:00:47. > :00:55.Lots 14 years since the final was last held here at London's Barbican
:00:56. > :01:05.Hall. The competition was won on that occasion by the 12-year-old
:01:06. > :01:07.violin prodigy, Jennifer Pike. APPLAUSE
:01:08. > :01:11.This year, three more exceptionally talented young people are competing
:01:12. > :01:14.for the title and having seen their performances in previous rounds, I
:01:15. > :01:18.can honestly say I think we are in for one of the most closely-fought
:01:19. > :01:26.and exciting finals there has ever been. Welcome to the grand finals of
:01:27. > :01:30.BBC Young Musician, 2016. Over the past five weeks we've enjoyed some
:01:31. > :01:39.thrilling playing by some of the UK's most talented Young Musicians.
:01:40. > :01:48.What a privilege to hear some accomplished performers. All of them
:01:49. > :01:52.played well. None of the decisions were easy but five were selected as
:01:53. > :01:56.category winners. Incredible. You have to pinch yourself to yes mind
:01:57. > :01:59.yourself how young they are. The personalities of all musicians was
:02:00. > :02:05.just shining through the stage It has inspired me to go right now and
:02:06. > :02:08.do some playing. They were then treated to an unforgettable evening
:02:09. > :02:14.of music in the semifinal, at the end of which three young artists
:02:15. > :02:17.were chosen to compete again today. They are, 18-year-old French horn
:02:18. > :02:23.player, Ben Goldscheider. Ben is a born ambassador for the
:02:24. > :02:27.horn. He can woo you with that sound. To get this far in the
:02:28. > :02:33.competition is an unbelievable feeling. I'm going to play the
:02:34. > :02:37.second Strauss Concerto. It is such an iconic piece in the repertoire.
:02:38. > :02:41.It shows what the corn can do in so many ways.
:02:42. > :02:44.I can't wait. 17-year-old Jess Gillam, making competition history
:02:45. > :02:49.as the first-ever saxophonist to reach the final.
:02:50. > :02:53.Music just seemed to ooze out. It was like going straight into a jazz
:02:54. > :03:01.bar in another country, even. Fantastic music-making.
:03:02. > :03:04.I'm going to be performing, Where the Bee Dances by Michael Nyman. An
:03:05. > :03:10.incredible piece of music. It connect with me and I hope the
:03:11. > :03:14.audience will like T to get to the final has been ap wonderful feeling.
:03:15. > :03:19.One of the best experiences I have. It hasn't sunk N the saxophone as an
:03:20. > :03:23.instrument deserves to be here. Having brought it here, I can't
:03:24. > :03:34.describe that feeling to you. To complete the line-up. 17-year-old
:03:35. > :03:50.cellist Sheku Kanneh-Mason. I'm going to play Shostakovich shos.
:03:51. > :03:55.It is such an excitingp opportunity. What I have tried to pass on to all
:03:56. > :03:58.three finalists is the privilege of the experience of playing with a
:03:59. > :04:06.great Orchestra in a great hall. Embrace that experience. Learn from
:04:07. > :04:12.it. Just enjoy it. For all three, their performance in nine has the
:04:13. > :04:15.potential to be life-changing. The three finalists I think are ready it
:04:16. > :04:20.take on the world. The stage is theirs. It is where the future
:04:21. > :04:24.becomes the present for them. Whoever wins it, all that potential
:04:25. > :04:27.they have shown for their whole lives will suddenly be shared with
:04:28. > :04:34.so many people who will benefit from hearing them. A competition like
:04:35. > :04:38.this one is vitally important for classical music. Because we are
:04:39. > :04:42.really trying to help Young Musicians. We need music right now.
:04:43. > :04:46.We really need it more than ever. It is a changing genre. I think it is
:04:47. > :04:55.in the hands of these wonderful young musicians.
:04:56. > :05:00.Yes, this really is a huge occasion for all of tonight's finalists.
:05:01. > :05:08.It might just change their lives and maybe ours, too. Whatever happens we
:05:09. > :05:14.are in for a wonderful evening music-making. Throughout this
:05:15. > :05:17.series, I have enjoyed the company of Alison Balsom, herself a Young
:05:18. > :05:22.Musician finalist and an acclaimed soloist. I'm delighted she is with
:05:23. > :05:29.us here. She has taken her seat and I will be joining her shortly along
:05:30. > :05:32.with special guests. I this you have one of our guests with you.
:05:33. > :05:42.Two years ago, Martin James Bartlett captivated us
:05:43. > :05:44.all with his inspired performance of Rachmaninov's Rhapsody on a Theme
:05:45. > :06:18.MUSIC: Rhapsody on a Theme of Paganini by Rachmaninov.
:06:19. > :06:22.Martin - APPLAUSE seeing that again, happy memories?
:06:23. > :06:27.Unbelievably wonderful. I was so thrilled to be involved in the
:06:28. > :06:34.competition and get that far was incredible. It was so fantastic to
:06:35. > :06:38.be back. Since winning the competition, how have things
:06:39. > :06:42.changed? My life has transformed. I have now a professional performing
:06:43. > :06:46.career. I'm lucky to play with such stars as yourself as one and travel
:06:47. > :06:50.all around the UK and make my BBC Proms debut, which is also exciting.
:06:51. > :07:01.Yes, in the judging interview I will be playing, Prokofiev Prokofiev
:07:02. > :07:10.Concerto. We are looking forward to that.
:07:11. > :07:17.the third member of our presenting team tonight - the wonderful
:07:18. > :07:20.Josie D'Arby is also with us, and will be getting the thoughts
:07:21. > :07:22.of the competitors after they've come off stage.
:07:23. > :07:27.It is all incredibly calm. They are all supporting each other and
:07:28. > :07:30.rooting for each other but of course, with what is at stake, there
:07:31. > :07:35.are a few nerves but everybody is excited about performing today.
:07:36. > :07:37.Well, for the first time that year, they are also running online
:07:38. > :07:44.commentary on the website. If you'd like to join
:07:45. > :07:46.the conversation, is the place to go -
:07:47. > :07:50.lots more clips, backstage photos And on social media our hashtag
:07:51. > :07:53.is #bbcyoungmusician. Now, in just under two hours
:07:54. > :07:56.time we'll know the name Making that decision, our grand
:07:57. > :08:09.final jury. Jamie Walton - one of
:08:10. > :08:16.the UK's leading cellists. Founder and Artistic Director
:08:17. > :08:26.of the North York Moors Chamber Is at this will stage, the notes
:08:27. > :08:30.should be there. I'm looking for something deeper. How they
:08:31. > :08:31.collaborate. If they communicate with passion that will transfer to
:08:32. > :08:38.the audience. It will be rewarded. The twice
:08:39. > :08:49.Grammy-nominated Australian They need to walk on stage and be
:08:50. > :08:51.natural and sincere and give whatever comes natural lane we will
:08:52. > :08:54.respond and the audiences. Alec Frank-Gemmill - Principal Horn
:08:55. > :08:56.at the Scottish Chamber Orchestra and Professor of Horn
:08:57. > :09:04.at the Guildhall School What I would look for in the winner
:09:05. > :09:07.is someone who can transport the audience. It is a kind of special
:09:08. > :09:09.quality that the best performers have, where they grip you and take
:09:10. > :09:12.you on a journey. David Pickard - Director
:09:13. > :09:14.of the world's largest classical music festival,
:09:15. > :09:22.the BBC Proms. What you are looking for is somebody
:09:23. > :09:25.who has something really exciting to say about the piece they are
:09:26. > :09:26.playing. I'm looking for that, the personality and the person who wants
:09:27. > :09:30.to set their stamp on the piece. And Dobrinka Tabakova -
:09:31. > :09:41.internationally acclaimed composer I think what we will all be looking
:09:42. > :09:45.for is an ability to deliver an effortless performance, while
:09:46. > :09:48.creating a buzzing energy and capturing that energy and that
:09:49. > :09:51.attention from every single person in the hall. And that's a tal ask
:09:52. > :09:58.from anyone. We're only moments away
:09:59. > :10:10.from hearing our first competitor The French horn player, 18-year-old
:10:11. > :10:11.Ben Goldscheider. I'm delighted to welcome another of our special
:10:12. > :10:14.guests. You may recognise her as a member of
:10:15. > :10:17.our Brass Final Jury - pioneering French Horn player
:10:18. > :10:19.with the Berlin Philharmonic and all round great ambassador
:10:20. > :10:31.for classical music - Sarah Willis. Where do we begin. A fantastic
:10:32. > :10:35.afternoon ahead. I'll start with you Alison a fantastic brass player. Ben
:10:36. > :10:38.was so impressive in the categories and semifinals, was he not? He is
:10:39. > :10:43.incredibly accomplished and calm under pressure. I think that will be
:10:44. > :10:47.wonderful for this evening, he will be clear-headed enough to perform
:10:48. > :10:51.and play the concert of his life, playing wonderful Strauss. Sayeria,
:10:52. > :10:55.let's talk about his repertoire, he has gone for the second of the
:10:56. > :10:59.Strauss horn Concertos, not as famous as the fist, is the for him?
:11:00. > :11:04.Richard Strauss's father was a famous foreign player, he knew what
:11:05. > :11:08.the horn could do. That's Ben's challenge today, to do everything
:11:09. > :11:12.that is packed into this piece tech nick clicks the beautiful phrases,
:11:13. > :11:19.the sfan McYou need, the slow music to break your start. -- the
:11:20. > :11:40.technical and beautiful phrases. A few weeks ago, our competitors met
:11:41. > :11:44.up with Nicola Benedti. She has words of advice Congratulations to
:11:45. > :11:48.all three of you. How are your feelings Great The piece you will be
:11:49. > :11:55.playing in the final. Hasnin played those with a Orchestra before? Not
:11:56. > :12:00.yet. I have, last October. I'm going to at the Royal Malburn How much
:12:01. > :12:03.experience have you had of performance, performance? I have had
:12:04. > :12:07.a will the but never with this piece The honour of being part of a final
:12:08. > :12:11.competition like this, it is something that you are going to take
:12:12. > :12:17.with you for the rest of your life. It really s I don't mean to be
:12:18. > :12:22.cheesy about it but it is a unique experience, just make sure you are
:12:23. > :12:23.able to enjoy that as much as possible, and just embrace the
:12:24. > :12:40.experience that hour going to have. I have been in music competitions
:12:41. > :12:44.for eight years now. Hearing my name called out in the semifinal was an
:12:45. > :12:45.experience I have never experienced before. I actually cried a little
:12:46. > :12:59.bit. I think the second Strauss Concerto,
:13:00. > :13:04.which I have never done with an stra. Everyone gets asked to do the
:13:05. > :13:08.1ist. -- with a Orchestra. The second is a bit harder. It shows off
:13:09. > :13:11.the instrument more and I think the experience of playing this Concerto,
:13:12. > :13:13.in the Barbican with the BBC Symphony Orchestra, I wanted it to
:13:14. > :13:29.be something special. He produces the most glorious sound,
:13:30. > :13:33.so we tried to eliminate all the other things, just focusing on the
:13:34. > :13:39.sound and the fantasy. Can you just entice us... I think working with
:13:40. > :13:44.Nicola Benedetti was useful for me to approach it from a musical point
:13:45. > :13:48.of view as opposed to a brass specialist point of view. She gave
:13:49. > :13:53.me ideas for the phrasing and conveying the story that I hadn't
:13:54. > :13:57.thought of before. Taking Nicola's advice on board, he heads to his
:13:58. > :14:02.local church to work on the details of the piece. I think coming to the
:14:03. > :14:07.church has been really great for me. You can work on a really big sound,
:14:08. > :14:11.and because of the booming nature of it, I still have to work at the
:14:12. > :14:15.articulation and making sure every note can be heard. If I can get it
:14:16. > :14:24.right in here then the Barbican will be a piece of cake. And his mum will
:14:25. > :14:29.be at the Barbican to support him. For me, when I watch him perform on
:14:30. > :14:36.stage, I get a strong feeling that he's loving every second of every
:14:37. > :14:44.bit of music he performs. Three days before the final, Ben has his first
:14:45. > :14:50.rehearsal with Mark Wigglesworth at the BBC Maida Vale studios, home of
:14:51. > :14:54.the BBC Symphony Orchestra. Sounds wonderful. Working with Mark was
:14:55. > :14:58.brilliant. He has given me an extraordinary amount of freedom
:14:59. > :15:01.within the piece which is really important with somebody like
:15:02. > :15:07.Strauss. He has made me feel very comfortable with what I'm doing.
:15:08. > :15:11.He's very open and it's a two way dialogue of ideas. It's been
:15:12. > :15:17.brilliant. It's beautifully contaminated. You could get rid of
:15:18. > :15:23.more bar lines. Really? Almost so it's in half. He makes the horn
:15:24. > :15:26.proud, sincere, noble, all the colours you would want from any
:15:27. > :15:33.instrument. He has the whole package. It has been great to go
:15:34. > :15:40.away from the piano and put all these layers of intricacy together
:15:41. > :15:45.with the orchestra. Tell us about your personal experience with the
:15:46. > :15:47.BBC Symphony Orchestra. Both of my parents have played with them.
:15:48. > :15:56.They're probably people sitting there who got texts when I was born,
:15:57. > :16:03.they have been to my house, and it was a warm and welcome feeling when
:16:04. > :16:08.I walked into the studio. I text my mum and dad straight after to say
:16:09. > :16:12.that I'd never had so much fun. It was brilliant, a feeling I had never
:16:13. > :16:19.experienced. I can't wait to play on Sunday.
:16:20. > :16:22.So here is Ben Golscheider to open this BBC Young
:16:23. > :16:27.He's going to play Strauss' 2nd Horn Concerto accompanied by the BBC
:16:28. > :16:36.Symphony Orchestra and conductor Mark Wigglesworth.
:16:37. > :16:39.A huge reaction for Ben in the Barbican Hall.
:16:40. > :16:42.Back in 1988, David Pyatt won this competition playing this concerto.
:16:43. > :36:22.Can it deliver the same result for Ben?
:36:23. > :36:43.A huge cheer here in the Barbican for
:36:44. > :36:45.18-year-old Ben Goldscheider - the first of tonight's
:36:46. > :36:51.We've just heard him perform Strauss' 2nd Horn Concerto -
:36:52. > :36:53.with the BBC Symphony Orchestra with leader Stephen Bryant,
:36:54. > :36:59.David Pyatt won this competition back in 1988 performing
:37:00. > :37:11.Sarah Willis at one point you were just nodding your head. I was so
:37:12. > :37:15.proud of him. He made is sound so easy. As a horn player you live
:37:16. > :37:21.through every moment of that piece. He had such a fantastic technical
:37:22. > :37:26.ability. It was such a joy to listen to, Bravo, Ben. It was a wonderful
:37:27. > :37:29.way to open the finals. What did you make Alison So powerful to. See him
:37:30. > :37:34.at one with the conductor and Orchestra. It is so rare to see
:37:35. > :37:36.that, in an 18-year-old, it is extraordinary. There he is taking
:37:37. > :37:38.another bow. It's been eight years since we had
:37:39. > :37:42.a brass player in the final - that was Peter Moore,
:37:43. > :37:44.who went on to make history when he won the competition
:37:45. > :37:46.back in 2008. But it was certainly worth the wait
:37:47. > :38:04.- Ben's so impressive. When I was talking to Mark
:38:05. > :38:07.Wigglesworth he told me the French horn was the hardest instrument in
:38:08. > :38:10.the world to play. Sarah Willis, I'm sitting here with two of the best
:38:11. > :38:15.brass players in the world. How difficult is it to sustain a
:38:16. > :38:19.performance like that, for a brass player, especially one so young.
:38:20. > :38:23.Sarah? Well horn is a difficult instrument. What you blow in is not
:38:24. > :38:26.necessarily what comes out. There are three-and-a-half metres of
:38:27. > :38:32.tubing. You really to have work hard to get the air through all the
:38:33. > :38:36.little wiggles, Wigglesworth. What came out that of Mao significance
:38:37. > :38:41.was really incredible. He made that whole performance really exciting.
:38:42. > :38:44.He made it sound easy. As I said his technical ability is incredible.
:38:45. > :38:50.This piece is so difficult. You have four objecting Taifs. Quiet, d --
:38:51. > :38:57.four octa verbses, quiet, loud, fast, slow. He did it. Incredible
:38:58. > :39:01.performer, it is hard to imagine you are watching a teenage. What did you
:39:02. > :39:05.make of it Astonishing. I can't believe it. It is hard 20 believe he
:39:06. > :39:09.is 18. We were smiling, we couldn't believe what we were hearing, let
:39:10. > :39:14.alone from a teenager. He should be incredibly proud of him se. The
:39:15. > :39:17.pressure and as Mark says, that instrument is so fiendishly hard.
:39:18. > :39:20.You really aren't aware of the physical aspects of what he was
:39:21. > :39:27.doing, he was just playing music. Extraordinary. Unbelievably koo. He
:39:28. > :39:30.loves to mra, doesn't he? He is so passionate about the idea of making
:39:31. > :39:33.the horn sing as a solo instrument. Sarah, you have done so much for
:39:34. > :39:37.that for your instrument in that regard yourself. You must be very
:39:38. > :39:41.excited that there are people like Ben out there, ready to break
:39:42. > :39:49.forward a new generation of horn players. I was thinking the same
:39:50. > :39:53.thing,'s true ambassador, and classical music, brass, we need
:39:54. > :39:57.ambassadors. He will spread the word of how important it is to get our
:39:58. > :40:00.instruments out there and it play Strauss in the final of Young
:40:01. > :40:04.Musician of the Year and not having played it before, it shows how brave
:40:05. > :40:09.he is, incredible. It absolutely S completely. A young performer who is
:40:10. > :40:13.capable of taking risks, very brave and courageous and a great delight
:40:14. > :40:22.for all of us to witness. Thank you very much. Let's find out how Ben is
:40:23. > :40:28.feeling. I have him here. Bren you have been on the stage but never as
:40:29. > :40:34.a soloist, are you pleased with your performance? Yes. It is not every
:40:35. > :40:38.day you get this opportunity and to be able to share an iconic piece of
:40:39. > :40:42.music and share my passion with the whole country if not further, it is
:40:43. > :40:51.an incredible feeling. Everybody talks about the risks you take, you
:40:52. > :40:56.have even been called the Bear Gryls of music. Did you feel brave? Well,
:40:57. > :41:00.I put in the hours of practice. You have to go for it. It was an
:41:01. > :41:03.experience I will never forget. Regardless of the result I'm doing
:41:04. > :41:06.what I want to do. Over the moon. Really happy. You are incredibly
:41:07. > :41:12.special. It was a special performance. Thank you very much.
:41:13. > :41:15.Next, it's 17 year old Jess Gillam from Ulverston in Cumbria.
:41:16. > :41:18.This is the second time she's taken part in the competition,
:41:19. > :41:22.having reached the Woodwind final back in 2014.
:41:23. > :41:25.She makes history here today as the very first saxophonist
:41:26. > :41:27.to perform in the BBC Young Musician final.
:41:28. > :41:33.And one person who knows her better than most is her sometime teacher,
:41:34. > :41:39.the legendary saxophonist, and our next guest, John Harle.
:41:40. > :41:46.Wonderful to have you with us. Thank you for being here.
:41:47. > :41:49.You've been working with Jess for a couple years and referred
:41:50. > :41:51.to her as an "ambassador for the saxophone."
:41:52. > :41:58.A big responsibility for a 17-year-old's shoulders? Yes but she
:41:59. > :42:02.is a true musical force of nature. I think she is an ambassador for the
:42:03. > :42:08.saxophone and all that stands for but also for kind of music itself
:42:09. > :42:11.and the kind of essence of musical communication, which she does so
:42:12. > :42:18.well. She plays with such joy and love. It's infectious. It truly S
:42:19. > :42:22.Two wonderful words to sum her up. Everything she does. You loved her
:42:23. > :42:27.playing so much in the category and semifinal you said you wanted to
:42:28. > :42:32.play with her on stage Absolutely. She has an enormous you are aia. It
:42:33. > :42:35.is so funny that you say she is a force of nature. That's what I
:42:36. > :42:39.wanted to say about her. If anyone makes you feel like that you will be
:42:40. > :42:41.addicted to hearing Morientes. We will hear from her tonight and we
:42:42. > :42:50.will hear more from her. Jess is performing
:42:51. > :42:51.Michael Nyman's concerto It's a piece that was written
:42:52. > :43:03.for you - what are its challenges? It feels funny not playing T Give
:43:04. > :43:10.Herrera moment. For Jess, it is a heroic, musical,
:43:11. > :43:12.leading role in this piece. It needs an incredible amount of energy,
:43:13. > :43:16.consistently throughout the whole thing. She needs to generate a kind
:43:17. > :43:22.of excitement and euphoria during the whole piece. It is also slightly
:43:23. > :43:27.deceptive. On the one hand, it seems to need a kind of classical
:43:28. > :43:33.precision, which it does, in terms of memory and technique, but also,
:43:34. > :43:39.it needs a kind of looseness. Almost like a sort of semi improvisationry
:43:40. > :43:43.quality. So on the one hand you need the confidence of a closical soloist
:43:44. > :43:48.but at the same time you have to make the rythmic groove on the stage
:43:49. > :43:51.with the Orchestra and do that in real-time in live performance. It is
:43:52. > :43:53.quite a big ask. Michael asks that very expressly in the piece. You
:43:54. > :43:58.know, it is a difficult one. I feel like if anyone can do it, it
:43:59. > :44:02.will be Jess. So, let's see how Jess's
:44:03. > :44:17.preparations for this final When my name was read out I couldn't
:44:18. > :44:24.believe it. I think my reaction was quite audible. CHEERING
:44:25. > :44:30.There has never been a saxophone in the final before. To be the first is
:44:31. > :44:35.brilliant. Back home in Ulverston, Jess works on her piece for the
:44:36. > :44:39.final in front of her dad and sister, Patsy, both keen musicians
:44:40. > :44:44.themselves. When I hear Jess play music I listen out for the technical
:44:45. > :44:47.things, and have that worry element waiting for her to get to the end,
:44:48. > :44:52.but more and more I can settle back from that and just close my eyes and
:44:53. > :45:00.listen to how she makes the instrument speak. The Concerto I'm
:45:01. > :45:03.playing, it requires a lot of stamina, it's a tiring peace and
:45:04. > :45:08.it's a work-out for a saxophone player. Like all the finalists, she
:45:09. > :45:14.had the chance to work with violinist Nicola Benedetti. She's
:45:15. > :45:20.one of the most relentlessly communicated musicians. She wants to
:45:21. > :45:23.explain to you what's in the music. It's a quality that is pure gold,
:45:24. > :45:30.and she has to do preserve that at the same time as making sure she
:45:31. > :45:33.conserves her energy. The rhythmic changes are happening all over the
:45:34. > :45:38.place. It goes through lots of different time signatures, key
:45:39. > :45:45.signatures. But the police always keeps its spirit. You never lose the
:45:46. > :45:48.music in it. That's back but the piece. You have to pick three or
:45:49. > :45:55.four places where you stop worrying about everything at once,... The
:45:56. > :45:59.sessions with Nicola were brilliant. One of the most important things
:46:00. > :46:03.I've learned is to present the piece instead of getting caught up in the
:46:04. > :46:06.technical detail or getting caught up with one particular section, and
:46:07. > :46:11.practice that from the beginning to the end.
:46:12. > :46:22.Sorry! Why not! It could be better... After working with Nicola,
:46:23. > :46:26.Jess heads back to the Royal Northern College of music to
:46:27. > :46:31.rehearse her piece with an orchestra for the first time. I have immersed
:46:32. > :46:35.myself as much as I can with the score and listens to recordings, but
:46:36. > :46:42.it's not the same as having that live wall of sound behind you. It's
:46:43. > :46:46.such a beautiful piece of music. Really uplifting, lots of different
:46:47. > :46:55.emotions and melodies. The chord progressions, everything appeals to
:46:56. > :46:58.me. In Maida Vale studios, Jess is quick to share her passion for the
:46:59. > :47:06.piece with conductor Mark Wigglesworth. Jess just exceeds this
:47:07. > :47:15.desire to dance and sing and laugh. It's incredibly infectious joy. It's
:47:16. > :47:23.like taking flight. Yes. It feels effortless. It's kind of not! You
:47:24. > :47:26.make it sound effortless. Over the last few days you have worked with
:47:27. > :47:31.Mark Wigglesworth. What have you learned from him? He has been great.
:47:32. > :47:35.He's really inside the piece. He's great with what you want to say at
:47:36. > :47:40.certain points, what are you trying to do here, are you coming back
:47:41. > :47:45.going forward? He's been really supportive in presenting it how we
:47:46. > :47:49.both want to. He's such a lovely man so I felt so at ease in rehearsals.
:47:50. > :47:54.When we need to be together we can be, but on your long notes you are
:47:55. > :47:58.just kind of singing. Did he give you tips or talk to you specifically
:47:59. > :48:01.about performing with a big orchestra? Something we worked on a
:48:02. > :48:07.lot was that balance. The professional orchestra is such a
:48:08. > :48:12.huge wall of sound and he really helped me with the balance and where
:48:13. > :48:16.I need to make sure I'm coming out or not overplayed by the orchestra.
:48:17. > :48:21.I don't think I could have done any more preparation for the piece. I
:48:22. > :48:25.just need to make sure I get my head in the right place before I go on.
:48:26. > :48:29.If I go on too excited or give away too much at the beginning, by the
:48:30. > :48:34.time I get to the end I will be flagging. I need to really plan and
:48:35. > :48:36.make sure I do everything as I practised and don't let the
:48:37. > :48:56.adrenaline get to me too much on stage.
:48:57. > :49:27.And here is Jess Gillam, ready to take to the stage to perform
:49:28. > :49:30.Michael Nyman's Where The Bee Dances - a concerto written
:49:31. > :49:43.JESS IS SPORTING A JACKET EMBLAZONED WITH PICTURES OF DAVID BOWIE. I FEEL
:49:44. > :49:47.IF HE'S LOOKING DOWN AND WATCHING FROM UP ABOVE this is a musician he
:49:48. > :06:36.would wholeheartedly approve of. Performing Where The Bee Dances,
:06:37. > :07:25.by Michael Nyman. The composure, himself I understand
:07:26. > :07:31.is excited Jess choose this piece. She was joined by the BBC Symphony
:07:32. > :07:33.Orchestra, conducted by Mark Wigglesworth.
:07:34. > :07:35.The piece was inspired by Shakespeare's The Tempest.
:07:36. > :07:37.Very appropriate in this Shakespeare anniversary year.
:07:38. > :07:42.Brought bang up to date by Jess Gillam. We have loved her all
:07:43. > :07:46.throughout the competition, she didn't let us down, did she? She is
:07:47. > :07:50.extraordinary. She has shown the case for why the classical saxophone
:07:51. > :07:54.has a place, absolutely, playing Concertos in Orchestras. She is at
:07:55. > :07:59.one with the BBC Symphony Orchestra. I hope she'll set the example for
:08:00. > :08:06.many more saxophonists. You look very proud. Very proud of that.
:08:07. > :08:10.Indeed a performance that had it all, including sequenced leggings. I
:08:11. > :08:14.think that's the fus time they have featured in a BBC Young Musician
:08:15. > :08:17.final. But earn the their place but speaking to Mark Wigglesworth and
:08:18. > :08:21.members of the Symphony Orchestra, they were excited to be playing this
:08:22. > :08:25.repertoire. John, this piece was written for you, how do you feel it
:08:26. > :08:29.went? I was incredibly proud of that. I think she had everything.
:08:30. > :08:34.She played with intelligence, with energy and fire. She played with
:08:35. > :08:39.great rhythm and groove. That's what it needs, you know. And she was
:08:40. > :08:53.leading all the way, that kind of heroic style I was talking B it was
:08:54. > :08:57.that -- talking about. I had nothing to say to her from the dress
:08:58. > :09:02.rehearsal. Apart from do it again. And she did and more. I know she was
:09:03. > :09:07.conscious she has to sustain her energy levels and stamina. And
:09:08. > :09:11.couldn't expend it all at the top. Due think she managed that I think
:09:12. > :09:15.she Z I couldn't take my eyes or ears off her for a sevenlingted a
:09:16. > :09:21.piece like this, with a minimalist style. -- I think #1450e did. It can
:09:22. > :09:28.be easy to reach hurdles and think - I got over that and then lose the
:09:29. > :09:32.momentum. But she did the opposite. -- I think she did.
:09:33. > :09:38.It was like sunshine. I love that express. That's what she does. She
:09:39. > :09:42.dispenses joy. I feel whatever the result, John, she has a glittering
:09:43. > :09:46.career ahead of her, does she not? I think she has a place in the
:09:47. > :09:50.saxophone hall of fame already. She certainly has a place in history,
:09:51. > :09:54.that's for sure. Ali, you said earlier you wanted to play with her.
:09:55. > :09:59.Do you still feel like that? Of course. I would love to. She is a
:10:00. > :10:04.rare musician. Not only is she extraordinary on stage. She
:10:05. > :10:08.generates her own concerts and looks for new ways to show off the
:10:09. > :10:11.instrument. She is bigger than the instrument. It is about her and the
:10:12. > :10:15.life force. Jess will become a full-time student
:10:16. > :10:26.at the Royal Northern College She has years ahead of her but feels
:10:27. > :10:32.like a fully-formed musician She can do anything. I think she has lots of
:10:33. > :10:35.plans but opportunity to continue to work. She will develop as a
:10:36. > :10:40.musician, meeting other people. She will get a peer group. It will be
:10:41. > :10:45.lovely for her. She is a great ambassador. I think she would be the
:10:46. > :10:48.perfect person to commission, for lots of today's composers. We are
:10:49. > :10:58.buzzing after that performance. How is Jess feeling? She is back stage
:10:59. > :11:02.with Joecy. We are buzzing. Fist time performing that in public. How
:11:03. > :11:06.was it? Did it live up to expectations? Incredible. I can't
:11:07. > :11:11.describe the feeling of how amazing it feels. To have that sound behind
:11:12. > :11:14.you, you know, to see Mark making everyone really energised and the
:11:15. > :11:18.Orchestra have been so supportive and Mark has been such a great
:11:19. > :11:23.conductor. I cannot thank everyone enough. It is incredibly difficult
:11:24. > :11:29.what you z and exhausting. How easy did it feel? It didn't feel easy, I
:11:30. > :11:32.have to say. I hope I planned the energy just right. That's what I
:11:33. > :11:38.have been working on. Hopefully - I'm not on the floor now, so... And
:11:39. > :11:43.John Harle, very proud of you, clearly? I have to thank Rob and
:11:44. > :11:48.John and everybody who has helped me get here and I still can't believe
:11:49. > :11:52.I'm here even though I have come off after performing. It is surreal. It
:11:53. > :11:54.is. Jess, you are a joy and a gift to music and to the audience. Thank
:11:55. > :12:06.you so much. Thank you. What auto gift. A life-affirming
:12:07. > :12:11.Young Musician. -- what a gift. We still have one more to come.
:12:12. > :12:20.Sheku Kanneh-Mason from Nottingham. I'm delighted to say
:12:21. > :12:22.we're now joined by Julian Lloyd-Webber,
:12:23. > :12:40.cellist, Principal of He has such a gift. He broke a
:12:41. > :12:47.string in that final. He had such composure to come back and captivate
:12:48. > :12:50.the audience. He has chosen a piece by his favourite composure, Sheku is
:12:51. > :12:55.Mr Shostakovich. What do you make of his choice? Fantastic. The piece is
:12:56. > :13:00.serious. Huge work but he is totally capable of owning it and making it
:13:01. > :13:04.his own and doing something original. And probably breaking our
:13:05. > :13:09.hearts. Should we have the tissues ready? Absolutely. What do you make
:13:10. > :13:12.of the choice? Fantastic. One of the great works for cello, great works
:13:13. > :13:16.full stop. It is a wonderful piece. One of the reasons I wanted to take
:13:17. > :13:20.up the cello was because of this piece. I'm really looking forward to
:13:21. > :13:23.it. It is a bit of a beast. The longest Concerto we are hearing.
:13:24. > :13:26.What are the particular challenges? It is very difficult but very
:13:27. > :13:30.well-written for the cello, so actually when it is hard, it sounds
:13:31. > :13:35.hard. I'm sure he will bring it off. But one thing, perhaps I could say
:13:36. > :13:40.is that it is going to be interesting to see, the cello is
:13:41. > :13:43.such a different instrument to the French horn and saxophone, so is not
:13:44. > :13:46.as loud. A lot depends how Mark deals with the balance and
:13:47. > :13:48.Orchestra. We shall see. Time to hear from Sheku himself. We caught
:13:49. > :14:02.up with him at home a few weeks ago. In the semifinal, Sheku's
:14:03. > :14:07.performance reduced one audience member in particular to tears. I was
:14:08. > :14:12.really emotional the end of the semifinal. It was such a journey for
:14:13. > :14:17.Sheku, so to get past that stage was an amazing moment and I was just
:14:18. > :14:23.overcome. For all of the rounds, even the audition rounds, I have
:14:24. > :14:27.chosen Shostakovich uses somewhere in the programme. He's a composer
:14:28. > :14:33.always loved, so I will play Cello Concerto No one in E flat Major.
:14:34. > :14:42.I've chosen this because it takes you on an emotional journey from the
:14:43. > :14:49.first note. I can really visual by self playing it in a massive hole.
:14:50. > :14:52.Now he knows he's in the final, even by his standards he's practising on
:14:53. > :14:58.a different level to before. He's inspired and wants to give his best
:14:59. > :15:02.on the night. My family have been really helpful. Just getting used to
:15:03. > :15:07.playing in front of an audience, really. It's very important to me
:15:08. > :15:09.that my family are so supportive, because it truly helpful to know you
:15:10. > :15:18.have somebody really rooting for you. For Tempo Mac is probably
:15:19. > :15:23.overwhelmed by us all. Dipping into his practices, saying play this it
:15:24. > :15:31.like this, but hopefully he likes the support as well. As well as
:15:32. > :15:34.advice from his family, Sheku also had the opportunity to work on the
:15:35. > :15:43.Shostakovich with our competition Ambassador Nicola Benedetti will
:15:44. > :15:46.stop we were talking a lot about the relentless energy required for
:15:47. > :15:53.Shostakovich. He has to somehow find that sustained pain and keep it up.
:15:54. > :15:56.Even if it causes you physical discomfort, if you feel like you
:15:57. > :16:00.need to chill out for a minute and have a break, it's part of it. To
:16:01. > :16:04.talk to somebody who has been through the competition and knows
:16:05. > :16:09.exactly what it's like is really great. She's a really nice person
:16:10. > :16:14.and was really helpful. The punch of the sound, the penetration of the
:16:15. > :16:18.sound, all these things you have to exaggerate as much as possible. So
:16:19. > :16:30.that when you get there, you have this kind of... Bank that you can
:16:31. > :16:36.tap into. Conductor Mark Wigglesworth had his own advice for
:16:37. > :16:42.Sheku. The first movement, I kind of thought of it as quite humorous at
:16:43. > :16:54.some points. He said that it could be more angry. I think you could
:16:55. > :17:01.triple the... Anger. I don't mean loud, or anything specifically
:17:02. > :17:07.different. But this feeling of total isolation and anger about it. Did
:17:08. > :17:14.any of that make sense? Yeah, it did, definitely. Shostakovich has to
:17:15. > :17:18.be so free and strict. Has to be so intimate and shouting for help,
:17:19. > :17:23.shouting his head off and also completely alone in his thoughts.
:17:24. > :17:33.Sheku is a wonderfully quiet young man, completely calm with his own
:17:34. > :17:42.presence. And then he starts playing.
:17:43. > :17:47.You have had your rehearsal with the BBC Symphony Orchestra. Pleased with
:17:48. > :17:54.how your Concetta is sounding? It was a really good rehearsal. I have
:17:55. > :17:57.performed it before but I have only performed Shostakovich with piano,
:17:58. > :18:02.so to have it with an orchestra backing me is a very different feel,
:18:03. > :18:06.but it's very exciting. We didn't talk very much, we didn't really
:18:07. > :18:10.need to. It was so clear what he wanted when he played. I have been
:18:11. > :18:12.working on this piece for quite a while now. I can't wait to show
:18:13. > :18:23.everyone what I've been doing. He's played a piece by Shostakovich
:18:24. > :18:27.in every round of this competition, so there was only one
:18:28. > :18:32.choice for this final! Sheku Kanneh-Mason -
:18:33. > :18:43.17-years-old, from Nottingham. Cello Concerto No one. And the BBC
:18:44. > :47:50.Symphony Orchestra once again conducted by Mark Wigglesworth.
:47:51. > :48:22.Sheku Kanneh-Mason - 17-years-old, from Nottingham.
:48:23. > :48:30.Only recently turned 17. Bringing tremendous maturity and depth of
:48:31. > :48:39.feeling and emotional nuance to an extraordinary work. What a
:48:40. > :48:44.performance. The audience here in the Barbican going understandably
:48:45. > :48:47.wild for this 17-year-old. Guy Johnston won this competition
:48:48. > :48:50.in 2000 playing this concerto. He's run through the piece
:48:51. > :49:05.with Sheku in preparation It certainly paid off. It certainly
:49:06. > :49:11.did. A great free-form soloist, the physical technique and mental
:49:12. > :49:14.maturity, and he has a full understanding of the composer. He
:49:15. > :49:22.understands what he's playing. Quite amazing. Julian, he didn't let you
:49:23. > :49:27.down? Certainly didn't. Whatever happens tonight, he's a huge star.
:49:28. > :49:33.There's nothing he can't do on the cello and I thought it got better
:49:34. > :49:55.and better. He has the technique, it was brilliant.
:49:56. > :50:07.in the LA Rams he was playing with his sister and they had such a
:50:08. > :50:10.beautiful relationship. -- in the early rounds. You felt they
:50:11. > :50:14.instinctively understood each other. I wondered how he would step up to
:50:15. > :50:18.the challenge of playing a concerto like this with the BBC Symphony
:50:19. > :50:25.Orchestra and I was amazed by the power he communicated with the
:50:26. > :50:30.audience and them. His relationship with the horn player for example.
:50:31. > :50:34.It's one of the hardest horn parts and the best I have heard it played.
:50:35. > :50:38.I only really hurt him in the Sunni final. I saw clips on television,
:50:39. > :50:45.but I didn't know how he would cope with the Augusta. He was a
:50:46. > :50:51.completely natural. -- cope with the orchestra. -- semifinal. You feel
:50:52. > :50:55.there is nothing he can't say. Did he do it for you tonight? He really
:50:56. > :51:01.did. He was talking with Mark Wigglesworth about the possible
:51:02. > :51:05.anger he could find in the piece. I felt listening and watching him that
:51:06. > :51:10.there was something even more profound and sinister. Likely had a
:51:11. > :51:16.direct line to the intention of Shostakovich. It was like a mighty
:51:17. > :51:20.power and terror he was rallying against, and I felt Sheku understood
:51:21. > :51:28.that. Which I can't understand, he's only 17! I completely agree. Such a
:51:29. > :51:33.beautiful way of putting it. You think there is nothing he can't
:51:34. > :51:38.articulate, what it is to love, lose, year on, and that searching
:51:39. > :51:43.second movement, I could barely breathe. It was mesmerising.
:51:44. > :51:47.Everybody in the audience was captivated and that's a very rare
:51:48. > :51:54.and special quality. Absolutely. Thank you both so much. Time to hear
:51:55. > :52:00.how Sheku himself is feeling. I will be amazed if he has any words at
:52:01. > :52:04.all. Backstage with Josie. Standing ovation, everybody on their feet for
:52:05. > :52:08.you. You were in the middle of it, were you aware it was going so well?
:52:09. > :52:12.I just really enjoyed it and the piece took me on a journey. I hope
:52:13. > :52:16.it took the audience on a journey. That's what I was thinking. Can you
:52:17. > :52:23.explain your affinity with this work? I fell in love with it about
:52:24. > :52:28.two years ago. I think it really shows so much passion, and all the
:52:29. > :52:33.emotions. That really connects with me. It was a masterclass in
:52:34. > :52:37.storytelling. Julian was saying that after he heard this piece he wanted
:52:38. > :52:42.to pick up the cello. Can you imagine how the people want to pick
:52:43. > :52:46.up the cello, French horn and saxophone after today? Truly
:52:47. > :52:50.inspiring. It has been so inspiring and I have a feeling we will see a
:52:51. > :52:56.lot of French horn players, saxophonists and cellists entering
:52:57. > :53:01.the competition in future years. I think this is the strongest final I
:53:02. > :53:04.can remember. In some ways that is heartbreaking. In any other year
:53:05. > :53:10.anyone of these three could have the title. That's right. It is
:53:11. > :53:16.heartbreaking, because do hold that title is extraordinary for any one
:53:17. > :53:20.of the three. It's easy to say, but it is true, just to play with the
:53:21. > :53:23.BBC Symphony Orchestra in this competition at this stage, it's a
:53:24. > :53:26.world-class achievement and they will be known across the world for
:53:27. > :53:33.doing it. They will be known for doing this. Three stars launched
:53:34. > :53:40.tonight. Julian, I would imagine you would work with any of them.
:53:41. > :53:44.Absolutely. A lot of the semifinalists and finalists before
:53:45. > :53:48.have gone on to great international careers, so it's not the end of the
:53:49. > :54:01.world if they do not win. Alison is a perfect case in point. Join in the
:54:02. > :54:08.conversation online. The judges have retired to their room. Somehow they
:54:09. > :54:11.have to come up with a winner. An anxious wait for the families as
:54:12. > :54:17.well. Josie is with some of them now. Possibly three of the most
:54:18. > :54:22.anxious people in the hall right now. Nicola, you are Ben's mum. You
:54:23. > :54:27.sometimes freelance with this Orchestra. What was it like watching
:54:28. > :54:31.him up there with them? I was immensely proud and quite tearful. I
:54:32. > :54:38.really enjoyed it. An amazing performance. It really means a lot
:54:39. > :54:42.to Ben. Oh, yes. He has worked towards this for a long time and it
:54:43. > :54:51.would make a huge difference to him. Jess out there in her element and
:54:52. > :54:56.silver leggings. What else! You know her better than anyone. Do you feel
:54:57. > :55:00.she gave her best today? Definitely. She was very much herself and gave
:55:01. > :55:07.the sort of performance she would give a smaller audience who she
:55:08. > :55:11.knew. I thought she did brilliantly. Sheku seemed in total command. What
:55:12. > :55:16.was it like to you? I was a bag of nerves. But he gave it all and he
:55:17. > :55:20.had the time of his life. It was thrilling to see him out there. You
:55:21. > :55:23.should all be very proud and whatever happens next, one thing is
:55:24. > :55:36.for sure, we have all really enjoyed their performances.
:55:37. > :55:38.But there's one more musical gift still to come.
:55:39. > :55:40.In a few minutes, the BBC Young Musician 2014 winner,
:55:41. > :55:43.Martin James Bartlett, will be here to perform while the judges
:55:44. > :55:52.And here he is to perform the First Movement of
:55:53. > :55:56.Prokofiev's Piano Concerto Number 3 with the BBC Symphony Orchestra,
:55:57. > :06:27.Martin James Bartlett - winner of BBC Young Musician back in 2014.
:06:28. > :06:40.That was a beguiling first movement of Prokofiev 's Piano Concerto No 3.
:06:41. > :06:42.Mark Wigglesworth, thanking the Orchestra, who have been working I
:06:43. > :07:06.credibly hard this evening. Clemmie has left to make her way it
:07:07. > :07:15.the stage. Julian is still here with me. Where is your money? I never say
:07:16. > :07:17.that. It is a hard battle this evening.
:07:18. > :07:22.They have been incredible And all three of them will be on to great
:07:23. > :07:25.things. They all deserve to win. My heart is in my mouth for them.
:07:26. > :07:28.Now I'm told we do have a result, so I'm going to hand
:07:29. > :08:05.I say it every time - and BBC Young Musician 2016
:08:06. > :08:19.I do mean T this competition gets better a bet -- I do mean it.
:08:20. > :08:20.This competition gets more incredible each year.
:08:21. > :08:24.We've heard three exceptional young artists perform today,
:08:25. > :08:25.not to mention the wonderful Martin James Bartlett.
:08:26. > :08:28.I'm sure all their performances will live long in our memories.
:08:29. > :08:31.Before we announce the name of the winner we have another award
:08:32. > :08:34.The Walter Todds Bursary is named after one of
:08:35. > :08:39.It's awarded to a performer who showed immense promise
:08:40. > :08:41.but didn't make it through to the Final.
:08:42. > :08:45.This year I'm delighted to announce that it's been awarded to
:08:46. > :08:47.15-year-old-pianist Jackie Campbell from Salford - winner
:08:48. > :09:00.Unfortunately Jackie can't be with us today because he's
:09:01. > :09:02.busy revising for his GCSEs - fair enough!
:09:03. > :09:04.But let's have a quick reminder of his performance
:09:05. > :09:39.The moment we have all been waiting for.
:09:40. > :09:41.Thank you to our expert panel of judges, Alec Frank-Gemmill,
:09:42. > :09:43.Amy Dickson, Jamie Walton, and David Pickard.
:09:44. > :09:45.And to announce the winner of BBC Young Musician 2016
:09:46. > :09:58.on behalf of the jury - it's Dobrinka Tabakova.
:09:59. > :10:09.Thank you. We are all waiting for this moment. I can't thank enough my
:10:10. > :10:13.wonderful fellow judges. We have had such a heated debate back stage.
:10:14. > :10:22.What makes a musician? What is it that moves us? What is it that can
:10:23. > :10:29.transcend a work of art? And, in such a young age. So, what humanity
:10:30. > :10:35.is. We've been treated to three extraordinary performances. We were
:10:36. > :10:42.very moved and what you can achieve at that age, and shut the door to
:10:43. > :10:46.the crazy mediocrity which is sweeping our society.
:10:47. > :10:55.APPLAUSE #
:10:56. > :11:02.And show what you can do with determination, hard work and
:11:03. > :11:07.incredible talent. These are names that every single household in the
:11:08. > :11:12.UK should know. They deserve that and I feel passionately that that is
:11:13. > :11:25.what we should be doing. APPLAUSE
:11:26. > :11:34.It is with great pride and joy that I can announce that we have come to
:11:35. > :11:39.a decision. It was a very close debate that we had. But we felt that
:11:40. > :11:45.there was one performance which was electric. And there are incredible
:11:46. > :11:50.things in store for this young person. For all three of them, I
:11:51. > :11:57.believe. But there is one trophy. The winner of the BBC Young Musician
:11:58. > :12:11.2016 is... Kaka ka. -- Sheku Kanneh-Mason.
:12:12. > :12:32.Wow, what an amazing result. Julian, how do you feel? Well, I'm not
:12:33. > :12:36.surprised at all. I said from the beginning, when I first saw him -
:12:37. > :12:41.that is a star in the making. I hope he is not now rushed into doing too
:12:42. > :12:45.much too soon. He has all the time in the world. I think we have seen
:12:46. > :12:49.something very special tonight. It is thoroughly deserved. He really is
:12:50. > :12:54.fantastic. APPLAUSE
:12:55. > :13:05.Sheku. Congratulations. What does this mean to you? It is
:13:06. > :13:10.overwhelming. I'm just really happy and I'm really surprised but thank
:13:11. > :13:14.you to everyone. It was such an extraordinary performance in a year,
:13:15. > :13:19.in honestly the strongest year that I personally can remember. When you
:13:20. > :13:25.were playing Prokofiev. Do you think you had done enough?
:13:26. > :13:30.I just really enjoyed the performance and the piece, I wasn't
:13:31. > :13:36.really thinking about the competition. That was lucky, as it
:13:37. > :13:44.turned out! Sheku, I echo everything that has just been said by Dobrinka.
:13:45. > :13:48.I'm sure you would like to join the in welcoming back and giving a huge
:13:49. > :13:57.round of applause to our other extraordinary finalists, Ben
:13:58. > :14:03.Goldscheider and Jess Gillam. CHEERING AND
:14:04. > :14:51.Congratulations again to Sheku Kanneh-Mason.
:14:52. > :14:53.We'll be back in two years' time when BBC
:14:54. > :14:56.Young Musician celebrates a very important anniversary.
:14:57. > :15:00.Yes, it will be 40 years since the very first competition.
:15:01. > :15:07.For now, we'll leave you with - BBC Young Musician 2016.