourself. We had a good time. You always do. I am
:04:41. > :04:42.looking forward to hearing your conversation. Do get stuck in. We
:04:43. > :04:45.love that here. Let's start our musical journey
:04:46. > :04:48.from where we left off last week, when Proms Extra got the opportunity
:04:49. > :04:51.to be inside the Royal Albert Hall, to witness all of the preparation
:04:52. > :04:54.that went into the Gershwin Gala Prom as performed by
:04:55. > :04:56.John Wilson and his orchestra. As sure as night follows day,
:04:57. > :05:00.it seems hard to imagine a BBC Proms season without a visit
:05:01. > :05:02.by the John Wilson Orchestra, showing off what they do best -
:05:03. > :05:04.nostalgia, opulence, melodies. And here's a reminder
:05:05. > :05:07.of what the man himself had to say last week to Proms Extra
:05:08. > :05:19.about the relationship We have been learning together for
:05:20. > :05:26.20-odd years now. I learn from them. I try and guide them to the vision I
:05:27. > :05:58.have of the music and it's very much a collaboration.
:05:59. > :06:04.A blast of Gershwin from the John Wilson Orchestra which went out last
:06:05. > :06:09.Saturday. What is it about Gershwin that makes everybody feel warm and
:06:10. > :06:15.fuzzy and sway from side to side? I don't sway, well, I do sometimes, I
:06:16. > :06:18.think it's to do with the incredible melodic invex. The tunes are so
:06:19. > :06:25.great. This evening was full of every tune. Some lesser known tunes
:06:26. > :06:29.there, but tunes... There was an interesting repertoire. Some things
:06:30. > :06:35.I didn't know so well. Gershwin is a great composer, it's not just the
:06:36. > :06:44.tunes, but the harmonies are wonderful. I love things like Borgie
:06:45. > :06:48.and Bess. I grew up watching American in Paris, there is a
:06:49. > :06:52.generosity of spirit. But MEP ran, the tunes stick with you -- but
:06:53. > :06:57.memorable, as well. The tunes stick with you. He is a great composer,
:06:58. > :07:06.not just a great popular composer, but there is all these great
:07:07. > :07:10.composers, certainly great lyricists and composers, but for me Gershwin
:07:11. > :07:15.transsends it. I just feel he is one of the great 20th century composers.
:07:16. > :07:21.Nick, you enjoyed this Prom, as well. You conducted Rhapsody in Blue
:07:22. > :07:25.recently. I conduct a lot of Gershwin, it's thrilling to do. This
:07:26. > :07:29.was an amazing Prom night and it always is and the orchestra is
:07:30. > :07:33.phenomenal. It really is. The standard of the players is
:07:34. > :07:37.extraordinary and what John does with them is also so beautifully
:07:38. > :07:40.crafted, the whole programme and the way they play is authentic and
:07:41. > :07:44.exuberant. How would you describe that Hollywood sound he gets out of
:07:45. > :07:49.them, how does he achieve that? I think first it has to be said with
:07:50. > :07:54.real good players you can't do it with anything else. Matt on the
:07:55. > :07:57.drums, he is the best there is at that kind of music and Mike on the
:07:58. > :08:00.trumpet, it's phenomenal playing and through the orchestra you find there
:08:01. > :08:06.is such a strength and depth but also I am sure a lot comes from John
:08:07. > :08:09.and his way of imparting a sense of the style and the sound and the
:08:10. > :08:14.strings and the way you slide around and the woodwind. It's hard to do.
:08:15. > :08:17.It's really hard. Physically it's difficult to jump around at the
:08:18. > :08:23.music of Gershwin and make it tidy, as well. Fiona, when you hear
:08:24. > :08:29.Gershwin does it make you think next time I will do a musical on
:08:30. > :08:33.Broadway? He maps the optimism of America on to everything. It's very
:08:34. > :08:37.- you hear it in London, it's sort of it's slightly like it's in
:08:38. > :08:41.translation because we are not America so it's wonderful this John
:08:42. > :08:47.Wilson Orchestra can bring us this - you can see New York in every sound.
:08:48. > :08:51.Did it work for you? It does work. Sometimes I feel it's telling me
:08:52. > :08:55.what to feel even though I am not feeling it, OK, I am feeling it! It
:08:56. > :08:59.injects you with feeling. Is it the sort of music you would listen to at
:09:00. > :09:04.home? Probably not, what it does it almost tells me too much. I think
:09:05. > :09:10.leave some room for me! But it's just genius and I agree, I think
:09:11. > :09:13.Borgie and Bess is one of the greatest pieces ever written. I
:09:14. > :09:18.don't think we heard anything from that on the night. He is finding
:09:19. > :09:22.things and I have known John for a long time and through my friend
:09:23. > :09:27.Richard, that's how I met John, I have known him before he had this
:09:28. > :09:33.career and the orchestra and so I know his passion for this music and
:09:34. > :09:39.he just finds these long lost things and reconstructs them. You can't
:09:40. > :09:44.imagine how hard it is to do, to have people rearranging but also -
:09:45. > :09:48.finding music and being able to reconstruct it, that's the word I
:09:49. > :09:53.was looking for. I have never seen a string orchestra looking so happy.
:09:54. > :09:57.Seriously. I am not saying string orchestras are miserable, I will get
:09:58. > :10:00.in trouble for that, they look like they're having a great time. I think
:10:01. > :10:06.they're enjoying the sound from behind them, as well. They're all
:10:07. > :10:10.smiling. Little clips of the front, behind the singers, reacting to the
:10:11. > :10:14.music. You don't see that often. That's what John has got this
:10:15. > :10:18.ability to - this passion he has across the orchestra and across to
:10:19. > :10:23.the audience and that's rare. It's a lot of combination of things, of
:10:24. > :10:32.some magic really. It's interesting. Real. And it's there. We shouldn't
:10:33. > :10:36.forget brother Ira and his lyrics. The gift of rhyme and wit and you
:10:37. > :10:41.feel a cocktail has to appear at every moment. It's the wit of gin
:10:42. > :10:47.and vodka. It's genius. I notice at the end of the concert the other
:10:48. > :10:52.night the joy with which they - they got applause, they were relieved, so
:10:53. > :11:01.you feel it's hard to do. Who would the Gershwins of today be, are there
:11:02. > :11:05.any? Xoezing wise? Well, I sit on the sofa with one. In terms of
:11:06. > :11:17.finding... Sometimes it's followed on. Terms of the pop la sdiet gists
:11:18. > :11:24.it's hard to know. It's such a different audience that we play to
:11:25. > :11:29.and a different culture behind it. Beyonce is trying to be, the mad
:11:30. > :11:35.lyrics, the conversation lyrics turned from obscenity to poetry.
:11:36. > :11:39.Somebody who died recently, David Bowie. You can't underestimate what
:11:40. > :11:42.the great tunes he wrote, they were very special. Do you think they'll
:11:43. > :11:48.last? I think they will, absolutely, I do. I really do. Interesting.
:11:49. > :11:56.Fascinating. Good to have you here. That's why we invite you
:11:57. > :11:59.If you go on to the BBC iPlayer you can relive the magic
:12:00. > :12:01.of the Gershwin Prom for another three weeks,
:12:02. > :12:03.and take my, and Gershwinos, word for it, S'Wonderful.
:12:04. > :12:05.From a little light music to a romantic concerto, aka
:12:06. > :12:07.Rachmaninov's Third Piano Concerto aka Rach 3,
:12:08. > :12:09.as performed here by Behzod Abduraimov, making his Proms
:12:10. > :12:42.Rachmaninov's Third Concerto performed there
:12:43. > :12:44.by Behzod Abduraimov, with the Munich Philharmonic
:12:45. > :12:50.Orchestra conducted by Valery Gergiev.
:12:51. > :12:57.That's not easy to play, is it? No, almost impossible, he is
:12:58. > :13:01.extraordinary. He not only has the technical ability but he can do the
:13:02. > :13:05.lyricism, as well. You know, I can just about play the opening, I think
:13:06. > :13:10.at a push but after that it's extraordinary. Again it's like
:13:11. > :13:16.Gershwin in a sense this music is so generous. There is a generosity and
:13:17. > :13:19.melodic invention again. People don't like tunes like that any more,
:13:20. > :13:25.and he really has this incredible passionate way. The pianist, I
:13:26. > :13:28.didn't know anything about him, the first time I encountered him and he
:13:29. > :13:39.is extraordinary. Won't be the last time I am sure. He is amazing. This
:13:40. > :13:43.piece is known to be virtuoticically difficult to play. It was featured
:13:44. > :13:47.in the movie Shine. Have you conducted this? Never done it. I
:13:48. > :13:53.have done two of the other three. Yeah, a lot of pianists find it
:13:54. > :13:58.almost beyond them. It's incredibly difficult but he gave them the most
:13:59. > :14:02.astonishing performance actually. It felt completely - well, it was
:14:03. > :14:05.flawless for a start. Technically flawless. But so much physical power
:14:06. > :14:12.there, as well that came from his whole body. He played beautifully
:14:13. > :14:15.with his body, so in control. Beautiful posture of his hands. And
:14:16. > :14:21.exactly as Mark said there was poetry at the same time as all the
:14:22. > :14:26.virtuosty. He was outstanding. He is not that old. He is 25, I think.
:14:27. > :14:29.Something like that. He is not a kid but it does beg the question is
:14:30. > :14:32.there an age at which you shouldn't be approaching a work like that, do
:14:33. > :14:37.you think? He seems to understand there is a kind of nervous breakdown
:14:38. > :14:41.in that music. A kind of imminence or hysteria that's being kept in
:14:42. > :14:45.control with the speed and the control of it. Why a 25-year-old can
:14:46. > :14:50.really tune into that is just phenomenal. He understands it
:14:51. > :14:56.fundamentally. Is it your kind of music? So much. Everything we ever
:14:57. > :15:02.drank beer to and went... But you can hear shades of that in this.
:15:03. > :15:10.This seems almost a more advanced piece of works, we were talking
:15:11. > :15:14.about the fact that Rachmaninov lived in America and had these
:15:15. > :15:16.strange neighbours, maybe not necessarily friends with each other.
:15:17. > :15:20.All they are living next to each other in Los Angeles and not
:15:21. > :15:26.speaking. Yeah, very much my kind of music.
:15:27. > :15:35.It's romanticism meets the 20th century. So it's perfect.
:15:36. > :15:49.Let's just talk about the maestro. He has been a great presents. You
:15:50. > :15:54.never quite know what you are going to see. There is a quality of
:15:55. > :16:00.improvisation about the way he conducts, which is really
:16:01. > :16:05.interesting. That can create some very unprecedented and exciting
:16:06. > :16:08.performances. I have spoken to a lot of musicians about being conducted
:16:09. > :16:18.by him and they do not know what is coming next. He conducts with a
:16:19. > :16:31.toothpick, doesn't he? A very small bat on. I think he just wants real
:16:32. > :16:38.control in his hands. Is it to make people look very closely at him?
:16:39. > :16:44.With a conductor like that, he does not want such a large appendage. He
:16:45. > :16:50.wants it to be tight and small. I can understand that. I met him in
:16:51. > :16:59.New York. He came very late to rehearsal. He said, I will do
:17:00. > :17:08.something. We have been here for weeks practising. We will see. How
:17:09. > :17:14.did the cast respond to that? They knew him. A lot of them are Russians
:17:15. > :17:20.and they all knew him. They came with him. He's sort of bread them.
:17:21. > :17:22.He has sent them off into the world, where they have been ever since. He
:17:23. > :17:33.is a giant among men. Fascinating. Staying with the piano,
:17:34. > :17:35.and the same orchestra. It's time to cause some ripples,
:17:36. > :17:38.courtesy of our keyboard cavalier David Owen Norris
:17:39. > :17:51.and his Chord of the Week. The rose thereupon smacked cord from
:17:52. > :17:59.Strauss's Opera, it is the shimmer of the Silver Rose. The young lad is
:18:00. > :18:05.just a messenger to safely. It is not his Silver Rose but they fall in
:18:06. > :18:13.love. Our cord of the week is like a pebble dropped into a pool to make
:18:14. > :18:19.three shimmering ripples that make a chain of chords giving an impression
:18:20. > :18:26.of giving love at first sight. The first is a major chord, the second,
:18:27. > :18:36.a minor chord, and the third is major again. Major, minor and major
:18:37. > :18:43.again. What is going on with those changing chords? I think it is the
:18:44. > :18:46.eyes of the lovers. The eyes meet and drop. They look up again. Deep
:18:47. > :18:56.into each other's eyes. And you can see and hear that
:18:57. > :19:09.lovely piece straight I have to tell you there are just
:19:10. > :19:22.two more weeks of David Fiona, I have got a question for
:19:23. > :19:27.you. Do you play an instrument? I used to play the cello. I dare not
:19:28. > :19:35.say that in this company. I used to though the cello and go to lessons.
:19:36. > :19:39.Did you play in an orchestra? I did continue to learn through my school
:19:40. > :19:47.days I've played with my family. My brother played with loot and the
:19:48. > :19:55.other the violin. It was tortuous. -- the flute. My older brother is a
:19:56. > :19:58.very good pianist. We will have to get you inspired again.
:19:59. > :20:01.Here are some people who have taken our advice and had a go
:20:02. > :20:34.MUSIC: Toreador from Carmen by Bizet.
:20:35. > :20:38.If you want to be a part of the BBC Virtual Orchestra and be a part
:20:39. > :20:41.of the BBC Last Night of the Proms celebrations then crack on.
:20:42. > :20:43.You have until midnight next Saturday to get your uploads in.
:20:44. > :20:47.Talking of playing, we have a performance still to come
:20:48. > :20:50.by the London Symphony Orchestra's principal trombonist, Peter Moore.
:20:51. > :20:53.Plus we'll be delving into the Proms At concert,
:20:54. > :20:57.which was at the Sam Wanamaker's Playhouse at Shakespeare's Globe.
:20:58. > :20:59.But now as regular viewers know, Proms Extra likes to get under
:21:00. > :21:03.the skin of the people involved with this classical music festival.
:21:04. > :21:05.Here's the dramatic story of one orchestral player and her very
:21:06. > :21:17.traumatic breakup with her first love.
:21:18. > :21:27.I had had my violin since I was 16. I got my first job, through college,
:21:28. > :21:33.through everything. It was about three years ago I had a bit of an
:21:34. > :21:38.accident and I slipped with my Violette in its case. It was a
:21:39. > :21:42.couple of minutes later I opened the case. I presumed it would be OK. I
:21:43. > :21:45.did not think there would be a problem and that is when the horror
:21:46. > :21:58.of what had happened set in. What to me looked like smashed rosin were
:21:59. > :22:09.splinters of wood. It was beyond repair and a write-off. A real shock
:22:10. > :22:16.will stop it was pretty awful. So, once the reality of what happened
:22:17. > :22:21.had set in, I realised I don't have a viola, I can't earn a living
:22:22. > :22:27.without my viola. So, I had to kind of get on with finding a replacement
:22:28. > :22:31.pretty quickly. Every viola is a different size. Playing someone
:22:32. > :22:38.else's the stops are different and the sounds are different and it is a
:22:39. > :22:42.challenge within itself. A rosin is not standardised. Originally they
:22:43. > :22:47.used to be to the size of the smaller altos more sweet and a
:22:48. > :22:52.larger more basic. -- a viola. It takes quite a while for me to make
:22:53. > :22:56.one get very involved in it. About three months is what you normally
:22:57. > :23:04.look at it is nice to know the person who will be playing the
:23:05. > :23:10.instrument when it is done. I must have tried 20, 30, 40 probably. I
:23:11. > :23:18.was at a dealer's. A guy said, what about this? It is too big for you.
:23:19. > :23:22.It was 17 inches, absolutely enormous. I convinced myself it
:23:23. > :23:35.would be fine. I just loved the sound. For me, it was different to
:23:36. > :23:41.anything else I tried. I took it to the Halle, to rehearsals, and I
:23:42. > :23:46.could not play it. She liked the instrument and was very tempted to
:23:47. > :23:53.go for the large size. To make it seem more sensible, she came down
:23:54. > :23:56.just a touch. It would not really change the sound too much. Now she
:23:57. > :24:08.has an instrument which bits her very well. That is because it's her.
:24:09. > :24:18.-- an instrument which fits her very well. You are always trying to make
:24:19. > :24:22.sure you are commissioning something which is among campaign. If the
:24:23. > :24:29.player has a small and, I can make the neck slightly slimmer so it is
:24:30. > :24:31.not bulky. I would say, if you're happy with the sound, leave it like
:24:32. > :24:45.that. I really like that. That sounds
:24:46. > :24:49.better. My fear all along would be, will I ever find anything to replace
:24:50. > :24:54.my viola? It is amazing I found something I completely loved and it
:24:55. > :24:56.was so clear cut that it was definitely the right viola. That was
:24:57. > :25:12.a fantastic feeling actually. When I get to see an instrument
:25:13. > :25:18.being played, six months, a year later, that is fantastic. That is
:25:19. > :25:20.all right. If you are enthusiastic about it as well, that is even
:25:21. > :25:36.better. Here is the original viola. At very
:25:37. > :25:41.sorry sight. That must break your heart. My viola is safely locked
:25:42. > :25:46.inside its case. I have broken the zip so it will be safe for a long
:25:47. > :25:56.time. A tragic sight. Has anything like that ever happened to you? My
:25:57. > :26:03.batons break frequently. If there are any good baton makers out there,
:26:04. > :26:07.perhaps you can tell me. There is a joint between the Long white bit and
:26:08. > :26:11.the bit you hold. Because there was a bit of pressure put on the baton
:26:12. > :26:17.sometimes, I do a big gesture and half of it would fly up really quite
:26:18. > :26:20.far, 40 metres up in the air and land somewhere in the audience.
:26:21. > :26:28.Happens twice a year and I never know when it will happen. It is
:26:29. > :26:35.quite a perilous activity. Do the eyes of the audience followed the
:26:36. > :26:38.baton? I had it at the concert in Germany and the whole of the
:26:39. > :26:43.audience followed it. I could not believe it. I would quite like to
:26:44. > :26:51.deliver a leap break a flute that are used to play. Some people also
:26:52. > :26:55.say, a lot of musicians are saying, it is only a viola. Starting on the
:26:56. > :27:00.viola jokes. I love viola. Now, the Proms concerts
:27:01. > :27:01.are synonymous with As a new departure, David Pickard,
:27:02. > :27:05.the new Director of the Proms came up with the idea of Proms At?taking
:27:06. > :27:08.specific pieces to four very special Last week it was Shakespeare
:27:09. > :27:15.infused repertoire playing in the Sam Wanamaker Playhouse
:27:16. > :27:17.at Shakespeare's Globe. An excerpt of the Proms At concert
:27:18. > :28:14.from the Sam Wanamaker Playhouse, Where you transported back to the
:28:15. > :28:22.17th century? I was. I was in a Hogarth cartoon. They became
:28:23. > :28:27.two-dimensional cutouts. You get a feeling for it. The blend of voices
:28:28. > :28:31.that close, you can see the recorders. It was just enchanting.
:28:32. > :28:38.Changing the recorders. You really are on top of them. You see the
:28:39. > :28:42.conductor with such grace and intensity close up. They are all
:28:43. > :28:46.enjoying themselves and we are part of it. It is really the most
:28:47. > :28:52.extraordinary experience of architecture and music. It is a
:28:53. > :28:57.jewel-like playhouse, isn't it? Atmospheric to the end. There was
:28:58. > :29:02.something very modern about the concert. I felt I was at a jamming
:29:03. > :29:09.session of the 17th century. Somehow this music had an immediacy and in a
:29:10. > :29:13.place of that size. It would be terribly difficult to do that in the
:29:14. > :29:20.Albert Hall. We were all listening to new music, it felt like, for the
:29:21. > :29:27.first time. And music so integral to the works of Shakespeare. More of an
:29:28. > :29:30.inspired by concert. Once the theatres did reopen, there was a
:29:31. > :29:39.kind of cavalier attitude to Shakespeare. They were saying, let's
:29:40. > :29:46.put these words in. Bits of it have been adapted. And on has taken a
:29:47. > :29:53.lot. What is exciting is you see people experimenting. There are two
:29:54. > :30:01.men singing, one to the other. One had red cheeks and red lips,
:30:02. > :30:12.replying, he will not kiss the baritone. You feel, is this a man or
:30:13. > :30:16.a woman or a man and a man? You think this music is very up to the
:30:17. > :30:25.moment. The music seems very formal but it is exploring the an Arctic --
:30:26. > :30:30.anarchic feeling. Is that something which you mind?
:30:31. > :30:38.I am aware of the composers who have been influenced. I am intimidated by
:30:39. > :30:41.it in a way. Because I think it's such incredible verse that the
:30:42. > :30:52.richness is almost - it's hard to set. Britain set it beautifully. And
:30:53. > :30:55.of course in Mid summer Night's Dream which is wonderful. He is able
:30:56. > :31:00.to make the text into something. That takes skill. I have shied away
:31:01. > :31:04.from it because technically it's hard to do. I wouldn't - I would
:31:05. > :31:07.love to do, I have done little, if any, theatre music so I think that
:31:08. > :31:17.would be a great challenge. That may and start to do music to a
:31:18. > :31:24.Shakespeare play. I feel we are all here for you! Come on, Mark. How
:31:25. > :31:28.about the idea of taking music such as you heard in the Playhouse into a
:31:29. > :31:33.specific venue, did that work for you, did it add to the experience?
:31:34. > :31:37.It's marvellous, it's wonderful to have music in surprising situations.
:31:38. > :31:46.It just releases the music into our time. The more of that, the merrier.
:31:47. > :31:50.I think it's a wonderful idea. The Sam Wanamaker Playhouse is suited to
:31:51. > :31:53.that music but it could be somewhere that is a counterpoint, anywhere,
:31:54. > :31:58.car parks, the more the better. Which we have coming up. Tell us
:31:59. > :32:00.what you were doing with the Aurora recently, you staged a flash Prom.
:32:01. > :32:10.It was the day before our Prom. It's an idea we have done of taking
:32:11. > :32:15.it out to people that wouldn't normally perhaps go to a concert,
:32:16. > :32:19.best place to do that is a shopping centre. As luck would have it we can
:32:20. > :32:52.show you a little of that experience right now.
:32:53. > :32:59.You must love seeing some of the reactions you got there. It's quite
:33:00. > :33:01.odd, one of the players said to me afterwards it's hard to play when
:33:02. > :33:06.you are constantly being reminded there is a 70% discount in one of
:33:07. > :33:09.the shops. You have to get is there straight after! Are you a great
:33:10. > :33:14.believer in breaking down boundaries and taking music out to odd places?
:33:15. > :33:18.I do. Talking about venues, to go to galleries, I have seen a lot of
:33:19. > :33:24.successful concerts in galleries which is not necessarily a normal
:33:25. > :33:29.venue. You have to tailor the size of a piece. You need to do it in
:33:30. > :33:36.these venues. Sometimes it can be off-putting but on the whole - I had
:33:37. > :33:42.a piece played in Birmingham years ago in the Bullring. We did a tour
:33:43. > :33:47.of shopping centres. It was a long time ago, we were quite pioneering.
:33:48. > :33:50.It was the same thing where you see people's reactions. And they have no
:33:51. > :33:57.choice. That's what is great about it. Poor things! But you are going
:33:58. > :34:04.to hear it! I wonder did you see faces from the crowd? I recognised a
:34:05. > :34:06.few. It works! That's very good. There was a Proms at earlier today
:34:07. > :34:11.at the Roundhouse. And the final one that a lot
:34:12. > :34:14.of people are getting excited about is the Bold Tendencies Multi
:34:15. > :34:17.Story Car Park Prom in Peckham. Now next week the Proms returns
:34:18. > :34:22.to BBC Four with a concert every On Thursday we have the Halle
:34:23. > :34:25.conducted by Sir Mark Elder, or Smark as we call him
:34:26. > :34:27.on Proms Extra. Let's see the elder statesman in
:34:28. > :34:50.action. The Halle there under
:34:51. > :34:52.the watchful eye of Smark, on your screens next Thursday
:34:53. > :34:56.on BBC Four. And the following night you can see
:34:57. > :34:58.on the same channel, the Aurora Orchestra,
:34:59. > :35:00.conducted by Nick Collon, performing Mozart's Jupiter from memory,
:35:01. > :35:03.which Proms Extra saw and loved. Proms Extra and I will be back next
:35:04. > :35:07.week with more guests, a performance by members
:35:08. > :35:10.of the Para Orchestra plus we'll be taking a look at Grieg,
:35:11. > :35:12.a Brazilian Late Night Concert I'd like to thank my guests,
:35:13. > :35:16.Mark-Anthony Turnage Fiona I'll leave you with a performance
:35:17. > :35:27.by a young man who in 2008 was the youngest person at the age
:35:28. > :35:30.of 12 to win BBC Young Musician. Since then he has become
:35:31. > :35:32.the principal trombonist Accompanied by the pianist,
:35:33. > :35:36.Richard Uttley, performing the classic jazz standard
:35:37. > :35:39.written by Erroll Garner,