1 00:00:02,000 --> 00:00:04,520 What's the most exciting thing about this year's Prom season? 2 00:00:04,520 --> 00:00:05,880 Or any Prom season? 3 00:00:05,880 --> 00:00:08,200 Look, I love this building and all the orchestras 4 00:00:08,200 --> 00:00:12,320 and musicians who play here, but the most thrilling thing of all 5 00:00:12,320 --> 00:00:15,000 is when this whole place, the Royal Albert Hall, 6 00:00:15,000 --> 00:00:18,480 resounds with music that no-one's heard before. 7 00:00:18,480 --> 00:00:20,640 Well, that's what I've got for you tonight - 8 00:00:20,640 --> 00:00:23,280 a whole evening devoted to new music at the Proms. 9 00:00:23,280 --> 00:00:24,920 Come on in and enjoy. 10 00:00:45,200 --> 00:00:47,640 Now, all of the new music we're going to experience tonight 11 00:00:47,640 --> 00:00:51,480 doesn't descend into the Prom season like alien life forms 12 00:00:51,480 --> 00:00:55,160 into a forest of Beethoven, Mozart and Clara Schumann. 13 00:00:55,160 --> 00:00:59,840 No, new music is part of the Proms tradition, it's in their lifeblood. 14 00:00:59,840 --> 00:01:03,400 The Proms founder Henry Wood wanted to delight and challenge 15 00:01:03,400 --> 00:01:07,440 and even shock his audiences with what he called his novelties - 16 00:01:07,440 --> 00:01:09,400 new music made for the season. 17 00:01:09,400 --> 00:01:12,560 And best of all is that we don't know what this music 18 00:01:12,560 --> 00:01:15,080 is going to sound like - it's that sense of surprise. 19 00:01:15,080 --> 00:01:17,320 We don't know how it's going to make us feel. 20 00:01:17,320 --> 00:01:19,720 And it's wonderful to think that pieces like 21 00:01:19,720 --> 00:01:23,400 Vaughan Williams' Fifth Symphony, Benjamin Britten's Piano Concerto, 22 00:01:23,400 --> 00:01:25,720 Arnold Schoenberg's Five Orchestral Pieces 23 00:01:25,720 --> 00:01:31,320 and so, so many others all had their first-ever appearances at the Proms. 24 00:01:31,320 --> 00:01:35,000 All music was new music once. 25 00:01:35,000 --> 00:01:39,200 And anyone who's commissioned to write a new piece for the Proms 26 00:01:39,200 --> 00:01:41,880 has an amazing thing at their disposal - 27 00:01:41,880 --> 00:01:44,360 they're not just using the orchestra and singers 28 00:01:44,360 --> 00:01:47,680 and soloists up there as their canvas, but also this gigantic hall. 29 00:01:47,680 --> 00:01:49,120 And even us, their audience. 30 00:01:49,120 --> 00:01:52,520 I mean, imagine having all of this to play with. 31 00:01:52,520 --> 00:01:55,720 As a composer, it does not get bigger or better 32 00:01:55,720 --> 00:01:57,680 or more exciting than that. 33 00:01:57,680 --> 00:02:01,280 So, let's hear what six of our Proms composers have done 34 00:02:01,280 --> 00:02:03,200 with their new music at the Proms this year. 35 00:02:03,200 --> 00:02:05,880 Six premieres, all of them reflecting the people, 36 00:02:05,880 --> 00:02:09,400 places and societies that surround us in 2024. 37 00:02:09,400 --> 00:02:14,160 MacMillan, Marsalis, Nobuto, Clyne, Poe, Howard - 38 00:02:14,160 --> 00:02:17,960 if you haven't heard of those names yet, you will do soon. 39 00:02:19,360 --> 00:02:22,280 And we're going to kick off with the very first world premiere 40 00:02:22,280 --> 00:02:25,200 of this year's Proms season, from the First Night of the Proms. 41 00:02:25,200 --> 00:02:29,080 From the British/Japanese composer Ben Nobuto, his Hallelujah Sim. 42 00:02:29,080 --> 00:02:32,280 And this really was a game-changing piece of music. 43 00:02:32,280 --> 00:02:33,920 You know, they all come through here, 44 00:02:33,920 --> 00:02:36,760 all the musicians who make any Proms season. 45 00:02:36,760 --> 00:02:39,400 And anyone who's making new music at the Proms here, 46 00:02:39,400 --> 00:02:43,160 they've trod this backstage corridor at the Royal Albert Hall, 47 00:02:43,160 --> 00:02:47,120 making the sounds of now, the sounds of 2024. 48 00:02:47,120 --> 00:02:50,400 But that's really true in this piece because, in Hallelujah Sim, 49 00:02:50,400 --> 00:02:53,600 Ben Nobuto was inspired by everything from video games 50 00:02:53,600 --> 00:02:56,240 to internet culture to Anton Bruckner 51 00:02:56,240 --> 00:02:58,080 to produce a piece that's unlike 52 00:02:58,080 --> 00:03:00,760 anything that I've ever heard at the Proms before. 53 00:03:00,760 --> 00:03:05,880 Now, Hallelujah Sim is music with a manual, literally, because you'll 54 00:03:05,880 --> 00:03:10,440 hear Ikea-like instructions from a booming, electronic voice. 55 00:03:10,440 --> 00:03:13,720 Don't know what "a cappella" means? Well, you're about to find out. 56 00:03:13,720 --> 00:03:17,720 That and a whole lot more. Here's Ben Nobuto. 57 00:03:17,720 --> 00:03:19,760 My piece is called Hallelujah Sim 58 00:03:19,760 --> 00:03:23,480 and it's written for chorus, orchestra and electronics. 59 00:03:23,480 --> 00:03:26,520 It's structured like a video game, where the chorus has to sing 60 00:03:26,520 --> 00:03:29,360 the word hallelujah loads of different times, 61 00:03:29,360 --> 00:03:32,560 and each hallelujah is like a level in a video game. 62 00:03:32,560 --> 00:03:35,720 And there's a voice in the electronics part that's sort 63 00:03:35,720 --> 00:03:38,480 of guiding the chorus and telling them to sing in certain ways. 64 00:03:38,480 --> 00:03:42,080 So they have to sing faster or slower and then randomise 65 00:03:42,080 --> 00:03:44,960 and sort of combine the voice types and things like that 66 00:03:44,960 --> 00:03:47,800 in order to, like, progress through the game. 67 00:03:47,800 --> 00:03:51,120 I like to work with technology and incorporate electronics 68 00:03:51,120 --> 00:03:55,840 and you find this weird hybrid where the two are sort of merged together 69 00:03:55,840 --> 00:03:58,560 and you can't quite tell which is which. 70 00:03:58,560 --> 00:04:01,560 I think it's important that new music is played at the Proms 71 00:04:01,560 --> 00:04:05,760 because it's nice to have music that responds to our world now and, 72 00:04:05,760 --> 00:04:08,360 yeah, the feeling of being alive now. 73 00:04:11,280 --> 00:04:13,720 CHORUS: # Ha 74 00:04:25,040 --> 00:04:29,200 ELECTRONIC VOICE: Welcome...to... 75 00:04:29,200 --> 00:04:33,360 ..Hallelujah Si-Si-Si-Si-Si-Si... 76 00:04:33,360 --> 00:04:37,000 # Ha... # 77 00:04:37,000 --> 00:04:39,200 Simulation. 78 00:04:39,200 --> 00:04:43,600 The following is a step-by-step tutorial. 79 00:04:47,760 --> 00:04:52,000 Please follow the instructions carefully. 80 00:04:52,000 --> 00:04:54,000 Are you ready to proceed? 81 00:04:59,240 --> 00:05:02,160 Hallelujah One. First syllable. 82 00:05:02,160 --> 00:05:04,480 # Ha... # 83 00:05:04,480 --> 00:05:07,560 Altos only. # Ha... # 84 00:05:07,560 --> 00:05:10,000 Sopranos. # Ha... # 85 00:05:10,000 --> 00:05:12,280 Tenors. # Ha... # 86 00:05:12,280 --> 00:05:14,480 Bases. # Ha... # 87 00:05:14,480 --> 00:05:16,640 Together. # Ha... # 88 00:05:16,640 --> 00:05:17,680 Good. 89 00:05:18,880 --> 00:05:20,800 Second syllable. 90 00:05:20,800 --> 00:05:22,640 # Le... # 91 00:05:22,640 --> 00:05:23,680 No. 92 00:05:25,080 --> 00:05:27,000 # Le... # 93 00:05:27,000 --> 00:05:28,200 No. 94 00:05:29,440 --> 00:05:30,680 # Le... # 95 00:05:30,680 --> 00:05:31,960 Yes. 96 00:05:31,960 --> 00:05:33,720 CANNED CHEERING 97 00:05:33,720 --> 00:05:35,280 Combined. 98 00:05:35,280 --> 00:05:37,000 # Ha-le... # 99 00:05:37,000 --> 00:05:38,600 OK. 100 00:05:38,600 --> 00:05:40,360 Third syllable. 101 00:05:40,360 --> 00:05:41,920 Lower voices. 102 00:05:41,920 --> 00:05:43,480 # Lu... # 103 00:05:43,480 --> 00:05:44,680 Upper voices. 104 00:05:44,680 --> 00:05:46,520 # Lu... # 105 00:05:46,520 --> 00:05:47,640 Together. 106 00:05:47,640 --> 00:05:48,840 # Lu... # 107 00:05:48,840 --> 00:05:50,480 Randomise. 108 00:05:50,480 --> 00:05:53,360 VARIOUS PARTS OF THE CHORUS SING "LU" RHYTHMICALLY 109 00:05:57,080 --> 00:05:58,560 Faster. 110 00:05:58,560 --> 00:06:00,760 THEY SING FASTER 111 00:06:08,400 --> 00:06:11,240 # Lu 112 00:06:18,600 --> 00:06:21,040 # Ha 113 00:06:27,000 --> 00:06:29,480 # Lu 114 00:06:29,480 --> 00:06:30,880 # Ha 115 00:06:37,960 --> 00:06:39,440 # Lu 116 00:06:39,440 --> 00:06:40,920 # Ha 117 00:06:40,920 --> 00:06:43,000 # Le... # 118 00:06:43,000 --> 00:06:44,720 Looped. 119 00:06:44,720 --> 00:06:48,320 RHYTHMIC SYLLABLES BLEND TOGETHER 120 00:07:50,560 --> 00:07:52,760 # Hallelu... # 121 00:07:52,760 --> 00:07:54,480 Fo...fourth syllable. 122 00:07:54,480 --> 00:07:56,720 # Jah... # 123 00:07:58,040 --> 00:08:00,800 Hallelujah One completed. 124 00:08:00,800 --> 00:08:03,320 Hallelujah Two. 125 00:08:03,320 --> 00:08:05,440 # Ha 126 00:08:05,440 --> 00:08:07,520 # Le 127 00:08:07,520 --> 00:08:09,520 # Lu 128 00:08:09,520 --> 00:08:10,960 # Jah 129 00:08:12,800 --> 00:08:14,760 # Ha 130 00:08:14,760 --> 00:08:16,640 # Le 131 00:08:16,640 --> 00:08:18,640 # Lu 132 00:08:18,640 --> 00:08:20,720 # Jah 133 00:08:21,880 --> 00:08:23,560 # Ha 134 00:08:23,560 --> 00:08:25,160 # Le 135 00:08:25,160 --> 00:08:26,880 # Lu 136 00:08:26,880 --> 00:08:28,120 # Jah 137 00:08:29,320 --> 00:08:30,960 # Ha 138 00:08:30,960 --> 00:08:32,800 # Le 139 00:08:32,800 --> 00:08:34,600 # Lu 140 00:08:34,600 --> 00:08:36,560 # Jah 141 00:08:36,560 --> 00:08:38,200 # Ha 142 00:08:38,200 --> 00:08:39,960 # Le 143 00:08:39,960 --> 00:08:41,920 # Lu 144 00:08:41,920 --> 00:08:43,040 # Jah 145 00:08:44,840 --> 00:08:46,760 # Ha 146 00:08:46,760 --> 00:08:48,360 # Le 147 00:08:48,360 --> 00:08:50,120 # Lu 148 00:08:50,120 --> 00:08:51,320 # Jah 149 00:08:53,400 --> 00:08:54,720 # Ha 150 00:08:54,720 --> 00:08:57,560 # Ha le 151 00:08:57,560 --> 00:08:59,120 # Lu 152 00:08:59,120 --> 00:09:00,480 # Jah 153 00:09:02,480 --> 00:09:04,000 # Ha 154 00:09:04,000 --> 00:09:05,600 # Ha le 155 00:09:05,600 --> 00:09:07,480 # Lu 156 00:09:07,480 --> 00:09:08,760 # Jah 157 00:09:10,840 --> 00:09:13,000 # Ha le 158 00:09:13,000 --> 00:09:14,440 # Lu 159 00:09:14,440 --> 00:09:16,040 # Jah 160 00:09:16,040 --> 00:09:17,560 # Ha 161 00:09:17,560 --> 00:09:18,600 # Le 162 00:09:18,600 --> 00:09:19,760 # Lu 163 00:09:19,760 --> 00:09:21,080 # Jah 164 00:09:21,080 --> 00:09:24,000 # Ha le lu jah 165 00:09:24,000 --> 00:09:26,800 # Ha le lu jah 166 00:09:26,800 --> 00:09:29,040 # Ha le lu jah 167 00:09:29,040 --> 00:09:31,320 # Ha le lu jah 168 00:09:31,320 --> 00:09:32,720 # Ha le 169 00:09:32,720 --> 00:09:33,920 # Lu jah 170 00:09:33,920 --> 00:09:35,400 # Ha le lu 171 00:09:35,400 --> 00:09:36,440 # Jah 172 00:09:36,440 --> 00:09:38,240 # Ha le lu jah 173 00:09:38,240 --> 00:09:39,360 # Ha le 174 00:09:39,360 --> 00:09:40,520 # Lu jah 175 00:09:40,520 --> 00:09:41,840 # Ha 176 00:09:41,840 --> 00:09:43,440 # Le lu jah 177 00:09:43,440 --> 00:09:45,120 # Ha le lu jah 178 00:09:45,120 --> 00:09:49,800 # Lu jah, lu jah, lu jah, lu jah 179 00:09:49,800 --> 00:09:53,800 # Lu jah, lu jah, lu jah, lu jah 180 00:09:53,800 --> 00:09:56,080 # Lu jah... # 181 00:09:56,080 --> 00:09:58,080 Hallelujah Three. 182 00:09:58,080 --> 00:10:00,200 A cappella. 183 00:10:12,200 --> 00:10:18,280 # Hallelujah 184 00:10:26,680 --> 00:10:32,560 # Hallelujah 185 00:10:41,760 --> 00:10:47,520 # Hallelujah 186 00:10:56,120 --> 00:11:04,680 # Hallelujah 187 00:11:16,320 --> 00:11:20,840 # Hallelujah, hallelujah 188 00:11:20,840 --> 00:11:25,200 # Hallelujah, hallelujah 189 00:11:25,200 --> 00:11:29,200 # Hallelujah, hallelujah 190 00:11:29,200 --> 00:11:33,240 # Hallelujah, hallelujah 191 00:11:33,240 --> 00:11:37,200 # Hallelujah, hallelujah 192 00:11:37,200 --> 00:11:40,880 # Hallelujah, hallelujah 193 00:11:40,880 --> 00:11:44,320 # Hallelujah, hallelujah 194 00:11:44,320 --> 00:11:47,560 # Hallelujah, hallelujah 195 00:11:47,560 --> 00:11:50,800 # Hallelujah, hallelujah 196 00:11:50,800 --> 00:11:53,640 # Hallelujah, hallelujah 197 00:11:53,640 --> 00:11:56,440 # Hallelujah, hallelujah 198 00:11:56,440 --> 00:11:59,280 # Hallelujah, hallelujah 199 00:11:59,280 --> 00:12:01,880 # Hallelujah, hallelujah 200 00:12:01,880 --> 00:12:04,160 # Hallelujah, hallelujah 201 00:12:04,160 --> 00:12:06,720 # Hallelujah, hallelujah 202 00:12:06,720 --> 00:12:08,920 # Hallelujah, hallelujah 203 00:12:08,920 --> 00:12:11,040 # Hallelujah, hallelujah 204 00:12:11,040 --> 00:12:13,280 # Hallelujah, hallelujah 205 00:12:13,280 --> 00:12:15,440 # Hallelujah, hallelujah 206 00:12:15,440 --> 00:12:17,800 # Hallelujah, hallelujah 207 00:12:17,800 --> 00:12:19,960 # Hallelujah, hallelu 208 00:12:19,960 --> 00:12:21,360 # Hallelujah, hallelu 209 00:12:21,360 --> 00:12:23,200 # Hallelujah, hallelu 210 00:12:23,200 --> 00:12:25,200 # Hallelujah, hallelu 211 00:12:25,200 --> 00:12:26,880 # Hallelujah, hallelu 212 00:12:26,880 --> 00:12:28,080 # Hallelujah, hallelu 213 00:12:28,080 --> 00:12:29,240 # Hallelujah, halle 214 00:12:29,240 --> 00:12:30,800 # Hallelujah, halle 215 00:12:30,800 --> 00:12:33,000 # Hallelujah, halle Hallelujah, halle 216 00:12:33,000 --> 00:12:35,160 # Hallelujah, halle Hallelujah, ha 217 00:12:35,160 --> 00:12:37,040 # Hallelujah, ha Hallelujah 218 00:12:37,040 --> 00:12:38,920 # Hallelujah, ha Hallelu 219 00:12:38,920 --> 00:12:42,360 # Hallelujah, hallelujah Hallelujah, hallelujah 220 00:12:42,360 --> 00:12:45,360 # Hallelujah, hallelu Hallelu, hallelu 221 00:12:45,360 --> 00:12:47,600 # Hallelu, hallelu Hallelu, hallelu 222 00:12:47,600 --> 00:12:49,640 # Hallelu, halle Halle, halle 223 00:12:49,640 --> 00:12:50,840 # Halle, halle 224 00:12:50,840 --> 00:12:53,200 # Halle, halle, halle, halle Halle, halle, halle, halle 225 00:12:53,200 --> 00:12:55,440 # Halle, halle, halle, halle Halle, halle, halle, halle 226 00:12:55,440 --> 00:12:57,360 # Halle, halle, halle, halle Halle, halle, halle, halle 227 00:12:57,360 --> 00:12:59,560 # Halle, halle, halle, halle... # 228 00:12:59,560 --> 00:13:03,320 RAPID, CACOPHONOUS SYLLABLES 229 00:13:08,800 --> 00:13:10,400 Amen. 230 00:13:10,400 --> 00:13:11,800 Go! 231 00:13:11,800 --> 00:13:18,200 # Halle 232 00:13:19,920 --> 00:13:25,960 # Lujah 233 00:13:27,480 --> 00:13:30,400 # Ha 234 00:13:30,400 --> 00:13:34,800 # Le 235 00:13:34,800 --> 00:13:46,080 # Lu 236 00:13:46,080 --> 00:13:57,520 # Jah... # 237 00:14:17,440 --> 00:14:24,040 Thank you for completing the-the-the-the-the... 238 00:14:24,040 --> 00:14:25,920 ..tu-tu-tu-tu-tutorial. 239 00:14:25,920 --> 00:14:27,240 O-O—O-OK. 240 00:14:31,680 --> 00:14:35,760 CHEERING AND APPLAUSE 241 00:14:49,960 --> 00:14:53,720 Well, from that dazzling and moving music for choir 242 00:14:53,720 --> 00:14:58,000 and orchestra, to two more world premieres at the Proms this season 243 00:14:58,000 --> 00:15:01,360 that use the human voice to find new worlds of feeling. 244 00:15:01,360 --> 00:15:05,440 Coming up, Anna Clyne's mesmerising The Gorgeous Nothings. 245 00:15:05,440 --> 00:15:08,800 But now music by the Finnish/American composer Lara Poe 246 00:15:08,800 --> 00:15:11,720 that channels everything from the virtuosity of its soloist, 247 00:15:11,720 --> 00:15:15,040 the soprano Anu Komsi, to Nordic cow calling. 248 00:15:15,040 --> 00:15:17,600 It's called Songs From The Countryside 249 00:15:17,600 --> 00:15:21,200 and it's a seven-part song cycle that's inspired by Lara Poe's 250 00:15:21,200 --> 00:15:24,080 grandmother and her life in Finland. 251 00:15:24,080 --> 00:15:26,360 Now, this is the first time that Lara Poe's music 252 00:15:26,360 --> 00:15:29,160 has been heard at the Proms but in fact, she studied just over the 253 00:15:29,160 --> 00:15:32,080 road here form the Royal Albert Hall, at the Royal College of Music. 254 00:15:32,080 --> 00:15:35,560 Here's Lara to tell us more about Songs From The Countryside. 255 00:15:37,480 --> 00:15:40,600 Laulut Maaseudulta, or Songs From The Countryside, 256 00:15:40,600 --> 00:15:42,320 as the English title is, 257 00:15:42,320 --> 00:15:45,280 features texts from my grandmother's 258 00:15:45,280 --> 00:15:49,400 childhood and some other texts that I've compiled with my aunt. 259 00:15:49,400 --> 00:15:56,200 It's in seven movements and it looks at relationships between humans, 260 00:15:56,200 --> 00:15:59,240 the farm and nature. 261 00:15:59,240 --> 00:16:03,280 The inspiration for this piece comes from a variety of places - 262 00:16:03,280 --> 00:16:08,240 it comes from Anu's voice, it comes from the Finnish countryside 263 00:16:08,240 --> 00:16:12,640 and it comes from a particular type of singing, Finnish cow calling. 264 00:16:13,960 --> 00:16:16,600 This is a very different style of singing. 265 00:16:16,600 --> 00:16:20,240 It's much more raw. The idea is you can project across, 266 00:16:20,240 --> 00:16:22,160 say, several fields. 267 00:16:22,160 --> 00:16:27,840 It will bring an element of outside into a concert space. 268 00:16:29,120 --> 00:16:32,400 Being able to record these memories in music 269 00:16:32,400 --> 00:16:34,640 is a great honour and privilege. 270 00:16:34,640 --> 00:16:39,520 I hope the audience will learn more about this older heritage 271 00:16:39,520 --> 00:16:44,840 and these older, rural environments that are disappearing in some areas. 272 00:17:40,520 --> 00:17:43,080 SHE VOCALISES 273 00:48:13,440 --> 00:48:16,040 APPLAUSE 274 00:48:30,080 --> 00:48:33,440 A haunting evocation of the Finnish countryside. 275 00:48:33,440 --> 00:48:37,440 Just amazing how music can take us so quickly to another place 276 00:48:37,440 --> 00:48:39,400 and another time. 277 00:48:39,400 --> 00:48:42,080 Well, Anna Clyne's The Gorgeous Nothings 278 00:48:42,080 --> 00:48:45,680 has an equally clear inspiration, in the work of the 279 00:48:45,680 --> 00:48:48,160 19th-century American poet Emily Dickinson, 280 00:48:48,160 --> 00:48:50,960 and in particular her Envelope Poems. 281 00:48:50,960 --> 00:48:54,680 Now, these are tiny scraps of text literally written on the 282 00:48:54,680 --> 00:48:58,080 backs of used envelopes - full of philosophy, imagination 283 00:48:58,080 --> 00:48:59,520 and whimsy. 284 00:48:59,520 --> 00:49:02,760 But Anna Clyne's musical realisation of these words does something 285 00:49:02,760 --> 00:49:05,400 completely new. Now, she's writing here for the 286 00:49:05,400 --> 00:49:08,080 Grammy-award-winning singers of The Swingles. 287 00:49:08,080 --> 00:49:10,920 But she's also using cutting-edge technology, 288 00:49:10,920 --> 00:49:13,480 which she developed with Jody Elff, called 289 00:49:13,480 --> 00:49:16,880 the Augmented Orchestra, in which the sounds of the voices 290 00:49:16,880 --> 00:49:19,720 and the instruments can be manipulated and transformed 291 00:49:19,720 --> 00:49:22,400 in real time. Here's Anna Clyne. 292 00:49:25,000 --> 00:49:28,000 The Gorgeous Nothings is a new piece for The Swingle Singers 293 00:49:28,000 --> 00:49:30,440 and Augmented Orchestra. I've always loved the 294 00:49:30,440 --> 00:49:33,800 poetry of Emily Dickinson and I recently came across her 295 00:49:33,800 --> 00:49:36,760 Envelope Poems, which are little fragments of poetry 296 00:49:36,760 --> 00:49:38,920 that she wrote on little scraps of paper. 297 00:49:38,920 --> 00:49:41,640 She often uses unusual capitalisations of words 298 00:49:41,640 --> 00:49:44,080 within the line that you wouldn't expect, 299 00:49:44,080 --> 00:49:47,200 and she also uses punctuation in interesting ways and 300 00:49:47,200 --> 00:49:50,520 as a composer it's very interesting to think about these elements 301 00:49:50,520 --> 00:49:53,880 and how they can be interpreted through music. 302 00:49:53,880 --> 00:49:57,520 The Augmented Orchestra is a new innovation that I have been 303 00:49:57,520 --> 00:50:00,240 developing with sound designer Jody Elff. 304 00:50:00,240 --> 00:50:04,040 It's basically live processing of a select group of instruments 305 00:50:04,040 --> 00:50:07,200 to expand the sound world in real time. 306 00:50:07,200 --> 00:50:10,760 You'll hear the vibraphone down an octave, sounding like bells. 307 00:50:10,760 --> 00:50:13,320 You'll hear the double basses pitched down an octave 308 00:50:13,320 --> 00:50:16,440 to sound like an organ. And you'll even hear a bicycle wheel with 309 00:50:16,440 --> 00:50:18,840 a playing card on - when you turn it, it creates a sort of 310 00:50:18,840 --> 00:50:21,560 fluttering sound, which will move around the hall. 311 00:50:21,560 --> 00:50:23,120 FLUTTERING/TICKING 312 00:50:23,120 --> 00:50:25,480 In all honesty, I'm a little nervous, cos it's something 313 00:50:25,480 --> 00:50:28,480 that's new, and I really am grateful that this is an opportunity to 314 00:50:28,480 --> 00:50:31,040 try something new, to bring new technologies into the 315 00:50:31,040 --> 00:50:33,920 orchestral world. So, I hope that I'll be experiencing it 316 00:50:33,920 --> 00:50:36,400 along with the audience members, hearing these new sound 317 00:50:36,400 --> 00:50:38,440 worlds for the very first time. 318 00:50:46,800 --> 00:50:54,760 # This is my letter to the world 319 00:50:54,760 --> 00:51:01,160 # That never wrote to me 320 00:51:01,160 --> 00:51:08,000 # The simple news that nature told 321 00:51:08,000 --> 00:51:14,800 # With tender majesty 322 00:51:16,240 --> 00:51:22,200 # This is my letter to the world 323 00:51:22,200 --> 00:51:28,840 # That never wrote to me 324 00:51:28,840 --> 00:51:35,280 # The simple news that nature told 325 00:51:35,280 --> 00:51:40,920 # With tender majesty 326 00:51:42,800 --> 00:51:48,880 # This is my letter to the world 327 00:51:48,880 --> 00:51:55,360 # That never wrote to me 328 00:51:55,360 --> 00:52:01,640 # The simple news that nature told 329 00:52:01,640 --> 00:52:08,160 # With tender majesty 330 00:52:09,880 --> 00:52:16,160 # Her message is committed 331 00:52:16,160 --> 00:52:21,440 # To hands I cannot see 332 00:52:21,440 --> 00:52:30,480 # For love of her sweet countrymen 333 00:52:30,480 --> 00:52:38,480 # Judge tenderly of me 334 00:52:38,480 --> 00:52:44,640 # This is my letter to the world 335 00:52:44,640 --> 00:52:51,600 # That never wrote to me 336 00:52:51,600 --> 00:52:58,200 # The simple news that nature told 337 00:52:58,200 --> 00:53:05,640 # With tender majesty. # 338 00:53:14,120 --> 00:53:17,320 # Ahhh 339 00:53:20,400 --> 00:53:25,840 # Ahhh 340 00:53:27,080 --> 00:53:32,720 # Ahhh 341 00:53:32,720 --> 00:53:38,200 # Ahhh 342 00:53:39,440 --> 00:53:43,400 # Ahhh 343 00:53:44,920 --> 00:53:49,680 # Ahhh 344 00:53:49,680 --> 00:53:55,800 # Ahhh 345 00:53:55,800 --> 00:54:01,080 # Ahhh 346 00:54:03,160 --> 00:54:07,000 # In this short life 347 00:54:07,000 --> 00:54:10,920 # In this short life 348 00:54:10,920 --> 00:54:13,960 # That only lasts an hour 349 00:54:13,960 --> 00:54:17,760 # That only lasts an hour 350 00:54:17,760 --> 00:54:20,880 # How much 351 00:54:20,880 --> 00:54:23,720 # How little 352 00:54:23,720 --> 00:54:28,720 # Is within our power 353 00:54:28,720 --> 00:54:35,920 # Ahhh 354 00:54:35,920 --> 00:54:40,680 # Ahhh 355 00:54:41,800 --> 00:54:51,360 # Ahhh 356 00:54:53,840 --> 00:54:59,360 # In this short life 357 00:54:59,360 --> 00:55:06,080 # That only lasts an hour 358 00:55:08,240 --> 00:55:11,120 # How much 359 00:55:11,120 --> 00:55:13,920 # How little 360 00:55:13,920 --> 00:55:19,920 # Is within our power 361 00:55:19,920 --> 00:55:23,760 # Our power 362 00:55:25,760 --> 00:55:31,880 # In this short life Ahhh 363 00:55:31,880 --> 00:55:37,760 # That only lasts an hour Ahhh 364 00:55:39,280 --> 00:55:43,720 # How much Ahhh 365 00:55:43,720 --> 00:55:46,520 # How little Ahhh 366 00:55:46,520 --> 00:55:50,560 # Is within our power Ahhh 367 00:55:50,560 --> 00:55:53,560 # Our power 368 00:55:53,560 --> 00:56:00,000 # Our power. # 369 00:56:34,960 --> 00:56:39,400 # To light 370 00:56:39,400 --> 00:56:46,280 # And then return 371 00:56:50,320 --> 00:56:55,600 # To light and then return 372 00:56:55,600 --> 00:57:00,400 # To light and then return 373 00:57:00,400 --> 00:57:09,160 # To light and then return To light and then return 374 00:57:09,160 --> 00:57:16,120 # To light and then return 375 00:57:16,120 --> 00:57:24,080 # Return, return... # 376 00:57:24,080 --> 00:57:27,120 THEY VOCALISE 377 00:57:35,720 --> 00:57:44,640 # To light and then return... # 378 00:57:47,840 --> 00:57:50,680 THEY VOCALISE 379 00:58:00,240 --> 00:58:02,920 # Miracle 380 00:58:04,760 --> 00:58:07,560 # Miracle 381 00:58:09,480 --> 00:58:16,520 # A firmament for all 382 00:58:16,520 --> 00:58:24,520 # A miracle for all... # 383 00:58:27,840 --> 00:58:31,680 THEY HARMONISE 384 00:58:43,360 --> 00:58:46,520 # Mira-miracle 385 00:58:46,520 --> 00:58:50,280 # Miracle-mira-miracle 386 00:58:50,280 --> 00:58:59,560 # Miracle A firmament for all 387 00:58:59,560 --> 00:59:06,960 # A miracle for all... # 388 00:59:10,560 --> 00:59:16,040 SINGERS HARMONISE 389 01:00:16,920 --> 01:00:19,160 # Clogged 390 01:00:20,280 --> 01:00:23,080 # Clogged 391 01:00:24,720 --> 01:00:27,680 # Only with, only with 392 01:00:28,800 --> 01:00:32,160 # Clogged only with music 393 01:00:32,160 --> 01:00:34,240 # Music 394 01:00:36,000 --> 01:00:39,520 # Clogged only with music 395 01:00:39,520 --> 01:00:43,160 # Like the wheels of birds 396 01:00:46,200 --> 01:00:48,360 # Clogged only with music 397 01:00:48,360 --> 01:00:52,360 # Like the wheels of birds 398 01:00:52,360 --> 01:00:55,880 # Clogged, wheels 399 01:00:55,880 --> 01:00:57,760 # Music 400 01:00:57,760 --> 01:00:59,720 # Clogged 401 01:00:59,720 --> 01:01:02,120 # Wheels Music 402 01:01:02,120 --> 01:01:04,320 # Only with, only with 403 01:01:04,320 --> 01:01:09,920 # Only with music 404 01:01:11,400 --> 01:01:19,000 # Like the wheels of birds 405 01:01:20,720 --> 01:01:30,520 # Music like the wheels of birds 406 01:01:33,640 --> 01:01:37,920 # Afternoon 407 01:01:37,920 --> 01:01:42,520 # And the west 408 01:01:42,520 --> 01:01:50,280 # And the gorgeous nothings 409 01:01:51,640 --> 01:01:54,000 # Which 410 01:01:55,960 --> 01:02:05,720 # Compose the sunset 411 01:02:05,720 --> 01:02:10,040 # Keep their high appointment 412 01:02:10,040 --> 01:02:14,120 # Their high appointment 413 01:02:14,120 --> 01:02:19,960 # Clogged with music 414 01:02:19,960 --> 01:02:24,800 # Clogged with music 415 01:02:24,800 --> 01:02:28,120 # Only music 416 01:02:29,520 --> 01:02:33,880 # Only with music 417 01:02:35,240 --> 01:02:42,880 # Like the wheels of birds. # 418 01:02:54,280 --> 01:02:57,560 # One note from one bird 419 01:02:57,560 --> 01:03:03,000 # One note from one bird 420 01:03:03,000 --> 01:03:12,200 # One note from one bird 421 01:03:12,200 --> 01:03:18,080 # One note from one bird 422 01:03:18,080 --> 01:03:23,280 # One note from one bird 423 01:03:23,280 --> 01:03:31,000 # One note from one bird... # 424 01:03:35,760 --> 01:03:39,120 THEY VOCALISE 425 01:03:39,120 --> 01:03:42,880 # One note from one bird is better than a million words 426 01:03:42,880 --> 01:03:46,240 # One note from one bird is better than a million words 427 01:03:46,240 --> 01:03:50,640 # One note from one bird is better than a million words 428 01:03:50,640 --> 01:03:53,960 # A million words, a million words 429 01:04:01,720 --> 01:04:09,480 # A scabbard holds but one sword 430 01:04:09,480 --> 01:04:21,360 # A scabbard holds but one sword... # 431 01:04:21,360 --> 01:04:24,800 THEY VOCALISE 432 01:04:24,800 --> 01:04:26,800 # One note from one bird... # 433 01:04:26,800 --> 01:04:29,040 THEY VOCALISE 434 01:04:29,040 --> 01:04:31,640 # One note from one bird 435 01:04:31,640 --> 01:04:35,600 # One note from one bird 436 01:04:36,920 --> 01:04:39,920 # One note from one bird 437 01:04:39,920 --> 01:04:43,720 # One note from one bird 438 01:04:43,720 --> 01:04:51,720 # One note from one bird 439 01:04:51,720 --> 01:04:57,840 # A scabbard holds but one sword 440 01:04:57,840 --> 01:05:03,760 # A scabbard needs but one sword 441 01:05:03,760 --> 01:05:11,520 # A scabbard holds but one sword 442 01:05:11,520 --> 01:05:14,320 # From one bird 443 01:05:14,320 --> 01:05:17,920 # One note from one bird 444 01:05:17,920 --> 01:05:27,080 # One note from one bird. # 445 01:05:43,880 --> 01:05:50,640 # Look back on time with kindly eyes 446 01:05:51,920 --> 01:05:59,440 # He doubtless did his best 447 01:05:59,440 --> 01:06:07,640 # Look back on time with kindly eyes 448 01:06:07,640 --> 01:06:15,280 # He doubtless did his best 449 01:06:15,280 --> 01:06:23,840 # Look back on time with kindly eyes 450 01:06:23,840 --> 01:06:31,640 # He doubtless did his best 451 01:06:31,640 --> 01:06:39,520 # How softly sinks that trembling sun 452 01:06:39,520 --> 01:06:47,240 # In human nature's west 453 01:06:47,240 --> 01:06:55,360 # How softly sinks his trembling sun 454 01:06:55,360 --> 01:07:05,560 # In human nature's west. # 455 01:07:47,520 --> 01:07:55,000 # But are not 456 01:07:58,360 --> 01:08:05,920 # But are not 457 01:08:08,440 --> 01:08:16,320 # But are not 458 01:08:19,280 --> 01:08:28,120 # But are not 459 01:08:32,640 --> 01:08:39,520 # But are not all facts dreams 460 01:08:39,520 --> 01:08:54,240 # As soon as we put them behind us? 461 01:08:56,360 --> 01:09:01,920 # But are not all facts dreams 462 01:09:01,920 --> 01:09:12,680 # As soon as we put them behind 463 01:09:12,680 --> 01:09:24,880 # Us? # 464 01:09:31,960 --> 01:09:37,240 SINGERS VOCALISE 465 01:09:53,240 --> 01:10:00,760 # All facts dreams... # 466 01:10:03,400 --> 01:10:11,360 SINGERS HARMONISE 467 01:10:14,560 --> 01:10:22,400 # Behind 468 01:10:24,520 --> 01:10:32,880 # Behind 469 01:10:32,880 --> 01:10:41,840 # Us? # 470 01:11:07,720 --> 01:11:17,120 # This is my letter to the world 471 01:11:17,120 --> 01:11:23,760 # That never wrote to me 472 01:11:23,760 --> 01:11:31,320 # The simple news that nature told 473 01:11:31,320 --> 01:11:37,440 # With tender majesty 474 01:11:39,400 --> 01:11:46,280 # This is my letter to the world 475 01:11:46,280 --> 01:11:53,200 # That never wrote to me 476 01:11:53,200 --> 01:11:59,920 # The simple news that nature told 477 01:11:59,920 --> 01:12:05,960 # With tender majesty 478 01:12:07,960 --> 01:12:14,160 # This is my letter to the world 479 01:12:14,160 --> 01:12:20,920 # That never wrote to me 480 01:12:20,920 --> 01:12:27,760 # The simple news that nature told 481 01:12:27,760 --> 01:12:35,280 # With tender majesty 482 01:12:36,560 --> 01:12:43,080 # Her message is committed 483 01:12:43,080 --> 01:12:48,680 # To hands I cannot see 484 01:12:48,680 --> 01:12:53,240 # For love of her 485 01:12:53,240 --> 01:12:57,440 # Sweet countrymen 486 01:12:57,440 --> 01:13:04,760 # Judge tenderly of me 487 01:13:04,760 --> 01:13:11,920 # This is my letter to the world 488 01:13:11,920 --> 01:13:19,200 # That never wrote to me 489 01:13:19,200 --> 01:13:26,680 # The simple news that nature told 490 01:13:26,680 --> 01:13:36,520 # With tender majesty. # 491 01:13:40,560 --> 01:13:43,640 APPLAUSE 492 01:13:55,960 --> 01:13:59,240 Everything we're hearing tonight celebrates the power of music 493 01:13:59,240 --> 01:14:03,680 to bring us together, something we need now more than ever. 494 01:14:03,680 --> 01:14:07,000 Well, our next piece joins us together in a moment of thrilling 495 01:14:07,000 --> 01:14:10,200 anticipation. It's by the British composer Dani Howard, 496 01:14:10,200 --> 01:14:13,640 who's resident artist with the National Youth Orchestra. 497 01:14:13,640 --> 01:14:16,640 And you know that tingling feeling you get just before 498 01:14:16,640 --> 01:14:20,480 the music and the dancing starts - three, four and...?! 499 01:14:20,480 --> 01:14:22,760 Well, that's the title of Dani Howard's piece and 500 01:14:22,760 --> 01:14:25,560 that's what her music is all about, and she's composed it especially 501 01:14:25,560 --> 01:14:29,320 for the energy, drive and ambition of the virtuosos 502 01:14:29,320 --> 01:14:32,360 of the National Youth Orchestra, something that means so much to 503 01:14:32,360 --> 01:14:34,360 Dani Howard herself. 504 01:14:34,360 --> 01:14:37,520 With that title - the Three, Four AND... 505 01:14:37,520 --> 01:14:40,600 that you get in dance and music, it's all about 506 01:14:40,600 --> 01:14:43,400 that moment after the "and", where you're waiting for 507 01:14:43,400 --> 01:14:46,920 what's about to happen. The piece doesn't end with a full stop 508 01:14:46,920 --> 01:14:49,840 because that's not how I feel about these kids, 509 01:14:49,840 --> 01:14:51,840 it's about what's to come next. 510 01:14:51,840 --> 01:14:54,280 When I was speaking with the National Youth Orchestra, 511 01:14:54,280 --> 01:14:57,960 we discussed coming up with a melody that was going to be taken 512 01:14:57,960 --> 01:15:00,800 on the NYO Inspire tour. 513 01:15:00,800 --> 01:15:04,240 And, you know, basically morphed, interpreted by young people - 514 01:15:04,240 --> 01:15:06,000 as young as five years old - 515 01:15:06,000 --> 01:15:08,000 and teenagers across the country. 516 01:15:08,000 --> 01:15:10,000 The piece includes this as one melody, 517 01:15:10,000 --> 01:15:12,480 as the centrepiece, 518 01:15:12,480 --> 01:15:17,000 and it's been really crazy to be tagged in social media 519 01:15:17,000 --> 01:15:20,320 by lots and lots of young people with their performance, 520 01:15:20,320 --> 01:15:23,000 whether that's split screen of them playing several instruments 521 01:15:23,000 --> 01:15:27,000 or lots of layers. It's been really quite emotional, actually. 522 01:15:27,000 --> 01:15:30,440 I love the fact that these young people were told 523 01:15:30,440 --> 01:15:32,760 that this melody has just been written 524 01:15:32,760 --> 01:15:35,640 and they'll know that they shaped in some part 525 01:15:35,640 --> 01:15:37,440 this brand-new composition. 526 01:15:37,440 --> 01:15:39,240 I'm writing, in this case, 527 01:15:39,240 --> 01:15:41,520 primarily for these young people 528 01:15:41,520 --> 01:15:44,000 and their experience of playing this music, 529 01:15:44,000 --> 01:15:47,000 and so I just hope people get sort of lost 530 01:15:47,000 --> 01:15:50,800 in a world for the 13 minutes that it goes on for - 531 01:15:50,800 --> 01:15:53,600 just to se how incredibly talented they are. 532 01:15:57,200 --> 01:16:00,040 STAMPING, SHUSHING AND CLICKING 533 01:26:15,000 --> 01:26:18,040 STAMPING AND SHUSHING 534 01:28:16,480 --> 01:28:19,840 CHEERING AND APPLAUSE 535 01:28:34,000 --> 01:28:36,400 Well, as we near the end of our new music odyssey 536 01:28:36,400 --> 01:28:40,760 at the Proms, we have a piece by James MacMillan that nearly blew 537 01:28:40,760 --> 01:28:44,600 the roof off this place when it was done earlier in the season. 538 01:28:44,600 --> 01:28:47,760 So, James MacMillan - well, this isn't the first piece he's had done 539 01:28:47,760 --> 01:28:49,480 at the Proms by far. 540 01:28:49,480 --> 01:28:52,800 I'll never forget his first Proms premiere in 1990. 541 01:28:52,800 --> 01:28:55,000 It was The Confession Of Isobel Gowdie, 542 01:28:55,000 --> 01:28:58,320 and watching it on the telly in Glasgow changed MY life 543 01:28:58,320 --> 01:29:00,320 and, I'm sure, many thousands watching. 544 01:29:00,320 --> 01:29:02,200 You know, that was such a transformative piece 545 01:29:02,200 --> 01:29:04,200 and experience, as is this one. 546 01:29:04,200 --> 01:29:06,200 Look, this year, James MacMillan has written 547 01:29:06,200 --> 01:29:10,320 Timotheus, Bacchus And Cecilia especially for Sir Mark Elder, 548 01:29:10,320 --> 01:29:14,000 in the final run of his concerts after nearly a quarter century 549 01:29:14,000 --> 01:29:16,640 as the Halle orchestra's music director. 550 01:29:16,640 --> 01:29:20,280 And this is a jubilant orchestral and choral festival 551 01:29:20,280 --> 01:29:22,000 in just 20 minutes or so. 552 01:29:22,000 --> 01:29:24,520 And it unites pretty well the entire Halle family - 553 01:29:24,520 --> 01:29:27,320 all their choirs and of course the orchestra itself - 554 01:29:27,320 --> 01:29:30,000 in a hymn of praise to the power of music 555 01:29:30,000 --> 01:29:32,200 and its patron saint, Cecilia. 556 01:29:32,200 --> 01:29:35,520 Now, Sir Mark Elder told me that Timotheus, Bacchus And Cecilia 557 01:29:35,520 --> 01:29:39,000 is a journey from darkness towards light. 558 01:29:39,000 --> 01:29:42,440 But the blazing brightness that this piece finds at the end - 559 01:29:42,440 --> 01:29:44,760 I mean, it is really overwhelming. 560 01:29:44,760 --> 01:29:46,440 It's just totally shattering. 561 01:29:46,440 --> 01:29:49,240 You feel one of the most extraordinary things 562 01:29:49,240 --> 01:29:51,440 that all these choirs and the orchestra 563 01:29:51,440 --> 01:29:53,520 could possibly have made together. 564 01:29:53,520 --> 01:29:56,400 It makes your soul shake with emotion. 565 01:29:56,400 --> 01:29:58,000 Well, that's what it did to me - 566 01:29:58,000 --> 01:29:59,640 and I'm sure it will to you, too. 567 01:29:59,640 --> 01:30:03,280 Above all, this is a celebration of just how overwhelming 568 01:30:03,280 --> 01:30:06,680 and how meaningful new music at the Proms really is. 569 01:30:07,840 --> 01:30:11,680 This piece was commissioned to mark Sir Mark Elder's final concerts 570 01:30:11,680 --> 01:30:13,200 with the Halle orchestra, 571 01:30:13,200 --> 01:30:15,520 and when Sir Mark spoke to me about it, 572 01:30:15,520 --> 01:30:18,200 he quite rightly suggested 573 01:30:18,200 --> 01:30:21,920 that the work should celebrate music in one shape or another. 574 01:30:21,920 --> 01:30:24,440 And so I immediately thought of who the figures - 575 01:30:24,440 --> 01:30:26,120 the archetypal figures - 576 01:30:26,120 --> 01:30:28,960 in poetry and antiquity were associated with music, 577 01:30:28,960 --> 01:30:32,360 and of course Cecilia is there - Saint Cecilia. But there are others. 578 01:30:32,360 --> 01:30:35,760 And the perfect poem that grapples 579 01:30:35,760 --> 01:30:38,400 with all the different allegorical figures 580 01:30:38,400 --> 01:30:43,840 associated with the power of music is John Dryden's Alexander's Feast, 581 01:30:43,840 --> 01:30:45,720 written in the late 1600s. 582 01:30:45,720 --> 01:30:49,320 It's a big poem, so I focused on three particular figures - 583 01:30:49,320 --> 01:30:52,600 Timotheus, Bacchus and Cecilia. 584 01:30:52,600 --> 01:30:55,000 And that is in fact the title of the work. 585 01:30:55,000 --> 01:30:57,160 When one is setting text, 586 01:30:57,160 --> 01:30:59,360 you're given this great gift from a poet. 587 01:30:59,360 --> 01:31:01,800 And so the music has to serve the text. 588 01:31:01,800 --> 01:31:05,000 It has to understand the text, get in about the text, 589 01:31:05,000 --> 01:31:07,680 in between the meaning of the lines 590 01:31:07,680 --> 01:31:10,800 and in a sense incapsulate something of the deep essence, 591 01:31:10,800 --> 01:31:14,200 the deep spiritual hinterland of that text 592 01:31:14,200 --> 01:31:17,000 to communicate it in music. 593 01:31:17,000 --> 01:31:20,760 And that is the great aspiration of every composer 594 01:31:20,760 --> 01:31:22,480 who sets a poet's work. 595 01:31:22,480 --> 01:31:26,000 To get a commission to write a work which celebrates 596 01:31:26,000 --> 01:31:28,520 the power of music is a great gift, 597 01:31:28,520 --> 01:31:32,200 and a great sense of pride and delight for me as a composer. 598 01:33:05,680 --> 01:33:07,520 # Timotheus 599 01:33:10,280 --> 01:33:11,960 # Timotheus 600 01:33:14,480 --> 01:33:16,480 # Timotheus 601 01:33:16,480 --> 01:33:18,480 # Timotheus 602 01:33:18,480 --> 01:33:26,280 # Timotheus placed on high 603 01:33:29,000 --> 01:33:32,040 # Amid the tuneful choir 604 01:33:32,040 --> 01:33:34,480 # Amid the tuneful choir 605 01:33:34,480 --> 01:33:38,000 # Amid the tuneful choir 606 01:33:38,000 --> 01:33:40,000 # Timotheus 607 01:33:40,000 --> 01:33:42,000 # Timotheus 608 01:33:42,000 --> 01:33:44,000 # Timotheus 609 01:33:44,000 --> 01:33:49,440 # With flying fingers 610 01:33:51,240 --> 01:33:55,000 # Touched the lyre 611 01:33:55,000 --> 01:33:57,200 # Touched the lyre 612 01:33:57,200 --> 01:33:59,560 # Touched the lyre 613 01:33:59,560 --> 01:34:01,360 # Touched the lyre 614 01:34:01,360 --> 01:34:03,040 # Touched the lyre 615 01:34:03,040 --> 01:34:05,040 # Touched the lyre 616 01:34:05,040 --> 01:34:06,800 # Touched the lyre 617 01:34:06,800 --> 01:34:12,040 # Touched the lyre 618 01:34:25,000 --> 01:34:27,360 # The trembling notes 619 01:34:30,480 --> 01:34:32,920 # The trembling notes 620 01:34:36,000 --> 01:34:39,240 # The trembling notes 621 01:34:39,240 --> 01:34:46,560 # Ascend the sky 622 01:34:56,840 --> 01:35:01,960 # And heavenly joys 623 01:35:03,680 --> 01:35:11,040 # Inspire 624 01:35:25,280 --> 01:35:30,040 # The song began from Jove 625 01:35:32,000 --> 01:35:35,000 # Who left 626 01:35:35,000 --> 01:35:38,000 # Left his blissful seats 627 01:35:40,680 --> 01:35:43,040 # Above 628 01:35:43,040 --> 01:35:46,280 # Above, above, above 629 01:35:53,320 --> 01:35:59,000 # Such is the power 630 01:35:59,000 --> 01:36:03,800 # Of mighty love 631 01:36:03,800 --> 01:36:08,800 # Mighty 632 01:36:08,800 --> 01:36:11,600 # Love 633 01:36:37,320 --> 01:36:42,000 # A dragon's fiery form 634 01:36:42,000 --> 01:36:44,880 # Belied the god 635 01:36:44,880 --> 01:36:49,000 # Sublime on radiant spires 636 01:36:49,000 --> 01:36:51,520 # He rode 637 01:36:51,520 --> 01:36:57,440 # When he to fair Olympia pressed 638 01:36:57,440 --> 01:37:01,000 # And while he sought 639 01:37:01,000 --> 01:37:04,720 # Her snowy breast 640 01:37:08,680 --> 01:37:14,760 # Then round her slender waist 641 01:37:14,760 --> 01:37:18,040 # He curled 642 01:37:19,920 --> 01:37:24,280 # And stamped an image of himself 643 01:37:24,280 --> 01:37:27,360 # A sovereign of the world 644 01:37:27,360 --> 01:37:30,040 # A sovereign of the world 645 01:37:30,040 --> 01:37:34,040 # A sovereign of the world 646 01:37:34,040 --> 01:37:39,640 # A sovereign of the world 647 01:37:39,640 --> 01:37:42,600 # The listening crowd 648 01:37:42,600 --> 01:37:52,840 # Admire the lofty sound 649 01:38:00,360 --> 01:38:02,520 # "A present deity!" 650 01:38:05,240 --> 01:38:07,600 # "A present deity!" 651 01:38:10,000 --> 01:38:12,320 # "A present deity!" 652 01:38:14,800 --> 01:38:17,200 # "A present deity!" 653 01:38:17,200 --> 01:38:19,600 # "A present deity!" 654 01:38:19,600 --> 01:38:22,040 # "A present deity!" 655 01:38:22,040 --> 01:38:24,480 # "A present deity!" 656 01:38:24,480 --> 01:38:27,040 # "A present deity!" 657 01:38:27,040 --> 01:38:29,640 # "A present deity!" 658 01:38:29,640 --> 01:38:33,080 # "A present deity!" 659 01:38:37,680 --> 01:38:40,200 # They shout around 660 01:38:40,200 --> 01:38:42,280 # They shout around 661 01:38:45,280 --> 01:38:47,200 # They shout around 662 01:38:47,200 --> 01:38:49,040 # They shout around 663 01:38:49,040 --> 01:38:51,400 # They shout around 664 01:39:03,480 --> 01:39:06,840 # "A present deity!" 665 01:39:06,840 --> 01:39:09,040 # "A present deity!" 666 01:39:09,040 --> 01:39:14,760 # "A present deity!" 667 01:39:17,000 --> 01:39:22,040 # The vaulted roofs rebound 668 01:39:25,000 --> 01:39:27,480 # The vaulted roofs rebound 669 01:39:27,480 --> 01:39:29,880 # The vaulted roofs rebound 670 01:39:29,880 --> 01:39:33,800 # The vaulted roofs rebound 671 01:39:39,240 --> 01:39:43,040 # With ravished ears 672 01:39:43,040 --> 01:39:46,960 # The monarch hears 673 01:39:48,360 --> 01:39:52,040 # With ravished ears 674 01:39:52,040 --> 01:39:56,000 # The monarch hears 675 01:39:57,440 --> 01:40:01,000 # With ravished ears 676 01:40:03,160 --> 01:40:08,200 # The monarch hears 677 01:40:09,760 --> 01:40:14,040 # Assumes the god 678 01:40:15,880 --> 01:40:19,800 # Affects to nod 679 01:40:19,800 --> 01:40:31,080 # And seems to shake the spheres... # 680 01:41:10,720 --> 01:41:15,440 # The praise 681 01:41:15,440 --> 01:41:17,000 # Of Bacchus 682 01:41:17,000 --> 01:41:18,320 # Bacchus 683 01:41:18,320 --> 01:41:20,480 # Bacchus 684 01:41:20,480 --> 01:41:24,040 # Then the sweet musician sung 685 01:41:24,040 --> 01:41:26,760 # Of Bacchus ever fair 686 01:41:26,760 --> 01:41:29,400 # Of Bacchus ever fair 687 01:41:29,400 --> 01:41:32,600 # And ever young And ever young 688 01:41:32,600 --> 01:41:41,080 # The jolly god in triumph comes 689 01:41:43,920 --> 01:41:45,120 # Sound the trumpets 690 01:41:45,120 --> 01:41:46,320 # Sound the trumpets 691 01:41:46,320 --> 01:41:48,200 # Sound the trumpets 692 01:41:48,200 --> 01:41:52,760 # Beat the 693 01:41:52,760 --> 01:41:56,040 # Drums 694 01:42:06,120 --> 01:42:09,480 # Flushed with a purple grace 695 01:42:10,680 --> 01:42:12,440 # He shows his honest face 696 01:42:12,440 --> 01:42:15,200 # Now give the hautboys breath 697 01:42:17,000 --> 01:42:20,040 # Now give the hautboys breath 698 01:42:21,600 --> 01:42:25,040 # Now give the hautboys breath 699 01:42:25,040 --> 01:42:27,720 # Now give the hautboys breath 700 01:42:28,760 --> 01:42:31,040 # He comes, he comes 701 01:42:31,040 --> 01:42:33,360 # He comes, he comes 702 01:42:33,360 --> 01:42:36,040 # Bacchus, ever fair 703 01:42:36,040 --> 01:42:38,760 # Bacchus, ever fair and young 704 01:42:38,760 --> 01:42:43,120 # And young 705 01:43:05,560 --> 01:43:08,520 # Bacchus, ever fair and young 706 01:43:10,360 --> 01:43:15,680 # Drinking joys did first ordain 707 01:43:17,360 --> 01:43:22,720 # Bacchus' blessings are a treasure 708 01:43:24,400 --> 01:43:26,880 # Drinking is the soldier's pleasure 709 01:43:29,000 --> 01:43:31,040 # Rich the treasure 710 01:43:31,040 --> 01:43:33,040 # Sweet the pleasure 711 01:43:33,040 --> 01:43:36,760 # Sweet is pleasure 712 01:43:36,760 --> 01:43:40,720 # After pain 713 01:43:40,720 --> 01:43:44,320 # After pain 714 01:43:49,560 --> 01:43:54,040 # After pain 715 01:43:57,000 --> 01:44:01,040 # After pain... # 716 01:46:03,600 --> 01:46:07,040 # Sancta Cecilia 717 01:46:09,000 --> 01:46:13,440 # Ora pro nobis 718 01:46:14,560 --> 01:46:18,480 # Sancta Cecilia 719 01:46:20,160 --> 01:46:23,600 # Ora pro nobis 720 01:46:25,720 --> 01:46:29,040 # Sancta Cecilia 721 01:46:31,400 --> 01:46:34,840 # Ora pro nobis 722 01:46:37,000 --> 01:46:40,800 # Sancta Cecilia 723 01:46:42,760 --> 01:46:46,000 # Ora pro nobis 724 01:46:46,000 --> 01:46:48,000 # Thus 725 01:46:48,000 --> 01:46:52,040 # Long ago 726 01:46:54,000 --> 01:46:59,000 # Where heaving 727 01:46:59,000 --> 01:47:03,400 # Bellows learned 728 01:47:03,400 --> 01:47:05,720 # To blow 729 01:47:05,720 --> 01:47:10,000 # While organs 730 01:47:10,000 --> 01:47:16,040 # Yet were mute 731 01:47:16,040 --> 01:47:19,560 # Timotheus 732 01:47:19,560 --> 01:47:21,800 # Timotheus 733 01:47:21,800 --> 01:47:28,480 # To his breathing flute 734 01:47:28,480 --> 01:47:35,720 # And sounding lyre 735 01:47:35,720 --> 01:47:41,520 # Could swell 736 01:47:41,520 --> 01:47:46,840 # The soul to rage 737 01:47:46,840 --> 01:47:50,000 # Or kindle 738 01:47:50,000 --> 01:47:56,600 # Soft desire 739 01:47:56,600 --> 01:48:01,920 # Sancta Cecilia 740 01:48:01,920 --> 01:48:08,240 # Ora pro nobis 741 01:48:08,240 --> 01:48:12,040 # Sancta Cecilia 742 01:48:14,000 --> 01:48:18,040 # Ora pro nobis 743 01:48:19,400 --> 01:48:23,040 # Sancta Cecilia 744 01:48:24,920 --> 01:48:29,280 # Ora pro nobis 745 01:48:31,000 --> 01:48:34,040 # Sancta Cecilia 746 01:48:35,760 --> 01:48:40,040 # Ora pro nobis 747 01:48:40,040 --> 01:48:45,040 # At last divine Cecilia came 748 01:48:47,000 --> 01:48:51,040 # Inventress of the vocal frame 749 01:48:55,480 --> 01:49:00,840 # The sweet enthusiast 750 01:49:00,840 --> 01:49:06,360 # From her sacred store 751 01:49:06,360 --> 01:49:12,920 # Enlarged the former narrow bounds 752 01:49:14,000 --> 01:49:20,000 # And added length to solemn sounds 753 01:49:20,000 --> 01:49:25,000 With Nature's mother-wit 754 01:49:25,000 --> 01:49:28,280 # And arts unknown before 755 01:49:28,280 --> 01:49:31,000 # Unknown before 756 01:49:31,000 --> 01:49:34,000 # Let old Timotheus 757 01:49:34,000 --> 01:49:38,040 # Yield the prize 758 01:49:41,000 --> 01:49:45,480 # Or both divide the crown 759 01:49:45,480 --> 01:49:50,480 # He raised a mortal to the skies 760 01:49:50,480 --> 01:49:55,240 # She drew an angel down 761 01:49:55,240 --> 01:50:01,120 # He raised a mortal to the skies 762 01:50:01,120 --> 01:50:12,560 # She drew an angel down 763 01:50:12,560 --> 01:50:18,600 # He raised a mortal to the skies 764 01:50:18,600 --> 01:50:29,840 # She drew an angel down... # 765 01:51:15,800 --> 01:51:20,600 CHEERING AND APPLAUSE 766 01:51:51,400 --> 01:51:54,240 Well, that's almost the end of our whistle-stop tour 767 01:51:54,240 --> 01:51:57,000 through new music at this year's Proms. 768 01:51:57,000 --> 01:52:00,280 You know, all of those composers sharing with us 769 01:52:00,280 --> 01:52:03,440 that sense of what it's like to celebrate the really 770 01:52:03,440 --> 01:52:06,400 astounding cultures of new music at the moment. 771 01:52:06,400 --> 01:52:08,680 And all of those listeners coming together for their journeys 772 01:52:08,680 --> 01:52:11,000 of discovery here at the Royal Albert Hall, 773 01:52:11,000 --> 01:52:13,240 becoming a community of new music lovers. 774 01:52:13,240 --> 01:52:16,000 But those journeys are just ongoing. 775 01:52:16,000 --> 01:52:18,000 You can start them yourselves, 776 01:52:18,000 --> 01:52:21,200 use the five pieces you've heard tonight as upbeats 777 01:52:21,200 --> 01:52:23,200 and springboards into your own journeys 778 01:52:23,200 --> 01:52:26,360 through the odyssey of new music and its universes. 779 01:52:26,360 --> 01:52:27,680 And, look, I know I'm biased, 780 01:52:27,680 --> 01:52:32,360 but BBC Radio 3's New Music Show is a pretty good place to start. 781 01:52:32,360 --> 01:52:34,760 But aren't you lucky? I've got one more treat 782 01:52:34,760 --> 01:52:37,600 of new music at the Proms this summer to share with you. 783 01:52:37,600 --> 01:52:40,000 It's by the composer and trumpeter Wynton Marsalis, 784 01:52:40,000 --> 01:52:43,160 and it's a celebration of brass instruments and their culture. 785 01:52:43,160 --> 01:52:45,280 Heroic brassy music, this. 786 01:52:45,280 --> 01:52:47,720 So you'll hear hints of Duke Ellington, 787 01:52:47,720 --> 01:52:49,760 and New Orleans, Copland and Gershwin. 788 01:52:49,760 --> 01:52:53,760 This is American music at its most vibrantly American. 789 01:52:53,760 --> 01:52:56,560 It's called Herald, Holler And Hallelujah! 790 01:52:56,560 --> 01:53:00,240 And I challenge all of you to listen and experience this piece 791 01:53:00,240 --> 01:53:02,800 without a smile on your face. 792 01:53:02,800 --> 01:53:04,280 Enjoy! 793 01:58:52,400 --> 01:58:56,040 APPLAUSE