This performance already exists on YouTube, in two versions, one uploaded nine years ago (2014), by adam28xx, and one uploaded four years ago (2019), by Proms-Music-Vault, which I take to be a semi-official channel from the BBC. However, it is clear from the duration of the two videos that they are are taken from the identical video tape, and that adam28xx's version has simply had its audio altered for the later version. This version is taken from another VHS recording made at the time.

Since all the main comments, including my own, appear below the 2014 upload, that's the one to watch for the best understanding of the musical process, and I reckon the sound is slightly better than 2019 as well. But both uploads leave out Richard Baker's substantial and well-informed introduction, and also the tail-end of the item, when the player-piano team took their bow, along with Percy. This has led to criticism of Richard Baker in the past, and it seems right to me to give him a decent chance to be heard.

I tried to contact Proms-Music-Vault several months ago, offering this more complete version for their channel, but with no response, so I'm now uploading it on the Pianola Institute's channel. We have no wish at all to infringe copyrights, and if the BBC asks us to take it down, we shall do so promptly. However, they have allowed the 2014 upload to remain in place, so it would appear that they don't have a problem with the concert's being on YouTube.

I also have an original video recording of Richard Strauss's 'Don Juan,' which opened the concert, and Joan Rodgers' fine performance of the Letter Scene from Tchaikovsky's 'Eugene Onegin.' I'll wait to see what happens to this upload before I try those two, and if the BBC wants to contact me directly, they know how to do so.

Most of what you need to know is on the 2014 version, but I will repeat that the late first chord in the solo part of the concerto came about because there were two successive stop perforations, about four inches apart (which can actually be seen in this version), one without any nearby dynamic coding, so that the push-up instrument was able to rest while Andrew Davis made his entry and took his applause, and a second one, right on the first chord, with full dynamic power in readiness. The lights, the novelty of the situation and the fact that the Prommers shouted out over the first tuning 'A's put me off, and I forgot to advance the roll, realising at the last minute and pressing the button as soon as I could. I was irritated with myself on the night, but Percy's biographer, John Bird, found me afterwards and congratulated me, saying that it was just what Percy would have done. Over the years I have come to realise the wisdom of that judgment, and I must say it pleased the audience, increased their enthusiasm and helped to mark this particular performance out as something very special. If he had fluffed repeated entries, that would be another matter, but he didn't, and the performance as a whole is a reminder of those happy days when you could fill the Proms with young (and old) classical music lovers.

Rex Lawson (Seventy-five Come Monday)

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