:00:00. > :00:07.We take a look at two great pianists.
:00:08. > :00:10.And we have a solo performance by a top Northern lass.
:00:11. > :00:42.If the Proms is Mary Berry, then we're Paul Hollywood.
:00:43. > :00:45.And just like Bake Off, the Royal Albert Hall
:00:46. > :01:39.Next Saturday it will all be over for this year's Proms.
:01:40. > :01:42.We're just about holding it together for our last show.
:01:43. > :01:48.Let's see who's joining me inside the Royal College of Music -
:01:49. > :01:51.and I must warn you, be prepared for a six degrees
:01:52. > :01:55.Our first guest is a leading soprano of the
:01:56. > :02:00.Next week she is off to Belfast to sing for the Last Night of
:02:01. > :02:05.When it comes to performing with the top opera houses,
:02:06. > :02:07.she's been there, done that, and most
:02:08. > :02:10.recently received glowing reviews for her role
:02:11. > :02:12.as a lavatory lady in
:02:13. > :02:16.Less lady of the lamp and more like Lady of
:02:17. > :02:19.Please welcome Lesley Garrett, who will also be performing
:02:20. > :02:22.Now our next guest is an award-winning
:02:23. > :02:29.He's had a busy old time of it this year, what with the London premiere
:02:30. > :02:32.of his piece Israfel at the Proms, and earlier in the year saw
:02:33. > :02:34.the premiere of his opera Pleasure, which starred a certain
:02:35. > :02:39.Our final guest paid a visit to Proms Extra three years ago.
:02:40. > :02:41.This week she made her Proms debut conducting
:02:42. > :02:43.the BBC Symphony Orchestra - about time.
:02:44. > :02:45.As you've just heard, Lesley Garrett starred
:02:46. > :02:48.in the opera called Pleasure, written by our guest Mark Simpson,
:02:49. > :02:50.and the concluding link in our six degrees of separation
:02:51. > :02:53.is that our final guest has been to see it.
:02:54. > :02:58.Please welcome the world-renowned conductor, Simone Young.
:02:59. > :03:10.welcome all of you. Lesley, Last Night Of The Proms and Belfast, that
:03:11. > :03:13.will fun. You are not kidding. The Northern Irish really know how to
:03:14. > :03:18.party and I am so looking forward to it. I have taken a couple of days
:03:19. > :03:23.off after because I might need time to recover. This year it was all
:03:24. > :03:29.about you as the composer, how was it? It was a thrilling experience
:03:30. > :03:33.because I could not attend the rehearsals because I was in
:03:34. > :03:38.rehearsals for another project so I had to come down and back again in
:03:39. > :03:41.the same evening and it was a surreal experience is going to see a
:03:42. > :03:49.piece you have written and not have gone to any of the rehearsals. It
:03:50. > :03:58.was quite surreal. You were a member of the public? Yes, like a member of
:03:59. > :04:03.the public and you came up with no nerves and it was quite a relaxing
:04:04. > :04:08.experience. You heard my tone earlier, I cannot believe it was
:04:09. > :04:13.your debut. How was it? The promise is a very special atmosphere and you
:04:14. > :04:17.have the public very close which is surprising at first. But the BBC
:04:18. > :04:22.Symphony Orchestra is a great orchestra and we had a wild
:04:23. > :04:27.programme of music, very well-known, completely unknown and brand-new,
:04:28. > :04:35.and it was very satisfying. I will be taking a couple of days off now
:04:36. > :04:37.to recover before the next project. We are expecting you to be a little
:04:38. > :04:39.opinionated, so do not hold back. Now let's turn to a conductor
:04:40. > :04:43.whom you cannot ignore - Daniel Barenboim -
:04:44. > :04:45.and the work that he has done with An ensemble that is deliberately
:04:46. > :04:49.comprised of Arab and Israeli members, which Daniel
:04:50. > :04:50.co-founded with his friend, the Palestinian writer
:04:51. > :04:52.and critic, Edward Said. But for once he wasn't
:04:53. > :04:55.the only star of the show. That honour went to Barenboim's
:04:56. > :04:57.childhood friend, the legendary Martha Argerich, who gave
:04:58. > :04:59.the audience this performance Shown last Sunday on BBC Four,
:05:00. > :05:52.that was pianist Martha Argerich, performing Liszt's First Piano
:05:53. > :05:53.Concerto accompanied by the West-Eastern Divan Orchestra,
:05:54. > :06:08.conducted by Daniel Barenboim. Martha is legendary, she is
:06:09. > :06:14.considered one of the finest pianists in the world. Do you feel
:06:15. > :06:18.her performance stood up to that? Completely extraordinary, as she
:06:19. > :06:24.always is every time she performs. The real chemistry between these two
:06:25. > :06:30.fantastic musicians, I think you feel it. Particularly in a work like
:06:31. > :06:33.this which is a work that Daniel Barenboim performs many times
:06:34. > :06:38.himself at the keyboard. There is a level of music-making going on that
:06:39. > :06:42.is above and beyond what most of us experience. Am I right in thinking
:06:43. > :06:49.you have conducted him playing that these? I have indeed. It was one of
:06:50. > :06:56.those round birthdays one wants to forget. But I was his assistant in
:06:57. > :07:01.the 90s and for this particular birthday Daniel came and played both
:07:02. > :07:11.piano concertos with me and Mike Orchestra in Hamburg and we did a
:07:12. > :07:18.whole programme. There is a reason why one says he is legendary and it
:07:19. > :07:23.is because he is one of the musical greats of this time. You mentioned
:07:24. > :07:28.Edward Said. That is Daniel Barenboim, he is a philosopher,
:07:29. > :07:35.thinker, musician, poet, politician, he is the consumer items. When you
:07:36. > :07:40.perform as a conductor with him as a soloist, does he say anything about
:07:41. > :07:45.how he wants it to be conducted? It must be hard for him having had both
:07:46. > :07:51.hats on. It does not matter whether it was 25 years ago it is not quite
:07:52. > :07:58.student - teacher, it is apprentice - mental relationship moved onto the
:07:59. > :08:02.next level. How did handle that? I was very nervous and he was mentally
:08:03. > :08:08.gracious and we had one of those glorious experiences that you keep
:08:09. > :08:14.for a lifetime. The beautiful thing about making music with great human
:08:15. > :08:18.beings is that it is about what they think. They stand above the
:08:19. > :08:23.technical requirements, that is a given. Then it is about what you
:08:24. > :08:30.want to say with the phrase, the work, and it is inspiring. And with
:08:31. > :08:35.somebody like him particularly with a fantastic imagination, no
:08:36. > :08:39.performance will ever be the same. He will bounce of you and you will
:08:40. > :08:45.bounce off him and it will be a new magic. It is that communication that
:08:46. > :08:49.create something very special. It is not just about the intellect, it is
:08:50. > :08:55.about the humanity and the warmth of the soul. One of the things that
:08:56. > :09:02.struck me about Martha's performance was how quiet the others were and
:09:03. > :09:07.listening to her talk about vulnerability beforehand as she says
:09:08. > :09:15.she likes to hear the music and the wrong notes and the sense that we
:09:16. > :09:19.can push that boundary to a limit. It is the vulnerability that makes
:09:20. > :09:23.the audience care about you. If you are a perfect all the time it gets
:09:24. > :09:29.pretty dull all the time. It is that vulnerability that makes an audience
:09:30. > :09:33.member want to care for you, it makes the performance come alive. It
:09:34. > :09:39.is why live performance is so special. You have to marvel at her
:09:40. > :09:43.strength, those opening chords. She has just celebrated her 75th
:09:44. > :09:49.birthday, but we will not talk about it, it does not matter. She seems to
:09:50. > :09:53.me to be at the height of her powers. Her spiritual powers, her
:09:54. > :09:59.powers of interpretation and appreciation of the music, which I
:10:00. > :10:07.like that with Daniel's, take it to this extra level. At the end of the
:10:08. > :10:10.performance came an encore which saw Daniel joined his childhood friend
:10:11. > :10:41.Martha at the piano and we can see those two old friends in action.
:10:42. > :10:43.The encore to end all encores, Martha Argerich and her childhood
:10:44. > :10:48.friend Daniel Barenboim on the piano together in harmony.
:10:49. > :10:54.Apparently they used to living together in Argentina in Buena
:10:55. > :10:59.Syriza when they are children. How does a perfect and enhance your
:11:00. > :11:09.performance when you are proper friends? I have got no friends.
:11:10. > :11:14.Billy no mates. You can slip into a little language of your own, things
:11:15. > :11:18.that only you understand, but you still have to keep the discipline if
:11:19. > :11:29.you are up on stage. People expect a performance. But in an encore
:11:30. > :11:34.situation, people do not mind. I know as a conductor we are lucky, we
:11:35. > :11:38.get to perform with our backs to the audience and you do not see all the
:11:39. > :11:43.stupid things we do with our faces a lot of times. I know when I am
:11:44. > :11:47.conducting singers who happened to be really good friends and you know
:11:48. > :11:51.what is going on in their lives and what they are going through and you
:11:52. > :11:57.know what it costs them to come out on stage and give that performance.
:11:58. > :12:00.I would do anything for them. I would just about lay down my life
:12:01. > :12:10.for them in that moment because you know what that means. Will you do
:12:11. > :12:17.that at my concept? But 5% of my brain has to say, and dammit, get it
:12:18. > :12:28.right. That was a great encore. How do you choose a an encore? I do not
:12:29. > :12:35.do many to be next. -- to be honest. We had a great experience recently,
:12:36. > :12:41.I did a concert and we had five curtain calls and we did not prepare
:12:42. > :12:46.an encore, we just had to place happening. They did not stop
:12:47. > :12:53.clapping, they wanted more. We played the movement again. You did
:12:54. > :13:02.not prepare an encore? You do have friends. It was a repeat of the
:13:03. > :13:06.things we just played. I am getting an impression you have at least one
:13:07. > :13:10.Go on to the BBC iPlayer and you can see Martha's performance,
:13:11. > :13:12.the encore and indeed the full concert with the West-Eastern Divan
:13:13. > :13:17.Now the end is near, it's time to face the final curtain
:13:18. > :13:20.as David Owen Norris gives the last Chord of the Week and
:13:21. > :13:27.This chord comes from another moment in the Barenboim concert.
:13:28. > :13:35.The illegal cord that Wagner makes when he plays three of his master
:13:36. > :13:45.singer's tunes together. This is at the top. In the middle there is a
:13:46. > :13:51.little fanfare. In the base is the dignified theme of the master
:13:52. > :13:53.singers themselves. All very see major so Wagner can put them
:13:54. > :14:12.together as counterpoint. But let's just run that passed the
:14:13. > :14:19.master of counterpoint, Johann Sebastian Bach. He would have viewed
:14:20. > :14:27.our cord of the week with great suspicion. Mr Wagner, you have
:14:28. > :14:40.broken the rules. This cord is both unprepared and exposed. We will
:14:41. > :14:49.alter the base. Oh dear, Mr Wagner, you have done it again. We will
:14:50. > :14:58.alter the melody. Oh, the tenor has already learnt it. No point doing
:14:59. > :15:08.that again. We will reinterpret the dissidents by introducing a counter
:15:09. > :15:21.melody. I think we might rescue this after all.
:15:22. > :15:26.But that was all a century before and luckily Wagner could do exactly
:15:27. > :15:29.as he liked. That was the last time we'll see
:15:30. > :15:33.David Owen Norris and his Chord Still to come on Proms Extra,
:15:34. > :15:37.we'll be taking a look at the City of Birmingham Symphony Orchestra's
:15:38. > :15:40.debut with their new Music Director, and we have a performance
:15:41. > :15:42.by our guest Lesley Garrett, who is still with me,
:15:43. > :15:44.together with composer and clarinettist Mark Simpson,
:15:45. > :15:46.and the conductor Simone Young. As you know Proms Extra likes to get
:15:47. > :15:50.close to the stars, if they let us, and we were beyond excited
:15:51. > :15:52.when the celebrated pianist Stephen Hough and Proms Extra family
:15:53. > :15:55.member opened up the doors to his world, so we could see
:15:56. > :16:09.what it takes for him So at the moment here we are in my
:16:10. > :16:14.studio. This is where the real work is done. In preparing for the Proms,
:16:15. > :16:18.I'm playing the Rhapsody on the theme of Paganini. When I sit down
:16:19. > :16:22.on the piano I usually begin by playing some chords are just to make
:16:23. > :16:26.friends again with my instrument. If you've been laying in bed for seven
:16:27. > :16:31.hours of sleep, nothing is going on here, you can't just sit down at the
:16:32. > :16:35.piano and suddenly start playing, so I rediscovered exercises when I read
:16:36. > :16:39.about Rachmaninov himself, who apparently used to spend an hour a
:16:40. > :16:43.day doing physical exercises at the piano and I thought it was rather a
:16:44. > :16:47.lot, actually. I don't think there are any pianists who would admit to
:16:48. > :16:52.doing so much, but I like to do some. This is the flexibility and
:16:53. > :16:56.agility exercise, not just how the fingers go down onto the keys, it's
:16:57. > :17:00.also the flexibility from side to side, so you are opening up the
:17:01. > :17:04.joints and tendons of the hand. Music has nothing to do with it at
:17:05. > :17:08.all, it's purely mechanical. It's just like someone about to do a
:17:09. > :17:12.sprint stretching their legs before they do it, it's physical, it's the
:17:13. > :17:16.Olympics. When we play the piano we are using muscles and tendons and
:17:17. > :17:21.joints and using our whole body when we played the piano. It's not just
:17:22. > :17:25.fingers, even wrists, even elbows, even shoulders, it's the whole back
:17:26. > :17:31.which allows you to create any kind of sound which will be heard at the
:17:32. > :17:34.back of the Albert Hall. So now I'm at Maida Vale, the orchestra is
:17:35. > :17:43.rehearsing in studio one. Once you are with the orchestra has to be a
:17:44. > :17:47.meeting of minds. There's a little, not level of anxiety, but A level of
:17:48. > :17:54.excitement. Now we're on the threshold. At home when you are
:17:55. > :17:58.practising, there is any number of thousands of possibilities. Once you
:17:59. > :18:01.are actually in a rehearsal with the clock ticking away and not much
:18:02. > :18:05.time, you have to decide on one of those possibilities and join it with
:18:06. > :18:11.the orchestra. Maybe the oboist takes a little bit more time on one
:18:12. > :18:14.solo, so I have to go with that, and maybe I want to take more time and
:18:15. > :18:18.the conductor is listening and adjusting. We are laying out the
:18:19. > :18:22.path, it's routine this afternoon. We want to save something of the
:18:23. > :18:29.excitement for tomorrow so we can turn it on and it will be the
:18:30. > :18:32.performance. You can't get out of bed and rushed down to the Albert
:18:33. > :18:36.Hall and be able to play. I need to get a couple of hours before, get
:18:37. > :18:41.the adrenaline flowing, but that whole day I want to feel at ease
:18:42. > :18:45.with myself. I like to eat sushi is my favourite lunchtime food on the
:18:46. > :18:53.concert day. It's nutritious, but not too heavy. So it's an hour to go
:18:54. > :18:56.before the concert. I'm here at the dressing room in the Royal Albert
:18:57. > :19:00.Hall, underneath the stage. I want to warm up. I'm not going to
:19:01. > :19:05.practice the piece itself very much. You can over practice, you really
:19:06. > :19:09.can. Sometimes I feel particularly nervous. There are times when you
:19:10. > :19:17.just don't want to go out and play, so that has to be overcome. I'm
:19:18. > :19:22.chewing some gum, it helps my concentration, takes away nerves and
:19:23. > :19:27.so now I just need to get changed into my concert clothes, my concert
:19:28. > :19:31.shoes. They're very night -- light pumps. I can pedal very likely and
:19:32. > :19:35.they are fun looking as well. Then really its just watching the clock
:19:36. > :19:41.until the moment they tell me I am due on stage. So when I'm standing
:19:42. > :19:43.in the wings I just tried to avoid superstitions because when they
:19:44. > :19:49.don't work then your mind starts playing other games with you. You
:19:50. > :19:54.can have that kind of frieze of the brain, just physically do start to
:19:55. > :19:58.think, oh gosh, where's middle C, oh yes, it's there, this is the joy of
:19:59. > :20:01.light music. We are all prepared and we know what Rachmaninov wants and
:20:02. > :20:06.what we want, but on the night it has to have a certain sense of
:20:07. > :20:09.spontaneity as well. It should be good. I don't really know how I'm
:20:10. > :20:12.going to play this piece tonight, completely.
:20:13. > :20:17.APPLAUSE The renowned pianist Stephen Hough,
:20:18. > :20:30.and an insight into how he prepped Simone, how did you get ready for
:20:31. > :20:33.your Proms debut? It was a little strange because of the intensity of
:20:34. > :20:36.what is going on in the Albert Hall. The dress rehearsal was in the
:20:37. > :20:39.afternoon immediately before the concert, and I'm used to the German
:20:40. > :20:44.system where the dress rehearsal is in the morning, go and have lunch,
:20:45. > :20:48.get your head on, have laid out, get ready for the evening. I had to
:20:49. > :20:51.rethink my day, which meant I was ravenous for the concert because I
:20:52. > :20:57.never had time to find the meal. But it's about the mental preparation.
:20:58. > :21:02.How about your preparation for your Belfast Proms in the Park and Last
:21:03. > :21:07.Night of the Proms, do you have a ritual? I think we probably do, I
:21:08. > :21:10.have a tea, I wouldn't say at the ritual, that's too much. The thing I
:21:11. > :21:16.am doing all the time is going over the words. The words that -- are the
:21:17. > :21:19.thing that for a sting is the most terrifying. Have you had a moment
:21:20. > :21:27.where you have had to be creative with the words? More than once!
:21:28. > :21:34.Absolutely, the things I have made rhyme! Ira Gershwin would be proud!
:21:35. > :21:37.Yes. Any rituals to you, Mark? It depends on what peace or what
:21:38. > :21:41.occasion. Last year when I did Nielsen at the Proms it was an
:21:42. > :21:46.incredibly daunting experience for me, it is relentless and nonstop.
:21:47. > :21:50.There's nothing like it. For that kind of Marathon, I mean I just
:21:51. > :21:53.spent the three hours running around the back of the Albert Hall like a
:21:54. > :22:00.headless chicken will stop LAUGHTER
:22:01. > :22:02.It was pretty scary. Last year the city.
:22:03. > :22:04.Last year the City of Birmingham Symphony Orchestra's
:22:05. > :22:06.concert with their outgoing conductor Andris Nelsons
:22:07. > :22:08.was one of the Proms highlights of the season,
:22:09. > :22:10.especially as it was his last concert with the orchestra before
:22:11. > :22:15.A lot of talk ensued as to who could or would and indeed
:22:16. > :22:26.A few names were whispered, and after an extensive search
:22:27. > :22:28.it was announced that the Lithuanian conductor, Mirga Grazinyte-Tyla
:22:29. > :23:13.That was Mirga Grazinyte-Tyla making her Proms debut conducting
:23:14. > :23:22.the CBSO in the overture from Mozart's The Magic Flute.
:23:23. > :23:29.Simone, gives the lowdown. Mirga has made everybody very excited. What is
:23:30. > :23:35.it about her that makes her want to watch? She has everything. This is a
:23:36. > :23:41.young conductor of incredible intellectual strength. She has got a
:23:42. > :23:46.seriously impressive CV. This is very, very serious and impressive
:23:47. > :23:51.musician. For me, the answer to everything is that the orchestra,
:23:52. > :23:54.the musicians, wanted her. And I think that's just brilliant. I think
:23:55. > :23:59.she follows in a very clear line, from the previous appointments at
:24:00. > :24:05.CBSO. They have a real tradition of taking as many people would say, a
:24:06. > :24:16.gamble, on somebody young. Simon Rattle. Simon, relatively
:24:17. > :24:20.inexperienced, you might say that the previous conductor was young
:24:21. > :24:24.when he got the job as well. What -- it's what make Birmingham a special
:24:25. > :24:28.orchestra. It's a fantastic appointment. I'm terribly excited
:24:29. > :24:33.that she is hitting the mainstream, because she's a world star in the
:24:34. > :24:37.making. Apparently trained as a choral conductor, I don't know if
:24:38. > :24:41.you can see that singing background? You can completely see that, she has
:24:42. > :24:45.the music in her face. That immediately impresses me, that you
:24:46. > :24:49.look at her and you see the music, you see the excitement and the
:24:50. > :24:53.passion and the way she wants you to make music. For me, when people,
:24:54. > :25:03.when kids ask me, what is the conductor for? I'll leave now... ! ,
:25:04. > :25:07.Doctor is absolutely full clarity of movement and understanding -- the
:25:08. > :25:12.conductor. It's where the music must happen and she has that. Much more
:25:13. > :25:16.importantly conductor has to show you the music, gives you the music,
:25:17. > :25:20.show you where the music is going to go, and make sure everybody involved
:25:21. > :25:25.is going on the same path. You can just see that in her face. She has
:25:26. > :25:30.obviously been choral conductor. She is conducting to the back all the
:25:31. > :25:35.time. She's inspiring the chorus behind the orchestra all the time.
:25:36. > :25:39.For me, that's just wonderful, I love to theatre. As well as.
:25:40. > :25:42.As well as core repertoire the audience had the London premiere
:25:43. > :25:44.of Hans Abrahamsen's Let Me Tell You which featured the soprano,
:25:45. > :26:47.MUSIC: Let Me Tell You by Hans Abrahamsen.
:26:48. > :26:49.Barbara Hannigan performing with the CBSO, performing an excerpt
:26:50. > :26:55.from Hans Abrahamsen's Let Me Tell You.
:26:56. > :27:03.Mark, this has won many awards, it's a wonderful new work written in 2013
:27:04. > :27:07.and I know you are big work. Tell me about it. Hans Abrahamsen is one of
:27:08. > :27:12.the most innovative composers working today. He has this brilliant
:27:13. > :27:16.kind of clarity in his harmony, in his orchestration, and this work,
:27:17. > :27:22.which was written for Barbara Hannigan and the Berlin Philharmonic
:27:23. > :27:27.in 2013 takes the novella of Paul Griffiths with the same title, let
:27:28. > :27:33.me tell you, which in itself is a novella builds on all of the words
:27:34. > :27:40.from Ophelia's speech in Hamlet, and reimagined, and so Barbara, she
:27:41. > :27:42.approached hands and asked him to do something with face and in that he
:27:43. > :27:50.extrapolates another kind of understanding of Ofili. The piece
:27:51. > :27:55.has this -- understanding of Ofili. The piece has this intoxicating and
:27:56. > :27:59.inward looking expressivity, to me. There's a calmness and beauty and I
:28:00. > :28:03.think Barbara, it was written specifically for her, she has a
:28:04. > :28:07.beautiful voice, especially these gorgeous crystalline top notes which
:28:08. > :28:14.come out of the textures from nowhere. You know, as a kind of
:28:15. > :28:20.orchestral statement, an artistic statement, it's not overbearing,
:28:21. > :28:25.it's not kind of shouting at you to say anything other than just come
:28:26. > :28:28.into this world and listen to what I have to say, and that's one of the
:28:29. > :28:34.reasons why I like this particular piece and also Hans Abrahamsen's
:28:35. > :28:38.music in general. It's a sound world that appeals to you, Lesley? Very
:28:39. > :28:46.much so. I'm particularly impressed by the way Hans has taken Ophelia's
:28:47. > :28:51.nature and imbued it into the music. Ofili, as we know, is a fragile
:28:52. > :28:55.creature, she sees the world in an otherworldly way perhaps, and you
:28:56. > :29:00.absolutely get that in the sound world. It's beautifully sonorous and
:29:01. > :29:05.filigree, you can hear so many interesting details and textures and
:29:06. > :29:11.I think Barbara thinks it beautifully. She would, because he
:29:12. > :29:14.wrote it for her. I've had the great pleasure of having a piece, a role
:29:15. > :29:19.written for me, by this fabulous composer sitting here on my left,
:29:20. > :29:28.even though it was nothing as wonderful as Ophelia! You know!
:29:29. > :29:31.There is a very special magic that happens when a composer writes a
:29:32. > :29:37.piece specifically for you. My only worry about this piece is that it's
:29:38. > :29:40.very difficult to hear the words on the first hearing. I know they were
:29:41. > :29:44.printed in the programme and I'm glad of that and I think on
:29:45. > :29:47.television it's easier to hear them because you get up close and
:29:48. > :29:50.personal to the face, but I wonder whether the people in the hall could
:29:51. > :29:56.actually hear the words and I would have liked to have seen circle --
:29:57. > :30:03.surtitles so the poetry could have been understood and appreciated but
:30:04. > :30:06.it's difficult this, because words, nothing is repeated, traditionally
:30:07. > :30:09.an opera for instance that is why things are repeated so eventually
:30:10. > :30:14.you get the words, and that would be completely inappropriate in this
:30:15. > :30:18.kind of music. And there are these beautiful filigree high notes which
:30:19. > :30:22.I'd agree are exquisite. You can't put a word on a note like that, so
:30:23. > :30:28.again it makes a problem but with modern technology we can get round
:30:29. > :30:30.that and I really love it, I'd love to have a go at it myself. I think
:30:31. > :30:32.it's gorgeous. You can see Barbara Hannigan's
:30:33. > :30:34.performance as conducted by Mirga Grazinyte-Tyla
:30:35. > :30:36.with the CBSO tomorrow Proms Extra is almost at an end,
:30:37. > :30:41.but it would be rude of us to leave without taking a reflective look
:30:42. > :30:44.at the music, the guests and the drama that make up this
:30:45. > :31:07.unique Proms season. What a great site, 164 are pumped up
:31:08. > :31:18.teenagers on a Saturday night giving it something in a hall in South
:31:19. > :31:23.Kensington. He is a genius. You are showing young people how cool and
:31:24. > :31:29.orchestra can be. It is wonderful to have music in surprising situations.
:31:30. > :31:33.One of the players said it is hard to play this when you are constantly
:31:34. > :31:40.being reminded there is a 70% discount. You are engaging in lots
:31:41. > :31:47.of different ways with music. Let's look at the David Bowie Proms and I
:31:48. > :31:53.saw this huge list of messages. I love a bit of controversy rather
:31:54. > :32:02.than everything went swimmingly. But it was great. What is going on with
:32:03. > :32:09.these cores? Is it your kind of music? Everything we drank beer too.
:32:10. > :32:16.People do not like tunes like that any more. It was brilliant to have
:32:17. > :32:21.these Scriptures, it seemed out of context, but they work. It is the
:32:22. > :32:26.safety in numbers thing, we will prevail and get through the dark
:32:27. > :32:34.side and come through. Incredibly powerful, still pertinent and still
:32:35. > :32:40.very poignant. I have never seen an official looking so happy. It is the
:32:41. > :32:45.colour of the strings and the way you slide around in the woodwind.
:32:46. > :32:54.You have a particularly tough first number. Thank you for pointing that
:32:55. > :32:59.out. Gershwin is one of the great 20th-century composers. It is the
:33:00. > :33:09.wit of gin and vodka. A lot of musicians say it is only a viola. We
:33:10. > :33:13.are going to start the viola jokes. He enjoys every moment he connects
:33:14. > :33:20.to the audience in a way that you just lap up. I thought you were
:33:21. > :33:31.going to do the moonwalk. Later. Stay tuned for that. It starts loud,
:33:32. > :33:38.stays loud and gets louder. Mine is very much a party animal cellist
:33:39. > :33:43.rather than a serious one. You can see what the Orange does to the
:33:44. > :33:49.strings. The doors are going to be open very soon and it will be packed
:33:50. > :34:06.pretty tightly. I touched the holy grail of the Proms, the rail.
:34:07. > :34:12.Seven weeks of the Proms Extra done and come this
:34:13. > :34:14.Saturday, all roads will lead to the annual pomp
:34:15. > :34:28.In Leslie will be performing for us. If you missed Simon Rattle asthma,
:34:29. > :34:34.fear not, he is a little something for you to enjoy. -- if you missed
:34:35. > :35:10.Simon Rattle last night. MUSIC: Symphony No 7 in E
:35:11. > :35:27.minor by Gustav Mahler. That was Sir Simon Rattle
:35:28. > :35:29.with the Berlin Philharmonic, Now there's just time for me to tell
:35:30. > :35:36.you that the Last Night of the Proms will be broadcast live first
:35:37. > :35:38.on BBC Two, and the second half will follow on BBC One,
:35:39. > :35:41.with yours truly at the helm. For the final time I can tell
:35:42. > :35:44.you that many of the Proms broadcasts, including Proms Extra,
:35:45. > :35:47.are online - but not indefinitely. And remember that during this
:35:48. > :35:49.last week as always, all of the Proms are broadcast live
:35:50. > :35:52.on BBC Radio Three every night. It only remains for me to say thank
:35:53. > :36:00.you to Mark Simpson and Simone Young for joining me this evening,
:36:01. > :36:03.and thank you to Lesley Garrett, who will be performing
:36:04. > :36:05.in Belfast in the Last Night Accompanied tonight by her
:36:06. > :36:09.pianist Anna Tilbrook, here is Lesley Garrett
:36:10. > :37:05.with Beat Out That Rhythm On A Drum, # It ain't the sweetness
:37:06. > :37:37.# I don't need nothin' else to start me off
:37:38. > :38:36.# Tonight we're in the groove together
:38:37. > :38:38.# Ain't gonna worry about stormy weather
:38:39. > :38:42.# Gonna kick old trouble out the door
:38:43. > :39:16.# And kick his carcass through the door
:39:17. > :39:19.CHEERING AND APPLAUSE I think they liked it.