:00:00. > :00:00.Tonight is a real classical music pick and mix.
:00:00. > :00:13.We have Brazilian street music, a Norwegian folk melody and this.
:00:14. > :00:40.It's just another swinging night for Proms Extra.
:00:41. > :00:45.Think of us as the neat little shortcut to the main street
:00:46. > :01:05.And inside the Royal Albert Hall, there are no dead ends.
:01:06. > :01:12.# Oh, I'm going to have a good time...
:01:13. > :02:08.# Lets get together and get some good times...
:02:09. > :02:11.Can you believe there's only a fortnight left of the Proms?
:02:12. > :02:15.In our penultimate show, Proms Extra is joined in our studio
:02:16. > :02:18.at the Royal College of Music by some special guests.
:02:19. > :02:20.By the end of August, our first guest will have
:02:21. > :02:24.conducted three Proms in as little as three weeks.
:02:25. > :02:26.So far, he's done Jamie Cullum and the Quincy Jones Proms,
:02:27. > :02:33.Last year, he and the Heritage Orchestra had 6,000 people raving
:02:34. > :02:40.all evening to the Radio 1 Ibiza Prom.
:02:41. > :02:44.Right here, right now, it's Jules Buckley.
:02:45. > :02:46.When Proms Extra was told that our next
:02:47. > :02:48.guest was bringing a touch of the Latin
:02:49. > :02:49.American spirit to the Proms, we were delighted,
:02:50. > :02:52.and immediately put in our orders at the bar.
:02:53. > :02:58.kind of spirit and vibes to the hall last Wednesday,
:02:59. > :03:05.and no lime juice was involved.
:03:06. > :03:08.Please welcome a pianist who can make a masterpiece out
:03:09. > :03:14.of even the simplest tune - Gabriela Montero.
:03:15. > :03:17.We can blame a meeting with the jazz trumpeter Wynton Marsalis
:03:18. > :03:19.for getting our final guest into jazz as a schoolboy.
:03:20. > :03:22.With his saxophone, he has gone on to record successful jazz albums,
:03:23. > :03:24.win awards and perform in prestigious venues
:03:25. > :03:27.And if that wasn't enough kudos, his talents also stretch
:03:28. > :03:30.to organising an annual event underneath a flyover in Birmingham.
:03:31. > :03:43.And to play us out at the end of the show are James Risdon
:03:44. > :03:45.and Matthew Wadsworth, two members of the ParaOrchestra
:03:46. > :03:47.who recently had the crowds clamouring for more
:03:48. > :03:49.when they performed at the Glastonbury Festival.
:03:50. > :04:03.Jules, two down and want to go, what is next? Kamasi Washington and well
:04:04. > :04:10.under way with preparations at the moment but still a lot to do. Every
:04:11. > :04:17.minute counts! And last week, the Prom, Grieg, you were a busy girl,
:04:18. > :04:20.did you enjoy it? So much, I loved bringing Grieg to this incredible
:04:21. > :04:25.arena that is the Royal Opera Hall and going into a different world
:04:26. > :04:31.with the Jazz. ANDREW CASTLE: One debut, I cannot believe it! It was
:04:32. > :04:37.incredible to walk out into this massive space -- and your Proms
:04:38. > :04:44.debut. What about this flyover, what has been going on? I have been
:04:45. > :04:47.running myself ragged. I have just really enjoyed checking out the
:04:48. > :04:51.Proms and seeing in both these people how their skills traversed
:04:52. > :04:56.difficult and different musical camps and I have had a lot of fun
:04:57. > :05:00.watching the Proms after I finished my own festival! We love seeing
:05:01. > :05:03.that! Lovely to have you here. Thank you very much.
:05:04. > :05:09.For a change, we're going to start the show gently.
:05:10. > :05:12.Last Wednesday, BBC Four saw the Sao Paulo Symphony Orchestra
:05:13. > :05:14.under Marin Alsop return to the Royal Albert Hall.
:05:15. > :05:16.The evening was a world tour that took in South America,
:05:17. > :05:19.Russia and fire and ice from Norway with Grieg's Piano Concerto,
:05:20. > :05:23.performed by our guest, Gabriela Montero.
:05:24. > :05:27.Gabriela, tell us about your relationship with this, you have
:05:28. > :05:32.been playing this since you were small. The first time I performed
:05:33. > :05:37.this, I was 11 and I learned it a little bit before. It is a piece
:05:38. > :05:43.that has been with me all of my life and it is a grand and noble
:05:44. > :05:46.concerto, very undervalued. It has moments of incredible inspiration,
:05:47. > :05:52.but also, incredible explosions as well. Which you might not expect so
:05:53. > :05:58.much from a Norwegian but they have a different way of expressing
:05:59. > :06:03.themselves. But it is all in the music, it is contained and ready to
:06:04. > :06:11.be tapped into. And there is a beautiful anecdote about a great
:06:12. > :06:14.Venezuelan pianist. When she played Grieg's Piano Concerto, he was in
:06:15. > :06:18.the audience and said to her afterwards, madam, I did not know
:06:19. > :06:23.that my concerto was so beautiful. That is a nice little link. If he
:06:24. > :06:25.was listening last night, you are channelling the spirit of that
:06:26. > :06:26.Venezuelan! I hope so. Grieg's Piano Concerto was shown
:06:27. > :07:16.last Wednesday on BBC Four with the Sao Paulo Symphony Orchestra,
:07:17. > :07:19.conducted by Marin Alsop, with our Given how wonderful this work is,
:07:20. > :07:23.it's hard to believe Grieg only wrote the one piano concerto,
:07:24. > :07:29.Gabriela. Why did he not keep going? I do not
:07:30. > :07:33.really know the answer for that. It is better to have one great concerto
:07:34. > :07:38.than several that are not anti-nailed it with this one. It is
:07:39. > :07:43.a piece that has a little bit of everything. And it is also a piece
:07:44. > :07:50.that can be performed in many different ways. And being glutton, I
:07:51. > :07:57.guess I bring my own Latin rhythmic and emotional and harmonic
:07:58. > :08:05.understanding of it -- Latin. I find it is a very complete work and also
:08:06. > :08:10.a very exciting work. It is not at all Conservative, classical. It is a
:08:11. > :08:16.romantic, open interpretation piece that everybody loves. The crowd
:08:17. > :08:22.loved it in the hole, no question, what did you think, was this a new
:08:23. > :08:27.work to you, Soweto? No, I think everybody recognises the first four
:08:28. > :08:32.bars. It was so engaging, the particular moment with a big swell
:08:33. > :08:37.of trumpets. And it broke down on the violence. And sections had me on
:08:38. > :08:41.the edge of my seat. The way that any good music does sometimes. The
:08:42. > :08:46.unexpected elements I really enjoyed hearing. What did you pick up,
:08:47. > :08:50.Jules? It was quite a Nostalgia experience and it reminds me of
:08:51. > :08:56.being at school and the first time I fell in love, there was the Grieg
:08:57. > :09:01.and I was in love with a young pianist. She was able to rock both
:09:02. > :09:05.these out. So I always wanted to see this life. It took me back. It was
:09:06. > :09:11.amazing. And there was maybe a little tear! I need to know more,
:09:12. > :09:16.who was she? I cannot reveal that. Is she still playing? She is, yes.
:09:17. > :09:24.We can reveal at the end of the night's show, here she is! You are
:09:25. > :09:28.too modest, Gabriela, we should not skirt round the fact you were
:09:29. > :09:33.playing wonderfully. There was something of your spirit of
:09:34. > :09:37.improvisation you could feel in the interpretation of the Grieg. I just
:09:38. > :09:42.wondered if you as a jazz musician picked up on that, Soweto? Usually,
:09:43. > :09:47.even before a note was played. I remarked at such a lack of tension
:09:48. > :09:52.in your body. Like you were just having fun. You internalised the
:09:53. > :09:55.music. You could feel the notes coming out before the execution. And
:09:56. > :09:59.that is some think you have either spent a long time with your
:10:00. > :10:03.instrument which is clear, or you have been into other forms of music
:10:04. > :10:08.beside classical. Bits of rhythm that were beyond the music on the
:10:09. > :10:12.page. That was quite obvious to me as a jazz guy.
:10:13. > :10:16.Go on to the BBC iPlayer and you can find the full Proms concert that
:10:17. > :10:23.Now, Gabriela, I want you to watch this next film very carefully
:10:24. > :10:25.as we stay with Grieg's Piano Concerto.
:10:26. > :10:28.This week, our own baby grand, David Owen Norris, lets us know
:10:29. > :10:39.who's calling the tune in his latest Chord of the Week.
:10:40. > :10:47.The moment the piano's patients wears out in Grieg's Piano Concerto,
:10:48. > :10:50.the orchestra begins by playing a trick on the piano, they play this
:10:51. > :10:55.court. And the correct resolution would be for this eve flat to fall
:10:56. > :11:03.to this day. But that is the wrong key! Is semitone too high! The piano
:11:04. > :11:09.has a split second to save the show. Luckily, pianos know a single two
:11:10. > :11:13.about harmony. This might not be a E flat, it could be a de shop, no
:11:14. > :11:25.difference on the piano keyboard. Eight D Sharpe must rise. Keeping us
:11:26. > :11:31.in the correct key of a minor. So in effect, the piano must say, I see
:11:32. > :11:36.your E flat and I raise you a D sharp. If that is a D sharp, it is a
:11:37. > :11:41.German sixth because the Germans were the first to think of it. So
:11:42. > :11:46.the piano can use the international language of music to change the
:11:47. > :11:51.ambiguous French German sixth into a French six which is not ambiguous,
:11:52. > :12:00.just one note different. See, falling to a B. So this must be a D
:12:01. > :12:03.sharp. And with that angry flourish, the piano changes the entire
:12:04. > :12:08.character of the concerto. It has always been the orchestra that has
:12:09. > :12:12.thought of the tunes so far and they began with. And it was the strings
:12:13. > :12:22.that thought of the slow movement melody. But now by changing the
:12:23. > :12:25.German sixth into a French six, the piano takes control and for the
:12:26. > :12:42.first time in the concerto, the piano calls the tune.
:12:43. > :12:45.David Owen Norris and his Chord of the Week will be back for our next
:12:46. > :12:49.show. Still to come on Proms Extra?
:12:50. > :12:52.A performance by James Risdon and Matthew Wadsworth at the end
:12:53. > :12:55.of the show and we'll be taking a look at the Quincy Jones Prom,
:12:56. > :12:58.which Jules Buckley conducted. After their performance in the hall
:12:59. > :13:00.last Wednesday, you'd think the Sao Paulo Symphony Orchestra
:13:01. > :13:03.would have packed up their music cases and headed back
:13:04. > :13:05.to their hotel for a cup of cocoa The night was still young
:13:06. > :13:10.and one disco nap later, the orchestra were back on stage,
:13:11. > :13:13.joined by members of the Sao Paulo Jazz Symphony Orchestra,
:13:14. > :13:14.together with Marin, they hit the hall with
:13:15. > :14:09.the rhythmic sounds of Brazil. Those fantastic musicians
:14:10. > :14:11.from Brazil, performing with maestro Marin Alsop for a late night Latin
:14:12. > :14:28.turn as part of the Proms. I think it did demonstrate the depth
:14:29. > :14:31.of Brazilian popular Basic? Absolutely, Brazilian music is such
:14:32. > :14:38.a rich source of harmonic, interesting, the way that this music
:14:39. > :14:44.seems to have this error and freshness, it is something I have
:14:45. > :14:48.loved all of my life and to join them with improvisation to lead into
:14:49. > :14:55.the girl from eponym, that were so much fun, why be only the classical
:14:56. > :15:00.pianist? Be everything you can be. There are no limits. I have always
:15:01. > :15:06.been fascinated by Brazilian music, the different influences and
:15:07. > :15:12.geographic and cultural roads that lead you to this music. Did that
:15:13. > :15:16.work for you as a demonstration? I really enjoyed it and you are trying
:15:17. > :15:21.to convince the music of a continent, considering how many
:15:22. > :15:26.different regions you have got. All that happens in Salvador. Add all of
:15:27. > :15:31.these different movements, into a short passage of music but that
:15:32. > :15:36.works very well and it gave people a flavour and they will want to hear
:15:37. > :15:43.more. Great to see classical musicians joined by the Jazz
:15:44. > :15:46.Symphony Orchestra. Is that a nightmare? Different genres
:15:47. > :15:52.altogether? No, that is totally cool. When you are working with
:15:53. > :15:56.different musicians from different worlds, it is a case of changing
:15:57. > :16:01.your mindset depending on what you want to work on. The rhythmic stuff
:16:02. > :16:05.or the improvisation, knowing when to engage and went a step back and
:16:06. > :16:10.let them do their thing. You cannot underestimate the power of the
:16:11. > :16:19.Brazilian popular music history. For example, I am sure that Ipanema, the
:16:20. > :16:25.second or third most recorded piece ever. And the Soul Bossa Nova
:16:26. > :16:34.revolution and how that was related to the politics of the time... And
:16:35. > :16:39.all of incredible artists. All of this skies and a link to the
:16:40. > :16:44.American jazz, like Miles Davis, it is super cross pollinated and maybe
:16:45. > :16:49.not enough people know about that. It is this hidden world and it is
:16:50. > :16:54.easy from where we imagine how brilliantly it has just evolved and
:16:55. > :16:59.everybody got along but there was also quite tense social
:17:00. > :17:08.circumstances and there was an exile in Brixton, I believe! During the
:17:09. > :17:12.military junta. The last country in the world to abolish slavery and
:17:13. > :17:23.these relationships, these African tensions, they are hugely important
:17:24. > :17:27.in the evolution of Brazilian music. After your concerto, you asked the
:17:28. > :17:34.audience for some help with improvisation. They were quite shy!
:17:35. > :17:40.What did you do? I decided that somebody backstage said, why not in
:17:41. > :17:49.proviso Bud Cauley. Add off I went and I went into something that was
:17:50. > :17:53.very like Bach and then right time, I love the contrasts and the
:17:54. > :17:58.similarities between the styles and composers and that bridge that
:17:59. > :18:03.connects us through time. I cannot resist, here is a little piece of
:18:04. > :18:21.Hope and Glory, as he had never heard that before! -- as you have.
:18:22. > :18:29.The crowd went bananas after that! Can you explain what is going
:18:30. > :18:36.through your head? I removed myself, I love creative process to happen
:18:37. > :18:41.without my intellectual involvement, somehow the music filters through me
:18:42. > :18:43.and it was interesting because neurologically there is an
:18:44. > :18:49.expression for this, it has to do with the big neuroscience study that
:18:50. > :18:52.has been done on my brain and how it behaves whenever I improvised
:18:53. > :19:01.compared to performing a written scorer and what happens is my brain
:19:02. > :19:05.shuts down the function that I use to control whenever I play a written
:19:06. > :19:08.piece, that shuts down and it co-opts the different part of my
:19:09. > :19:14.brain, the part that improvises, which is not used for music. What I
:19:15. > :19:21.am closing down is my brain behaving differently. It feels like I am
:19:22. > :19:27.skydiving! In music. And Ireland and I love the journey. Is that how it
:19:28. > :19:31.feels for you? I wonder is it also the same region of the brain where
:19:32. > :19:37.language is concerned? They say that with improvising, I have assimilated
:19:38. > :19:46.musical languages and it is interesting hearing that the
:19:47. > :19:49.building blocks are quite distinct from B-bop, using Lex and phrases to
:19:50. > :19:53.get around the series of chord changes. There are sometimes stuff
:19:54. > :20:01.that has gone to the back of the brain and you cannot help meaning
:20:02. > :20:05.that in. It is the bane of so many! Trying to escape Lex and doing
:20:06. > :20:10.something elemental and pure. For me it is much like language and
:20:11. > :20:14.discussion, I have learned English and I can improvise sentences based
:20:15. > :20:21.on that knowledge of language. And then bewilder people, you are just
:20:22. > :20:29.making stuff up as you go along! Absolutely. I wish I could speak
:20:30. > :20:30.that language! I really do! Head online and at the rhythm of the
:20:31. > :20:33.night into your life! Proms Extra makes no
:20:34. > :20:35.apologies for being nosey. We like a little secret or two
:20:36. > :20:38.and with so many orchestras coming in and out of the hall,
:20:39. > :20:41.we asked ourselves this? When a classical musician takes
:20:42. > :20:43.their instrument out of its case, what Proms Extra really wants
:20:44. > :21:05.to know is, what's in the box? This is my little box of tricks. I
:21:06. > :21:13.have a photograph of my children. This is my box of tricks. This is
:21:14. > :21:24.what I have. Reeds, everyone feels different. I have some valve oil to
:21:25. > :21:29.make sure these valves don't stick. Not because I smoke but I use these
:21:30. > :21:32.papers to clean my instrument, slotting Matin, nice and thin and
:21:33. > :21:41.that will absorb most of the water. I have got two bows, my main one and
:21:42. > :21:45.the spare one whenever this one misbehaves in certain atmospheres. I
:21:46. > :21:56.also have this little device which is useful to be able to shave the
:21:57. > :22:01.reed. I have not gone into the dark recesses of my box for many a year,
:22:02. > :22:13.there could be anything in there! Oil. The keys get very clicky after
:22:14. > :22:19.lots of use. I have Greece. It is much better down here. Some earplugs
:22:20. > :22:25.somewhere, I think. When the drum kit gets too loud. And to adjust,
:22:26. > :22:32.some players. Screwdrivers. Some brochures. That was on tour to
:22:33. > :22:40.follow. This is my case and that book is great, it keeps me fairly
:22:41. > :22:44.amazed, whenever you need that. Stress Peg! That is a polishing
:22:45. > :22:49.cloth, I cannot even remember what that is for! And that is everything
:22:50. > :22:57.that is a box. That is everything. That is what is in my box! Soweto,
:22:58. > :23:04.what is in your box? It is quite boring, spare reeds, I can empathise
:23:05. > :23:09.but a great saxophone player but some scorers, some little scales to
:23:10. > :23:15.practice and then I would fold it up and put that into my case, not out
:23:16. > :23:22.of super sedition, then just untidy! -- superstition. I am just untidy.
:23:23. > :23:33.Julz, do you carry anything? I don't have box. I do have a bag. I have a
:23:34. > :23:40.little Buddha and for some reason it turned up one day and ever since he
:23:41. > :23:43.stays there. Is that for good luck? Yes, I definitely have some
:23:44. > :23:47.superstitions and I always try to wear the same pair of trainers in
:23:48. > :23:53.concerts and I try to make it look like they are not trainers! These I
:23:54. > :23:59.my well old ones, actually! Gabriela? Any traditions or good
:24:00. > :24:03.luck charms? My life is so volatile. There was nothing I can call
:24:04. > :24:07.routine. I would have to say that I always carry little letters that my
:24:08. > :24:12.daughters or my husband have written to me, very sentimental, but there
:24:13. > :24:19.is no schedule routine, nothing consistent. It works! Don't change
:24:20. > :24:23.that! The Travelcards. That little card that tells airlines you can
:24:24. > :24:28.bring your instrument on the plane! Not in my case!
:24:29. > :24:31.Now, Quincy Jones may not be a familiar name to some of you,
:24:32. > :24:33.but he is the brains behind iconic Michael Jackson albums such
:24:34. > :24:36.as Thriller and Bad and the film score for The Italian Job
:24:37. > :24:41.And if you still don't get who Quincy is, then have a listen
:24:42. > :24:43.to what our past Proms Extra guest, Nitin Sawhney,
:24:44. > :24:49.Quincy Jones is all of my favourite producers, he has worked with some
:24:50. > :25:01.of my heroes, from Michael Jackson to George Benson, incredible artist.
:25:02. > :25:08.I am old school, I have been listening to his music since I was
:25:09. > :25:15.18. Quincy is such a thunderbolt of music. I was excited to see him
:25:16. > :25:19.live. He is one of the greatest living musical impresarios, I didn't
:25:20. > :25:24.know what you call him. He has a unique sound and it comes from his
:25:25. > :25:29.attention to detail. What a great way to celebrate such a massive name
:25:30. > :25:34.in music, the Albert Ball! I have grown up with Quincy Jones. I have
:25:35. > :25:41.danced, sweated and cried. For me there is nobody else, he is the man.
:25:42. > :25:46.It is only one day! Quincy! One-day? Should have been a week. It is going
:25:47. > :25:51.to be so big because the whole place would just get up, wondered? If he
:25:52. > :25:58.makes an appearance, I am sure the roof will just... Will paramedics?
:25:59. > :26:03.If he does, I will pass out! -- will there be paramedics.
:26:04. > :26:05.That gives you an idea into the excitement surrounding
:26:06. > :26:07.the Quincy Jones Prom night last Monday.
:26:08. > :26:09.Jules, you conducted the event and we'll discuss
:26:10. > :26:14.the music much more shortly, but how did this come about?
:26:15. > :26:23.It came about eight months ago. I was discussing with the team, trying
:26:24. > :26:29.to come up with a cool idea for this season and I had a hit list and
:26:30. > :26:34.Lindsey was at the top. Together with John Cumming, I put together a
:26:35. > :26:38.brief of the idea, and we got in touch with his guys and they
:26:39. > :26:41.responded very positively and from that point it was just a case of
:26:42. > :26:49.trying to figure out what we were going to do. And with such a giant
:26:50. > :26:54.of the 20th, 21st century, he is the man, really, there is no equal, what
:26:55. > :26:58.do you do? Over the process of these eight months I basically kept gazing
:26:59. > :27:02.with his team back and forth about the set and what we would do and
:27:03. > :27:07.eventually we whittled that line to 90 minutes or maybe more. You
:27:08. > :27:15.whittled down the music and he was happy from the start, this idea? He
:27:16. > :27:18.was on board? Quincy always wanted to have a moment to celebrate his
:27:19. > :27:22.music at the Albert Hall and this felt like the perfect opportunity
:27:23. > :27:50.and also for the Proms. Let's take a look! # I want you... # I wish you
:27:51. > :27:59.could tell me... # Seven macro. -- seven macro.
:28:00. > :28:53.# All right. Going to feel all right...
:28:54. > :29:13.I want to hear you play the Hammond organ like that! I would love to!
:29:14. > :29:22.The possibilities! And this man just seems to enjoy every single physical
:29:23. > :29:25.contact. Just incredible. Ella Fitzgerald, Michael Jackson, he just
:29:26. > :29:33.keeps on finding amazing talent. How does he do that? Added as happened
:29:34. > :29:36.in Iraq after era, in the early 90s, his album introduced Kevin Campbell
:29:37. > :29:41.to the world at the same time as having Ella Fitzgerald, there are
:29:42. > :29:45.many people who have an eye for the future as well as contextualising
:29:46. > :29:52.what they do in the past and who else could traverse Lionel Hampton
:29:53. > :29:56.up to the 90s. He is still rocking right buyer. Some of the pieces we
:29:57. > :30:02.performed in the construct with the Cuban pianist, they were produced by
:30:03. > :30:07.Quincy this very year. And we presented a concert version of that.
:30:08. > :30:12.Crazy to think that it is two centuries he has been rocking.
:30:13. > :30:22.What is the thread connecting these things? Routes to Ironside. These
:30:23. > :30:28.cheeky motifs. Earworms, he is the genius of that. Getting you a little
:30:29. > :30:32.rift you cannot help singing and you can establish your own personality
:30:33. > :30:37.which is any great jazz composition, they allow you to be even more of
:30:38. > :30:42.yourself. I found through the process of putting this programme
:30:43. > :30:47.together that many people know Q as Michael Jackson's producers so in a
:30:48. > :30:52.way from my childhood, I thought, he is this amazing pop music producer.
:30:53. > :30:57.And at a certain point when I was a jazz trumpet player, I got into
:30:58. > :31:01.arranging and you find the line or Hampton, Frank Sinatra. So you freak
:31:02. > :31:06.out a second time. And you find his film scores, The Italian Job, The
:31:07. > :31:11.Pawnbroker, The Pawnbroker, The Color Purple, so you freak out a
:31:12. > :31:18.third time. And you find out he co-produced the fresh Prince of Bel
:31:19. > :31:23.air. The TV series. And he did We are the World. Thriller. You are
:31:24. > :31:28.stored in a nervous frenzy thinking, what am I going to do for 100
:31:29. > :31:33.minutes of national television? And you realise that he is the world.
:31:34. > :31:37.That is right. A question from our team. We were watching you conduct,
:31:38. > :31:42.what is with headphones, what you listen to? Sometimes in the Albert
:31:43. > :31:48.Hall, it is quite a challenge. The space with more, much louder and
:31:49. > :31:57.more amplified concerts, the sound needs to be right. With the Sao
:31:58. > :32:03.Paulo project with Marin, everything was... You have synthesisers and you
:32:04. > :32:07.have a big band from the Metropole Orkest and you have to balance it,
:32:08. > :32:11.so sometimes it is better to reduce the monitoring levels on stage by
:32:12. > :32:15.wearing headphones to get a better sound. And some of the hand gestures
:32:16. > :32:22.you use, is that your style or a magic code? It goes back to that
:32:23. > :32:26.good question you brought up about the Sao Paulo Symphony Orchestra and
:32:27. > :32:31.jazz Orchestra. It is a case of bringing skill sets from different
:32:32. > :32:36.worlds and putting them together and deciding when to be very direct and
:32:37. > :32:41.very clear and when to do nothing, or went to be super expressive with
:32:42. > :32:46.the strings and less movement. I guess it is like, you have a tool
:32:47. > :32:51.belt of a skill set as a conductor. Depending on the repertoire you are
:32:52. > :32:59.doing, you decide which two you will use. For example, Marin with
:33:00. > :33:03.Gabriela, there is an absolute unity that some dosh so Marin is
:33:04. > :33:08.translating with Gabriela for the orchestra. Because that is what it
:33:09. > :33:12.is all about. Quincy Jones was there, we have talked about his
:33:13. > :33:15.music and the man. Some of the influence he has had on society and
:33:16. > :33:20.the Civil Rights Movement, he was very politically as well motivated.
:33:21. > :33:24.Music comes from a culture and a community and it is easy to
:33:25. > :33:29.extrapolate a style and think they have dropped fully formed from the
:33:30. > :33:32.universe. I think it is great he is aware of the roughness of his
:33:33. > :33:36.upbringing in Chicago and what an emblem he can be the other people
:33:37. > :33:40.from other backgrounds similar to his. Been commissioned to write the
:33:41. > :33:46.score for something like Routes is huge if you are African-American,
:33:47. > :33:51.anywhere around the world. I am sure he is aware of the weight of history
:33:52. > :33:55.but the music is not oppressive, it is epic and inspiring. I think he
:33:56. > :34:00.has demonstrated how to be a civil rights activist in the best possible
:34:01. > :34:04.way. That is celebrating those aspects and triumphant things and
:34:05. > :34:09.excelling at what he does. Do go to the BBCi player to see the Quincy
:34:10. > :34:14.Jones Prom and practice your swing moves and do a moonwalk to Billie
:34:15. > :34:18.Jean. I thought you would do the moonwalk! Later! Stay tuned!
:34:19. > :34:21.As it's the Bank Holiday weekend, l'm feeling generous.
:34:22. > :34:24.Rather than gifting you a dodgy BBQ or a DIY workbench, l have
:34:25. > :35:05.A clip from last night's Mozart Requiem.
:35:06. > :35:07.That was Ivan Fischer conducting the Budapest Festival Orchestra,
:35:08. > :35:11.And Mozart's Requiem can be easily found online alongside
:35:12. > :35:13.many of the Proms broadcasts, including Proms Extra.
:35:14. > :35:16.And remember that all of the Proms are broadcast live
:35:17. > :35:22.Proms Extra and I will be back next week for our final show.
:35:23. > :35:25.We have great guests, great performances and a look
:35:26. > :35:31.Jules Buckley - good luck with Kamasi Washington's Late
:35:32. > :35:37.Thanks to Gabriela Montero and to Soweto Kinch.
:35:38. > :35:39.I'll leave you with a performance by two star soloists
:35:40. > :35:44.who are also members of the British ParaOrchestra,
:35:45. > :35:46.the world's first ensemble of professional disabled musicians,
:35:47. > :35:49.who recently had the Glastonbury Festival audience going crazy
:35:50. > :35:52.when they performed Philip Glass's Heroes Symphony.
:35:53. > :35:55.Tonight, to play out the show, we have Matthew Wadsworth
:35:56. > :35:58.on the lute and James Risdon on recorder playing Castello's