0:00:02 > 0:00:06The line-up for this year's BBC Young Musician semifinal
0:00:06 > 0:00:07is almost complete -
0:00:07 > 0:00:09pianist Jackie Campbell,
0:00:09 > 0:00:11saxophonist Jess Gillam...
0:00:13 > 0:00:15..percussionist Andrew Woolcock...
0:00:16 > 0:00:19..and French horn player Ben Goldscheider
0:00:19 > 0:00:22all won their categories to claim their place.
0:00:22 > 0:00:24Tonight, we reach the last of the category finals
0:00:24 > 0:00:27in our search for the next BBC Young Musician.
0:00:27 > 0:00:30Over the past four weeks, we've had some exceptional playing
0:00:30 > 0:00:33from some remarkably talented young performers.
0:00:33 > 0:00:36Now, it's the turn of five string players to step into the spotlight.
0:00:36 > 0:00:39But with just one place in the semifinal to play for,
0:00:39 > 0:00:40there's a lot at stake.
0:01:04 > 0:01:07I've been presenting BBC Young Musician since 2010,
0:01:07 > 0:01:09and I'm always blown away by the standard.
0:01:09 > 0:01:11This year's been no exception.
0:01:11 > 0:01:14Yeah, it's been truly inspiring at times.
0:01:14 > 0:01:17Since the competition began back in 1978, more string players have
0:01:17 > 0:01:21gone on to win the overall title than from any other category.
0:01:21 > 0:01:24Tonight, three violinists and two cellists will be hoping
0:01:24 > 0:01:27to follow in some very distinguished footsteps.
0:01:30 > 0:01:33In 1994, Natalie Clein became the first
0:01:33 > 0:01:36of three cellists so far to win the title.
0:01:41 > 0:01:43Guy Johnston followed in 2000...
0:01:45 > 0:01:48..and four years ago, 15-year-old Laura Van Der Heijden
0:01:48 > 0:01:52triumphed with a mature and incredibly heartfelt performance
0:01:52 > 0:01:55of the Walton Cello Concerto.
0:01:55 > 0:01:58She's been in demand ever since, and last month was the featured
0:01:58 > 0:02:02soloist in the opening night of the inaugural BBC Proms Australia.
0:02:09 > 0:02:11Violinists, meanwhile,
0:02:11 > 0:02:14have taken the overall title no fewer than five times.
0:02:14 > 0:02:17In 2002, Jennifer Pike won when she was just 12...
0:02:21 > 0:02:25..and two years later, another classical music star
0:02:25 > 0:02:28was discovered - Nicola Benedetti.
0:02:35 > 0:02:37Today, Nicky performs across the globe
0:02:37 > 0:02:41and works tirelessly as an advocate for classical music.
0:02:41 > 0:02:43Her relationship with BBC Young Musician continues...
0:02:43 > 0:02:45APPLAUSE
0:02:45 > 0:02:47..in her role as competition ambassador.
0:02:49 > 0:02:51Some of the UK's very finest on that list.
0:02:51 > 0:02:54Now, as a trumpet player, last week I was fascinated
0:02:54 > 0:02:56to hear the young players in the brass final.
0:02:56 > 0:02:58Clemmie, as a violinist, you must have a bit of a soft spot
0:02:58 > 0:03:00- for the strings? - I certainly do, Ali.
0:03:00 > 0:03:03I cannot wait for tonight. What's interesting about this one -
0:03:03 > 0:03:04unlike some of the other categories -
0:03:04 > 0:03:07they're spoilt for choice when it comes to repertoire.
0:03:07 > 0:03:10They've got the riches of the musical canon at their disposal,
0:03:10 > 0:03:14so I was intrigued and encouraged to see some unusual names in the mix,
0:03:14 > 0:03:16composers like Prokofiev, Enescu, Ysaye
0:03:16 > 0:03:18amongst the more familiar showpieces.
0:03:18 > 0:03:21I totally agree, Clemmie - I think it's absolutely vital that they
0:03:21 > 0:03:24choose music that lets them shine as individuals
0:03:24 > 0:03:25in what is such a formidable category.
0:03:25 > 0:03:27Here's the line-up for tonight.
0:03:29 > 0:03:33First, it's 17-year-old violinist, Charlie Lovell-Jones from Cardiff.
0:03:36 > 0:03:37'I'm so excited.
0:03:37 > 0:03:40'Like, I've just been counting the days, really,'
0:03:40 > 0:03:42and now I've reached zero. And it's fabulous.
0:03:47 > 0:03:49I'm buzzing for this evening.
0:03:52 > 0:03:5616-year-old cellist Sheku Kanneh-Mason from Nottingham.
0:03:58 > 0:04:00'I think, playing the cello, I change from a shy'
0:04:00 > 0:04:02kind of person to express myself.
0:04:02 > 0:04:06I think that's the way I do it - through the instrument.
0:04:10 > 0:04:12I'm just kind of privileged to be playing
0:04:12 > 0:04:14in this prestigious competition.
0:04:14 > 0:04:15I'm just going to really enjoy it.
0:04:15 > 0:04:21Next, from London, it's 16-year-old violinist Louisa Staples.
0:04:21 > 0:04:23Oh, it's great.
0:04:23 > 0:04:25It's a great opportunity to perform,
0:04:25 > 0:04:27and I'm playing two pieces I really love.
0:04:31 > 0:04:33Predominantly, I'm really excited.
0:04:33 > 0:04:36A little bit nervous, but just generally really excited
0:04:36 > 0:04:40and anticipant to compete in such a great event.
0:04:42 > 0:04:45Cellist Joe Pritchard, who's 16 and comes from Somerset.
0:04:47 > 0:04:50'I've been watching BBC Young Musician'
0:04:50 > 0:04:52for as long as I can remember.
0:04:52 > 0:04:55The list of musicians whose lives have clearly been
0:04:55 > 0:04:58transformed by being part of the competition is huge.
0:05:01 > 0:05:02I think I'm past surreal -
0:05:02 > 0:05:04it feels more like reality now.
0:05:06 > 0:05:08And completing the line-up,
0:05:08 > 0:05:1116-year-old violinist Stephanie Childress from London.
0:05:11 > 0:05:14'I'm so lucky to have made it through'
0:05:14 > 0:05:16to this stage in the competition.
0:05:16 > 0:05:20I feel so grateful, and all I want to do now is do my best.
0:05:23 > 0:05:25I thought I'd be more nervous,
0:05:25 > 0:05:27but I'm just really looking forward to it.
0:05:29 > 0:05:32And there we have our five strings finalists.
0:05:32 > 0:05:34We'll be hearing the first of them
0:05:34 > 0:05:36perform in just a few moments' time.
0:05:36 > 0:05:38After months of preparation -
0:05:38 > 0:05:40not to mention all the years of practice -
0:05:40 > 0:05:43their performance here at the Royal Welsh College of Music And Drama
0:05:43 > 0:05:47could be one of the most important of their young musical lives.
0:05:47 > 0:05:49Alison, you've been chatting to them all week.
0:05:49 > 0:05:52How much do you think they'll be able to forget the jury,
0:05:52 > 0:05:55forget the competition element, and just focus on this as a performance?
0:05:55 > 0:05:58Well, I think, as this point, Clemmie, it's so important that they
0:05:58 > 0:06:01just focus on what inspired them to become musicians in the first place.
0:06:01 > 0:06:04And from spending this little bit of time with all five of them,
0:06:04 > 0:06:06I know that they'll just want to share this incredible music
0:06:06 > 0:06:08as convincingly as they possibly can.
0:06:08 > 0:06:11I'm sure that's true. Sadly, only one of them
0:06:11 > 0:06:14can go through to the BBC Young Musician semifinal, though.
0:06:14 > 0:06:17And making that decision, it's tonight's expert jury.
0:06:20 > 0:06:21They are...
0:06:28 > 0:06:32'I think it has to be judged entirely on how they play tonight.'
0:06:32 > 0:06:34You can't sort of look for potential -
0:06:34 > 0:06:36'it has to be performance on the night.
0:06:36 > 0:06:38'I suppose we're just looking for that little'
0:06:38 > 0:06:40spark of something extra
0:06:40 > 0:06:42that everybody will recognise when they see it.
0:06:45 > 0:06:49..acclaimed soloist and leader of Aurora Orchestra.
0:06:50 > 0:06:51'I'm expecting to hear five'
0:06:51 > 0:06:55extremely professional and well-rounded musicians.
0:06:55 > 0:06:59But what I'll be looking for, and really hoping to find,
0:06:59 > 0:07:03is somebody who has got that ability to just give goose bumps to
0:07:03 > 0:07:06the listener and make the hairs on the back of your neck stand up.
0:07:06 > 0:07:09And chair of the jury...
0:07:10 > 0:07:15'The ability to communicate from the stage to the audience is,
0:07:15 > 0:07:17'for me, really important.
0:07:17 > 0:07:19'How do you not isolate yourself,
0:07:19 > 0:07:22'but at the same time create this otherworld?'
0:07:22 > 0:07:26It requires the ability to really inhabit that whole space -
0:07:26 > 0:07:29to really fill it with your personality.
0:07:29 > 0:07:30That's what I'll be looking for.
0:07:32 > 0:07:36Well, first to perform in this BBC Young Musician strings final,
0:07:36 > 0:07:37it's Charlie Lovell-Jones.
0:07:43 > 0:07:46CAST SINGS: One Day More from Les Miserables
0:07:53 > 0:07:55Ta-da.
0:07:57 > 0:08:01At Ysgol Gyfun Gymraeg Glantaf, a Welsh language school in Cardiff,
0:08:01 > 0:08:04Charlie swaps his school uniform for that of Javert in Les Miserables.
0:08:04 > 0:08:06'I love Les Mis.'
0:08:06 > 0:08:08You know, musicals are my guilty passion.
0:08:08 > 0:08:11HE SINGS IN WELSH
0:08:17 > 0:08:21'It's a great role, Javert. There's so many layers to it.'
0:08:21 > 0:08:23It sort of relates a bit to music, really,
0:08:23 > 0:08:25because you've got to peel the onion, you know,
0:08:25 > 0:08:28and really look under the layers of the character
0:08:28 > 0:08:29to be able to deliver him.
0:08:29 > 0:08:31HE SINGS IN WELSH
0:08:36 > 0:08:39Charlie's been performing onstage since he was very young.
0:08:39 > 0:08:43Having picked up the violin age six, he went on to enjoy numerous
0:08:43 > 0:08:44successes at the Eisteddfod -
0:08:44 > 0:08:47Wales' artistic and cultural Festival.
0:08:57 > 0:08:59It's a fantastic platform in Wales.
0:08:59 > 0:09:04Every performance helps, so with regard to just going out onstage
0:09:04 > 0:09:07and doing something under the public eye, it has helped massively.
0:09:10 > 0:09:12APPLAUSE
0:09:16 > 0:09:19Every weekend, Charlie receives lessons
0:09:19 > 0:09:22from acclaimed violinist Rodney Friend.
0:09:22 > 0:09:24- CHARLIE:- He's an absolute inspiration to me,
0:09:24 > 0:09:27and I don't know where I'd be without him.
0:09:27 > 0:09:30He's...changed my violin playing completely.
0:09:30 > 0:09:32Yeah, because you can open the voice.
0:09:32 > 0:09:35Open the string more in the single note.
0:09:35 > 0:09:38- CHARLIE PLAYS - That's right.
0:09:38 > 0:09:42Charlie has got lots of colours, and we work at colours, and we work
0:09:42 > 0:09:44at conversation. And we work
0:09:44 > 0:09:46at what is possible with the voice.
0:09:46 > 0:09:48It's too thin, the sound.
0:09:48 > 0:09:51You're right to be playing quietly, but it's too thin.
0:09:51 > 0:09:53'Yeah, and he mops it up, and he...
0:09:53 > 0:09:56'He just takes it in.'
0:09:56 > 0:09:59You know, the more you give him, the happier he is.
0:10:01 > 0:10:03'Violin takes up a lot of time.'
0:10:03 > 0:10:04But I mean,
0:10:04 > 0:10:07every millisecond is worth it.
0:10:08 > 0:10:11'The goal is to be the best violinist I can be.'
0:10:17 > 0:10:20So, Charlie, you've been here at the category finals
0:10:20 > 0:10:21several times as an audience member.
0:10:21 > 0:10:23How does it feel now to be the one who's going to be
0:10:23 > 0:10:25- going up on the stage? - Oh, I'm ecstatic.
0:10:25 > 0:10:28I just remember following the competition over the years.
0:10:28 > 0:10:31I've been in the audience about three times now.
0:10:31 > 0:10:34Each time, there's a bigger and bigger part of me that
0:10:34 > 0:10:36wanted to be up there performing, and now I finally am, so...
0:10:36 > 0:10:38I am just so happy.
0:10:38 > 0:10:41How did you prepare for this round of the competition?
0:10:41 > 0:10:42Well, naturally, it's a lot of practice.
0:10:42 > 0:10:44But it's a lot of thinking -
0:10:44 > 0:10:47getting yourself in the right zone,
0:10:47 > 0:10:49which is quite a task, really.
0:10:49 > 0:10:52And generally just reminding myself to enjoy it.
0:10:52 > 0:10:54And not sort of think,
0:10:54 > 0:10:56"Uhhh!" all the time.
0:10:59 > 0:11:02APPLAUSE
0:11:03 > 0:11:05So here to perform
0:11:05 > 0:11:08in front of a home crowd, it's Charlie Lovell-Jones.
0:11:08 > 0:11:11He's going to begin with the first movement of Prokofiev's Sonata No.2.
0:11:13 > 0:11:15'There's something magic about Prokofiev.
0:11:15 > 0:11:19'In this piece, he combines French Impressionism'
0:11:19 > 0:11:22with the deep darkness of a lot of Russian music.
0:11:22 > 0:11:24'And it touches me deeply,
0:11:24 > 0:11:27'so playing it every time is an experience.'
0:15:49 > 0:15:50APPLAUSE
0:15:52 > 0:15:54To complement the Prokofiev,
0:15:54 > 0:15:57Charlie has chosen a famously demanding violin showpiece -
0:15:57 > 0:16:00the Carmen Fantasie, by Franz Waxman,
0:16:00 > 0:16:02based on Bizet's opera.
0:16:02 > 0:16:08Carmen herself is one of the most enchanting and darkly beguiling characters in opera.
0:16:08 > 0:16:12It's so much fun to interpret and put on to the violin,
0:16:12 > 0:16:17which I just try to make sing and sound like this...
0:16:17 > 0:16:20glorious mezzo-soprano.
0:19:54 > 0:19:56APPLAUSE AND CHEERING
0:19:58 > 0:20:0217-year-old Charlie Lovell-Jones setting the standard incredibly high
0:20:02 > 0:20:05in this BBC Young Musician strings final.
0:20:09 > 0:20:15His performance was incredible, staggering virtuosity in the Waxman.
0:20:15 > 0:20:18Gorgeous kind of old-school sound in the Prokofiev
0:20:18 > 0:20:20but I would like to have seen him
0:20:20 > 0:20:22engage with the audience while he's playing.
0:20:22 > 0:20:26I loved his Prokofiev, I thought it was mature beyond years, when he's
0:20:26 > 0:20:30only 16, and really got into the quite difficult musical style.
0:20:30 > 0:20:34I'm happy. I complete lost myself in it. It was great, I loved it.
0:20:34 > 0:20:36And...erm...
0:20:36 > 0:20:40I can barely get my words out... oh, my God.
0:20:44 > 0:20:47Charlie absolutely brought the house down and for good reason.
0:20:47 > 0:20:50I thought his technique was so superb, I was particularly taken
0:20:50 > 0:20:54with his vibrato which was beautifully open, such a gorgeous tone.
0:20:54 > 0:20:57Lovely bowing arm. What did you make of his programme?
0:20:57 > 0:20:59There's no doubt about the fact that he's a fabulous violinist.
0:20:59 > 0:21:03I wonder if maybe he played more pieces, just to show a little
0:21:03 > 0:21:05more variety, I was so drawn into the detail which was,
0:21:05 > 0:21:07you know, wonderful.
0:21:07 > 0:21:11I wonder if he could have generated some more joy by really
0:21:11 > 0:21:14taking some more risks, perhaps, but fabulous player.
0:21:14 > 0:21:17And lots of risks at the end of that Carmen Fantasie, certainly.
0:21:17 > 0:21:18Well, next,
0:21:18 > 0:21:22we have the first of tonight's cellists in this strings final.
0:21:22 > 0:21:25It's 17-year-old Sheku Kanneh-Mason, who comes from Nottingham.
0:21:27 > 0:21:29CELLO PLAYS
0:21:30 > 0:21:34At the Kanneh-Masons' house in Nottingham, there's never a quiet moment.
0:21:39 > 0:21:42I've got one brother,
0:21:42 > 0:21:46and five sisters who all play musical instruments.
0:21:46 > 0:21:49As you can imagine, there's music coming from every room with us
0:21:49 > 0:21:53practising or performing to each other, so it's quite noisy.
0:21:57 > 0:22:01It's quite a special thing to be able to play music with my siblings,
0:22:01 > 0:22:03cos I think we feed off each other's ideas.
0:22:03 > 0:22:06And when you play with someone that you know so well, it's just easier.
0:22:06 > 0:22:10Every Saturday, Sheku, his brother, and two of his sisters travel
0:22:10 > 0:22:13to London to attend classes at the Junior Royal Academy of Music.
0:22:13 > 0:22:17His big sister, Isata, is already a full-time student at the Academy.
0:22:30 > 0:22:33Isata will be accompanying Sheku in the strings final.
0:22:36 > 0:22:39It's really special that I get accompany Sheku.
0:22:39 > 0:22:41Because we are brother and sister, we're used to coordinating,
0:22:41 > 0:22:43it's easier to rehearse
0:22:43 > 0:22:46and some things we don't have to say, we just can just play them
0:22:46 > 0:22:48and we know what we're doing.
0:22:50 > 0:22:51If Isata looks familiar,
0:22:51 > 0:22:54it's because she competed in BBC Young Musician 2014.
0:22:56 > 0:22:59I've watched this competition since I can remember, really,
0:22:59 > 0:23:01and I've always wanted to be on it.
0:23:01 > 0:23:04And then since seeing my sister on it, definitely wanted to be on it.
0:23:09 > 0:23:12The cello Sheku plays is only a few years old.
0:23:12 > 0:23:13Before the strings final,
0:23:13 > 0:23:17he takes it for a service to the man who built it, Frank White.
0:23:17 > 0:23:21- When we take this out, what sort of a length...?- It's a bit short...
0:23:21 > 0:23:23- This sort of length.- About there.
0:23:23 > 0:23:26In his retirement, Frank decided to make a few instruments and
0:23:26 > 0:23:31- they turned out to be wonderful. - Rest that on the front.
0:23:31 > 0:23:34And then just tap it that way.
0:23:34 > 0:23:38I can't really find the words to explain how I feel
0:23:38 > 0:23:41when Sheku plays that instrument.
0:23:44 > 0:23:46It's marvellous, it's wonderful.
0:23:47 > 0:23:50I just love it, I could listen to it forever.
0:23:57 > 0:24:01But I've always enjoyed playing the cello, ever since I started,
0:24:01 > 0:24:03and that passion has just grown as I've got older,
0:24:03 > 0:24:06and now I just want to do it for the rest of my life.
0:24:10 > 0:24:13Sheku, who else from your family is here to support you tonight?
0:24:13 > 0:24:14I've got my whole family.
0:24:14 > 0:24:17My five sisters, two of which will be on stage, one page-turning
0:24:17 > 0:24:19and one playing the piano.
0:24:19 > 0:24:22My brother, my parents and my grandparents.
0:24:22 > 0:24:25Has Isata given you any advice for this evening?
0:24:25 > 0:24:27Yes, Isata is very good at telling me what I'm to expect.
0:24:27 > 0:24:29And to play with her
0:24:29 > 0:24:32and knowing that she's been through it is a good feeling.
0:24:32 > 0:24:35What will you be feeling when you're standing at the side of the stage?
0:24:35 > 0:24:37I'll just be praying that I don't mess up, I guess.
0:24:37 > 0:24:38But I'll be very excited, I think.
0:24:40 > 0:24:42APPLAUSE
0:24:46 > 0:24:50I'm playing the 3rd movement from the suite for solo cello by Cassado.
0:24:50 > 0:24:53He's a Spanish composer, a cellist himself,
0:24:53 > 0:24:56so it kind of shows all the virtuosity the cello can have.
0:26:48 > 0:26:50For his second piece,
0:26:50 > 0:26:53the Elegie from Rachmaninov's Morceaux de Fantasie,
0:26:53 > 0:26:56Sheku is joined on stage by his sister, Isata.
0:26:56 > 0:27:00It's actually a piano piece and then the transcription for cello...
0:27:00 > 0:27:03But I think, because Rachmaninov loved the cello, it's almost
0:27:03 > 0:27:05written as if it should be for the cello.
0:32:49 > 0:32:51APPLAUSE
0:32:55 > 0:33:00The dark and melancholic Elegie from Rachmaninov's suite - Morceaux de Fantaisie.
0:33:00 > 0:33:03To end his programme, Sheku now turns to an early work
0:33:03 > 0:33:07by Shostakovich, the 2nd movement of his Cello Sonata.
0:33:07 > 0:33:10The Shostakovich is just three minutes of nonstop excitement,
0:33:10 > 0:33:13and the interplay between the cello and the piano is
0:33:13 > 0:33:15really important in this piece.
0:35:09 > 0:35:10APPLAUSE AND CHEERING
0:35:13 > 0:35:16Sheku completing his programme with a fabulous piece
0:35:16 > 0:35:19by one of its favourite composers, Dmitri Shostakovich.
0:35:26 > 0:35:27From his first note,
0:35:27 > 0:35:31it was immediately apparent that this is an incredibly special
0:35:31 > 0:35:34communicator, somebody who was really born to perform.
0:35:34 > 0:35:38The room was so quiet that I didn't even dare to scratch my pencil
0:35:38 > 0:35:41on the paper, he just had the whole room eating out of his hand.
0:35:41 > 0:35:44I really enjoyed the whole of his performance, the sound was
0:35:44 > 0:35:48so full and warm and the Rachmaninov was just so sensitive,
0:35:48 > 0:35:50and all the transitions were just absolutely beautiful.
0:35:50 > 0:35:53It was full of musicality and I would just love to hear him
0:35:53 > 0:35:55in a concert hall.
0:35:55 > 0:35:58I just really enjoyed the whole experience.
0:35:58 > 0:36:00Just playing out there, you know, with my sister.
0:36:00 > 0:36:03The crowd were so welcoming, so supportive,
0:36:03 > 0:36:06and, you know, I just really enjoyed it.
0:36:08 > 0:36:11Well, I think one of the most extraordinary thing about Sheku's
0:36:11 > 0:36:14performance is that he has a massive personality onstage.
0:36:14 > 0:36:20He's quite a shy young man, and yet he's enthralling when he plays.
0:36:20 > 0:36:23Not only does he draw you in to the music, in such close detail,
0:36:23 > 0:36:28he also sort of expands your mind and fills the hall.
0:36:28 > 0:36:31His Rachmaninov really kind of undid me, that second piece.
0:36:31 > 0:36:34And then we saw a completely different side of him all over again.
0:36:34 > 0:36:38- Technically fantastic and, yeah, he's got it all.- He has.
0:36:38 > 0:36:41I agree with you with the Rachmaninov, actually, I think
0:36:41 > 0:36:46through all these category finals, these nocturnes, elegies,
0:36:46 > 0:36:49the quieter pieces have really shown the mettle of the performers.
0:36:49 > 0:36:52This one was something special.
0:36:52 > 0:36:55So, two very impressive performances already in the strings final,
0:36:55 > 0:36:58and it's a violinist we're going to hear next -
0:36:58 > 0:37:0016-year-old Louisa Staples from London.
0:37:04 > 0:37:06VIOLIN PLAYS
0:37:09 > 0:37:13Louisa is already a veteran at the Yehudi Menuhin School,
0:37:13 > 0:37:16having earned her place when she was just eight.
0:37:16 > 0:37:20The school was established by the legendary 20th-century violinist
0:37:20 > 0:37:25and is today regarded as one of the world's leading music schools.
0:37:25 > 0:37:27It's very busy a lot of the time, you spend a lot of time
0:37:27 > 0:37:29performing, practising, rehearsing.
0:37:29 > 0:37:32But generally there is a great atmosphere here,
0:37:32 > 0:37:34it's really friendly and because it's so small,
0:37:34 > 0:37:36it is really intimate and you know people so well.
0:37:36 > 0:37:39I mean, I spend more time here than I do at home,
0:37:39 > 0:37:42so it really does feel like my second family.
0:37:49 > 0:37:51You are surrounded by people who have the same interests
0:37:51 > 0:37:54and the same kind of way of thinking as you do.
0:37:54 > 0:37:57You can learn a lot more than you think just from watching
0:37:57 > 0:38:01other people, watching your friends and seeing what they do.
0:38:03 > 0:38:06And someone who's been teaching Louisa since the very beginning
0:38:06 > 0:38:07is Natasha Boyarsky.
0:38:10 > 0:38:12We started to work together,
0:38:12 > 0:38:15I could tell you that she had a very strong character.
0:38:15 > 0:38:19And immediately, I could feel her musicality.
0:38:26 > 0:38:30She always wanted to the one of the best.
0:38:30 > 0:38:32She is always not happy with herself.
0:38:37 > 0:38:40After a performance, I can come off and go kind of,
0:38:40 > 0:38:43"That's as good as it could have been." But that's never good enough.
0:38:43 > 0:38:45It always has to be better.
0:38:47 > 0:38:49People say I'm too self-critical.
0:38:49 > 0:38:52But I don't know, it's how I am, I always will be, so...
0:38:57 > 0:39:00She plays very bright,
0:39:00 > 0:39:03even from the first note you can feel her strong character.
0:39:03 > 0:39:05I like it, you know.
0:39:11 > 0:39:14I love the violin because it's a constant challenge, and it's
0:39:14 > 0:39:18what makes it so interesting, that you can never perfect it.
0:39:18 > 0:39:21There's always something else to do. And it seems like the lifetime isn't
0:39:21 > 0:39:25long enough - to get as good as you really want to be.
0:39:27 > 0:39:31- Louisa, how will it feel to face the jury?- Slightly nerve-racking.
0:39:31 > 0:39:35But I try to take nerves more as excitement, than as anxiety, really.
0:39:35 > 0:39:38How important is your relationship with your accompanist?
0:39:38 > 0:39:41My accompanist, I've known since I was about seven.
0:39:41 > 0:39:44I been playing with her for many years.
0:39:44 > 0:39:47I guess we're really good friends, we've known each other for such a long time.
0:39:47 > 0:39:50It's also good because we get a lot of chance to rehearse
0:39:50 > 0:39:53and we know each other so well that we feel really comfortable.
0:39:55 > 0:39:58APPLAUSE
0:39:58 > 0:40:02And here is Louisa, with her accompanist, Svetlana Kosen,
0:40:02 > 0:40:06to perform the Impromptu Concertant by Romanian composer George Enescu.
0:40:09 > 0:40:11I think it has a very French feel.
0:40:11 > 0:40:14The violin mostly has these long, lyrical lines,
0:40:14 > 0:40:20but the piano has these very difficult fast passages,
0:40:20 > 0:40:23and it creates a very beautiful effect and also it's in a slightly
0:40:23 > 0:40:25unusual key for the violin, actually.
0:40:25 > 0:40:28Most concertos for the violin are written in the open string keys
0:40:28 > 0:40:31but this is in G-flat major, but I think it gives it a very
0:40:31 > 0:40:34special timbre, in the way it's quite intimate and very warm.
0:46:32 > 0:46:34APPLAUSE
0:46:34 > 0:46:37Next, Louisa's going to play a piece originally written
0:46:37 > 0:46:39for the piano by Saint-Saens -
0:46:39 > 0:46:42Caprice d'apres l'Etude en forme de Valse,
0:46:42 > 0:46:45arranged here by the Belgian violinist Eugene Ysaye.
0:46:46 > 0:46:48At its heart, it's very virtuoso,
0:46:48 > 0:46:52it's designed to be technically difficult and to impress,
0:46:52 > 0:46:55but also with an element of charm and very fun.
0:49:21 > 0:49:22APPLAUSE AND CHEERING
0:49:25 > 0:49:28Louisa bringing her programme to a close with that
0:49:28 > 0:49:30wonderful piece by Saint-Saens.
0:49:35 > 0:49:38Louisa's playing is excellent, I thought
0:49:38 > 0:49:41her Enescu piece was really beautifully played.
0:49:41 > 0:49:44I perhaps could have done with a bit more joy in the Saint-Saens,
0:49:44 > 0:49:47but, again, another really, really fine player.
0:49:47 > 0:49:49It was gorgeous playing,
0:49:49 > 0:49:53it was playing that you would pay a lot of money to hear
0:49:53 > 0:49:57on any of the world's biggest stages and go away feeling absolutely happy.
0:49:57 > 0:50:00I was very impressed.
0:50:00 > 0:50:01- LOUISA:- Oh, it was amazing out there,
0:50:01 > 0:50:04you get this amazing energy from the audience,
0:50:04 > 0:50:08it's such a fantastic atmosphere in there, it's really, really special.
0:50:09 > 0:50:12Louisa plays with incredible polish, it's all very refined.
0:50:12 > 0:50:15I would've loved to have seen her just let rip a bit more.
0:50:15 > 0:50:18Ali, you're so good about talking about how these performers
0:50:18 > 0:50:22really need to show us their personality, did we see enough of who she really was?
0:50:22 > 0:50:24I don't know, I think...
0:50:24 > 0:50:27It'll be tough for the jury because the pieces were incredibly difficult,
0:50:27 > 0:50:31she has an amazing sound and she has a great technique.
0:50:31 > 0:50:34I wonder, with these two pieces, whether she could've really,
0:50:34 > 0:50:38really got stuck in a little bit more and also she's so good
0:50:38 > 0:50:41at the violin, I would have loved to see her take some more joy in that.
0:50:41 > 0:50:44Well, before we hear the last two performers in these category finals,
0:50:44 > 0:50:47a quick word about the BBC Young Musician semifinal,
0:50:47 > 0:50:51which you will be able to see here on BBC Four tomorrow night.
0:50:51 > 0:50:53Each of our category winners will be back to perform again
0:50:53 > 0:50:57in front of a new panel of judges, chaired by Dobrinka Tabakova.
0:50:57 > 0:50:59The prize for three of them will be
0:50:59 > 0:51:02a place in the grand final of BBC Young Musician 2016.
0:51:02 > 0:51:05That's taking place at the Barbican in London on 15th May.
0:51:05 > 0:51:07The three finalists will each perform a full concerto with
0:51:07 > 0:51:09the BBC Symphony Orchestra,
0:51:09 > 0:51:12conducted by the acclaimed maestro Mark Wigglesworth.
0:51:12 > 0:51:14I think we can safely say that whatever happens, we are
0:51:14 > 0:51:16in for a treat.
0:51:16 > 0:51:18Absolutely, back to tonight's string final now,
0:51:18 > 0:51:21and it's 16-year-old cellist Joe Pritchard.
0:51:24 > 0:51:26CELLO PLAYS
0:51:31 > 0:51:36Like violinist Louisa, Joe also studies at the Yehudi Menuhin specialist music school.
0:51:36 > 0:51:39The cello is the nearest-sounding instrument to the human voice.
0:51:39 > 0:51:44It is has such a natural tone. It is so, so warm,
0:51:44 > 0:51:45yet powerful at the same time.
0:51:50 > 0:51:53For the past four years, Joe's teacher has been Thomas Carroll.
0:51:55 > 0:51:57He is somebody that is very good with other people.
0:51:57 > 0:52:00He's somebody that really is able to connect,
0:52:00 > 0:52:03and at the same time, he's very much his own musician,
0:52:03 > 0:52:06has a very individual approach, which is fantastic,
0:52:06 > 0:52:11and somebody who really, already at his age, has a genuine understanding
0:52:11 > 0:52:15of the music and of performing and is a very natural performer.
0:52:20 > 0:52:24Thomas himself competed in Young Musician back in 1990.
0:52:24 > 0:52:27As an ex category finalist, he just said, "Be yourself
0:52:27 > 0:52:29"when you play and when you talk,"
0:52:29 > 0:52:31which...is what I'm trying to do.
0:52:38 > 0:52:41Every weekend, Joe travels to his family home near Frome
0:52:41 > 0:52:46in Somerset, where his musical life changes dramatically.
0:52:46 > 0:52:49When I go home, it's quite different.
0:52:49 > 0:52:51It is...it is like a second life.
0:52:59 > 0:53:02I was given a violin, and it sat in my room doing nothing,
0:53:02 > 0:53:07getting cold. And I sort of decided to pick it up one day cos
0:53:07 > 0:53:10I couldn't stand it just being there.
0:53:12 > 0:53:16I didn't really want it to influence my classical cello technique
0:53:16 > 0:53:19too much, so I decided to turn to folk music.
0:53:19 > 0:53:22My parents do a lot of it, the rest of my family does lots of it.
0:53:22 > 0:53:27And in Somerset as well, there's quite a community in terms of folk music,
0:53:27 > 0:53:30who, you know, just do this because they love it and actually
0:53:30 > 0:53:34I found, after doing it for a while, that I started to love it too.
0:53:38 > 0:53:41The cello is something that he does and everything's got to be perfect.
0:53:41 > 0:53:44You're trying to play the instrument at the highest possible level
0:53:44 > 0:53:47you can, but when we're playing in the pub,
0:53:47 > 0:53:50it's something he can do where he doesn't have to be perfect.
0:53:51 > 0:53:54There is definitely two sides to his life,
0:53:54 > 0:53:57but there's a musical thread that runs through both of them, really.
0:54:04 > 0:54:07I'm not sure I want to be classically restrained,
0:54:07 > 0:54:10the idea of really getting out there and proving yourself
0:54:10 > 0:54:13as a really well-rounded musician, I think that's what I want to do.
0:54:13 > 0:54:14I want to do as much as possible
0:54:14 > 0:54:17when it comes to playing the cello and music in general.
0:54:22 > 0:54:26So, Joe, what do you hope to show the jury about you as a musician?
0:54:26 > 0:54:30My main priority would be to portray the fact that I'm not narrow-minded
0:54:30 > 0:54:32in terms of what I think of music.
0:54:32 > 0:54:34Tell me how you'll be feeling
0:54:34 > 0:54:37when you're standing at the side of the stage waiting to go on.
0:54:37 > 0:54:39I really don't know.
0:54:39 > 0:54:42Since I got that e-mail saying that I would be in the category final,
0:54:42 > 0:54:46I've chopped and changed between being really nervous and being really excited.
0:54:46 > 0:54:48There's no happy medium, I don't think.
0:54:48 > 0:54:52In terms of how I play, I'm not worried.
0:54:52 > 0:54:55In terms of how I will present myself on that stage,
0:54:55 > 0:54:59in front of all those cameras, I don't know what I'm going to think.
0:54:59 > 0:55:02I think the best thing I can do is embrace it.
0:55:03 > 0:55:05APPLAUSE
0:55:06 > 0:55:08To begin his bid for the strings title,
0:55:08 > 0:55:12Joe has chosen to play a piece from the baroque period -
0:55:12 > 0:55:15Viola da Gamba Sonata in D, by Bach.
0:55:15 > 0:55:19It just seemed like the perfect piece to start a programme with.
0:55:19 > 0:55:23It's, you know, bold but not overconfident.
0:55:23 > 0:55:26There's nothing quite like how he writes in this.
0:55:26 > 0:55:29The way that Bach uses counterpoint,
0:55:29 > 0:55:33it really adds another dimension to harmony and how he presents ideas.
0:57:27 > 0:57:30Joe continues now with a piece from the 20th century.
0:57:30 > 0:57:34Originally written for the piano and arranged specially for him,
0:57:34 > 0:57:36it's Debussy's Clair de Lune.
0:57:37 > 0:57:39It is a beautiful example of pianistic writing
0:57:39 > 0:57:43but the cello is just able to expand on this melody,
0:57:43 > 0:57:46just in terms of the tone and the sound.
0:57:46 > 0:57:49It is a stunningly beautiful piece of music.
1:00:32 > 1:00:35APPLAUSE
1:00:35 > 1:00:39Joe ends his programme now, with a very contrasting piece,
1:00:39 > 1:00:42full of Mediterranean influence. It's the Lamentatio
1:00:42 > 1:00:44by Sicilian composer Giovanni Sollima.
1:00:45 > 1:00:49It's an amazing piece, I've never played anything like it.
1:00:49 > 1:00:53It's infused with jazz and rock and folk influences
1:00:53 > 1:00:56and I actually e-mailed him to get the music.
1:00:56 > 1:00:59He got back to me almost straightaway,
1:00:59 > 1:01:04sent the music with a long essay on the piece and his recording of it.
1:01:04 > 1:01:07And he just said, "Have fun with it, make it your own," which is perfect,
1:01:07 > 1:01:10cos it means I can customise it to exactly how
1:01:10 > 1:01:12I want it for this competition.
1:01:30 > 1:01:32HE CHANTS
1:02:09 > 1:02:11HE CHANTS
1:02:51 > 1:02:53HE CHANTS
1:04:54 > 1:04:55APPLAUSE AND CHEERING
1:04:57 > 1:05:01Such a bold and distinctive way to end his programme in this strings final -
1:05:01 > 1:05:04Joe Pritchard with Giovanni Sollima's Lamentatio.
1:05:07 > 1:05:09I enjoyed Joe's programme very much.
1:05:09 > 1:05:12I thought he was maybe slightly a little nervous to begin with,
1:05:12 > 1:05:15but got into the swing of things as the programme progressed.
1:05:15 > 1:05:18The Debussy had some beautiful phrasing in it,
1:05:18 > 1:05:21- some stunning subdued colours. - I particularly enjoyed the Sollima.
1:05:21 > 1:05:23Great piece and a great choice.
1:05:23 > 1:05:27I had a bit of problem with his vibrato in the Bach,
1:05:27 > 1:05:31which I felt was always the same. No vibrato, crazy vibrato.
1:05:31 > 1:05:34So, that was a bit of a problem for me.
1:05:34 > 1:05:37- JOE:- It was great, I think, from the first note it just seemed like the least nervous
1:05:37 > 1:05:39I've ever been for a concert.
1:05:39 > 1:05:43Not what I was expecting, but it was a pleasant surprise, nonetheless.
1:05:45 > 1:05:48A ravishing mini recital there from Joe.
1:05:48 > 1:05:52I was transfixed, particularly in his incredible lyrical lines.
1:05:52 > 1:05:55His Bach was so stylish and this last piece
1:05:55 > 1:05:58was such a bold choice and I think it completely worked.
1:05:58 > 1:05:59I have to say, Ali,
1:05:59 > 1:06:01that I just feel that we are the beneficiaries
1:06:01 > 1:06:04of the fact that this is such a strong category this year,
1:06:04 > 1:06:06but my heart is breaking for them,
1:06:06 > 1:06:08because on any other year I feel like any one of
1:06:08 > 1:06:10the performers that we've seen could be going through,
1:06:10 > 1:06:12but there can obviously only be one of them.
1:06:12 > 1:06:15I absolutely loved his performance, I think
1:06:15 > 1:06:17he's so sensationally musical and that just kind of...
1:06:17 > 1:06:20My heart was really in my mouth. Wonderful stuff.
1:06:20 > 1:06:22Yeah, absolutely amazing.
1:06:22 > 1:06:25And so now we reach the last performer in the strings final -
1:06:25 > 1:06:2816-year-old violinist Stephanie Childress.
1:06:32 > 1:06:35CHORUS SINGS
1:06:39 > 1:06:42Stephanie is an ambitious young musician.
1:06:42 > 1:06:45She has already made her Proms debut as the leader
1:06:45 > 1:06:47of the National Youth Orchestra of Great Britain,
1:06:47 > 1:06:51a role she was given when she was just 15.
1:06:55 > 1:07:00Last summer, the NYO all premiered Tansy Davies' piece - Re-greening,
1:07:00 > 1:07:04which is an unconducted symphonic work.
1:07:09 > 1:07:11I was actually directing the orchestra,
1:07:11 > 1:07:14most of the orchestra relied on me to cue people in,
1:07:14 > 1:07:17to make sure that everyone knew where they were in the score,
1:07:17 > 1:07:20and I did a lot of head-banging to make sure that everyone
1:07:20 > 1:07:23was on the same page.
1:07:23 > 1:07:25And it was a fantastic experience.
1:07:27 > 1:07:29THEY SING
1:07:33 > 1:07:37I love playing in front of people. It's just a great experience.
1:07:42 > 1:07:45VIOLINS PLAY
1:07:46 > 1:07:49Although her ambition is to become a professional musician,
1:07:49 > 1:07:51she also excels academically.
1:07:51 > 1:07:55At 15, she made some radical decisions about her future.
1:07:56 > 1:08:01I decided to leave school and to do my A-levels in a year,
1:08:01 > 1:08:03so I did French, music and Russian.
1:08:03 > 1:08:08I did that in order to come to Cambridge as soon as possible,
1:08:08 > 1:08:11because I want to conduct in the future,
1:08:11 > 1:08:13and I thought that going through Cambridge,
1:08:13 > 1:08:17and actually just having a well-rounded experience of university
1:08:17 > 1:08:20and of these three years in my life was going to help me
1:08:20 > 1:08:22achieve my ambition.
1:08:26 > 1:08:28Stephanie achieved her goal
1:08:28 > 1:08:32and is now reading music at St John's College, Cambridge.
1:08:32 > 1:08:35I was dazzled when she walked in, because she was so mature
1:08:35 > 1:08:39and articulate and really seemed to know herself and what she wanted.
1:08:39 > 1:08:44What she already has, I think, among other things, is that kind of poise
1:08:44 > 1:08:48and focus that characterises professional music-making.
1:08:48 > 1:08:51She doesn't simply want to play well, she wants to understand
1:08:51 > 1:08:55the music and what she is getting across, how she's getting it across,
1:08:55 > 1:08:57what sort of effect it has.
1:08:58 > 1:09:01Stephanie is involved in several music groups at college,
1:09:01 > 1:09:04but heads to London for violin lessons with the leader
1:09:04 > 1:09:07of the London Philharmonic Orchestra, Pieter Schoeman.
1:09:13 > 1:09:15I feel the A comes just
1:09:15 > 1:09:17too soon after the G-Sharp.
1:09:17 > 1:09:19Boom, boom!
1:09:24 > 1:09:25Uh-huh.
1:09:25 > 1:09:29Working with him, and learning from him has been an incredible journey
1:09:29 > 1:09:31and I think we work very well together.
1:09:32 > 1:09:36We could easily speak about music just all day long
1:09:36 > 1:09:40but luckily she has the patience to also work on the more boring
1:09:40 > 1:09:44technical side of the violin which is so important at this young age.
1:09:49 > 1:09:52The competition preparation is going very well.
1:09:52 > 1:09:56I'm quietly confidently working my way through everything to make
1:09:56 > 1:10:00sure that everything is polished before the competition starts.
1:10:03 > 1:10:05So, Stephanie, tell us about your violin.
1:10:05 > 1:10:09I play a Gobetti which was made in 1710 in Venice.
1:10:09 > 1:10:11It's a very dear instrument to me.
1:10:11 > 1:10:14I fell in love with it from the moment I played it.
1:10:14 > 1:10:17I never felt a connection with an instrument like that before,
1:10:17 > 1:10:20so I knew that was the one I should be playing.
1:10:20 > 1:10:23How focused and determined do you need to be to compete at this level?
1:10:23 > 1:10:28I think it's all or nothing, you really have to put your life into it,
1:10:28 > 1:10:31and make sure that it's what you want to do.
1:10:31 > 1:10:34What would it mean to you to reach the semifinal?
1:10:34 > 1:10:37Oh, reaching the semifinals would mean a lot.
1:10:37 > 1:10:40It would sort of validate all those hours in the practice room,
1:10:40 > 1:10:42and give me an extra push.
1:10:45 > 1:10:48APPLAUSE
1:10:48 > 1:10:52So, here is Stephanie to make her bid for a place in the semifinal.
1:10:52 > 1:10:55She's going to begin with Eugene Ysaye's Obsession,
1:10:55 > 1:10:58the 1st movement of his Sonata No.2.
1:10:58 > 1:11:02Eugene Ysaye wrote it for his friend the violinist Jacques Thibaud.
1:11:02 > 1:11:04For me, this piece is very interesting
1:11:04 > 1:11:07because it shows two types of obsession.
1:11:07 > 1:11:11It shows Ysaye's obsession with Bach as he inserts bits
1:11:11 > 1:11:14from Bach's Partita in E-major throughout the movement.
1:11:14 > 1:11:20But it also shows a practising violinist's frustration, I think.
1:11:20 > 1:11:25When Thibaud was practising, apparently he'd often get into a rage
1:11:25 > 1:11:28and sort of strum out some discordant notes and
1:11:28 > 1:11:32I think that's what inspired Ysaye to write this piece, actually.
1:14:08 > 1:14:10APPLAUSE
1:14:13 > 1:14:18Next, Stephanie performs Zapateado by Spanish composer and violinist Pablo de Sarasate.
1:14:20 > 1:14:24Zapateado actually means tap dance and zapatero means cobbler.
1:14:24 > 1:14:27So I think, when I'm playing this piece, I think of someone
1:14:27 > 1:14:30dancing on the street but not only dancing,
1:14:30 > 1:14:33sort of stomping their feet on the ground and having fun
1:14:33 > 1:14:36and hopefully the audience will have fun as well.
1:17:03 > 1:17:05APPLAUSE AND CHEERING
1:17:07 > 1:17:11In her well-contrasting four-part programme, Stephanie also performed
1:17:11 > 1:17:13Faure's Apres un reve.
1:17:13 > 1:17:17But to close this strings final, we'll hear her play Saints-Saens,
1:17:17 > 1:17:20the 4th movement of his Sonata No.1.
1:17:20 > 1:17:24The Saint-Saens is an extremely fun piece with running semiquavers,
1:17:24 > 1:17:28so it's a moto perpetuum-type thing and every time those semiquavers
1:17:28 > 1:17:32come back there's just an added layer of texture in the piano part.
1:17:32 > 1:17:35So it's like one big, sort of growing climax.
1:17:35 > 1:17:38It's such an exciting piece and I think it's a great piece
1:17:38 > 1:17:39to end my programme with.
1:20:54 > 1:20:56CHEERING AND APPLAUSE
1:20:59 > 1:21:03Stephanie Childress bringing the strings final to a close with a flourish.
1:21:08 > 1:21:10SHE EXCLAIMS
1:21:13 > 1:21:17Stephanie has just something really special.
1:21:17 > 1:21:19I was very pleased that she began with the Ysaye.
1:21:19 > 1:21:23The schizophrenic character of that obsession with Bach
1:21:23 > 1:21:26and all of these phrases just coming in and out,
1:21:26 > 1:21:29she captured that confused nature really well.
1:21:30 > 1:21:35Wow, her strength is really in bravura playing -
1:21:35 > 1:21:38that incredible spiccato stroke she had in the Saint-Saens,
1:21:38 > 1:21:40that amazing opening with the Ysaye.
1:21:40 > 1:21:43I would sometimes like to hear a little bit more humour
1:21:43 > 1:21:45in her playing and I thought that in the Sarasate
1:21:45 > 1:21:47there could've been a bit more lightness of touch.
1:21:48 > 1:21:51It was great, it was such a nice, warm atmosphere.
1:21:51 > 1:21:53I was really surprised when I walked on -
1:21:53 > 1:21:56all the nerves disappeared and I just really enjoyed it.
1:21:58 > 1:22:01Well, I think whatever happens tonight, one thing is
1:22:01 > 1:22:05absolutely certain, a future star of classical music is born.
1:22:05 > 1:22:10- Absolutely dazzling performance. - It was absolutely sensational.
1:22:10 > 1:22:12I was completely transfixed by her,
1:22:12 > 1:22:16not only is she technically flawless, it seems,
1:22:16 > 1:22:19she has the joy that I'm constantly searching for
1:22:19 > 1:22:23when I go to a classical music performance, she is incredible.
1:22:23 > 1:22:26And that wonderful quality in which she just drew the audience in
1:22:26 > 1:22:28and put us at our ease as well.
1:22:28 > 1:22:31An absolutely sensational category final.
1:22:31 > 1:22:33We've now seen all of our 25 category finalists,
1:22:33 > 1:22:36and it's been quite the competition so far, hasn't it?
1:22:36 > 1:22:38It really has.
1:22:38 > 1:22:41I would say that every final has had compelling musicianship in it
1:22:41 > 1:22:45and particularly tonight, it's been quite extraordinary.
1:22:45 > 1:22:47Four semifinalists then, already been chosen,
1:22:47 > 1:22:49who is going to represent the strings?
1:22:49 > 1:22:53Before we find out, here's a quick recap of their performances.
1:22:58 > 1:23:00I really liked Charlie's Prokofiev, I thought
1:23:00 > 1:23:04he really got into a quite difficult piece.
1:23:04 > 1:23:06Mature beyond his years,
1:23:06 > 1:23:11and that was a really very excellent performance.
1:23:11 > 1:23:14He had a really free technique, his bowing was really light,
1:23:14 > 1:23:16and almost like a folk fiddle.
1:23:16 > 1:23:18It would have been great
1:23:18 > 1:23:20if there was little bit more power in his sound,
1:23:20 > 1:23:25but overall, a great, very comfortable performer.
1:23:29 > 1:23:32I think we were all knocked for six by Sheku.
1:23:32 > 1:23:36It's quite rare to hear somebody who has that communicative gift
1:23:36 > 1:23:39and that ability told an audience in the palm of his hand.
1:23:40 > 1:23:43Sheku was outstanding from the beginning.
1:23:43 > 1:23:45I think his potential is enormous.
1:23:50 > 1:23:53I enjoyed Louisa's playing enormously.
1:23:53 > 1:23:56I thought the Enescu she played was one of the outstanding
1:23:56 > 1:23:57performances of the evening.
1:23:57 > 1:24:01She's got a very beautiful sound and is a very accomplished player.
1:24:04 > 1:24:08Her sound was just gorgeous, there was never an ugly sound she made.
1:24:08 > 1:24:12The only thing that was missing was joy.
1:24:12 > 1:24:15It was very serious, her performance
1:24:15 > 1:24:18and she could just lighten up a little bit.
1:24:24 > 1:24:27Joe's performance, particularly of the Sollima, I really liked.
1:24:27 > 1:24:32I thought that was great and a brave choice to sing as well as play.
1:24:34 > 1:24:37So difficult to sing in tune while playing,
1:24:37 > 1:24:42so I take all my hats off to him, but I feel that the first half,
1:24:42 > 1:24:45the Bach and Debussy let him down a bit tonight.
1:24:54 > 1:24:57Stephanie is an extraordinarily special musician
1:24:57 > 1:24:59and there was a lot of passion that she performed with,
1:24:59 > 1:25:03and just her delivery was so slick, so professional.
1:25:07 > 1:25:11She came onstage and just looked like she was having the time of her life.
1:25:16 > 1:25:21The Sarasate could have benefited from being a touch slower and having
1:25:21 > 1:25:25a little bit more space in it to bring out the humour of the piece.
1:25:28 > 1:25:31But she's an incredible violinist.
1:25:33 > 1:25:37'It was a tremendously high standard. All of them played really well.
1:25:37 > 1:25:38'It was difficult for us,
1:25:38 > 1:25:42'but in the end all three of us agreed unanimously.'
1:25:42 > 1:25:44APPLAUSE
1:25:48 > 1:25:50Wow!
1:25:50 > 1:25:52I know I say this all the time, I've been constantly
1:25:52 > 1:25:55amazed by the standard of Young Musician this year.
1:25:55 > 1:25:59Tonight's string final really was something else, wasn't it?
1:25:59 > 1:26:01Now, please welcome back our jury -
1:26:01 > 1:26:04Thomas Gould, Dobrinka Tabakova, and to make the announcement
1:26:04 > 1:26:08of the winner of this year's strings category final -
1:26:08 > 1:26:09Julian Lloyd Webber.
1:26:09 > 1:26:11APPLAUSE
1:26:15 > 1:26:19Well, as you know, we've had a fantastic evening of music-making.
1:26:19 > 1:26:23I think we've seen some wonderful young musicians and, of course,
1:26:23 > 1:26:26it was a difficult decision.
1:26:26 > 1:26:31But in the end we felt we'd seen one really, really special talent tonight,
1:26:31 > 1:26:33a big star of the future.
1:26:33 > 1:26:40And the winner of BBC Young Musician 2016 strings final...
1:26:42 > 1:26:43..is Sheku Kanneh-Mason.
1:26:44 > 1:26:46CHEERING
1:27:02 > 1:27:07Sheku just stood out. In him there was just the complete package.
1:27:07 > 1:27:08Great stage presence,
1:27:08 > 1:27:12amazing technique and a musicality that was so natural and it
1:27:12 > 1:27:16was really enjoyable to listen to and to be part of his world.
1:27:16 > 1:27:20- Sheku, how are you feeling? You must be thrilled.- Just kind of...
1:27:20 > 1:27:24- Just so happy, I've never been this happy.- You did it, you did it.
1:27:24 > 1:27:26- I did it.- And what about playing with your sister?
1:27:26 > 1:27:30- Was it just amazing to have her there on the stage?- Really, really great, yeah.
1:27:30 > 1:27:31We just both enjoyed it.
1:27:31 > 1:27:33Congratulations.
1:27:33 > 1:27:35And I can't wait to hear you play again.
1:27:40 > 1:27:43Sheku, I'm so...!
1:27:43 > 1:27:45So thrilled!
1:27:48 > 1:27:50Give me hug...well done.
1:27:50 > 1:27:52Brilliant.
1:27:53 > 1:27:56Huge congratulations to Sheku Kanneh-Mason.
1:27:56 > 1:27:59He joins Jackie, Jess, Andrew and Ben in the semifinal.
1:27:59 > 1:28:02- It's quite a line-up, isn't it? - It certainly is.
1:28:02 > 1:28:04You can see their performances in full, together with those
1:28:04 > 1:28:06of every category finalist at...
1:28:09 > 1:28:12- You can find lots more there too. - And do join us tomorrow night
1:28:12 > 1:28:15here on BBC Four, for what promises to be an absolutely thrilling
1:28:15 > 1:28:20- semifinal of BBC Young Musician 2016. For now, goodnight.- Goodnight.
1:28:22 > 1:28:25It's mind-boggling how much commitment you need to
1:28:25 > 1:28:27get to this kind of level.
1:28:27 > 1:28:30They are the winners of their categories,
1:28:30 > 1:28:33and they're, in many ways, representing their categories.
1:28:34 > 1:28:38I'd love them to vamp it up one more level and just bring
1:28:38 > 1:28:41an even more spectacular performance.
1:28:41 > 1:28:44Going through to the grand final are...