Grand Final BBC Young Musician

Lots 14 years since the final was last held here at London's Barbican

Hall. The competition was won on that occasion by the 12-year-old

violin prodigy, Jennifer Pike. APPLAUSE

This year, three more exceptionally talented young people are competing

for the title and having seen their performances in previous rounds, I

can honestly say I think we are in for one of the most closely-fought

and exciting finals there has ever been. Welcome to the grand finals of

BBC Young Musician, 2016. Over the past five weeks we've enjoyed some

thrilling playing by some of the UK's most talented Young Musicians.

What a privilege to hear some accomplished performers. All of them

played well. None of the decisions were easy but five were selected as

category winners. Incredible. You have to pinch yourself to yes mind

yourself how young they are. The personalities of all musicians was

just shining through the stage It has inspired me to go right now and

do some playing. They were then treated to an unforgettable evening

of music in the semifinal, at the end of which three young artists

were chosen to compete again today. They are, 18-year-old French horn

player, Ben Goldscheider. Ben is a born ambassador for the

horn. He can woo you with that sound. To get this far in the

competition is an unbelievable feeling. I'm going to play the

second Strauss Concerto. It is such an iconic piece in the repertoire.

It shows what the corn can do in so many ways.

I can't wait. 17-year-old Jess Gillam, making competition history

as the first-ever saxophonist to reach the final.

Music just seemed to ooze out. It was like going straight into a jazz

bar in another country, even. Fantastic music-making.

I'm going to be performing, Where the Bee Dances by Michael Nyman. An

incredible piece of music. It connect with me and I hope the

audience will like T to get to the final has been ap wonderful feeling.

One of the best experiences I have. It hasn't sunk N the saxophone as an

instrument deserves to be here. Having brought it here, I can't

describe that feeling to you. To complete the line-up. 17-year-old

cellist Sheku Kanneh-Mason. I'm going to play Shostakovich shos.

It is such an excitingp opportunity. What I have tried to pass on to all

three finalists is the privilege of the experience of playing with a

great Orchestra in a great hall. Embrace that experience. Learn from

it. Just enjoy it. For all three, their performance in nine has the

potential to be life-changing. The three finalists I think are ready it

take on the world. The stage is theirs. It is where the future

becomes the present for them. Whoever wins it, all that potential

they have shown for their whole lives will suddenly be shared with

so many people who will benefit from hearing them. A competition like

this one is vitally important for classical music. Because we are

really trying to help Young Musicians. We need music right now.

We really need it more than ever. It is a changing genre. I think it is

in the hands of these wonderful young musicians.

Yes, this really is a huge occasion for all of tonight's finalists.

It might just change their lives and maybe ours, too. Whatever happens we

are in for a wonderful evening music-making. Throughout this

series, I have enjoyed the company of Alison Balsom, herself a Young

Musician finalist and an acclaimed soloist. I'm delighted she is with

us here. She has taken her seat and I will be joining her shortly along

with special guests. I this you have one of our guests with you.

Two years ago, Martin James Bartlett captivated us

all with his inspired performance of Rachmaninov's Rhapsody on a Theme

MUSIC: Rhapsody on a Theme of Paganini by Rachmaninov.

Martin - APPLAUSE seeing that again, happy memories?

Unbelievably wonderful. I was so thrilled to be involved in the

competition and get that far was incredible. It was so fantastic to

be back. Since winning the competition, how have things

changed? My life has transformed. I have now a professional performing

career. I'm lucky to play with such stars as yourself as one and travel

all around the UK and make my BBC Proms debut, which is also exciting.

Yes, in the judging interview I will be playing, Prokofiev Prokofiev

Concerto. We are looking forward to that.

the third member of our presenting team tonight - the wonderful

Josie D'Arby is also with us, and will be getting the thoughts

of the competitors after they've come off stage.

It is all incredibly calm. They are all supporting each other and

rooting for each other but of course, with what is at stake, there

are a few nerves but everybody is excited about performing today.

Well, for the first time that year, they are also running online

commentary on the website. If you'd like to join

the conversation, is the place to go -

lots more clips, backstage photos And on social media our hashtag

is #bbcyoungmusician. Now, in just under two hours

time we'll know the name Making that decision, our grand

final jury. Jamie Walton - one of

the UK's leading cellists. Founder and Artistic Director

of the North York Moors Chamber Is at this will stage, the notes

should be there. I'm looking for something deeper. How they

collaborate. If they communicate with passion that will transfer to

the audience. It will be rewarded. The twice

Grammy-nominated Australian They need to walk on stage and be

natural and sincere and give whatever comes natural lane we will

respond and the audiences. Alec Frank-Gemmill - Principal Horn

at the Scottish Chamber Orchestra and Professor of Horn

at the Guildhall School What I would look for in the winner

is someone who can transport the audience. It is a kind of special

quality that the best performers have, where they grip you and take

you on a journey. David Pickard - Director

of the world's largest classical music festival,

the BBC Proms. What you are looking for is somebody

who has something really exciting to say about the piece they are

playing. I'm looking for that, the personality and the person who wants

to set their stamp on the piece. And Dobrinka Tabakova -

internationally acclaimed composer I think what we will all be looking

for is an ability to deliver an effortless performance, while

creating a buzzing energy and capturing that energy and that

attention from every single person in the hall. And that's a tal ask

from anyone. We're only moments away

from hearing our first competitor The French horn player, 18-year-old

Ben Goldscheider. I'm delighted to welcome another of our special

guests. You may recognise her as a member of

our Brass Final Jury - pioneering French Horn player

with the Berlin Philharmonic and all round great ambassador

for classical music - Sarah Willis. Where do we begin. A fantastic

afternoon ahead. I'll start with you Alison a fantastic brass player. Ben

was so impressive in the categories and semifinals, was he not? He is

incredibly accomplished and calm under pressure. I think that will be

wonderful for this evening, he will be clear-headed enough to perform

and play the concert of his life, playing wonderful Strauss. Sayeria,

let's talk about his repertoire, he has gone for the second of the

Strauss horn Concertos, not as famous as the fist, is the for him?

Richard Strauss's father was a famous foreign player, he knew what

the horn could do. That's Ben's challenge today, to do everything

that is packed into this piece tech nick clicks the beautiful phrases,

the sfan McYou need, the slow music to break your start. -- the

technical and beautiful phrases. A few weeks ago, our competitors met

up with Nicola Benedti. She has words of advice Congratulations to

all three of you. How are your feelings Great The piece you will be

playing in the final. Hasnin played those with a Orchestra before? Not

yet. I have, last October. I'm going to at the Royal Malburn How much

experience have you had of performance, performance? I have had

a will the but never with this piece The honour of being part of a final

competition like this, it is something that you are going to take

with you for the rest of your life. It really s I don't mean to be

cheesy about it but it is a unique experience, just make sure you are

able to enjoy that as much as possible, and just embrace the

experience that hour going to have. I have been in music competitions

for eight years now. Hearing my name called out in the semifinal was an

experience I have never experienced before. I actually cried a little

bit. I think the second Strauss Concerto,

which I have never done with an stra. Everyone gets asked to do the

1ist. -- with a Orchestra. The second is a bit harder. It shows off

the instrument more and I think the experience of playing this Concerto,

in the Barbican with the BBC Symphony Orchestra, I wanted it to

be something special. He produces the most glorious sound,

so we tried to eliminate all the other things, just focusing on the

sound and the fantasy. Can you just entice us... I think working with

Nicola Benedetti was useful for me to approach it from a musical point

of view as opposed to a brass specialist point of view. She gave

me ideas for the phrasing and conveying the story that I hadn't

thought of before. Taking Nicola's advice on board, he heads to his

local church to work on the details of the piece. I think coming to the

church has been really great for me. You can work on a really big sound,

and because of the booming nature of it, I still have to work at the

articulation and making sure every note can be heard. If I can get it

right in here then the Barbican will be a piece of cake. And his mum will

be at the Barbican to support him. For me, when I watch him perform on

stage, I get a strong feeling that he's loving every second of every

bit of music he performs. Three days before the final, Ben has his first

rehearsal with Mark Wigglesworth at the BBC Maida Vale studios, home of

the BBC Symphony Orchestra. Sounds wonderful. Working with Mark was

brilliant. He has given me an extraordinary amount of freedom

within the piece which is really important with somebody like

Strauss. He has made me feel very comfortable with what I'm doing.

He's very open and it's a two way dialogue of ideas. It's been

brilliant. It's beautifully contaminated. You could get rid of

more bar lines. Really? Almost so it's in half. He makes the horn

proud, sincere, noble, all the colours you would want from any

instrument. He has the whole package. It has been great to go

away from the piano and put all these layers of intricacy together

with the orchestra. Tell us about your personal experience with the

BBC Symphony Orchestra. Both of my parents have played with them.

They're probably people sitting there who got texts when I was born,

they have been to my house, and it was a warm and welcome feeling when

I walked into the studio. I text my mum and dad straight after to say

that I'd never had so much fun. It was brilliant, a feeling I had never

experienced. I can't wait to play on Sunday.

So here is Ben Golscheider to open this BBC Young

He's going to play Strauss' 2nd Horn Concerto accompanied by the BBC

Symphony Orchestra and conductor Mark Wigglesworth.

A huge reaction for Ben in the Barbican Hall.

Back in 1988, David Pyatt won this competition playing this concerto.

Can it deliver the same result for Ben?

A huge cheer here in the Barbican for

18-year-old Ben Goldscheider - the first of tonight's

We've just heard him perform Strauss' 2nd Horn Concerto -

with the BBC Symphony Orchestra with leader Stephen Bryant,

David Pyatt won this competition back in 1988 performing

Sarah Willis at one point you were just nodding your head. I was so

proud of him. He made is sound so easy. As a horn player you live

through every moment of that piece. He had such a fantastic technical

ability. It was such a joy to listen to, Bravo, Ben. It was a wonderful

way to open the finals. What did you make Alison So powerful to. See him

at one with the conductor and Orchestra. It is so rare to see

that, in an 18-year-old, it is extraordinary. There he is taking

another bow. It's been eight years since we had

a brass player in the final - that was Peter Moore,

who went on to make history when he won the competition

back in 2008. But it was certainly worth the wait

- Ben's so impressive. When I was talking to Mark

Wigglesworth he told me the French horn was the hardest instrument in

the world to play. Sarah Willis, I'm sitting here with two of the best

brass players in the world. How difficult is it to sustain a

performance like that, for a brass player, especially one so young.

Sarah? Well horn is a difficult instrument. What you blow in is not

necessarily what comes out. There are three-and-a-half metres of

tubing. You really to have work hard to get the air through all the

little wiggles, Wigglesworth. What came out that of Mao significance

was really incredible. He made that whole performance really exciting.

He made it sound easy. As I said his technical ability is incredible.

This piece is so difficult. You have four objecting Taifs. Quiet, d --

four octa verbses, quiet, loud, fast, slow. He did it. Incredible

performer, it is hard to imagine you are watching a teenage. What did you

make of it Astonishing. I can't believe it. It is hard 20 believe he

is 18. We were smiling, we couldn't believe what we were hearing, let

alone from a teenager. He should be incredibly proud of him se. The

pressure and as Mark says, that instrument is so fiendishly hard.

You really aren't aware of the physical aspects of what he was

doing, he was just playing music. Extraordinary. Unbelievably koo. He

loves to mra, doesn't he? He is so passionate about the idea of making

the horn sing as a solo instrument. Sarah, you have done so much for

that for your instrument in that regard yourself. You must be very

excited that there are people like Ben out there, ready to break

forward a new generation of horn players. I was thinking the same

thing,'s true ambassador, and classical music, brass, we need

ambassadors. He will spread the word of how important it is to get our

instruments out there and it play Strauss in the final of Young

Musician of the Year and not having played it before, it shows how brave

he is, incredible. It absolutely S completely. A young performer who is

capable of taking risks, very brave and courageous and a great delight

for all of us to witness. Thank you very much. Let's find out how Ben is

feeling. I have him here. Bren you have been on the stage but never as

a soloist, are you pleased with your performance? Yes. It is not every

day you get this opportunity and to be able to share an iconic piece of

music and share my passion with the whole country if not further, it is

an incredible feeling. Everybody talks about the risks you take, you

have even been called the Bear Gryls of music. Did you feel brave? Well,

I put in the hours of practice. You have to go for it. It was an

experience I will never forget. Regardless of the result I'm doing

what I want to do. Over the moon. Really happy. You are incredibly

special. It was a special performance. Thank you very much.

Next, it's 17 year old Jess Gillam from Ulverston in Cumbria.

This is the second time she's taken part in the competition,

having reached the Woodwind final back in 2014.

She makes history here today as the very first saxophonist

to perform in the BBC Young Musician final.

And one person who knows her better than most is her sometime teacher,

the legendary saxophonist, and our next guest, John Harle.

Wonderful to have you with us. Thank you for being here.

You've been working with Jess for a couple years and referred

to her as an "ambassador for the saxophone."

A big responsibility for a 17-year-old's shoulders? Yes but she

is a true musical force of nature. I think she is an ambassador for the

saxophone and all that stands for but also for kind of music itself

and the kind of essence of musical communication, which she does so

well. She plays with such joy and love. It's infectious. It truly S

Two wonderful words to sum her up. Everything she does. You loved her

playing so much in the category and semifinal you said you wanted to

play with her on stage Absolutely. She has an enormous you are aia. It

is so funny that you say she is a force of nature. That's what I

wanted to say about her. If anyone makes you feel like that you will be

addicted to hearing Morientes. We will hear from her tonight and we

will hear more from her. Jess is performing

Michael Nyman's concerto It's a piece that was written

for you - what are its challenges? It feels funny not playing T Give

Herrera moment. For Jess, it is a heroic, musical,

leading role in this piece. It needs an incredible amount of energy,

consistently throughout the whole thing. She needs to generate a kind

of excitement and euphoria during the whole piece. It is also slightly

deceptive. On the one hand, it seems to need a kind of classical

precision, which it does, in terms of memory and technique, but also,

it needs a kind of looseness. Almost like a sort of semi improvisationry

quality. So on the one hand you need the confidence of a closical soloist

but at the same time you have to make the rythmic groove on the stage

with the Orchestra and do that in real-time in live performance. It is

quite a big ask. Michael asks that very expressly in the piece. You

know, it is a difficult one. I feel like if anyone can do it, it

will be Jess. So, let's see how Jess's

preparations for this final When my name was read out I couldn't

believe it. I think my reaction was quite audible. CHEERING

There has never been a saxophone in the final before. To be the first is

brilliant. Back home in Ulverston, Jess works on her piece for the

final in front of her dad and sister, Patsy, both keen musicians

themselves. When I hear Jess play music I listen out for the technical

things, and have that worry element waiting for her to get to the end,

but more and more I can settle back from that and just close my eyes and

listen to how she makes the instrument speak. The Concerto I'm

playing, it requires a lot of stamina, it's a tiring peace and

it's a work-out for a saxophone player. Like all the finalists, she

had the chance to work with violinist Nicola Benedetti. She's

one of the most relentlessly communicated musicians. She wants to

explain to you what's in the music. It's a quality that is pure gold,

and she has to do preserve that at the same time as making sure she

conserves her energy. The rhythmic changes are happening all over the

place. It goes through lots of different time signatures, key

signatures. But the police always keeps its spirit. You never lose the

music in it. That's back but the piece. You have to pick three or

four places where you stop worrying about everything at once,... The

sessions with Nicola were brilliant. One of the most important things

I've learned is to present the piece instead of getting caught up in the

technical detail or getting caught up with one particular section, and

practice that from the beginning to the end.

Sorry! Why not! It could be better... After working with Nicola,

Jess heads back to the Royal Northern College of music to

rehearse her piece with an orchestra for the first time. I have immersed

myself as much as I can with the score and listens to recordings, but

it's not the same as having that live wall of sound behind you. It's

such a beautiful piece of music. Really uplifting, lots of different

emotions and melodies. The chord progressions, everything appeals to

me. In Maida Vale studios, Jess is quick to share her passion for the

piece with conductor Mark Wigglesworth. Jess just exceeds this

desire to dance and sing and laugh. It's incredibly infectious joy. It's

like taking flight. Yes. It feels effortless. It's kind of not! You

make it sound effortless. Over the last few days you have worked with

Mark Wigglesworth. What have you learned from him? He has been great.

He's really inside the piece. He's great with what you want to say at

certain points, what are you trying to do here, are you coming back

going forward? He's been really supportive in presenting it how we

both want to. He's such a lovely man so I felt so at ease in rehearsals.

When we need to be together we can be, but on your long notes you are

just kind of singing. Did he give you tips or talk to you specifically

about performing with a big orchestra? Something we worked on a

lot was that balance. The professional orchestra is such a

huge wall of sound and he really helped me with the balance and where

I need to make sure I'm coming out or not overplayed by the orchestra.

I don't think I could have done any more preparation for the piece. I

just need to make sure I get my head in the right place before I go on.

If I go on too excited or give away too much at the beginning, by the

time I get to the end I will be flagging. I need to really plan and

make sure I do everything as I practised and don't let the

adrenaline get to me too much on stage.

And here is Jess Gillam, ready to take to the stage to perform

Michael Nyman's Where The Bee Dances - a concerto written

JESS IS SPORTING A JACKET EMBLAZONED WITH PICTURES OF DAVID BOWIE. I FEEL

IF HE'S LOOKING DOWN AND WATCHING FROM UP ABOVE this is a musician he

would wholeheartedly approve of. Performing Where The Bee Dances,

by Michael Nyman. The composure, himself I understand

is excited Jess choose this piece. She was joined by the BBC Symphony

Orchestra, conducted by Mark Wigglesworth.

The piece was inspired by Shakespeare's The Tempest.

Very appropriate in this Shakespeare anniversary year.

Brought bang up to date by Jess Gillam. We have loved her all

throughout the competition, she didn't let us down, did she? She is

extraordinary. She has shown the case for why the classical saxophone

has a place, absolutely, playing Concertos in Orchestras. She is at

one with the BBC Symphony Orchestra. I hope she'll set the example for

many more saxophonists. You look very proud. Very proud of that.

Indeed a performance that had it all, including sequenced leggings. I

think that's the fus time they have featured in a BBC Young Musician

final. But earn the their place but speaking to Mark Wigglesworth and

members of the Symphony Orchestra, they were excited to be playing this

repertoire. John, this piece was written for you, how do you feel it

went? I was incredibly proud of that. I think she had everything.

She played with intelligence, with energy and fire. She played with

great rhythm and groove. That's what it needs, you know. And she was

leading all the way, that kind of heroic style I was talking B it was

that -- talking about. I had nothing to say to her from the dress

rehearsal. Apart from do it again. And she did and more. I know she was

conscious she has to sustain her energy levels and stamina. And

couldn't expend it all at the top. Due think she managed that I think

she Z I couldn't take my eyes or ears off her for a sevenlingted a

piece like this, with a minimalist style. -- I think #1450e did. It can

be easy to reach hurdles and think - I got over that and then lose the

momentum. But she did the opposite. -- I think she did.

It was like sunshine. I love that express. That's what she does. She

dispenses joy. I feel whatever the result, John, she has a glittering

career ahead of her, does she not? I think she has a place in the

saxophone hall of fame already. She certainly has a place in history,

that's for sure. Ali, you said earlier you wanted to play with her.

Do you still feel like that? Of course. I would love to. She is a

rare musician. Not only is she extraordinary on stage. She

generates her own concerts and looks for new ways to show off the

instrument. She is bigger than the instrument. It is about her and the

life force. Jess will become a full-time student

at the Royal Northern College She has years ahead of her but feels

like a fully-formed musician She can do anything. I think she has lots of

plans but opportunity to continue to work. She will develop as a

musician, meeting other people. She will get a peer group. It will be

lovely for her. She is a great ambassador. I think she would be the

perfect person to commission, for lots of today's composers. We are

buzzing after that performance. How is Jess feeling? She is back stage

with Joecy. We are buzzing. Fist time performing that in public. How

was it? Did it live up to expectations? Incredible. I can't

describe the feeling of how amazing it feels. To have that sound behind

you, you know, to see Mark making everyone really energised and the

Orchestra have been so supportive and Mark has been such a great

conductor. I cannot thank everyone enough. It is incredibly difficult

what you z and exhausting. How easy did it feel? It didn't feel easy, I

have to say. I hope I planned the energy just right. That's what I

have been working on. Hopefully - I'm not on the floor now, so... And

John Harle, very proud of you, clearly? I have to thank Rob and

John and everybody who has helped me get here and I still can't believe

I'm here even though I have come off after performing. It is surreal. It

is. Jess, you are a joy and a gift to music and to the audience. Thank

you so much. Thank you. What auto gift. A life-affirming

Young Musician. -- what a gift. We still have one more to come.

Sheku Kanneh-Mason from Nottingham. I'm delighted to say

we're now joined by Julian Lloyd-Webber,

cellist, Principal of He has such a gift. He broke a

string in that final. He had such composure to come back and captivate

the audience. He has chosen a piece by his favourite composure, Sheku is

Mr Shostakovich. What do you make of his choice? Fantastic. The piece is

serious. Huge work but he is totally capable of owning it and making it

his own and doing something original. And probably breaking our

hearts. Should we have the tissues ready? Absolutely. What do you make

of the choice? Fantastic. One of the great works for cello, great works

full stop. It is a wonderful piece. One of the reasons I wanted to take

up the cello was because of this piece. I'm really looking forward to

it. It is a bit of a beast. The longest Concerto we are hearing.

What are the particular challenges? It is very difficult but very

well-written for the cello, so actually when it is hard, it sounds

hard. I'm sure he will bring it off. But one thing, perhaps I could say

is that it is going to be interesting to see, the cello is

such a different instrument to the French horn and saxophone, so is not

as loud. A lot depends how Mark deals with the balance and

Orchestra. We shall see. Time to hear from Sheku himself. We caught

up with him at home a few weeks ago. In the semifinal, Sheku's

performance reduced one audience member in particular to tears. I was

really emotional the end of the semifinal. It was such a journey for

Sheku, so to get past that stage was an amazing moment and I was just

overcome. For all of the rounds, even the audition rounds, I have

chosen Shostakovich uses somewhere in the programme. He's a composer

always loved, so I will play Cello Concerto No one in E flat Major.

I've chosen this because it takes you on an emotional journey from the

first note. I can really visual by self playing it in a massive hole.

Now he knows he's in the final, even by his standards he's practising on

a different level to before. He's inspired and wants to give his best

on the night. My family have been really helpful. Just getting used to

playing in front of an audience, really. It's very important to me

that my family are so supportive, because it truly helpful to know you

have somebody really rooting for you. For Tempo Mac is probably

overwhelmed by us all. Dipping into his practices, saying play this it

like this, but hopefully he likes the support as well. As well as

advice from his family, Sheku also had the opportunity to work on the

Shostakovich with our competition Ambassador Nicola Benedetti will

stop we were talking a lot about the relentless energy required for

Shostakovich. He has to somehow find that sustained pain and keep it up.

Even if it causes you physical discomfort, if you feel like you

need to chill out for a minute and have a break, it's part of it. To

talk to somebody who has been through the competition and knows

exactly what it's like is really great. She's a really nice person

and was really helpful. The punch of the sound, the penetration of the

sound, all these things you have to exaggerate as much as possible. So

that when you get there, you have this kind of... Bank that you can

tap into. Conductor Mark Wigglesworth had his own advice for

Sheku. The first movement, I kind of thought of it as quite humorous at

some points. He said that it could be more angry. I think you could

triple the... Anger. I don't mean loud, or anything specifically

different. But this feeling of total isolation and anger about it. Did

any of that make sense? Yeah, it did, definitely. Shostakovich has to

be so free and strict. Has to be so intimate and shouting for help,

shouting his head off and also completely alone in his thoughts.

Sheku is a wonderfully quiet young man, completely calm with his own

presence. And then he starts playing.

You have had your rehearsal with the BBC Symphony Orchestra. Pleased with

how your Concetta is sounding? It was a really good rehearsal. I have

performed it before but I have only performed Shostakovich with piano,

so to have it with an orchestra backing me is a very different feel,

but it's very exciting. We didn't talk very much, we didn't really

need to. It was so clear what he wanted when he played. I have been

working on this piece for quite a while now. I can't wait to show

everyone what I've been doing. He's played a piece by Shostakovich

in every round of this competition, so there was only one

choice for this final! Sheku Kanneh-Mason -

17-years-old, from Nottingham. Cello Concerto No one. And the BBC

Symphony Orchestra once again conducted by Mark Wigglesworth.

Sheku Kanneh-Mason - 17-years-old, from Nottingham.

Only recently turned 17. Bringing tremendous maturity and depth of

feeling and emotional nuance to an extraordinary work. What a

performance. The audience here in the Barbican going understandably

wild for this 17-year-old. Guy Johnston won this competition

in 2000 playing this concerto. He's run through the piece

with Sheku in preparation It certainly paid off. It certainly

did. A great free-form soloist, the physical technique and mental

maturity, and he has a full understanding of the composer. He

understands what he's playing. Quite amazing. Julian, he didn't let you

down? Certainly didn't. Whatever happens tonight, he's a huge star.

There's nothing he can't do on the cello and I thought it got better

and better. He has the technique, it was brilliant.

in the LA Rams he was playing with his sister and they had such a

beautiful relationship. -- in the early rounds. You felt they

instinctively understood each other. I wondered how he would step up to

the challenge of playing a concerto like this with the BBC Symphony

Orchestra and I was amazed by the power he communicated with the

audience and them. His relationship with the horn player for example.

It's one of the hardest horn parts and the best I have heard it played.

I only really hurt him in the Sunni final. I saw clips on television,

but I didn't know how he would cope with the Augusta. He was a

completely natural. -- cope with the orchestra. -- semifinal. You feel

there is nothing he can't say. Did he do it for you tonight? He really

did. He was talking with Mark Wigglesworth about the possible

anger he could find in the piece. I felt listening and watching him that

there was something even more profound and sinister. Likely had a

direct line to the intention of Shostakovich. It was like a mighty

power and terror he was rallying against, and I felt Sheku understood

that. Which I can't understand, he's only 17! I completely agree. Such a

beautiful way of putting it. You think there is nothing he can't

articulate, what it is to love, lose, year on, and that searching

second movement, I could barely breathe. It was mesmerising.

Everybody in the audience was captivated and that's a very rare

and special quality. Absolutely. Thank you both so much. Time to hear

how Sheku himself is feeling. I will be amazed if he has any words at

all. Backstage with Josie. Standing ovation, everybody on their feet for

you. You were in the middle of it, were you aware it was going so well?

I just really enjoyed it and the piece took me on a journey. I hope

it took the audience on a journey. That's what I was thinking. Can you

explain your affinity with this work? I fell in love with it about

two years ago. I think it really shows so much passion, and all the

emotions. That really connects with me. It was a masterclass in

storytelling. Julian was saying that after he heard this piece he wanted

to pick up the cello. Can you imagine how the people want to pick

up the cello, French horn and saxophone after today? Truly

inspiring. It has been so inspiring and I have a feeling we will see a

lot of French horn players, saxophonists and cellists entering

the competition in future years. I think this is the strongest final I

can remember. In some ways that is heartbreaking. In any other year

anyone of these three could have the title. That's right. It is

heartbreaking, because do hold that title is extraordinary for any one

of the three. It's easy to say, but it is true, just to play with the

BBC Symphony Orchestra in this competition at this stage, it's a

world-class achievement and they will be known across the world for

doing it. They will be known for doing this. Three stars launched

tonight. Julian, I would imagine you would work with any of them.

Absolutely. A lot of the semifinalists and finalists before

have gone on to great international careers, so it's not the end of the

world if they do not win. Alison is a perfect case in point. Join in the

conversation online. The judges have retired to their room. Somehow they

have to come up with a winner. An anxious wait for the families as

well. Josie is with some of them now. Possibly three of the most

anxious people in the hall right now. Nicola, you are Ben's mum. You

sometimes freelance with this Orchestra. What was it like watching

him up there with them? I was immensely proud and quite tearful. I

really enjoyed it. An amazing performance. It really means a lot

to Ben. Oh, yes. He has worked towards this for a long time and it

would make a huge difference to him. Jess out there in her element and

silver leggings. What else! You know her better than anyone. Do you feel

she gave her best today? Definitely. She was very much herself and gave

the sort of performance she would give a smaller audience who she

knew. I thought she did brilliantly. Sheku seemed in total command. What

was it like to you? I was a bag of nerves. But he gave it all and he

had the time of his life. It was thrilling to see him out there. You

should all be very proud and whatever happens next, one thing is

for sure, we have all really enjoyed their performances.

But there's one more musical gift still to come.

In a few minutes, the BBC Young Musician 2014 winner,

Martin James Bartlett, will be here to perform while the judges

And here he is to perform the First Movement of

Prokofiev's Piano Concerto Number 3 with the BBC Symphony Orchestra,

Martin James Bartlett - winner of BBC Young Musician back in 2014.

That was a beguiling first movement of Prokofiev 's Piano Concerto No 3.

Mark Wigglesworth, thanking the Orchestra, who have been working I

credibly hard this evening. Clemmie has left to make her way it

the stage. Julian is still here with me. Where is your money? I never say

that. It is a hard battle this evening.

They have been incredible And all three of them will be on to great

things. They all deserve to win. My heart is in my mouth for them.

Now I'm told we do have a result, so I'm going to hand

I say it every time - and BBC Young Musician 2016

I do mean T this competition gets better a bet -- I do mean it.

This competition gets more incredible each year.

We've heard three exceptional young artists perform today,

not to mention the wonderful Martin James Bartlett.

I'm sure all their performances will live long in our memories.

Before we announce the name of the winner we have another award

The Walter Todds Bursary is named after one of

It's awarded to a performer who showed immense promise

but didn't make it through to the Final.

This year I'm delighted to announce that it's been awarded to

15-year-old-pianist Jackie Campbell from Salford - winner

Unfortunately Jackie can't be with us today because he's

busy revising for his GCSEs - fair enough!

But let's have a quick reminder of his performance

The moment we have all been waiting for.

Thank you to our expert panel of judges, Alec Frank-Gemmill,

Amy Dickson, Jamie Walton, and David Pickard.

And to announce the winner of BBC Young Musician 2016

on behalf of the jury - it's Dobrinka Tabakova.

Thank you. We are all waiting for this moment. I can't thank enough my

wonderful fellow judges. We have had such a heated debate back stage.

What makes a musician? What is it that moves us? What is it that can

transcend a work of art? And, in such a young age. So, what humanity

is. We've been treated to three extraordinary performances. We were

very moved and what you can achieve at that age, and shut the door to

the crazy mediocrity which is sweeping our society.

APPLAUSE #

And show what you can do with determination, hard work and

incredible talent. These are names that every single household in the

UK should know. They deserve that and I feel passionately that that is

what we should be doing. APPLAUSE

It is with great pride and joy that I can announce that we have come to

a decision. It was a very close debate that we had. But we felt that

there was one performance which was electric. And there are incredible

things in store for this young person. For all three of them, I

believe. But there is one trophy. The winner of the BBC Young Musician

2016 is... Kaka ka. -- Sheku Kanneh-Mason.

Wow, what an amazing result. Julian, how do you feel? Well, I'm not

surprised at all. I said from the beginning, when I first saw him -

that is a star in the making. I hope he is not now rushed into doing too

much too soon. He has all the time in the world. I think we have seen

something very special tonight. It is thoroughly deserved. He really is

fantastic. APPLAUSE

Sheku. Congratulations. What does this mean to you? It is

overwhelming. I'm just really happy and I'm really surprised but thank

you to everyone. It was such an extraordinary performance in a year,

in honestly the strongest year that I personally can remember. When you

were playing Prokofiev. Do you think you had done enough?

I just really enjoyed the performance and the piece, I wasn't

really thinking about the competition. That was lucky, as it

turned out! Sheku, I echo everything that has just been said by Dobrinka.

I'm sure you would like to join the in welcoming back and giving a huge

round of applause to our other extraordinary finalists, Ben

Goldscheider and Jess Gillam. CHEERING AND

Congratulations again to Sheku Kanneh-Mason.

We'll be back in two years' time when BBC

Young Musician celebrates a very important anniversary.

Yes, it will be 40 years since the very first competition.

For now, we'll leave you with - BBC Young Musician 2016.