Keyboard Final BBC Young Musician


Keyboard Final

Similar Content

Browse content similar to Keyboard Final. Check below for episodes and series from the same categories and more!

Transcript


LineFromTo

If you can cope with it. Then you can cope with anything. It will be

:02:27.:02:32.

an unfor gettable experience for them. Which will make them love

:02:33.:02:37.

music even more. It's been the most amazing start to what I hope will be

:02:38.:02:48.

a long career in music. BBC Young Musician has been show casting the

:02:49.:02:51.

UK's most talented young performers for more than 30 years. The word is

:02:52.:02:56.

that keyboard final will be another classic. Before we meet tonight's

:02:57.:03:01.

five finalists, here is a reminer of how they got here and what lies

:03:02.:03:05.

ahead for tonight's keyboard category winner. Our five keyboard

:03:06.:03:11.

finalists have been through two tough audition rounds just to reach

:03:12.:03:14.

this stage. It's a huge achievement, but each will be hoping their

:03:15.:03:20.

journey doesn't end here. Whoever is successful tonight will join the

:03:21.:03:24.

other four category winners in the accept yen final. You will see it

:03:25.:03:28.

here on BBC Four next Saturday. Then, five will become three as they

:03:29.:03:35.

compete for a place in the final. And make a date in your diary for a

:03:36.:03:40.

week on Sunday, when BBC Young Musician 2014 reaches its thrilling

:03:41.:03:47.

conclusion at the Usher Hall in Edinburgh. We will bring you full

:03:48.:03:53.

coverage as our three finalists each perform a concerto with the BBC

:03:54.:03:57.

Scottish Symphony Orchestra conducted by Kirill Karabits. One

:03:58.:04:01.

will be named BBC Young Musician 2014.

:04:02.:04:08.

One will be named BBC Young Musician 2014. Unlike other category finals,

:04:09.:04:12.

our contestants tonight will be facing the cameras and judges alone

:04:13.:04:15.

and there's literally nowhere to hide. Plus, with only one instrument

:04:16.:04:18.

under the spotlight, they really need to pull out all the stops in

:04:19.:04:23.

order to stand out. The five finalists are: 18-year-old

:04:24.:04:26.

Hayley Parkes from Burton upon Trent. It's an amazing privilege to

:04:27.:04:31.

even be here and to get this far and to be able to have the chance to

:04:32.:04:35.

perform to so many people. That's what it's about for me personally.

:04:36.:04:40.

Julian Trevelyan from St Albans, and at 15, our youngest keyboard

:04:41.:04:52.

finalist. I always try to make the audience understand as much about

:04:53.:04:56.

the music as I can give them. That's what you want to do for any concert

:04:57.:05:00.

or anything. You want to show the audience what you're all about. From

:05:01.:05:02.

Nottingham, 17-year-old Isata Kanneh-Mason. I think it's better to

:05:03.:05:08.

focus on the performance and the music rather than getting too lost

:05:09.:05:11.

in the competitive nature of it, because that can be quite hard.

:05:12.:05:16.

Martin James Bartlett is from Hornchurch in Essex, and if his face

:05:17.:05:19.

looks familiar that's because he made to the keyboard final two years

:05:20.:05:26.

ago. It feels very comfortable to come back and play in the same hall

:05:27.:05:30.

with the same acoustic. I really didn't think I would get this far

:05:31.:05:34.

again and it's just great to be back. And finally, 18-year-old Ning

:05:35.:05:37.

Hui See from Singapore, who as a full time student here in the UK, is

:05:38.:05:44.

eligible to enter the competition. This is definitely one of the

:05:45.:05:48.

biggest things I've done. Now that the day has come, I'm very excited,

:05:49.:05:51.

I'm definitely looking forward to my performance tonight. And there we

:05:52.:05:59.

have our line-up. I'm certainly looking forward to hearing them and

:06:00.:06:02.

the gorgeous repertoire they've all chosen to perform this evening.

:06:03.:06:05.

Already this year the juries have had to make some really tough

:06:06.:06:08.

decisions, and tonight promises to be no different.

:06:09.:06:12.

Our judges are: Internationally acclaimed concert pianist Noriko

:06:13.:06:19.

Ogawa. I'm looking for a competitor who creates a really nice sound, who

:06:20.:06:23.

can use the whole capacity of the instrument. Music can actually unite

:06:24.:06:29.

everybody in the room and that will be the moment that I'm looking for.

:06:30.:06:34.

Ashley Wass, one of Britain's leading pianists. Rather than trying

:06:35.:06:43.

to tick every single box, I would like someone to show me what they're

:06:44.:06:46.

really about, what their tastes and repertoire is. If somebody can put a

:06:47.:06:50.

smile on my face and charm me tonight, I will remember that. And

:06:51.:06:53.

our general adjudicator, Meurig Bowen, director of the Cheltenham

:06:54.:06:59.

Music Festival. I'm looking for an inner strength, the ability to

:07:00.:07:02.

handle the highs and lows of a career in music, and to gain a sense

:07:03.:07:06.

that this person has not only musical intelligence but an

:07:07.:07:07.

emotional intelligence too. We're minutes away from the

:07:08.:07:26.

beginning of tonight's keyboard final and there's a very big sense

:07:27.:07:30.

of excitement here tonight. It's piano, the repertoire is huge,

:07:31.:07:34.

there's so much at stake. I personally can't wait to hear

:07:35.:07:42.

tonight's contestants. As you can see, the audience are just taking

:07:43.:07:46.

their seats, and for one competitor the wait is very nearly over. First,

:07:47.:07:50.

it's Hayley Parkes from Burton upon Trent. 18-year-old Hayley is a

:07:51.:08:01.

first-year student at the Royal Northern College Of Music in

:08:02.:08:09.

Manchester. With a timetable packed full of music classes, lectures and

:08:10.:08:12.

group rehearsals, Hayley is on the go from morning till night. And she

:08:13.:08:18.

wouldn't have it any other way. As a person, I don't like not to be busy.

:08:19.:08:22.

I really like to have things full in my diary, to be having to rush from

:08:23.:08:26.

one place to another and to be involved with as many things as I

:08:27.:08:32.

can. Even the busiest students need a place to relax, and whilst at

:08:33.:08:36.

college, Hayley shares a flat with two fellow music students. It's an

:08:37.:08:38.

arrangement that certainly works for them. I think Hayley is a good

:08:39.:08:47.

flatmate. Well, she's a bread-maker so she makes a lot of bread and it

:08:48.:08:51.

makes the flat smell really nice. And she's quite clean, which is

:08:52.:08:59.

good. Music fills Hayley's life now, but that hasn't always been the

:09:00.:09:02.

case. She started playing when she was nine-years-old, much to the

:09:03.:09:05.

surprise of her parents. We're totally tone deaf, aren't we,

:09:06.:09:08.

really? We just don't... We're not into music at all.

:09:09.:09:14.

Are you hearing this, Charlie? You need to start doing a bit more

:09:15.:09:18.

reading. Definitely not from a musical family! My parents have

:09:19.:09:21.

never played an instrument. My sister really doesn't like it and

:09:22.:09:24.

neither does my brother really, so it's been my adventure, my

:09:25.:09:34.

discovery. And helping Hayley on her journey is her teacher at the Royal

:09:35.:09:38.

Northern, Russian pianist Dina Parakhina. Thank you very much,

:09:39.:09:47.

Hayley. It sounds beautiful, sounds lovely.

:09:48.:09:51.

I still remember the very first time I saw her, and I liked her very

:09:52.:09:56.

much. There was something so sweet, so nice about her musicality, her

:09:57.:10:02.

personality. I could sense it immediately.

:10:03.:10:08.

Maybe a little bit... She's really intelligent, like

:10:09.:10:14.

really, seriously intelligent. Academically she's just brilliant at

:10:15.:10:18.

every subject. More soft, a little bit deeper, you

:10:19.:10:20.

know? More soul. Try again, please. I think it's quite amazing how

:10:21.:10:35.

transformed she is over the last years. She's made incredible

:10:36.:10:44.

progress. I feel really, really lucky to have had such an amazing

:10:45.:10:52.

role model as a pianist. Thank you, it sounds beautiful, I really like

:10:53.:10:57.

it. Back home in Burton upon Trent,

:10:58.:10:59.

Hayley's passing that inspiration on to the next generation of pianists.

:11:00.:11:08.

It's quite dreamy, isn't it? Considering I've come so far by

:11:09.:11:11.

myself, and without this exposure to classical music, I would love the

:11:12.:11:15.

opportunity to be able to expose a child to a piece of music that just

:11:16.:11:22.

makes them smile. There are two little girls in particular that love

:11:23.:11:25.

to come over actually, and have a little bit of a lesson. They ask me

:11:26.:11:30.

questions and I just love to see them be so interested. It is a

:11:31.:11:35.

massive deal for me. Hayley's music is really good and it's really good

:11:36.:11:43.

on the piano, it sounds nice. It sounds like the birds flying up,

:11:44.:11:50.

doesn't it? To be able to bring that to a

:11:51.:11:54.

younger child is just a massive privilege, I think. It's something

:11:55.:11:56.

that people underestimate, the power that a musician can have, to bring

:11:57.:12:01.

that to someone. And here is Hayley Parkes to open

:12:02.:12:07.

this keyboard final. She's going to begin with Sonata in F minor by

:12:08.:12:09.

The piece itself is, I think, a Scarlatti.

:12:10.:12:57.

The piece itself is, I think, a beautiful piece to open with. It's

:12:58.:12:59.

very archaic, I think, in the aura it creates. Quite slow, but there's

:13:00.:13:04.

beautiful melodies in both hands and it really takes the listener on a

:13:05.:13:06.

journey, I think, through the piece. Hayley's second piece is in

:13:07.:15:30.

improvise by Russian composer, Nikolai Medtner. -- improvisation.

:15:31.:15:52.

It's actually a memory of a composer that dies very young and was very

:15:53.:16:01.

close to Medtner. The theme can be heard from the outset. It's very

:16:02.:16:05.

longing and almost in despair, but it quickly turns into some very

:16:06.:16:08.

turbulent variations. To end her programme, Hayley's going

:16:09.:18:21.

to play the 5th movement from Schumann's veil naes carnival. It is

:18:22.:18:27.

a finale in every sense of the word. It's a fantastic piece to finish

:18:28.:18:32.

with. It's a piece to put a smile on someone's face.

:18:33.:18:53.

APPLAUSE What a start to tonight's category

:18:54.:20:43.

final. Such an incredible programme of so many different moves and

:20:44.:20:51.

textures. Well done. Thank you. Fabulous. Thank you very much. They

:20:52.:20:57.

are still clapping for you. They want an encore. Don't think you can

:20:58.:21:02.

do that in competitions. Probably not. How was it? It's like I was

:21:03.:21:08.

floating. It's a nice atmosphere. You can feel everyone wanting you to

:21:09.:21:12.

do well. It was fantastic. Such a good experience. Hayley is a very

:21:13.:21:18.

romantic pianist, I thought. She has a lot of ideas how she wants to

:21:19.:21:24.

phrase in a very beautiful sound. Particularly loved Hayley's first

:21:25.:21:32.

performance. She created a sense of intimacy and wonder in that piece.

:21:33.:21:37.

Very still, private and controlled. A really accomplished performance by

:21:38.:21:42.

Hayley Parkes to get to this keyboard final underway. Next to

:21:43.:21:47.

face the jury it's tonight's youngest finalist, 15-year-old,

:21:48.:21:48.

Julian Trevelyan. Julian lives at home with his mum

:21:49.:22:04.

and dad in St Albans. Although he has been having piano lessons since

:22:05.:22:09.

he was seven, he is the only keyboard finalist that doesn't

:22:10.:22:13.

attend a specialist music school or conservatoire. In fact, he doesn't

:22:14.:22:19.

go to school at all. I have been home educated since I was little.

:22:20.:22:24.

You can work at your own level. You can - people say that you're lonely

:22:25.:22:30.

when you are home-schooled. There is so much that you can do. I always

:22:31.:22:35.

wanted to home educate him, partly so that I spend my time with him. 's

:22:36.:22:43.

able to learn about things that he's passionate about and, to a greater

:22:44.:22:47.

depth, learning happens all the time. It's just a part of every day

:22:48.:22:54.

life. Not just inside the home, but outside too. I like to go wild food

:22:55.:23:02.

collecting because I'd read lots of books about it. I've got some

:23:03.:23:10.

mushrooms which are used in Chinese cooking. I would pick them and take

:23:11.:23:15.

them home and make delicious meals out of them. It's just sort of out

:23:16.:23:23.

of my love of food. Food and music are my two greatest pleasures.

:23:24.:23:33.

Music is important to me in the way that it is my life. Music is a

:23:34.:23:44.

background always in my mind. I have to actively think to have words.

:23:45.:23:56.

It's music. Ho where is Julian more surrounded than by music than at

:23:57.:24:02.

Snape Maltings in Suffolk. -- nowhere. English composure, Benjamin

:24:03.:24:15.

Britten, founder of the Aldeburgh festival of music created the

:24:16.:24:19.

renowned famous concert hall here in 1967. Today the site is home to

:24:20.:24:27.

Aldeburgh Young Musicians, which runs intense weekend an residential

:24:28.:24:32.

courses, with a creative twist. We are not teaching them how to play

:24:33.:24:35.

their instrument when they are here. We are exposing them to different

:24:36.:24:41.

ways of working. They may be exploring different styles. We are

:24:42.:24:45.

expanding their horizons and encouraging them to have a different

:24:46.:24:49.

approach to their music making so they become very rounded musicians.

:24:50.:24:56.

Julian is terrific. He is slightly eccentric. In a positive way, he is

:24:57.:25:01.

good fun, everybody enjoys working with him he brought a new dynomite

:25:02.:25:12.

approach to working with people. It's quite a unique experience

:25:13.:25:18.

because you work on the side of music which isn't so much done at

:25:19.:25:25.

the normal conservatoires. We have some very inspirational coaches and

:25:26.:25:31.

it's just a lovely Place2Be. Back in St Albans, Julian's hoping to become

:25:32.:25:38.

an inspirational coach himself. Though not of music, but gymnastics.

:25:39.:25:50.

I've been doing gymnastics at the local club for seven/eight years

:25:51.:25:57.

maybe. I've always enjoyed it. Julian has now developed up to a

:25:58.:26:01.

coach. He is on our training programme, which is lovely. Over the

:26:02.:26:06.

moon he has got through to the next stage of the Young musician. All of

:26:07.:26:10.

the coaches are behind him. Can't see what happens next. We wish him

:26:11.:26:14.

all the luck in the world on the next stage. So with everyone back

:26:15.:26:21.

home wishing him well, here is Julian Trevelyan to perform in this

:26:22.:26:27.

keyboard final. He will begin with the third movement from Sonata in E

:26:28.:26:35.

major by Beethoven. It's a very varied piece, variation

:26:36.:27:59.

five, which I think is rather like a string quartet, as it were.

:28:00.:32:10.

APPLAUSE To end his programme, Julian is going to play Etude No.10

:32:11.:32:21.

by the 20th century composer Gyorgy Ligeti.

:32:22.:32:46.

Ligeti is more a challenge for the mind. It's almost as if it's an

:32:47.:32:51.

encore after the Beethoven. APPLAUSE.

:32:52.:34:10.

A beautiful performance from Julian, who's most certainly a wizard of the

:34:11.:34:14.

keyboard. Over to Alison, who's talking to him right now.

:34:15.:34:23.

I think everybody was captivated by the Beethoven. You're 15. Yes. It

:34:24.:34:28.

sounded like you had been playing that the decades. Mathematically,

:34:29.:34:33.

how did that happen? I don't know. It's just how I play it. You have an

:34:34.:34:39.

affinity with these two composers perhaps? Maybe. I thought it was

:34:40.:34:42.

absolutely, absolutely fabulous. Thank you. Well done. The choice of

:34:43.:34:52.

repertoire is quite incredible. 109, to play it by a 15-year-old is

:34:53.:34:57.

really quite amazing. I think Julian's choice of Opus 109 was

:34:58.:35:00.

incredibly brave. He's a very intellectual young man, quite

:35:01.:35:03.

clearly, and there's much to admire. It was very well controlled playing,

:35:04.:35:07.

and also in the Ligeti as well. It was extremely well controlled on a

:35:08.:35:12.

technical level. We've already heard from two of our

:35:13.:35:17.

finalists tonight. Still to come, Martin James Bartlett and Ning Hui

:35:18.:35:21.

See, but up next is the 17-year-old Isata Kanneh-Mason from Nottingham.

:35:22.:35:35.

It's 6am in the Kanneh-Mason household. Time for Isata to make

:35:36.:35:43.

her weekly trip to London. And she's not going alone. I'm one of seven

:35:44.:35:48.

siblings and we all play instruments. Every Saturday, I

:35:49.:35:56.

travel down with four of my brothers and sisters on the train from

:35:57.:35:59.

Nottingham to London to go to the Royal Academy of Music.

:36:00.:36:08.

I love the atmosphere here, I love that everyone is doing the same

:36:09.:36:14.

thing, everyone is musical. My piano teacher is Patsy Toh and I really

:36:15.:36:21.

enjoy studying with her. She's really developed to me as a

:36:22.:36:24.

musician. Your emotion, your feeling must change along with that. So

:36:25.:36:28.

please try this once again, OK? Try not to slow down if you can.

:36:29.:36:42.

Well, I've been teaching Isata since she was ten years old and I always

:36:43.:36:46.

remember when her parents came down, brought her down, she was this very

:36:47.:36:49.

tiny little girl and she was just raring to go and wanted to come here

:36:50.:37:01.

very badly. I would say that she has the makings to be a terrific

:37:02.:37:04.

virtuoso pianist. She's got the sound, you know, she's got the

:37:05.:37:07.

equipment, and for certain times of music, you know, very exciting and

:37:08.:37:18.

colourful. It's a musical ability that Isata's had from an early age.

:37:19.:37:28.

Well I first realised that Isata was talented in her cot because she used

:37:29.:37:32.

to sing perfectly in tune from when she was tiny. Even back then, BBC

:37:33.:37:35.

Young Musician played an important part in family life. I can remember

:37:36.:37:39.

all the finals and being excited. Of course the children have always

:37:40.:37:42.

watched it from when they were little, and she was interested so

:37:43.:37:45.

it's incredibly exciting to actually be on it for Isata. I've always

:37:46.:37:49.

wanted to be in it, it's such an exciting thing for me, so to have

:37:50.:37:53.

got this far is just amazing. And getting through to the category

:37:54.:37:55.

final isn't Isata's only accomplishment in recent months. In

:37:56.:37:59.

September I was chosen to go out to LA and perform with Elton John. He's

:38:00.:38:03.

really connected with the Royal Academy of Music, he used to go

:38:04.:38:07.

there when he was younger. It was amazing to be on stage with someone

:38:08.:38:11.

who's so famous and so widely known, and it was just an amazing

:38:12.:38:18.

experience. He's been really kind. He's been supporting Isata and said

:38:19.:38:22.

to her if you get into the Academy, you know, you'll be an Elton John

:38:23.:38:25.

scholar, which was really exciting for her. Yes, he's sponsoring to go

:38:26.:38:29.

there to the Senior Academy, it's fantastic. When she's 18, it's

:38:30.:38:32.

great. A few weeks ago Elton John sent me a

:38:33.:38:36.

card, congratulating me on getting into the Academy and into the

:38:37.:38:39.

category finals of BBC Young Musician so I've got it framed. I

:38:40.:38:45.

was really happy. From A-list celebrities to A levels, Isata takes

:38:46.:38:49.

it all in her stride. School is the local catholic comprehensive. As an

:38:50.:38:54.

extraordinary family, they're characterised, strangely, by their

:38:55.:38:57.

ordinariness. Isata is an extremely talented girl, extremely dedicated.

:38:58.:39:03.

She's got a nice group of friends here at school and she's just one of

:39:04.:39:07.

our students. The first thing you notice about her is how modest she

:39:08.:39:12.

is, because she doesn't want to show off at all. It's never about being

:39:13.:39:14.

the best, it's always about doing your best sort of thing. She's funny

:39:15.:39:18.

and she's chatty, and she's just one of us really. But even at school,

:39:19.:39:21.

music's never far from Isata's thoughts and when she's not playing,

:39:22.:39:27.

she's composing. This time for her second instrument, the viola. And

:39:28.:39:31.

where better to try out her latest composition, written just hours

:39:32.:39:34.

before, than back home with the family.

:39:35.:39:40.

I think music is her whole life, her whole world. In a way it's the only

:39:41.:39:47.

thing she can be, the only thing she wants to be, and she's utterly

:39:48.:39:51.

dedicated and loves it. It's her passion.

:39:52.:40:00.

So, hoping to do her family proud, here is Isata Kanneh-Mason to

:40:01.:40:07.

perform this keyboard final. She's going to begin with a nocturne by

:40:08.:40:13.

Chopin. I chose this piece because I think, out of all his nocturnes, it

:40:14.:40:17.

is his most beautiful. I just love the melody and I love the harmony,

:40:18.:40:21.

and I just think it's an amazing piece. It definitely helps to start

:40:22.:40:25.

with a calming piece of music. It sort of settles the nerves. It's

:40:26.:40:28.

quite a relaxing way to begin the performance, I think.

:40:29.:44:26.

APPLAUSE. To end her programme, Isata is going

:44:27.:44:43.

to play Scarbo, from Gaspard de la Nuit, considered by many to be one

:44:44.:44:44.

of Ravel's most challenging pieces for the piano.

:44:45.:45:11.

It is a very exciting piece, it is all about a goblin who comes out at

:45:12.:45:18.

night and creates a nightmarish scene for the person sleeping. You

:45:19.:45:26.

just get lost in that atmosphere and that mood.

:45:27.:48:53.

Isata Kanneh-Mason leaving us all breathless and displaying such an

:48:54.:49:14.

incredible command over the instrument, over the colour, texture

:49:15.:49:20.

and technique. Really spell binding performance. That was magnificent,

:49:21.:49:27.

did you enjoy yourself? I did enjoy it, actually. You looked like you

:49:28.:49:32.

were in your element on the stage. Your Chopin was magnificent, so was

:49:33.:49:36.

the Ravel, what were your highlights, they were very

:49:37.:49:39.

different? I enjoyed the Ravel. Exciting to play. I love the Chopin

:49:40.:49:43.

as well. I love the atmosphere it creates. I enjoyed all of it. Good.

:49:44.:49:49.

Has wonderful presence on stage. A great story teller. Sparkling

:49:50.:49:54.

colourful Ravel and dreamy performance of the Chopin. Isata

:49:55.:50:01.

built an interesting programme, very contrasting. Romantic Chopin and

:50:02.:50:07.

ending up with a spiky, prickly Ravel. I really enjoyed it. Our next

:50:08.:50:14.

finalist is Martin James Bartlett. If you think you have seen him

:50:15.:50:15.

before, you probably have. Martin has reached this stage in the

:50:16.:50:19.

competition two years ago. March 2012, 15-year-old Martin takes

:50:20.:50:39.

to the young musician stage. I was nervous when I came out. As soon as

:50:40.:50:44.

I sat down I felt quite comfortable, because I'm in front of the piano.

:50:45.:50:51.

The whole BBC Two 012 experience was really positive. I think it gave him

:50:52.:50:57.

a real sense of what he could do. I think made him feel that this long

:50:58.:51:03.

held ambition of being a concert pianist was something that could be

:51:04.:51:09.

achieved. Two yearson, Emily is helping him achieve it with weekly

:51:10.:51:13.

lessons at Purcell School of Music where Martin has been a student for

:51:14.:51:18.

the last five years. Keep the build-up. I studied with Emily for

:51:19.:51:26.

10 years. I first met her when I was seven. Lessons with her are the most

:51:27.:51:30.

important part of my week. I love going. I wake up in the morning and

:51:31.:51:35.

I know I have a lesson with her. She makes me believe more in myself than

:51:36.:51:40.

I would do without her. You are talking far too much time there. I

:51:41.:51:44.

think that he's really one of the most talented students I've ever

:51:45.:51:51.

taught. I have had some very talented students. Martin is a

:51:52.:51:57.

really fun person. A bit of a joker. A bit mischievous perhaps. He does

:51:58.:52:02.

love to have a laugh. Quite a personality, I think, really.

:52:03.:52:11.

Pretend you're a teacher! He has a great sense of humour. He tends to

:52:12.:52:16.

light a room up when he walks in. He has great fun. People around him

:52:17.:52:32.

enjoy it as well. My days at Purcell are busy. I would have physics,

:52:33.:52:37.

music harmony and oral lessons. I try and practice five or six hours a

:52:38.:52:42.

day. I love playing. If I come into my room, it's hard if there is a

:52:43.:52:46.

piano in the room not to start playing it. It's all really I think

:52:47.:52:51.

about, even though when I'm in lessons and things like that, I have

:52:52.:52:55.

pieces going around in my head and I want to start playing again. So,

:52:56.:53:00.

yes, a bit of a nut job. It's a passion that is all consuming, even

:53:01.:53:04.

at weekends. On Saturday Saturdays I go to the Royal College. My morning

:53:05.:53:08.

starts with piano duo work, which I love. I have piano trio. It's great

:53:09.:53:15.

fun to go to the Royal College and to mix, both Purcell and Royal

:53:16.:53:19.

College, they bounce off each other so well. It's days before the

:53:20.:53:25.

Category Final, Martin and the rest of Purcell's keyboard department

:53:26.:53:29.

have been invited to give a performance at the Fazioli Piano

:53:30.:53:34.

Concert Hall just north of Venice. While he is there, Martin is lucky

:53:35.:53:38.

enough to get a tour of the piano factory, by none other than the

:53:39.:53:44.

founder. Mr Fazioli himself. This lady is checking the position. It

:53:45.:53:52.

looks precise? Yes. It's very important for the evenness of the

:53:53.:53:56.

touch of the piano. Now, Martin, we will see something very special. OK.

:53:57.:54:06.

This is the Fazioli No. 1. 001, it's the number one. It's the first

:54:07.:54:11.

piano. The first Fazioli. Could I have a go? You can play! Thank you.

:54:12.:54:20.

The factory produces ?130,000 each year, each taking 800 hours to

:54:21.:54:28.

build. With the tour of the factory over.

:54:29.:54:42.

It's time for Martin to show what he can do. Martin, seems to me, a young

:54:43.:54:57.

boy very intelligent and his playing is fantastic. I heard him perform he

:54:58.:55:07.

realised that piece really in the best way.

:55:08.:55:11.

Back home and with another successful performance under his

:55:12.:55:23.

belt, Martin's takes the opportunity to relax before his return to the

:55:24.:55:29.

Young Musician stage. I feel very comfortable because I've done it

:55:30.:55:33.

before. It feels a bit safer. In the past I was worried about it. Whilst

:55:34.:55:37.

now I feel I'm just going with the flow. He's done a lot of

:55:38.:55:46.

preparation. He knows that he's just got to be his best for those 16

:55:47.:55:57.

minutes, on stage. So, two years on, here is Martin James Bartlett making

:55:58.:56:04.

his second bid to win the BBC Young Musician Keyboard title. He is going

:56:05.:56:16.

to begin with the Capriccio No. 2 by Bach. -- Partitas No. 2 by Bach. I

:56:17.:56:28.

think it's a noble start to the programme. It has a lot of counter

:56:29.:56:32.

point and imitation that Ied really love to bring through.

:56:33.:56:41.

APPLAUSE Next, Martin is going to play the

:56:42.:57:35.

Petrarch Sonnet by Liszt. It has so many different moods in the place.

:57:36.:57:39.

You have to feel the music. You can't just do what's on the he

:57:40.:57:44.

score. You really have to feel it through your body. -- on the score.

:57:45.:57:55.

You really have to feel it through your body.

:57:56.:59:28.

APPLAUSE To follow the Liszt Martin is going

:59:29.:59:36.

for a complete change of mood by a piece called Etincelles by a German

:59:37.:59:45.

composer called Moritz Moszkowski. It shows off a very different side

:59:46.:59:47.

to a classic performance. APPLAUSE.

:59:48.:01:33.

To end this richly varied programme, Martin has chosen a Sonata by

:01:34.:01:36.

American composer, Samuel Barber. It's so exciting for me to even play

:01:37.:01:41.

it. I get excited when I'm playing it. All the different contrasts,

:01:42.:01:44.

textures, and the articulation. I think it's a real showpiece. I just

:01:45.:01:46.

love to play it. APPLAUSE.

:01:47.:03:55.

Well, I'm not sure what to say but one thing I'm so sure about is that

:03:56.:03:59.

this competition is really, really heating up.

:04:00.:04:05.

That was Martin, playing with such extraordinary assurance, confidence,

:04:06.:04:16.

so much colour, so much feeling. I'm really taken by that.

:04:17.:04:23.

Martin, you're obviously on a massive high. Tell me how you feel.

:04:24.:04:28.

I'm just... I was so excited when I was playing, and now, after a

:04:29.:04:31.

performance you're always so excited when you finish. I just feel on top

:04:32.:04:34.

of the world. Martin's performance was a real high wire act,

:04:35.:04:37.

technically. It was a fantastically and impressively mixed programme,

:04:38.:04:41.

and I think we got a lot out of all the different things that he showed

:04:42.:04:45.

us. I think Martin demonstrated a compelling level of musicianship

:04:46.:04:48.

tonight. There are many things that he said in his playing that I didn't

:04:49.:04:52.

particularly agree with, but nonetheless he made me want to

:04:53.:04:55.

listen to him and he's somebody that I would really love to hear play

:04:56.:05:00.

again. And how does it compare to the last time you were in this

:05:01.:05:05.

competition? I think I've progressed a lot since I was here last time,

:05:06.:05:09.

and it felt more comfortable to be on stage than last time so I think I

:05:10.:05:13.

was slightly less nervous than last time.

:05:14.:05:16.

Last to perform in this BBC Young Musician Keyboard final, it's Ning

:05:17.:05:17.

Hui See from Singapore. 18-year-old Ning Hui See is not your

:05:18.:05:42.

average student. She left her home city of Singapore to study in the UK

:05:43.:05:48.

in 2012. Two years later, and at an age when most music students are

:05:49.:05:50.

just thinking about conservertoires, Ning is already in her second year

:05:51.:05:55.

at the Royal College of Music. I came to London when I was 16 from

:05:56.:06:00.

Singapore. I finished my end of year exams in my previous school and then

:06:01.:06:06.

I came straight to college. She arrived at the tender age of 16,

:06:07.:06:10.

which I think is very young for somebody to come halfway across the

:06:11.:06:13.

world, leave her family, leave her friends. That showed that she had

:06:14.:06:17.

great determination and that she knew what she wanted to do with her

:06:18.:06:24.

life. Even as a young child, Ning knew the piano was for her. She

:06:25.:06:27.

started playing at just four-years-old but her practice got

:06:28.:06:31.

off to a bumpy start. I was practising alone and I suppose I was

:06:32.:06:35.

moving around a bit too much and I fell off the piano stool onto the

:06:36.:06:41.

floor! Luckily it didn't put her off and after many years performing in

:06:42.:06:45.

public, Ning caught the eye of the Royal College of Music. I first met

:06:46.:06:49.

Ning when we were auditioning in Singapore. I realised then that she

:06:50.:06:55.

was very gifted, very bright. Certainly of scholarship level. With

:06:56.:07:02.

music at the very heart of her life, being at a conservertoire has

:07:03.:07:05.

allowed Ning to do what she likes doing best. Now that I'm at the

:07:06.:07:15.

Royal College of Music, I pretty much practice every day. At least

:07:16.:07:18.

three to four hours, sometimes it can go up to five or six. But

:07:19.:07:24.

getting a space to practice isn't always easy. Floor three.

:07:25.:07:38.

I arrive here at 8:30 in the morning at the Royal College and she's often

:07:39.:07:44.

here practising, one of the very first. For breakfast, she'd always

:07:45.:07:48.

be on her phone in the morning at 8:30, not going on Facebook or

:07:49.:07:51.

Twitter or calling anyone or texting. At 8:30 she has an alarm

:07:52.:07:57.

that reminds her to book rooms. And when you just can't practice,

:07:58.:08:00.

there's always the local coffee shop. In my spare time here, I like

:08:01.:08:07.

to go out with my college friends to restaurants and cafes and to go

:08:08.:08:10.

shopping. I definitely miss my friends and family back home in

:08:11.:08:16.

Singapore. With my parents, I like to spend time chatting on Skype with

:08:17.:08:21.

them. My parents use the Skype sessions to ask me about how my week

:08:22.:08:24.

has been. Bye, got to go.

:08:25.:08:32.

It's just weeks to go before the category finals and Ning is working

:08:33.:08:36.

on her programme with teacher John Byrne. It's coming on. It's really

:08:37.:08:43.

coming on very nicely, very well. The first thing that strikes you

:08:44.:08:46.

about Ning's playing is that it communicates very well. It's very

:08:47.:08:51.

warm, she has a good ear for colour and for sensitivity, and she gives a

:08:52.:08:54.

good blend, a good balance of an intellectual understanding, plus the

:08:55.:09:04.

spontaneity and warmth. Ning is really enjoying the whole process of

:09:05.:09:07.

being part of the BBC Young Musician. It's given her a focus and

:09:08.:09:14.

a goal. And to help her prepare for the category final, Ning seeks the

:09:15.:09:17.

advice of someone who knows exactly what it's like to compete in BBC

:09:18.:09:20.

Young Musician - fellow Royal College of Music student and

:09:21.:09:24.

previous winner Lara Melda. So there are a few more weeks before I have

:09:25.:09:28.

to play at the category finals, are there any tips you can give me based

:09:29.:09:32.

on your experience? Well in my experience, I think when you go onto

:09:33.:09:35.

stage, that moment is your moment, your moment to tell your story. Just

:09:36.:09:42.

forget that there's a panel there, sitting there, just treat it as a

:09:43.:09:49.

concert. You know, express yourself. Give it my best shot. Yeah.

:09:50.:10:00.

It's definitely one of the biggest things I've done. But if I do win, I

:10:01.:10:07.

will definitely be really happy and really fortunate because it would

:10:08.:10:10.

make such a big difference to my career.

:10:11.:10:22.

So, in her bid to take the keyboard title, Ning is first going to

:10:23.:10:28.

perform Six Little Piano Pieces by Schoenberg.

:10:29.:11:08.

It is probably not a very usual choice but it can show range and

:11:09.:11:12.

character, and the softer terms of the piano. -- softer tones.

:11:13.:12:32.

To follow the Schoenburg and end her programme, Ning is going to play the

:12:33.:12:37.

Scherzo no.2 in B flat minor by Chopin.

:12:38.:13:11.

It has been described by some people as an inferno because there is a lot

:13:12.:13:19.

of fire, drama and passion in it. Not all of it is loud, in fact a lot

:13:20.:13:22.

of the pieces are spent quietly. APPLAUSE

:13:23.:19:20.

CCTV, bringing what has been a high quality keyboard final to a close.

:19:21.:19:26.

Like everyone of tonight's finalist, she has given her all in her bid for

:19:27.:19:33.

the title. How was it to wait for so long? You were last in the evening,

:19:34.:19:38.

not easy? Yeah. I was the last. I can't help thinking - everyone has

:19:39.:19:43.

finished, I'm the last. Were you happy with your overall performance?

:19:44.:19:46.

Yeah. It could have been better. I always say that. Ning is an

:19:47.:19:51.

intelligent player. A beautiful level of study. Particularly in the

:19:52.:19:57.

Schoenburg she played tonight. Very poised playing, intimate playing.

:19:58.:20:01.

She has a fantastic natural facility. Ning's Schoenburg was

:20:02.:20:06.

quite amazing. She is one of those earnest piano eyeses that reads bar

:20:07.:20:12.

by bar, not by note. It showed that. She must have worked very hard.

:20:13.:20:20.

Well, there you have it. Five spell binding performances in the keyboard

:20:21.:20:23.

category which simply cannot get stronger than this. How the jury

:20:24.:20:27.

will choose just one winner are I have no idea. Over to them. Making

:20:28.:20:38.

the tough decision: International acclaimed concert pianist, Noriko

:20:39.:20:46.

Ogawa. Ashley Wass, one of Britain's leading pianists. Our general

:20:47.:20:55.

adjudicator, Meurig Bowen, director of the Cheltenham Music Festival.

:20:56.:21:06.

Hayley got things off to a beautiful poised start. A sense she wasn't so

:21:07.:21:18.

comfortable with the others. To play the Scarlatti with poise and

:21:19.:21:23.

intimacy was really quite a remarkable feat actually. I thought

:21:24.:21:39.

it was very, very beautiful. I want Medtner to be much more weighty with

:21:40.:21:44.

darkness in the performance. With Julian we used the words "endo you

:21:45.:21:54.

Lekkual" -- intellectual." Very controlled. Very impressive control

:21:55.:22:10.

in the Beethoven. Should be much, much more dramatic. Even Even in the

:22:11.:22:29.

Ligeti. I was rather taken with the fantasy and the grace of her

:22:30.:22:33.

playing. She has a wonderful natural facility. Fantastic fingers. Much,

:22:34.:22:40.

much to work with her. For me the Chopin was square in its phrasing. A

:22:41.:22:49.

little fast. The Ravel exotic music. Not sure she captured that quality.

:22:50.:22:53.

She has amazing control when it's very fast and soft passages going

:22:54.:22:59.

up-and-down. They were really quite breath taking. Then I really wanted

:23:00.:23:03.

to just watch how she did it. You know, they were very beautifully

:23:04.:23:11.

done. Martin. There is clearly a very strong musical personality and

:23:12.:23:19.

technician at work here. Absolutely from the first notes he played he

:23:20.:23:23.

made me sit up and listen. I thought his musicianship was absolutely

:23:24.:23:30.

compelling. The Barber was a safe reading. It didn't quite sort of

:23:31.:23:35.

achieve the thrilling livoff that that -- liftoff that that piece can.

:23:36.:23:44.

It was a recital. It was a performance. I didn't have to make

:23:45.:23:50.

lots of notes. I just sat down and enjoyed. It is really quite an

:23:51.:23:57.

achieve am. With Ning there was a massive contrast in the two pieces.

:23:58.:24:02.

The Schoenburg demonstrated real poise and control. Beautifully

:24:03.:24:07.

delivered on many levels. For me, I think, more colour more expensive

:24:08.:24:14.

depth would elevate the performance to another level completely. How she

:24:15.:24:24.

read and memorised that Schoenburg in such detail is phenomenonal.

:24:25.:24:34.

Everything has to be exaggerated. Chopin has to sound warmer and

:24:35.:24:38.

Schoenburg colder. That is what I thought. We have to narrow these

:24:39.:24:44.

five fantastic players now down to one. As you can see, all the five

:24:45.:24:51.

finalists are here waiting backstage for a decision. Of course only one

:24:52.:24:55.

of them can win. To reveal who that is going to be is jury member,

:24:56.:25:02.

Noriko Ogawa. The winner of of the BBC Young Musician 2014, keyboard

:25:03.:25:10.

category final is... Martin James Bartlett. CHEERING AND APPLAUSE.

:25:11.:25:25.

Well a popular decision in the hall. Martin's parents look justifiably

:25:26.:25:27.

proud. Returning to the stage for a well

:25:28.:25:39.

earned round of applause, four more outstanding young musicians who've

:25:40.:25:42.

helped to make this a memorable final.

:25:43.:25:50.

At the beginning of the evening I was looking for somebody with

:25:51.:25:54.

something unique and interesting to say. Martin had that in an

:25:55.:25:58.

abundance. A compelling personality and a wonderfully talented young

:25:59.:26:02.

musician who I'm sure has a great future ahead of him. Oh, my gosh!

:26:03.:26:11.

You did it! Second time lucky? Yes, exactly. How are you doing? Auto I

:26:12.:26:20.

am so excited. So happy. Your fingers crossed? Whatever happens.

:26:21.:26:24.

It's not about winning, it's about doing the best you can. He projected

:26:25.:26:29.

the most out of that instrument. He entertained us the most. Interesting

:26:30.:26:33.

programme. Everything, for me. We saw and heard in Martin's

:26:34.:26:37.

performance today the very, very solid foundations of an incredibly

:26:38.:26:43.

interesting musically engaging and technically secure performer. We all

:26:44.:26:47.

sense the foundation of something very special and interesting there.

:26:48.:26:53.

Huge congratulations to Martin. We will see him again in the semi-final

:26:54.:26:58.

next Saturday here on BBC Four when he goes to battle for a place in the

:26:59.:27:03.

Grand Final. I, for one, cannot wait. With four semi-finalists

:27:04.:27:11.

already confirmed, only one precious place remains.le join us again next

:27:12.:27:15.

week when we will have five wonderful brass players all hoping

:27:16.:27:19.

to win their category and become someone step closer to be crowned

:27:20.:27:24.

BBC Young Musician 2014. It's probably the biggest concert I've

:27:25.:27:29.

played. I want to get out there and play my best. It's an amazing thing

:27:30.:27:34.

to do. I probably won't ever get to do it again. I will try my best and

:27:35.:27:39.

win it if I. Can I want to say, here I am. This is the trumpet. It was a

:27:40.:27:45.

lovely, smokey, acluring sound. Her sound was just stunning, really

:27:46.:27:52.

beautiful. -- alluring.

:27:53.:27:58.

Download Subtitles

SRT

ASS