1
00:00:04,400 --> 00:00:08,120
Over the past 100 years,
since the end of World War I,

2
00:00:08,120 --> 00:00:11,840
classical music has brought
us together.

3
00:00:11,840 --> 00:00:17,240
In uncertain times, it helped us
to make sense of who we were -

4
00:00:17,240 --> 00:00:19,320
comforting us and raising morale.

5
00:00:20,800 --> 00:00:26,520
Along the way, it's created
superstars, drawn legions of fans,

6
00:00:26,520 --> 00:00:29,880
and found its way into
the lifeblood of the nation.

7
00:00:29,880 --> 00:00:34,360
And as Britain changed,
so classical music reflected back

8
00:00:34,360 --> 00:00:35,960
at us who we wanted to be.

9
00:00:37,440 --> 00:00:41,120
By the 1980s,
Britain was at a crossroads -

10
00:00:41,120 --> 00:00:46,600
chart-topping pop MTV, shopping,
and shoulder pads on the one hand -

11
00:00:46,600 --> 00:00:51,120
Thatcherism, the miners strike,
and mass unemployment on the other.

12
00:00:51,120 --> 00:00:55,360
In an era of raging consumerism,
classical music would have to

13
00:00:55,360 --> 00:00:59,200
compete for our attention like
never before.

14
00:00:59,200 --> 00:01:03,680
Along with recording artist and
West End star, Alexandra Burke...

15
00:01:03,680 --> 00:01:06,720
Two things I love in life -
football and music.

16
00:01:06,720 --> 00:01:10,120
..I'll be discovering just how
classical music cut

17
00:01:10,120 --> 00:01:12,840
through the noise,
transforming cities...

18
00:01:12,840 --> 00:01:16,400
We watched this extraordinary
building go up.

19
00:01:16,400 --> 00:01:18,840
The whole of Birmingham
changed around it.

20
00:01:18,840 --> 00:01:21,640
..reinventing its image,
and breaking down barriers.

21
00:01:23,920 --> 00:01:27,440
We'll discover how a new generation
of musical superstars were

22
00:01:27,440 --> 00:01:29,320
tearing up the rule book...

23
00:01:29,320 --> 00:01:31,560
What we were doing
was breaking new ground.

24
00:01:31,560 --> 00:01:34,040
..venturing beyond the concert hall

25
00:01:34,040 --> 00:01:38,120
and engaging with the world in
a fresh, new way.

26
00:01:38,120 --> 00:01:41,000
This was Our Classical Century.

27
00:01:53,120 --> 00:01:55,480
# We'll always be together

28
00:01:55,480 --> 00:01:57,160
# Together in electric...

29
00:01:57,160 --> 00:02:01,120
In 1984, the charts were dominated
by the signature sound of the '80s.

30
00:02:01,120 --> 00:02:02,160
# Dreams... #

31
00:02:02,160 --> 00:02:03,200
Synth pop.

32
00:02:03,200 --> 00:02:05,720
# People are people,
so why should it be

33
00:02:05,720 --> 00:02:09,320
# You and I should get along
so awfully... #

34
00:02:09,320 --> 00:02:12,520
Sandwiched between the electronic
grooves of Depeche Mode and

35
00:02:12,520 --> 00:02:16,440
The Human League was a six-year-old
French classical composition

36
00:02:16,440 --> 00:02:18,960
reproduced on a synthesiser.

37
00:02:18,960 --> 00:02:21,320
It provided the soundtrack to
one of Britain's most

38
00:02:21,320 --> 00:02:23,920
unforgettable sporting triumphs.

39
00:02:23,920 --> 00:02:26,640
And at number ten, "Bolero"
by the Mike Reed Orchestra

40
00:02:26,640 --> 00:02:27,760
and Richard Hartley.

41
00:02:27,760 --> 00:02:31,360
And here in their Olympic gold
performance, Torvill and Dean.

42
00:02:31,360 --> 00:02:33,480
Maurice Ravel had made it
into the charts.

43
00:02:33,480 --> 00:02:35,200
MUSIC: "Bolero"
by Maurice Ravel

44
00:02:47,000 --> 00:02:50,000
This was a sensational performance.

45
00:02:50,000 --> 00:02:52,800
I know it so well, yet I wasn't
even born when they did it.

46
00:02:52,800 --> 00:02:54,720
"BOLERO" CONTINUES

47
00:02:55,920 --> 00:02:59,240
It's become something that we all
know and love so, so well,

48
00:02:59,240 --> 00:03:01,080
a defining moment in history.

49
00:03:01,080 --> 00:03:03,400
And I think it's down to their
choice of music.

50
00:03:03,400 --> 00:03:05,880
"BOLERO" CONTINUES

51
00:03:09,240 --> 00:03:11,120
Everybody says,
"Well, who thought of it"?

52
00:03:11,120 --> 00:03:12,760
And clearly it was me.
SHE LAUGHS

53
00:03:12,760 --> 00:03:15,120
We can't remember, that's the thing.
Oh, really?

54
00:03:15,120 --> 00:03:17,440
Jane will admit that it's her.
LAUGHTER CONTINUES

55
00:03:17,440 --> 00:03:19,760
It probably was me, actually.
I love it.

56
00:03:20,840 --> 00:03:24,680
We first played "Bolero"
when we were warming up on the ice

57
00:03:24,680 --> 00:03:26,160
the season before we used it.

58
00:03:31,280 --> 00:03:35,080
To the gentle classical piece of
music, just to warm up.

59
00:03:35,080 --> 00:03:38,360
And it was just the right length
of time - like, 16 minutes or so.

60
00:03:38,360 --> 00:03:41,000
As the music builds,
the intensity builds.

61
00:03:41,000 --> 00:03:44,320
So, it had the, you know, perfect
warm up sequence.

62
00:03:44,320 --> 00:03:48,720
And you know, that, I think,
in some way got into our brains.

63
00:03:48,720 --> 00:03:52,040
It was really about the nature
of the music. Yeah.

64
00:03:52,040 --> 00:03:54,480
Of starting small and intimate -
private moment.

65
00:03:54,480 --> 00:03:58,200
You know, it was just about us,
we were in this bubble.

66
00:03:58,200 --> 00:04:04,240
But what happens - the intensity
grows and grows, the crescendo.

67
00:04:04,240 --> 00:04:07,160
Right up into that last part,
when you get the coda.

68
00:04:07,160 --> 00:04:10,560
It just all comes crashing
to this final end.

69
00:04:10,560 --> 00:04:12,640
And so, emotionally...

70
00:04:13,680 --> 00:04:14,720
..it was perfect.

71
00:04:14,720 --> 00:04:17,480
"BOLERO" CONTINUES

72
00:04:21,640 --> 00:04:25,520
There were particular points that
you could pick out that...

73
00:04:25,520 --> 00:04:26,760
"Here's a certain move.

74
00:04:26,760 --> 00:04:30,640
"Here's a lift that everybody
would go, 'Oh, yes!'"

75
00:04:30,640 --> 00:04:32,520
And it lends itself to
those moments.

76
00:04:37,320 --> 00:04:40,120
We thought it was perfect -
and a few judges did, too.

77
00:04:40,120 --> 00:04:41,680
There we go.

78
00:04:41,680 --> 00:04:45,760
ANNOUNCER: And it's straight across
the board! That's it!

79
00:04:45,760 --> 00:04:49,480
Jane Torvill and Christopher Dean
have won the gold medal.

80
00:04:49,480 --> 00:04:54,040
But in the Olympic amateur era,
winning gold was a budget affair.

81
00:04:54,040 --> 00:04:56,440
To do "Bolero",
it needed a full orchestra.

82
00:04:56,440 --> 00:05:00,800
We absolutely did not have the
finances to be able to do that.

83
00:05:00,800 --> 00:05:03,800
And so - hence, Richard Hartley
came into it.

84
00:05:03,800 --> 00:05:07,000
PLAYS "BOLERO"

85
00:05:07,000 --> 00:05:11,000
A perhaps unlikely collaborator,
the composer Richard Hartley

86
00:05:11,000 --> 00:05:13,600
was best known for his work
on The Rocky Horror Show.

87
00:05:13,600 --> 00:05:16,920
"BOLERO" CONTINUES

88
00:05:22,920 --> 00:05:26,280
"BOLERO" CONTINUES

89
00:05:31,680 --> 00:05:34,200
We laid it down one part at a time.

90
00:05:35,440 --> 00:05:40,080
So, we started with the snare drum -
which is just a two-bar loop.

91
00:05:40,080 --> 00:05:41,400
Yeah.

92
00:05:41,400 --> 00:05:43,400
And the bass,
which is actually just...

93
00:05:43,400 --> 00:05:45,960
PLAYS BASS MELODY

94
00:05:45,960 --> 00:05:48,360
Quite a taxing bassline. It is!
LAUGHTER

95
00:05:48,360 --> 00:05:52,680
We used the Synclavier, cos that has
a fantastic orchestral library.

96
00:05:52,680 --> 00:05:55,840
Then, bit by bit,
we played every single part.

97
00:05:55,840 --> 00:06:00,280
But also, we had to cut it down,
because it was still a bit too long.

98
00:06:00,280 --> 00:06:03,560
Nowadays with modern sequences,
that would have been easy. But...

99
00:06:03,560 --> 00:06:06,280
I was going to say one of the things
about this piece is -

100
00:06:06,280 --> 00:06:10,240
it has to, like, imperceptibly get
a bit faster and a bit faster.

101
00:06:10,240 --> 00:06:14,000
Every eight bars, we had to turn
this little knob on the Synclavier -

102
00:06:14,000 --> 00:06:16,520
to just turn the tempo by one beat
per minute.

103
00:06:16,520 --> 00:06:20,160
One of us had a stopwatch,
and one us had the little dial.

104
00:06:20,160 --> 00:06:22,120
And then, somebody else...
SHE LAUGHS

105
00:06:22,120 --> 00:06:23,360
It's so Heath Robinson!

106
00:06:23,360 --> 00:06:25,720
"One of us had a piece of string,
one of us had a..."

107
00:06:25,720 --> 00:06:27,840
I wouldn't say Heath Robinson,
but you know...

108
00:06:27,840 --> 00:06:29,760
So, bit by bit we built this -

109
00:06:29,760 --> 00:06:32,320
so, you know, it's not unlike
modern dance music.

110
00:06:32,320 --> 00:06:35,120
That idea that you can record
a little tiny bit of something,

111
00:06:35,120 --> 00:06:37,040
and add layers and layers. Yeah.

112
00:06:37,040 --> 00:06:40,240
That's kind of what Ravel's doing
anyway, with the piece of music.

113
00:06:40,240 --> 00:06:43,680
What he hated, of course,
was it speeding up. Right.

114
00:06:43,680 --> 00:06:46,680
But you evidently thought you knew
better than the composer.

115
00:06:46,680 --> 00:06:48,640
I wasn't the only one!
LAUGHTER

116
00:06:48,640 --> 00:06:51,480
"BOLERO" CONTINUES

117
00:06:53,920 --> 00:06:56,360
APPLAUSE

118
00:07:07,880 --> 00:07:12,400
CLAPPING IN RHYTHM

119
00:07:15,120 --> 00:07:18,160
Well, the thing that always makes me
laugh is that Ravel hated it.

120
00:07:18,160 --> 00:07:21,680
And he said...it was kind of a joke.

121
00:07:21,680 --> 00:07:25,080
It was like an exercise in how to
write the most boring piece of music

122
00:07:25,080 --> 00:07:27,840
you could, but make an orchestra
sound amazing.

123
00:07:27,840 --> 00:07:30,240
So, he starts with that really
boring bassline - and then,

124
00:07:30,240 --> 00:07:33,680
he's sort of adding every instrument
the orchestra - until in the end,

125
00:07:33,680 --> 00:07:36,080
you get this, like,
overwhelming wall of sound.

126
00:07:36,080 --> 00:07:37,600
Crescendos, and it's like - yeah.

127
00:07:37,600 --> 00:07:40,760
It's a really powerful, effective
piece of music. It is, yeah.

128
00:07:55,640 --> 00:07:58,680
It's amazing - out of those
two little cords.

129
00:07:58,680 --> 00:08:02,800
But you know, as a child, he was
fascinated by mechanical toys.

130
00:08:02,800 --> 00:08:06,400
And his mother used to sing
Spanish songs as lullabies.

131
00:08:06,400 --> 00:08:08,080
So, when you think about that...

132
00:08:08,080 --> 00:08:10,440
You get both of those in here.
You get both of those in this.

133
00:08:10,440 --> 00:08:12,920
The bassline is like mechanical
toys... Yeah, it is.

134
00:08:12,920 --> 00:08:15,400
And the snare drum.
HE IMITATES SNARE DRUM

135
00:08:15,400 --> 00:08:16,440
And then, the...

136
00:08:16,440 --> 00:08:18,640
PLAYS MELODY

137
00:08:23,320 --> 00:08:25,200
Sounds like a Paso Doble.
Yeah. Yeah?

138
00:08:25,200 --> 00:08:28,240
It's like a sort of gypsy music...
and it's kind of sexy.

139
00:08:28,240 --> 00:08:31,720
You know, that hypnotic,
sort of mesmeric thing. Yeah.

140
00:08:31,720 --> 00:08:34,880
So, you can imagine people in the
front room with the record on.

141
00:08:34,880 --> 00:08:36,440
THEY CHUCKLE

142
00:08:36,440 --> 00:08:39,480
"Come on. Come on, darling -
we're ordering a curry tonight.

143
00:08:39,480 --> 00:08:41,800
"We're staying in."
Practising the routine?

144
00:08:41,800 --> 00:08:42,840
"Get that Ravel on."

145
00:08:42,840 --> 00:08:45,080
THEY LAUGH

146
00:08:45,080 --> 00:08:48,240
"BOLERO" CONTINUES

147
00:08:53,640 --> 00:08:56,800
You know it's still very endearing
to us, every time we hear it.

148
00:08:56,800 --> 00:08:58,760
And we hear it all the time now,
as well.

149
00:08:58,760 --> 00:09:00,840
"BOLERO" CONTINUES

150
00:09:00,840 --> 00:09:02,120
It's our signature tune.

151
00:09:02,120 --> 00:09:05,360
"BOLERO" CONTINUES

152
00:09:14,040 --> 00:09:15,080
"BOLERO" ENDS

153
00:09:15,080 --> 00:09:16,120
APPLAUSE

154
00:09:16,120 --> 00:09:19,960
Torvill and Dean's Olympic triumph
had propelled Ravel's most

155
00:09:19,960 --> 00:09:22,920
famous work into the pop charts.

156
00:09:22,920 --> 00:09:26,840
Classical musicians began to realise
they could be brilliant players,

157
00:09:26,840 --> 00:09:32,360
And they could also be part of that
'80s vibe - fun, youthful, sexy.

158
00:09:32,360 --> 00:09:35,080
In an age of fast fashions
and new trends,

159
00:09:35,080 --> 00:09:37,280
classical music was becoming catchy.

160
00:09:38,800 --> 00:09:41,040
Ahh, The Four Seasons.

161
00:09:41,040 --> 00:09:45,120
The scourge of anybody who's ever
been left on hold,

162
00:09:45,120 --> 00:09:48,880
or been to a shopping centre,
or at a lift, or the supermarket -

163
00:09:48,880 --> 00:09:50,400
pretty much anywhere.

164
00:09:50,400 --> 00:09:53,200
It is Antonio Vivaldi's
masterpiece.

165
00:09:53,200 --> 00:09:56,280
It's the most recorded piece
of classical music ever.

166
00:09:56,280 --> 00:10:01,480
But it had become like a kind of
aural equivalent of candyfloss -

167
00:10:01,480 --> 00:10:04,240
not much substance, sickly sweet.

168
00:10:07,480 --> 00:10:12,200
And then, in 1989, a blazing
firebrand young musician

169
00:10:12,200 --> 00:10:16,320
took that staid old warhorse of
baroque music and reinvented it

170
00:10:16,320 --> 00:10:17,680
for the era of the pop star.

171
00:10:28,160 --> 00:10:29,480
APPLAUSE

172
00:10:29,480 --> 00:10:30,520
Riveting, isn't it?

173
00:10:30,520 --> 00:10:35,480
So, anyways - it starts off nice and
formal, and then, like, "Summer" is

174
00:10:35,480 --> 00:10:37,800
like a major shock, because, like -

175
00:10:37,800 --> 00:10:41,480
you know, you kind of picture nice
girls in bikinis, and like,

176
00:10:41,480 --> 00:10:43,480
nice beach warfare and stuff.

177
00:10:43,480 --> 00:10:46,680
And that's not what it's about
at all - it's like really serious,

178
00:10:46,680 --> 00:10:49,240
aggressive, heavy, hot summer.

179
00:10:49,240 --> 00:10:51,680
Like, so it's not an English summer,
or anything like that.

180
00:10:51,680 --> 00:10:52,960
It's like an Italian one.

181
00:10:52,960 --> 00:10:56,120
So, I get pictures of, like,
kind of oppressive heat, you know?

182
00:10:56,120 --> 00:10:58,040
Vivaldi suffered from asthma.

183
00:10:58,040 --> 00:10:59,760
Like - so do I, actually.

184
00:10:59,760 --> 00:11:02,840
And like, so I imagined someone,
like, really in trouble with the

185
00:11:02,840 --> 00:11:06,520
heat and with no asthma medicine,
and, like, having problems

186
00:11:06,520 --> 00:11:10,360
breathing - it's the anger of the
heat and the violence of the heat,

187
00:11:10,360 --> 00:11:11,400
and stuff like that.

188
00:11:16,680 --> 00:11:20,280
Nigel Kennedy was a protege of one
of the great violinists

189
00:11:20,280 --> 00:11:24,400
of the century - Yehudi Menuhin,
and he went to his famous school.

190
00:11:24,400 --> 00:11:27,920
I wouldn't be a classical musician
at all if Menuhin hadn't have paid

191
00:11:27,920 --> 00:11:32,560
for all my tuition and lodging,
and everything at the school.

192
00:11:32,560 --> 00:11:36,520
Also, he was like a great example,
because he was very open-minded.

193
00:11:36,520 --> 00:11:40,120
You know, like when I started
playing jazz and stuff.

194
00:11:40,120 --> 00:11:42,760
Some of the teachers started
running around in circles, saying,

195
00:11:42,760 --> 00:11:45,600
"What shall we do with this kid?
This is like boys' school material!"

196
00:11:45,600 --> 00:11:46,960
You know, all that kind of stuff.

197
00:11:46,960 --> 00:11:49,520
And Menuhin just said,
"Oh, let him get on with it".

198
00:11:50,680 --> 00:11:54,520
Kennedy's take on Vivaldi
was entirely new.

199
00:11:54,520 --> 00:11:57,600
And the record labels -
hungry for their next star -

200
00:11:57,600 --> 00:11:58,840
spotted his potential.

201
00:12:01,080 --> 00:12:03,560
You have this beautiful
single with you.

202
00:12:03,560 --> 00:12:05,360
Can we put it on please.
Yes, of course.

203
00:12:05,360 --> 00:12:08,520
I remember buying this. Fantastic.

204
00:12:08,520 --> 00:12:11,440
Yeah - I think it's supposed to be
the first classical single.

205
00:12:11,440 --> 00:12:13,680
Anyway, it's "Summer" from
the Four Seasons.

206
00:12:13,680 --> 00:12:16,480
The reason being is that it
was late summer.

207
00:12:16,480 --> 00:12:18,680
MUSIC: "Vivaldi: Summer I"
by Nigel Kennedy

208
00:12:18,680 --> 00:12:20,760
Perfect length, as well.

209
00:12:20,760 --> 00:12:22,360
Three minutes, 22 seconds.

210
00:12:22,360 --> 00:12:24,200
See? Vivaldi knew how to write
a pop song.

211
00:12:24,200 --> 00:12:27,720
Well, this is the thing -
if he'd written it as a seven-minute

212
00:12:27,720 --> 00:12:30,920
movement, I didn't think it would've
been quite as successful.

213
00:12:30,920 --> 00:12:33,160
MUSIC: "Vivaldi: Summer I"
by Nigel Kennedy

214
00:13:01,280 --> 00:13:03,280
I remember this album.

215
00:13:03,280 --> 00:13:06,800
And I mean, apart from the blazing
performance, the really memorable

216
00:13:06,800 --> 00:13:11,000
thing was that this cover did not
look like a classical album.

217
00:13:11,000 --> 00:13:14,840
He had the punk aesthetic of the
really, kind of, crops. Yeah.

218
00:13:14,840 --> 00:13:17,520
That sort of, you know,
spiky hairdo.

219
00:13:17,520 --> 00:13:21,120
We took elements of what you would
do for a pop record -

220
00:13:21,120 --> 00:13:23,840
all very straightforward,
promotional single, trying to get

221
00:13:23,840 --> 00:13:27,240
artists onto radio and TV
as much as you could.

222
00:13:27,240 --> 00:13:30,800
Nigel Kennedy - the violinist
who calls himself a "fiddler"

223
00:13:30,800 --> 00:13:34,200
and his concerts "gigs" -
starts a national tour today.

224
00:13:34,200 --> 00:13:37,840
And his latest Vivaldi recording is
number one in the Classical charts,

225
00:13:37,840 --> 00:13:41,000
and he's the first virtuoso
to put a complete concerto

226
00:13:41,000 --> 00:13:42,720
into the pop charts.

227
00:13:42,720 --> 00:13:45,400
Ladies and gentlemen,
the Aston Villain himself,

228
00:13:45,400 --> 00:13:46,440
Nigel Kennedy!

229
00:13:46,440 --> 00:13:48,560
APPLAUSE

230
00:13:48,560 --> 00:13:52,640
Hello, welcome to Top Of The Pops -
the magic roundabout of music!

231
00:13:52,640 --> 00:13:54,880
MUSIC: "Vivaldi: Summer I"
by Nigel Kennedy

232
00:14:04,440 --> 00:14:06,000
What other firsts were there?

233
00:14:06,000 --> 00:14:08,760
What other kinds of things did you
decide would be part of

234
00:14:08,760 --> 00:14:10,000
the marketing strategy?

235
00:14:10,000 --> 00:14:14,760
To show how important it was to us,
we took out the front four pages

236
00:14:14,760 --> 00:14:15,800
of Music Week.

237
00:14:15,800 --> 00:14:18,600
This has never been done before
with a classical artist.

238
00:14:18,600 --> 00:14:21,880
This was usually the domain of Queen
or Talk Talk, or Kate Bush.

239
00:14:21,880 --> 00:14:24,480
But this was the first crossover
classical record.

240
00:14:27,400 --> 00:14:31,400
What do you think classical music
has to offer for kids nowadays?

241
00:14:31,400 --> 00:14:34,160
I think it's like got something
to offer to anyone who wants

242
00:14:34,160 --> 00:14:36,840
to listen to more than
Clayderman or Jason Donovan.

243
00:14:38,760 --> 00:14:41,320
But why would they get into it?
HE CHUCKLES

244
00:14:41,320 --> 00:14:45,080
It's not something - I don't think
you get it in school any more.

245
00:14:45,080 --> 00:14:48,400
And a lot of kids' parents won't
even be listening to classical music

246
00:14:48,400 --> 00:14:51,400
any more, they'll be listening to
The Beatles and The Rolling Stones.

247
00:14:51,400 --> 00:14:54,280
Well, I'd be inclined to say that
is classical music, you know?

248
00:14:54,280 --> 00:14:58,040
I think the problem is the division
of music, like - and there's a lot

249
00:14:58,040 --> 00:15:00,640
to be got out of any music
which has proven its worth.

250
00:15:00,640 --> 00:15:03,240
And it's still got people
believing in it today.

251
00:15:03,240 --> 00:15:06,440
So, the Beatles are a classical
group because they're classic.

252
00:15:07,840 --> 00:15:13,560
It was that transition from the
revered feared maestro changing over

253
00:15:13,560 --> 00:15:18,960
to the all engaging musician who had
youth on his - or indeed, her - side

254
00:15:18,960 --> 00:15:20,680
and would bring people together.

255
00:15:22,360 --> 00:15:27,120
Nigel Kennedy's "Four Seasons" had
the kind of ferocious attack and

256
00:15:27,120 --> 00:15:31,160
passion, and energy and joy that
made your hair stand on end,

257
00:15:31,160 --> 00:15:35,320
listening to it - the way he
scythed that bow across his violin,

258
00:15:35,320 --> 00:15:38,080
making it sound more like an
electric guitar.

259
00:15:38,080 --> 00:15:40,040
If Jimi Hendrix had played
the fiddle,

260
00:15:40,040 --> 00:15:42,120
this is what it would've
sounded like.

261
00:15:42,120 --> 00:15:43,640
Ten, 100.

262
00:16:17,040 --> 00:16:21,680
As one classical wunderkind was
shaking up the recording industry,

263
00:16:21,680 --> 00:16:26,040
another was at the forefront of the
changing face of urban Britain.

264
00:16:26,040 --> 00:16:28,760
MUSIC: Black Sabbath
by Black Sabbath

265
00:16:30,920 --> 00:16:34,720
The Midlands was at the centre
of Britain's heavy industry,

266
00:16:34,720 --> 00:16:36,440
and the birthplace of heavy metal -

267
00:16:36,440 --> 00:16:40,120
music forged in the den of its
industrial heritage.

268
00:16:43,880 --> 00:16:47,880
But in 1980, the arrival of a
charismatic young conductor with

269
00:16:47,880 --> 00:16:51,480
a passion for Mahler proved the
unlikely catalyst for

270
00:16:51,480 --> 00:16:54,040
the transformation of Birmingham.

271
00:16:54,040 --> 00:16:57,200
Problem is that however old or young
you are - if you're under 40,

272
00:16:57,200 --> 00:17:00,960
you're still a young conductor, and
therefore perhaps slightly suspect.

273
00:17:05,440 --> 00:17:09,520
Simon Rattle's arrival in Birmingham
marked a real sea change.

274
00:17:09,520 --> 00:17:14,640
Here was this man with a crazy shock
of hair, these loud shirts -

275
00:17:14,640 --> 00:17:18,000
a kind of Tigger-ish enthusiasm
for everything that he did.

276
00:17:18,000 --> 00:17:21,520
And rattle had this
evangelical zeal,

277
00:17:21,520 --> 00:17:25,800
a sort of missionary fervour about
taking music out of the concert hall

278
00:17:25,800 --> 00:17:29,440
and tapping into the emotional
bloodstream of the whole city,

279
00:17:29,440 --> 00:17:32,800
taking classical music to everyone.

280
00:17:32,800 --> 00:17:34,960
It was an interesting time
for Birmingham,

281
00:17:34,960 --> 00:17:39,200
because the car industry
had collapsed

282
00:17:39,200 --> 00:17:43,720
and the politicians on either side
were determined to rescue the city -

283
00:17:43,720 --> 00:17:48,400
and they decided they would rescue
it through arts and culture,

284
00:17:48,400 --> 00:17:50,760
and services and exhibitions.

285
00:17:50,760 --> 00:17:53,520
They wanted to make a new city.

286
00:17:53,520 --> 00:17:58,640
And we watched this extraordinary
building go up, and we watched

287
00:17:58,640 --> 00:18:02,320
the whole of Birmingham change
around it, which was thrilling.

288
00:18:02,320 --> 00:18:06,600
This hall is very adaptable, and by
no means confined to concert-giving.

289
00:18:06,600 --> 00:18:09,520
For ballet or opera,
there's a pit for 75 musicians.

290
00:18:09,520 --> 00:18:13,120
I mean, astonishing to be the sort
of focal point - for you and the

291
00:18:13,120 --> 00:18:17,400
orchestra to be part of that
enormous urban change, and a sense

292
00:18:17,400 --> 00:18:20,240
of hope being so -
and for everybody in Birmingham.

293
00:18:20,240 --> 00:18:23,200
It was so funny, we weren't allowed
to refer to the fact that there

294
00:18:23,200 --> 00:18:24,720
was a concert hall in there -

295
00:18:24,720 --> 00:18:28,160
it was a convention centre,
and we were called "Hall Two".

296
00:18:28,160 --> 00:18:33,040
There are 2,240 seats on four levels
- all providing a good view of

297
00:18:33,040 --> 00:18:37,520
the platform, on which two sets of
tiered risers float like hovercraft

298
00:18:37,520 --> 00:18:40,640
on a cushion of air as they're
positioned for the performance.

299
00:18:40,640 --> 00:18:45,920
Of course, this was one of the
early great modern halls.

300
00:18:45,920 --> 00:18:49,760
And where people had realised that,
actually, acoustics is a science,

301
00:18:49,760 --> 00:18:50,800
as well as an art.

302
00:19:02,080 --> 00:19:05,120
There's so much great trickery going
on behind the scenes in

303
00:19:05,120 --> 00:19:08,080
this building - there's an acoustic
canopy up there that stretches

304
00:19:08,080 --> 00:19:12,680
across the ceiling, and these look
like a bit of the wall.

305
00:19:12,680 --> 00:19:16,760
They're actually
hydraulically-operated doors that

306
00:19:16,760 --> 00:19:20,320
can adjust minutely to control the
reverb in the hall, so you get

307
00:19:20,320 --> 00:19:23,560
almost a kind of graphic equaliser
effect in here.

308
00:19:23,560 --> 00:19:27,040
I mean, it's no wonder that
this is still the top concert hall

309
00:19:27,040 --> 00:19:29,840
in the UK, and still one of the
top ten in the world.

310
00:19:57,720 --> 00:20:00,760
One of the things in a hall
like that is that

311
00:20:00,760 --> 00:20:02,840
the sound surrounds you.

312
00:20:02,840 --> 00:20:04,320
And this is a visceral thing.

313
00:20:16,200 --> 00:20:22,440
The new symphony hall officially
opened its doors on 12 June, 1991.

314
00:20:22,440 --> 00:20:26,320
And ushered in Birmingham's
regeneration with a programme

315
00:20:26,320 --> 00:20:27,680
including Mahler.

316
00:20:27,680 --> 00:20:31,000
Mahler's Second Symphony is known
as "The Resurrection".

317
00:20:31,000 --> 00:20:35,160
It's about rising up from the ashes
- and that's exactly what this

318
00:20:35,160 --> 00:20:38,600
conductor was doing for the city of
Birmingham Symphony Orchestra

319
00:20:38,600 --> 00:20:40,280
and the city itself.

320
00:20:44,280 --> 00:20:49,000
It was very funny
because when we asked,

321
00:20:49,000 --> 00:20:52,200
"Would the Queen come to the
opening concert"?

322
00:20:52,200 --> 00:20:55,360
She said, "Absolutely!
But not if you play Mahler."

323
00:20:56,640 --> 00:21:00,560
So, actually, she sent Princess Anne
to the concert, who was very sweet,

324
00:21:00,560 --> 00:21:02,480
who said, "I really enjoyed it.

325
00:21:02,480 --> 00:21:05,320
"But the Mahler was a bit
of a challenge."

326
00:21:05,320 --> 00:21:07,640
But the Queen came in the morning,
and we showed her -

327
00:21:07,640 --> 00:21:09,480
we were all playing, and she said...

328
00:21:10,880 --> 00:21:12,000
"What's that music?"

329
00:21:12,000 --> 00:21:14,920
"Actually, ma'am...
this was the scherzo of

330
00:21:14,920 --> 00:21:16,680
"Mahler's Second Symphony."

331
00:21:16,680 --> 00:21:18,840
"Oh...it was rather beautiful."

332
00:21:18,840 --> 00:21:20,080
THEY LAUGH

333
00:21:20,080 --> 00:21:21,120
But there we go!

334
00:21:21,120 --> 00:21:24,360
She'd obviously had a bad Mahler
experience somewhere along the line.

335
00:21:24,360 --> 00:21:28,440
Yeah! I said, "Look, we actually
cannot change the programming

336
00:21:28,440 --> 00:21:30,040
"of this for the Royal family".

337
00:21:32,040 --> 00:21:35,280
Rattle's time in Birmingham
had shown that music could change

338
00:21:35,280 --> 00:21:36,920
the fortunes of a city.

339
00:21:36,920 --> 00:21:40,520
It could also revolutionise
the image of sport.

340
00:21:40,520 --> 00:21:44,400
By the dawn of the 1990s,
football had become synonymous with

341
00:21:44,400 --> 00:21:47,280
inner city violence and hooliganism.

342
00:21:47,280 --> 00:21:50,880
But as the nation prepared itself
for the tension, triumphs,

343
00:21:50,880 --> 00:21:55,440
and tribulations of the World Cup,
three majestic, soaring voices

344
00:21:55,440 --> 00:21:59,080
would bring opera to a mass
audience, and bring a new passion,

345
00:21:59,080 --> 00:22:01,120
intensity, and beauty to football.

346
00:22:05,880 --> 00:22:08,920
One thing about the World Cup finals
that I'm sure won't have

347
00:22:08,920 --> 00:22:10,880
left your mind...
and it's this sound.

348
00:22:12,440 --> 00:22:14,560
MUSIC: "Nessun Dorma"
by Luciano Pavarotti

349
00:22:14,560 --> 00:22:17,840
It all started when Pavarotti's
recording of "Nessun Dorma"

350
00:22:17,840 --> 00:22:21,880
was used for the title sequence
of the BBC's TV coverage,

351
00:22:21,880 --> 00:22:23,720
and shot to number two
in the charts.

352
00:22:34,560 --> 00:22:39,000
The hero, Calaf, has challenged the
cold and murderous Princess Turandot

353
00:22:39,000 --> 00:22:41,640
to correctly guess his name
before the morning.

354
00:22:41,640 --> 00:22:43,760
If he wins, she must marry him.

355
00:22:43,760 --> 00:22:46,440
If he loses, he will be executed.

356
00:22:46,440 --> 00:22:50,000
"Nessun dorma", he sings -
"none shall sleep".

357
00:22:50,000 --> 00:22:53,360
And finishes with that rousing
"vincero" - "I will win".

358
00:23:03,200 --> 00:23:04,480
Yeah!

359
00:23:04,480 --> 00:23:08,000
These highest of stakes seem to
match the emotion and the drama

360
00:23:08,000 --> 00:23:09,240
on the pitch perfectly.

361
00:23:10,400 --> 00:23:14,640
We're at the Emirates Stadium, and
this place holds so many memories -

362
00:23:14,640 --> 00:23:17,080
not just for myself,
but for my family, as well.

363
00:23:17,080 --> 00:23:20,920
This is the stadium where I actually
auditioned for The X Factor.

364
00:23:20,920 --> 00:23:23,000
SINGING "NESSUN DORMA"

365
00:23:58,320 --> 00:24:01,760
THEY CHEER

366
00:24:01,760 --> 00:24:05,560
I remember the first time I saw
and heard "Nessun Dorma". Yeah.

367
00:24:05,560 --> 00:24:08,320
And the TV was on in the background.

368
00:24:08,320 --> 00:24:11,800
And then, suddenly, cutting right
through a conversation I was having

369
00:24:11,800 --> 00:24:16,040
with my wife came the strains
of..."Nessun Dorma".

370
00:24:16,040 --> 00:24:17,600
SHE GIGGLES

371
00:24:17,600 --> 00:24:19,880
It was a jaw-dropping moment!

372
00:24:20,920 --> 00:24:24,280
We stood there transfixed. Oh!

373
00:24:24,280 --> 00:24:29,120
Every time you hear that tune -
you just associate it with football!

374
00:24:29,120 --> 00:24:31,920
Of course! It's got nothing
to do with it, really.

375
00:24:31,920 --> 00:24:34,520
But it really stirs the emotions.

376
00:24:34,520 --> 00:24:37,960
A think it's, like, the way
Pavarotti sings... Yes.

377
00:24:37,960 --> 00:24:40,480
..and puts the emotion behind it.

378
00:24:40,480 --> 00:24:44,440
Often you sing along,
but you don't really know the words.

379
00:24:44,440 --> 00:24:47,360
And the last few bits, I always
just sing, "Shut the door".

380
00:24:47,360 --> 00:24:48,920
But I don't know - "shut the door"?

381
00:24:48,920 --> 00:24:50,400
LAUGHTER

382
00:24:50,400 --> 00:24:52,080
Why would you sing that? Yeah!

383
00:24:52,080 --> 00:24:56,160
But now I've learnt the words, and
we sang it today - it's great fun.

384
00:24:56,160 --> 00:25:01,160
As soon as the World Cup '90
was over, we looked for

385
00:25:01,160 --> 00:25:03,440
and found some choral societies.

386
00:25:04,680 --> 00:25:08,800
And we've been singing in
choral societies ever since.

387
00:25:08,800 --> 00:25:11,360
Often you hear classical music
on the TV, and it's often

388
00:25:11,360 --> 00:25:13,280
related to football.

389
00:25:13,280 --> 00:25:15,320
Italia '90 was the very start of it.

390
00:25:15,320 --> 00:25:21,760
But I think, despite all the
operatic singing tunes there's been,

391
00:25:21,760 --> 00:25:24,800
there have been nothing quite
as glorious

392
00:25:24,800 --> 00:25:26,520
as Puccini's "Nessun Dorma".

393
00:25:28,200 --> 00:25:30,480
Capitalising on this success,

394
00:25:30,480 --> 00:25:34,160
Pavarotti teamed up with Placido
Domingo and Jose Carreras for a

395
00:25:34,160 --> 00:25:39,280
charity concert in Rome on the eve
of the 1990 World Cup final.

396
00:25:39,280 --> 00:25:42,280
Tickets for their performance were
more scarce than tickets

397
00:25:42,280 --> 00:25:43,320
for the game itself.

398
00:25:44,560 --> 00:25:48,600
The Three Tenors' first performance
concluded with a rousing

399
00:25:48,600 --> 00:25:50,320
rendition of "Nessun Dorma" -

400
00:25:50,320 --> 00:25:53,160
sealing the aria's association
with football forever.

401
00:26:16,720 --> 00:26:17,760
Oh.

402
00:26:37,160 --> 00:26:40,440
APPLAUSE

403
00:26:46,600 --> 00:26:50,480
The concert was watched by over
800 million viewers worldwide,

404
00:26:50,480 --> 00:26:54,320
and was so well-received that when
the recording of the concert was

405
00:26:54,320 --> 00:26:58,280
released it became the biggest
selling classical album in history.

406
00:26:58,280 --> 00:27:02,040
The Three Tenors have become
pop culture icons.

407
00:27:02,040 --> 00:27:04,360
Does this mean you've become
a pop star?

408
00:27:04,360 --> 00:27:09,640
If I am able to become a pop star -
my friend, I would be delighted.

409
00:27:09,640 --> 00:27:16,280
If it's possible to bring people
to hear operatic Aria in

410
00:27:16,280 --> 00:27:21,240
the multitude that the rock people
bring it - it'd be a dream,

411
00:27:21,240 --> 00:27:23,440
if we are able to serve them
with good music.

412
00:27:25,720 --> 00:27:29,040
What Pavarotti didn't know is that
British football fans had

413
00:27:29,040 --> 00:27:31,400
had a secret love affair of
classical music

414
00:27:31,400 --> 00:27:32,760
stretching back decades.

415
00:27:34,120 --> 00:27:37,560
Sir Edward Elgar was very keen
Wolverhampton Wanderers fan,

416
00:27:37,560 --> 00:27:40,960
and he frequently cycled from
Malvern to Wolverhampton on an old

417
00:27:40,960 --> 00:27:43,880
boneshaker bike to watch
the football games.

418
00:27:43,880 --> 00:27:46,680
And on one occasion, Billy Malpass -
a legendary player -

419
00:27:46,680 --> 00:27:50,400
scored an amazing goal, and somebody
sent Edward Elgar a cutting

420
00:27:50,400 --> 00:27:53,880
from the local press that said
"he banged the leather for goal".

421
00:27:53,880 --> 00:27:57,080
Elgar got it and thought,
"I'll set that to music".

422
00:27:57,080 --> 00:28:01,000
And so it was, the first-ever
football chant was written.

423
00:28:01,000 --> 00:28:04,720
It lay undiscovered for over 100
years until it was unearthed

424
00:28:04,720 --> 00:28:06,000
by the club's historian.

425
00:28:07,880 --> 00:28:10,600
# He banged the leather for goal

426
00:28:12,040 --> 00:28:15,760
# He banged the leather for goal

427
00:28:17,560 --> 00:28:21,040
# He banged the leather for goal

428
00:28:23,200 --> 00:28:26,600
# He banged the leather
for goal... #

429
00:28:26,600 --> 00:28:29,200
Not the most elaborate
of compositions.

430
00:28:29,200 --> 00:28:32,280
This was perhaps the first time
football would be linked with

431
00:28:32,280 --> 00:28:35,640
classical music, and it certainly
wouldn't be the last.

432
00:28:35,640 --> 00:28:37,760
The Dutch fans,
they were singing this...

433
00:28:37,760 --> 00:28:40,600
THEY HUM

434
00:28:43,360 --> 00:28:45,840
Wait...
HUMMING CONTINUES

435
00:28:45,840 --> 00:28:48,080
Not yet.
HUMMING CONTINUES

436
00:28:48,080 --> 00:28:50,400
Is that Sir Elgar?
"Land of Hope and Glory."

437
00:28:50,400 --> 00:28:52,280
# We hate Tottenham Hotspurs

438
00:28:52,280 --> 00:28:55,120
# We hate Everton, too

439
00:28:55,120 --> 00:28:57,560
# We hate Manchester United... #

440
00:28:57,560 --> 00:28:59,720
SHE LAUGHS

441
00:28:59,720 --> 00:29:02,440
# Everyone's a fruit and a nut case

442
00:29:02,440 --> 00:29:04,040
# It keeps you going when you...

443
00:29:04,040 --> 00:29:07,480
No matter the origin,
classical music has a habit

444
00:29:07,480 --> 00:29:11,200
of working its way into our ears
and not letting go.

445
00:29:11,200 --> 00:29:13,200
I remember playing the Nutcracker...

446
00:29:14,960 --> 00:29:18,320
..in England years ago, and seeing
some people behind the audience

447
00:29:18,320 --> 00:29:20,280
looking at each other, going...

448
00:29:20,280 --> 00:29:23,480
# I'm a caprese fruit
and nut case....

449
00:29:23,480 --> 00:29:25,080
I'd go, "Yes"!

450
00:29:25,080 --> 00:29:27,880
# Everyone's a fruit and nut case

451
00:29:27,880 --> 00:29:30,640
# If only it could help improve
my singing!

452
00:29:30,640 --> 00:29:33,560
# A healthy recreation,
not a combination

453
00:29:33,560 --> 00:29:36,720
# Cadbury's Fruit and Nut... #

454
00:29:36,720 --> 00:29:37,760
Good tune, isn't it?

455
00:29:40,160 --> 00:29:43,200
Isn't it just? Those advertisers
knew what they were doing.

456
00:29:44,960 --> 00:29:49,360
In 1993, commercial radio spotted
a gap in the market -

457
00:29:49,360 --> 00:29:53,280
a new station playing pop
song-length pieces to a nation

458
00:29:53,280 --> 00:29:55,520
hungrier than ever to hear
classical music.

459
00:30:02,000 --> 00:30:05,320
Good morning, and welcome
to Britain's first national

460
00:30:05,320 --> 00:30:06,800
commercial radio station.

461
00:30:06,800 --> 00:30:08,640
This is Classic FM.

462
00:30:08,640 --> 00:30:11,880
I'm Nick Bailey,
and this is George Frideric Handel.

463
00:30:11,880 --> 00:30:15,040
MUSIC: Zadok The Priest by
George Frideric Handel

464
00:30:21,280 --> 00:30:24,360
MUSIC CONTINUES

465
00:30:32,080 --> 00:30:35,400
MUSIC CONTINUES

466
00:30:41,160 --> 00:30:43,240
MUSIC CONTINUES

467
00:30:46,440 --> 00:30:49,600
On came the red light - Nick Bailey,
who was the breakfast presenter,

468
00:30:49,600 --> 00:30:51,160
played "Zadok the Priest".

469
00:30:51,160 --> 00:30:54,480
And although it was before the time
of immediate social media response -

470
00:30:54,480 --> 00:30:57,360
there was no Twitter or Facebook,
or anything like that -

471
00:30:57,360 --> 00:31:01,880
it still somehow became clear to us
within those first few hours

472
00:31:01,880 --> 00:31:06,360
that there was an audience, and
actually, a substantial audience.

473
00:31:06,360 --> 00:31:08,840
Classic FM drive time,
I'm Petroc Trelawney.

474
00:31:08,840 --> 00:31:10,120
It's a quarter to five -

475
00:31:10,120 --> 00:31:12,920
Sir Edward Elgar's
"Cello Concerto in E Minor" is next.

476
00:31:18,720 --> 00:31:23,080
What kind of reaction did you get
in the opening months?

477
00:31:23,080 --> 00:31:25,000
The critics were quite sniffy.

478
00:31:25,000 --> 00:31:27,800
It didn't like the fact
there were lots of short pieces.

479
00:31:27,800 --> 00:31:30,440
The very idea of playing
a piece of classical music

480
00:31:30,440 --> 00:31:34,520
and then having an ad for DHL,
or British Airways,

481
00:31:34,520 --> 00:31:38,280
or...or Multiyork, who made sofas,
who were one of the big early
sponsors.

482
00:31:38,280 --> 00:31:42,920
I did my afternoon show sitting
on sofas in a series of Multiyork
showrooms around the country

483
00:31:42,920 --> 00:31:46,440
because it was anything...it was
anything for...anything for cash.

484
00:31:46,440 --> 00:31:48,720
The audience didn't seem to worry
about the ads.

485
00:31:48,720 --> 00:31:51,680
They were used to commercial radio,
didn't think about it with ITV.

486
00:31:51,680 --> 00:31:53,600
So that wasn't a problem.

487
00:31:53,600 --> 00:31:56,000
And straight away,
people started saying,

488
00:31:56,000 --> 00:31:58,560
"Wow, this is music
I can live my life to".

489
00:32:10,320 --> 00:32:15,320
It was exactly what Michael Bukht,
the station's founder, had expected.

490
00:32:15,320 --> 00:32:19,120
Detailed research shows 49%
of the population really like
classical music

491
00:32:19,120 --> 00:32:21,080
if it's played in a popular,
easy style.

492
00:32:21,080 --> 00:32:23,600
They don't like the abstruse
or complicated stuff,

493
00:32:23,600 --> 00:32:25,800
but they like what they think of as

494
00:32:25,800 --> 00:32:29,720
the popular music that they hear
in all sorts of other contexts,

495
00:32:29,720 --> 00:32:32,200
like advertisements
and football songs.

496
00:32:32,200 --> 00:32:33,480
That's what they like.

497
00:32:33,480 --> 00:32:36,640
You're listening to Classic FM,
the world's most beautiful music.

498
00:32:39,360 --> 00:32:43,120
Michael Bukht, evidently, was a man
who had a very clear sense

499
00:32:43,120 --> 00:32:45,480
of what he wanted this radio station
to be.

500
00:32:45,480 --> 00:32:49,040
Where you ever issued
with a style guide for presenters?

501
00:32:49,040 --> 00:32:51,520
There was never anything
written down,

502
00:32:51,520 --> 00:32:54,360
but, I mean, you knew
exactly what he wanted.

503
00:32:54,360 --> 00:32:56,000
He wanted minimal links.

504
00:32:56,000 --> 00:33:00,000
And if you talked too much,
he installed in the studio a phone

505
00:33:00,000 --> 00:33:01,760
that had a flashing light.

506
00:33:01,760 --> 00:33:04,400
And it wasn't just a kind of light
softly going off,

507
00:33:04,400 --> 00:33:07,640
it was like having the paparazzi
clicking flash guns
in front of you.

508
00:33:07,640 --> 00:33:11,080
And he would phone during links if
he thought you'd gone on too long.

509
00:33:11,080 --> 00:33:15,480
And you never needed to pick up
the phone because he was the only
person who had that number.

510
00:33:15,480 --> 00:33:17,520
And if you did pick up the phone,
he'd go,

511
00:33:17,520 --> 00:33:19,560
"It's Michael here, sunshine.
Shut up!"

512
00:33:21,560 --> 00:33:24,120
What was the music policy
at the station, then?

513
00:33:24,120 --> 00:33:27,920
He wanted things that were earworms,
that would be popular.

514
00:33:27,920 --> 00:33:30,040
He wanted composers
who people had heard of.

515
00:33:32,800 --> 00:33:34,640
So there was lots of Mozart.

516
00:33:34,640 --> 00:33:37,480
Probably more Mozart
than anything else.

517
00:33:37,480 --> 00:33:40,720
It's funny, because I think
Bach, then, was considered

518
00:33:40,720 --> 00:33:43,120
slightly less user-friendly
than it might be now.

519
00:33:43,120 --> 00:33:45,280
But we did play quite a lot of Bach,

520
00:33:45,280 --> 00:33:48,040
a lot of Brahms, a lot of Dvorak.

521
00:33:48,040 --> 00:33:50,240
There was new music, too.

522
00:33:50,240 --> 00:33:53,400
Famously, Gorecki's Third Symphony,

523
00:33:53,400 --> 00:33:56,000
then became a real mainstream piece
for the station.

524
00:33:56,000 --> 00:33:58,680
And I think, as a direct result,
sold a million copies.

525
00:33:58,680 --> 00:34:01,840
I'm sure Classic FM
had a big role in that.

526
00:34:01,840 --> 00:34:04,240
But it was really about familiarity.

527
00:34:04,240 --> 00:34:06,560
About music that would make you
feel good

528
00:34:06,560 --> 00:34:09,360
and about music you'd hum
as the day progressed.

529
00:34:09,360 --> 00:34:12,840
What do you think,
from the perspective of today,

530
00:34:12,840 --> 00:34:16,240
has been Classic FM's
greatest achievement?

531
00:34:16,240 --> 00:34:20,240
I think it did find an audience
of maybe a couple of million people

532
00:34:20,240 --> 00:34:23,920
who really had had no exposure
to classical music before,

533
00:34:23,920 --> 00:34:26,400
liked what they heard and realised

534
00:34:26,400 --> 00:34:29,280
there was no need to be frightened
by it.

535
00:34:29,280 --> 00:34:33,800
I think Radio 3, without
in any way reducing its standards,

536
00:34:33,800 --> 00:34:36,080
has, I think, become more
user-friendly

537
00:34:36,080 --> 00:34:40,600
and not as exclusive as perhaps
it was before Classic FM came along.

538
00:34:40,600 --> 00:34:44,960
So I think it does have a big role
in the democratisation

539
00:34:44,960 --> 00:34:47,400
of this great art form.

540
00:34:47,400 --> 00:34:49,640
MUSIC: Wonderwall
by Oasis

541
00:34:52,560 --> 00:34:56,440
But some music lovers were proving
to be difficult converts
to classical.

542
00:34:58,200 --> 00:35:00,600
They had money to spend,
they knew what they wanted

543
00:35:00,600 --> 00:35:04,240
and a load of old fogies
playing violins wasn't it.

544
00:35:04,240 --> 00:35:06,200
The pervasive slogan of Girl Power

545
00:35:06,200 --> 00:35:08,640
had convinced a generation
of young women

546
00:35:08,640 --> 00:35:11,320
that their music should reflect
who they were -

547
00:35:11,320 --> 00:35:14,320
powerful and sexy, young and strong.

548
00:35:18,600 --> 00:35:20,120
Oh, yes, look at that!

549
00:35:20,120 --> 00:35:23,640
That's what I call a proper
classical album cover.

550
00:35:23,640 --> 00:35:27,280
Look at that, two gentlemen,
mullets, polo necks.

551
00:35:27,280 --> 00:35:30,320
And look at this one, Alfred
Brendel in his white tie and tails,

552
00:35:30,320 --> 00:35:33,400
looking very tense,
playing Beethoven.

553
00:35:33,400 --> 00:35:36,320
Another serious one here. Not many
smiles going on, are there?

554
00:35:36,320 --> 00:35:40,200
Yehudi Menuhin communicating deeply
through his violin.

555
00:35:40,200 --> 00:35:43,160
This is what album covers looked
like when I was growing up.

556
00:35:47,400 --> 00:35:50,960
Classical music would have to have
a long, hard look in the mirror

557
00:35:50,960 --> 00:35:52,800
and sharpen up its image.

558
00:35:56,280 --> 00:35:58,840
I come from a very musical
household.

559
00:35:58,840 --> 00:36:00,760
My mother was in Soul II Soul

560
00:36:00,760 --> 00:36:03,880
She would listen to Motown, soul,
R&B, pop, rock,

561
00:36:03,880 --> 00:36:05,960
and, of course, classical music.

562
00:36:05,960 --> 00:36:09,440
One day, she brought home this album
- Vanessa-Mae.

563
00:36:09,440 --> 00:36:11,360
I never will forget the day
I heard this album.

564
00:36:11,360 --> 00:36:13,560
I was eight years old
and it completely blew my mind.

565
00:36:57,920 --> 00:37:00,080
When Vanessa-Mae burst onto
the scene,

566
00:37:00,080 --> 00:37:02,840
she made me think you could love
this type of music.

567
00:37:02,840 --> 00:37:06,520
You didn't have to get dressed
up, sit awkwardly, clap every now
and again.

568
00:37:06,520 --> 00:37:09,560
You could wear your ripped jeans,
bob your head up and down

569
00:37:09,560 --> 00:37:11,560
and do some air violin.

570
00:37:11,560 --> 00:37:13,800
So, give me some insight, then,
between...

571
00:37:13,800 --> 00:37:17,200
Well, your relationship between
the classical and the pop world.

572
00:37:17,200 --> 00:37:21,080
My relationship was, I think,
organic. It was just natural

573
00:37:21,080 --> 00:37:23,520
that as a teenager, I loved both.

574
00:37:23,520 --> 00:37:25,720
We were experimenting.

575
00:37:25,720 --> 00:37:27,480
There were elements of
improvisation,

576
00:37:27,480 --> 00:37:31,000
as opposed to classical music,
which, I think, if you just put in
the hours,

577
00:37:31,000 --> 00:37:32,800
you will be able to perform
something.

578
00:37:32,800 --> 00:37:35,920
And Vanessa was certainly putting
in the hours.

579
00:37:35,920 --> 00:37:40,200
Having made her debut with the
London Philharmonia at the tender
age of 10,

580
00:37:40,200 --> 00:37:42,800
just three years later,
she set a world record

581
00:37:42,800 --> 00:37:48,160
as the youngest soloist to record
both the Tchaikovsky and Beethoven
violin concertos.

582
00:38:09,920 --> 00:38:11,720
RAPTUROUS APPLAUSE

583
00:38:11,720 --> 00:38:14,040
After three pure classical albums,

584
00:38:14,040 --> 00:38:17,600
around the age of 14, I got
the chance to sort of experiment.

585
00:38:17,600 --> 00:38:21,360
And I was asked, "What other kinds
of music do you love?"

586
00:38:21,360 --> 00:38:23,800
And, you know, I was a child
of the '80s, so...

587
00:38:23,800 --> 00:38:25,760
Before you were born, of course.

588
00:38:25,760 --> 00:38:29,840
And, so, I loved, you know,
performers such as Prince,

589
00:38:29,840 --> 00:38:31,680
Michael Jackson. Oh, yeah.

590
00:38:31,680 --> 00:38:33,040
They were my pop idols.

591
00:38:33,040 --> 00:38:37,200
And I got a chance to start dabbling
in, you know, other styles.

592
00:38:37,200 --> 00:38:41,600
Injecting some pop and dance
and rock and jazz into my music.

593
00:38:47,160 --> 00:38:49,480
This is my very first pop video.

594
00:38:49,480 --> 00:38:53,080
I think probably, like, the first
pop video ever on a violin.

595
00:38:57,120 --> 00:38:59,360
You were 15? I was 15 in that video.

596
00:38:59,360 --> 00:39:01,480
I think I look lot older.
I look pretty serious.

597
00:39:01,480 --> 00:39:04,040
I think you look really young there.
Do you think? Yeah!

598
00:39:04,040 --> 00:39:05,800
I thought... You look a baby.

599
00:39:05,800 --> 00:39:07,280
VANESSA-MAE LAUGHS

600
00:39:07,280 --> 00:39:08,960
Puppy-fat face. Oh!

601
00:39:13,000 --> 00:39:16,040
But there's a funny bit.
There's a switch when it gets to
the fugue part

602
00:39:16,040 --> 00:39:17,760
and I'm in hot pants.

603
00:39:17,760 --> 00:39:20,520
And I remember going with my mother
shopping for hot pants.

604
00:39:20,520 --> 00:39:23,200
I mean, who does that with
their mother? Oh, my goodness!

605
00:39:35,200 --> 00:39:37,080
I remember, though,
this is so funny,

606
00:39:37,080 --> 00:39:40,680
because coming from the world of
classical to making a pop video,

607
00:39:40,680 --> 00:39:43,800
the biggest problem I had
was learning how to mime.

608
00:39:43,800 --> 00:39:46,240
I didn't even know what miming was!
Oh, my gosh!

609
00:39:47,720 --> 00:39:49,880
We were in Ibiza, in the sea,
running around.

610
00:39:49,880 --> 00:39:52,200
And when you're making videos,
you have to do that.

611
00:39:52,200 --> 00:39:54,800
But, of course, it doesn't really
occur in classical.

612
00:39:54,800 --> 00:39:57,040
And then, the impact of that video
was crazy.

613
00:39:57,040 --> 00:40:01,080
Because suddenly, people around
the world were taking notice
of the violin.

614
00:40:01,080 --> 00:40:03,080
I didn't realise that it would open
the door

615
00:40:03,080 --> 00:40:05,360
to so many people to start
listening to the violin

616
00:40:05,360 --> 00:40:08,080
who wouldn't normally dream
of picking up a violin album.

617
00:40:08,080 --> 00:40:10,880
But I had no idea the impact
of that.

618
00:40:10,880 --> 00:40:13,440
Sometimes I still get goose bumps,
you know,

619
00:40:13,440 --> 00:40:16,360
that somebody may have proposed
to my music, or... Yes!

620
00:40:16,360 --> 00:40:19,200
..or done other things to my music,
I don't know! Yes!

621
00:40:19,200 --> 00:40:21,240
But, you know...
We'll keep that here.

622
00:40:21,240 --> 00:40:23,440
Just to be the soundscape
to somebody's life,

623
00:40:23,440 --> 00:40:25,840
growing up, is just amazing.

624
00:40:25,840 --> 00:40:28,640
So, how do you feel that
the classical world took to you?

625
00:40:28,640 --> 00:40:30,880
Oh, they were in, like,
complete shock.

626
00:40:30,880 --> 00:40:34,040
I think there was, like,
a paralysis about,

627
00:40:34,040 --> 00:40:36,640
"What on earth is going on here?"
I love that!

628
00:40:36,640 --> 00:40:39,280
It did irk many
in the classical world.

629
00:40:39,280 --> 00:40:43,840
The more xenophobic, the more
closed off, the more ignorant.

630
00:40:43,840 --> 00:40:46,920
And what we were doing
was breaking new ground.

631
00:40:55,880 --> 00:40:58,240
I knew that even with
the classical crossover music,

632
00:40:58,240 --> 00:41:00,280
there were moments of beauty

633
00:41:00,280 --> 00:41:04,120
and pointed moments of sadness
and reflection

634
00:41:04,120 --> 00:41:07,400
that I felt confident enough to just
discount the critics and say,

635
00:41:07,400 --> 00:41:09,800
"But what I'm doing
is still touching people".

636
00:41:17,920 --> 00:41:22,560
Classical music was crossing over
from a niche, elite entertainment

637
00:41:22,560 --> 00:41:24,160
to a national passion.

638
00:41:24,160 --> 00:41:27,760
The kind of musical experience
that everyone could share.

639
00:41:27,760 --> 00:41:32,880
And so, when, in 1997,
the nation was struck by tragedy,

640
00:41:32,880 --> 00:41:35,800
classical music would play
a central role

641
00:41:35,800 --> 00:41:39,520
in Britain's mourning, grief
and consolation.

642
00:41:39,520 --> 00:41:42,280
Good evening.
It's been a day like no other.

643
00:41:42,280 --> 00:41:46,160
A day for the people stunned
by the news of Diana's death.

644
00:41:46,160 --> 00:41:48,400
And a day that rewrote the rules

645
00:41:48,400 --> 00:41:51,000
about how a grieving nation
should react.

646
00:41:51,000 --> 00:41:54,240
# Goodbye, England's rose

647
00:41:54,240 --> 00:41:58,120
# May you ever grow in our hearts

648
00:41:58,120 --> 00:42:02,080
# You were the grace
that placed itself

649
00:42:02,080 --> 00:42:06,080
# Where lives were torn apart. #

650
00:42:06,080 --> 00:42:08,680
There was that performance
that everybody remembers

651
00:42:08,680 --> 00:42:11,160
by Elton John of Candle In The Wind,

652
00:42:11,160 --> 00:42:14,480
but there was also another piece
performed in the abbey that day

653
00:42:14,480 --> 00:42:18,960
that really seemed to capture
the spirit of a Britain influx.

654
00:42:18,960 --> 00:42:22,000
There was this sense of ancient
ritual and tradition,

655
00:42:22,000 --> 00:42:23,600
but also modernity.

656
00:42:23,600 --> 00:42:27,280
And it captured the imagination,
not only of the congregation,

657
00:42:27,280 --> 00:42:30,720
but the millions who had come
to London to commemorate Diana

658
00:42:30,720 --> 00:42:33,320
and who were watching this event
on television.

659
00:42:33,320 --> 00:42:35,480
And that piece was by John Tavener.

660
00:42:35,480 --> 00:42:38,120
It was called, Song for Athene.

661
00:43:02,720 --> 00:43:06,840
Featuring texts from Shakespeare
and the Eastern Orthodox Church,

662
00:43:06,840 --> 00:43:11,000
Song for Athene was sung
by the choir of Westminster Abbey,

663
00:43:11,000 --> 00:43:12,800
conducted by Martin Neary.

664
00:43:15,800 --> 00:43:20,240
I telephoned John to ask
whether there might be something

665
00:43:20,240 --> 00:43:22,680
which he felt would be appropriate
and suitable.

666
00:43:22,680 --> 00:43:26,360
Because I knew his music
had this power to communicate,

667
00:43:26,360 --> 00:43:27,640
and might have something

668
00:43:27,640 --> 00:43:30,920
which the rest of our repertoire
might not match.

669
00:43:30,920 --> 00:43:34,120
And he had the idea of
Song for Athene.

670
00:43:34,120 --> 00:43:37,800
And I looked at it again and I saw
this wonderful text,

671
00:43:37,800 --> 00:43:40,960
"May flights of angels
sing thee to thy rest".

672
00:43:40,960 --> 00:43:45,080
Which, of course, had an immediate
sympathy with Poets' Corner
in the abbey,

673
00:43:45,080 --> 00:43:48,080
Shakespeare memorial,
and all of that.

674
00:43:48,080 --> 00:43:51,000
And I just felt it had, actually,
a positive note.

675
00:43:51,000 --> 00:43:53,720
Even in that moment of
deepest sadness,

676
00:43:53,720 --> 00:43:56,320
you still can sing an alleluia.

677
00:43:56,320 --> 00:43:59,120
There's this long, low drone,

678
00:43:59,120 --> 00:44:02,040
very much-loved by John Tavener,

679
00:44:02,040 --> 00:44:06,040
the long F going on for six minutes.

680
00:44:06,040 --> 00:44:09,880
But what is so interesting
about this piece

681
00:44:09,880 --> 00:44:12,640
is it's a combination
of major and minor.

682
00:44:12,640 --> 00:44:16,320
# Allelu... #

683
00:44:16,320 --> 00:44:18,240
And the next phrase...

684
00:44:18,240 --> 00:44:22,120
# Allelu...#

685
00:44:22,120 --> 00:44:25,440
So simple, but so heart-rending.

686
00:44:25,440 --> 00:44:28,040
Music and ritual
really came together.

687
00:44:28,040 --> 00:44:37,600
# Alleluia

688
00:44:37,600 --> 00:44:45,760
# Alleluia... #

689
00:45:23,840 --> 00:45:33,280
# Alleluia

690
00:45:33,280 --> 00:45:41,440
# Alleluia. #

691
00:45:44,800 --> 00:45:48,200
When did you first hear
John Tavener's music?

692
00:45:48,200 --> 00:45:52,000
I think it was at the Proms in 1968,
with The Whale.

693
00:45:52,000 --> 00:45:56,000
That extraordinary piece
which almost broke new ground.

694
00:45:56,000 --> 00:45:57,920
The whale.

695
00:45:57,920 --> 00:46:00,560
Marine mammal of the order Cetacea.

696
00:46:03,200 --> 00:46:07,960
This dramatic cantata,
telling the biblical story of Jonah
and the whale,

697
00:46:07,960 --> 00:46:10,240
became a favourite of John Lennon's.

698
00:46:10,240 --> 00:46:14,680
And in 1970, the Beatles released it
on their Apple label.

699
00:46:14,680 --> 00:46:19,760
John Tavener's mystical, musical
fantasy had legions of fans.

700
00:46:19,760 --> 00:46:24,040
Loved by both pop
and classical aficionados alike.

701
00:46:24,040 --> 00:46:28,000
You had these weird instruments.
A Hammond organ, all manner of
things. You probably remember.

702
00:46:28,000 --> 00:46:32,400
There's definitely stamping.
I think there's football rattles,
megaphones. Yes.

703
00:46:32,400 --> 00:46:35,520
Indeed, Ringo Starr has a cameo,

704
00:46:35,520 --> 00:46:39,520
yelling through one of those
megaphones in the second movement.

705
00:46:39,520 --> 00:46:41,400
INDISTINCT YELLING

706
00:46:44,440 --> 00:46:49,320
I'm often surprised by
reactions...to my music,

707
00:46:49,320 --> 00:46:52,120
and by the kind of people
who like it, too.

708
00:46:52,120 --> 00:46:54,120
I'm very pleased to find...

709
00:46:54,120 --> 00:46:59,560
I usually find that a considerable
cross-section of the public

710
00:46:59,560 --> 00:47:02,960
seem to appreciate
what I'm...what I'm doing.

711
00:47:02,960 --> 00:47:05,720
A lot of people who like pop music
seem to like it.

712
00:47:07,960 --> 00:47:11,560
Tavener converted to
Russian Orthodox Christianity,

713
00:47:11,560 --> 00:47:15,480
and it infused his music
with a deep spirituality.

714
00:47:15,480 --> 00:47:19,440
The reason, um...sacred
music continues

715
00:47:19,440 --> 00:47:24,480
is because people have a thirst
for tradition.

716
00:47:24,480 --> 00:47:26,720
They want to see some continuity.

717
00:47:28,800 --> 00:47:34,080
This is perhaps best felt in his
1989 piece, The Protecting Veil,

718
00:47:34,080 --> 00:47:38,200
composed for one of the world's
leading cellists, Steven Isserlis.

719
00:48:46,640 --> 00:48:48,160
Beautiful!

720
00:48:48,160 --> 00:48:52,160
That music does this incredible
thing, where we're all kind of
talking and chatting

721
00:48:52,160 --> 00:48:57,160
as suddenly, there's just this
intense sense of drawing you in.

722
00:48:57,160 --> 00:48:59,920
Yeah. And, of course,
in the real piece,

723
00:48:59,920 --> 00:49:03,000
you have this huge choir sound
from the orchestra.

724
00:49:03,000 --> 00:49:06,040
It grows and grows and grows
from the bottom, right to the top.

725
00:49:06,040 --> 00:49:09,000
And everybody's playing
at full throttle.

726
00:49:09,000 --> 00:49:11,640
It's a magical beginning.

727
00:49:11,640 --> 00:49:14,440
Even if you are not
remotely religious,

728
00:49:14,440 --> 00:49:18,160
there is something that taps into
something very mysterious.

729
00:49:18,160 --> 00:49:21,680
I mean, you experience that
with music. Yeah, absolutely.

730
00:49:21,680 --> 00:49:25,120
I have always said that music
is the connection, for me,

731
00:49:25,120 --> 00:49:27,760
with anyone, because you feel it.

732
00:49:27,760 --> 00:49:31,160
Music is a message from one spirit
to another.

733
00:49:31,160 --> 00:49:35,680
And Tavener was so exquisite
at that.

734
00:49:35,680 --> 00:49:39,680
When you think of pieces like Song
for Athene and like this piece,

735
00:49:39,680 --> 00:49:42,680
there is that collision of
ancient sounds

736
00:49:42,680 --> 00:49:45,040
and something quite fresh and new.

737
00:49:46,200 --> 00:49:47,880
He was an original.

738
00:49:47,880 --> 00:49:49,960
And therefore,
when he used old languages,

739
00:49:49,960 --> 00:49:53,120
he used them in a very original
and fresh way.

740
00:49:53,120 --> 00:49:55,880
His roots are there,
but he's a modern composer.

741
00:51:20,920 --> 00:51:23,960
I'm very emotional right now.
Absolutely beautiful.

742
00:51:25,080 --> 00:51:28,400
Stop it! Stop it! She's crying!
Look at what you've done! Sorry.

743
00:51:28,400 --> 00:51:31,080
Don't, you'll start me off.
Oh, God, it's beautiful.

744
00:51:33,280 --> 00:51:35,680
Classic FM and football anthems,

745
00:51:35,680 --> 00:51:38,520
John Tavener and Nigel Kennedy.

746
00:51:38,520 --> 00:51:41,240
British classical music
was riding high.

747
00:51:41,240 --> 00:51:44,760
And it was diversifying
more than ever before.

748
00:51:44,760 --> 00:51:47,040
But there was one problem.

749
00:51:47,040 --> 00:51:49,800
Orchestras felt still pretty stale.

750
00:51:49,800 --> 00:51:52,720
They were predominantly white,
and middle class,

751
00:51:52,720 --> 00:51:57,040
and they exuded a sense of privilege
and exclusivity.

752
00:51:57,040 --> 00:52:00,040
Well, one concert in 2007

753
00:52:00,040 --> 00:52:02,280
changed that forever.

754
00:52:02,280 --> 00:52:04,120
THEY SHOUT

755
00:52:05,640 --> 00:52:08,480
The Simon Bolivar Youth Orchestra's
performance

756
00:52:08,480 --> 00:52:11,680
was described in The Times as,
"the highlight of the season".

757
00:52:11,680 --> 00:52:15,960
With The Telegraph asking, "Was this
the greatest Prom of all-time?"

758
00:52:17,640 --> 00:52:22,600
For its 2007 season,
the Proms looked beyond
the obvious candidates,

759
00:52:22,600 --> 00:52:25,760
inviting this group of
12 to 26-year-olds.

760
00:52:25,760 --> 00:52:30,080
Many of whom hailed from Venezuela's
most troubled neighbourhoods.

761
00:52:30,080 --> 00:52:34,840
They'd been trained through
a government-sponsored initiative
known as El Sistema.

762
00:52:34,840 --> 00:52:38,480
Their 26-year-old conductor,
Gustavo Dudamel,

763
00:52:38,480 --> 00:52:40,000
nicknamed, The Dude,

764
00:52:40,000 --> 00:52:42,280
had come up himself
through the programme.

765
00:52:42,280 --> 00:52:45,480
Its motto? Music for Social Change.

766
00:52:51,200 --> 00:52:53,520
CHEERING

767
00:53:01,240 --> 00:53:02,760
CHEERING

768
00:53:12,320 --> 00:53:14,560
It was brilliant.
It was just a transformation.

769
00:53:14,560 --> 00:53:17,280
It wasn't what you usually saw
in a concert hall.

770
00:53:29,240 --> 00:53:31,960
RAPTUROUS APPLAUSE AND CHEERING

771
00:53:31,960 --> 00:53:35,720
The orchestra created
an electric atmosphere.

772
00:53:35,720 --> 00:53:38,840
They turned their performance
into a visual extravaganza

773
00:53:38,840 --> 00:53:43,400
that set a new standard for what
a classical concert could be.

774
00:53:43,400 --> 00:53:45,560
People are always cynical
about this kind of thing,

775
00:53:45,560 --> 00:53:47,280
but they underestimate music.

776
00:53:47,280 --> 00:53:49,800
I mean, everyone has a soundtrack
to their lives.

777
00:53:51,520 --> 00:53:55,000
The 2018 Prom season opened with
a classical work

778
00:53:55,000 --> 00:53:58,640
that took sound and vision
to the next level.

779
00:53:58,640 --> 00:54:04,240
The pioneering design team
who lit up the London Olympics'
opening ceremony

780
00:54:04,240 --> 00:54:07,560
was asked to collaborate with one
of the UK's most exciting

781
00:54:07,560 --> 00:54:10,000
young composers, Anna Meredith.

782
00:54:10,000 --> 00:54:13,720
Together,
they created Five Telegrams,

783
00:54:13,720 --> 00:54:18,240
a monumental piece written for
symphony orchestra and double choir.

784
00:54:18,240 --> 00:54:22,200
Vividly illustrated with
breathtaking digital animations,

785
00:54:22,200 --> 00:54:25,480
which were projected onto
both the inside and outside

786
00:54:25,480 --> 00:54:28,240
of the Royal Albert Hall.

787
00:54:28,240 --> 00:54:33,120
It was a spectacle unlike any
classical concert we'd seen before.

788
00:54:51,360 --> 00:54:54,840
How would you describe yourself,
as a composer,

789
00:54:54,840 --> 00:54:57,040
to somebody who hadn't heard of
your music?

790
00:54:57,040 --> 00:54:59,240
It doesn't matter what the piece is,

791
00:54:59,240 --> 00:55:00,920
I try and use
the same building blocks.

792
00:55:00,920 --> 00:55:04,720
The same musical material, to me,
is at the heart of whatever kind of
music I write.

793
00:55:04,720 --> 00:55:08,160
So that's why I don't think about,
"Is it classical? Is it pop?"

794
00:55:08,160 --> 00:55:10,200
It's all just how I write.

795
00:55:10,200 --> 00:55:12,080
CHOIR SING

796
00:55:19,960 --> 00:55:24,320
Anna uses a rich palette
of electronic and acoustic sounds

797
00:55:24,320 --> 00:55:29,000
to blur the lines between pop,
experimental and classical music.

798
00:55:29,000 --> 00:55:31,760
Signed to an indie record label,

799
00:55:31,760 --> 00:55:33,880
she also performs
live electronic gigs

800
00:55:33,880 --> 00:55:37,760
and gets airplay on both Radio 3
and 6 Music.

801
00:55:37,760 --> 00:55:43,600
# Blushing in spite of
all your modesty

802
00:55:43,600 --> 00:55:47,560
# We cannot find...#

803
00:55:47,560 --> 00:55:50,400
I have a very classical training,
but I know lots of electronics,

804
00:55:50,400 --> 00:55:52,640
so I normally use
some cop-out answer and say,

805
00:55:52,640 --> 00:55:54,600
"I write electronic
and acoustic music".

806
00:55:54,600 --> 00:55:57,000
To me, it just means you want
a bit of everything.

807
00:55:57,000 --> 00:55:59,720
Yeah, and you're totally right.
I mean, when I studied music,

808
00:55:59,720 --> 00:56:03,880
there was a course for
concert composers

809
00:56:03,880 --> 00:56:06,040
and a course for film composers,

810
00:56:06,040 --> 00:56:09,240
and we never met the entire time.
It's bonkers, right?

811
00:56:09,240 --> 00:56:12,560
We didn't have any of their modules,
they didn't have any of ours.

812
00:56:12,560 --> 00:56:14,640
The idea was it was
a totally different skillset.

813
00:56:14,640 --> 00:56:18,280
You guys are writing music that's
flexible and using electronics

814
00:56:18,280 --> 00:56:20,920
and can be in different styles
and commercial. Ooo!

815
00:56:20,920 --> 00:56:22,760
And you guys are writing
serious music,

816
00:56:22,760 --> 00:56:24,680
where you have your own voice
for concerts,

817
00:56:24,680 --> 00:56:26,600
and yet they're totally
different things.

818
00:56:33,640 --> 00:56:36,120
I don't think these camps matter
quite so much any more.

819
00:56:36,120 --> 00:56:39,760
We have pop musicians that
use a load of classical instruments,

820
00:56:39,760 --> 00:56:43,680
we have classical composers
writing in all kinds of contexts.

821
00:56:43,680 --> 00:56:47,000
It feels, thankfully,
massively freeing.

822
00:57:03,160 --> 00:57:07,320
Classical music has deep roots
in the British psyche.

823
00:57:07,320 --> 00:57:11,840
In the 21st century, it has embraced
diversity and technology,

824
00:57:11,840 --> 00:57:14,640
welcomed young players
and new audiences.

825
00:57:14,640 --> 00:57:17,920
Unbuttoning that British
stiff upper lip

826
00:57:17,920 --> 00:57:23,520
and opening us up to experiences
and emotions which we can all share.

827
00:57:23,520 --> 00:57:28,520
With today's musical greats working
to inspire the next generation,

828
00:57:28,520 --> 00:57:30,880
the future is bright.

829
00:57:35,840 --> 00:57:39,280
Music's like a virus which you don't
get rid of, thank goodness.

830
00:57:39,280 --> 00:57:42,800
It's incurable. So we try and spread
it to as many people as we can.

831
00:57:42,800 --> 00:57:46,120
And it should be in everybody's life
some way or other.

832
00:57:51,280 --> 00:57:55,200
If you can just introduce people,
give them a bit of time

833
00:57:55,200 --> 00:57:58,200
to get into what is
a different language,

834
00:57:58,200 --> 00:58:00,080
people can get grabbed by it

835
00:58:00,080 --> 00:58:01,960
and it can change their life.

836
00:58:06,800 --> 00:58:09,600
Music's like weeds,
it's amazing where it grows.

837
00:58:14,880 --> 00:58:19,320
Who knows where the next chapter
in our national story will take us,

838
00:58:19,320 --> 00:58:21,520
but one thing is for certain,

839
00:58:21,520 --> 00:58:26,040
classical music, and our deep love
of it, is here to stay.

840
00:58:51,280 --> 00:58:53,880
APPLAUSE AND CHEERING