this is bbc news, the headlines. israel is persisting in its bombardment of beirut, with several sites hit across the lebanese capital over the past few hours. in the country's south, the idf says it has bombed a mosque which it claims was used as a hezbollah command centre. it's estimated 1.2 million people have been displaced as a result of the conflict, with the united nations saying more than 200,000 have fled into neighbouring syria. the crossing between the countries has been bombed, leaving the stranded to make the journey on foot. more foreign nationals have been evacuating lebanon. these are pictures from eindoven airport in the netherlands where dutch citizens were welcomed by family members last night. military transport planes and civilian charter flights are still using beirut airport despite strikes in the vicinity.

now on bbc news — arts in motion: vienna philharmonic. classical music plays austria is known for classical music, from haydn and mozart until schoenberg. this is our heritage and this is also our duty to perform in the very best way that we can do. we are members of the vienna philharmonic, special orchestra, a group of unique musicians making music together since 183 years. today we will be hosting a masterclass given by our member. you need to have more emotion. two or three young aspiring musicians... don't do it a little bit.

if you do it, do it with conviction. yes. l again. ..preparing them for auditions to become a member in our orchestra. the one thing that sets us apart from others, i think, is our history. the sound of the vienna philharmonic is special because of all our great composers who shaped our sounds. we had members who played in the first performance of beethoven's ninth symphony conducted by beethoven. so these people brought the knowledge how beethoven wanted his music to be played into our orchestras. now this happens from beethoven to brahms, bruckner, mahler, richard strauss, john williams. and i think that shaped our collective memory.

today we have three of our academists here to get a masterclass. two violinists, one flute player. 0ur academy is a training programme for young musicians to become excellent orchestral musicians. being in the academy for me is a great gift. i can rememberwatching, i think, every new year'sl concert to vienna philharmonic my whole life _ you get so many opportunities to play with the orchestra and to rehearse with them. to nurture young players, this is our future. the orchestra is now since 183 years. we hope that it will be another 183 years or even more. today's the day you will be playing for very valued members of our orchestra. i think these masterclasses will be a very good way to prepare you for future auditions, not only in our orchestra, but

wherever you want to go. we were talking a bit about the auditions, and we were wondering, what are your expectations? i find myself more looking for the personality, for the sound. there has to be a moment where i can lay back and say, "wow, this is beautiful." but i am not searching the little mistakes. i agree, we all never forget the day we won an audition in our orchestra. my audition, when they came back, they said, "you got thejob." no! chuckling. it changes your life. i'm a little bit excited, yeah. yes, me too. and also a little bit nervous, obviously. 0ur teacher today, he's always been a role model for me. - mm. it'sjust amazing to play for him. i it feels like a dream, to be honest. nummer eins. laughter. my name is rainer honeck

and i'm concertmaster of the vienna philharmonic orchestra. rainer honeck is the first solo violin, and he's an amazing teacher. i like to work with young musicians. i'm one of the old ones. when i started, my colleagues gave me lots of advice, and i still remember that. he's a very respected person within the orchestra, and the possibility to learn from him is a great thing. today, i'm going to be playing the first movement of the tchaikovsky violin concerto. today, i'm going to be playing the first movement of the tchaikovsky violin concerto. tchaikovsky wrote this concerto while he was recovering from his disastrous marriage. i feel like in this concerto he's finding his love to life back.

when i was young, it was my favourite concerto. many young people like it because it sounds good. i have known this concerto as long as i remember, because my mum used to practise it when i was a child. playing, in a way, is like coming home for me, but still, obviously, it needs much work. good. hey, let's stop here. good! there's one problem. when you have a bow stroke, you always tilt the bow till the end of the tip. so you play like this... ..which is very nice for piano sound. but forte, we need to have more... more this. violin gets louder. yeah? yeah.

and you have now to bring out the most you can. mm—hm. so we start one more...the beginning. 0k. good. if you can still emphasise the most important notes... ..with a little bit more speed. mm—hm. really using all the hair of my bow seems so obvious, but it's sometimes still a bit, i would even say, scary to see how simple things are really making a difference. yeah. 0k. for me, in this scale, you make too many stops. 0k. but this is for safety, i think.

but the music is, "trrrrrrum!" imaginea harp. yeah. 0k! i saw the problem, yeah. what's the problem? i didn't have enough bow, so... yes. you don't have so much time. yeah, 0k. maybe good orchestra, good conductor will wait for you. but musically, it's not nice. yeah. da, da, da, da, da, dee. yeah. a tchaikovsky concert, it has to be played with discipline because it's very dangerous to get lost in emotions. it's always good to go to the basic — what did tchaikovsky write? ok, this is the problem that we...

dah—dum, ba—dah—dum, ba—dah—dum... it's so easy on piano or some other instrument. but we have difficulties with. .. ..is too light here, too heavy here. so we have to really even it out. mm—hm. 0k. sorry. no, it's very clear. it's good. but you play every note with much effort, and it's not very efficient. 0k. — should be more... not... stay near the string with the fingers. mm—hm. then you have the possibility to play it very fast and relaxed. mm—hm. what mr honeck was talking about is to think in bigger phrases, because i know that i have the tendency of playing

in a too detailed way, and therefore losing the bigger context. yeah. look. it's much more easy. still, i would love to have more direction. sometimes you take a little bit too much time. mm—hm. one last time. 0k. i like very much your playing. you have to work on this juicy sound, this very tight sound. you will have much more power in your playing. 0k. thank you so much. thank you very much. everything what i tell her, she's doing right away. i think if she works

on the sound, she will be really good violin player. i canjust give my very best. we will see how my future will go. i play the flute and i'm going to do a masterclass with one of the flautists in the vienna philharmonic, known all around the world. i love teaching. carrying on this tradition and giving it to young people is something that is very dear to my heart. karin really pushes the limits when it comes to flute, and she's such an inspiration for me because she's a strong woman and a brilliant flautist. such a great experience for me. let's go.

petra first plays the brahms no 4, the fourth movement. it's the last movement of the last symphony of brahms. one of my teachers always said about the solo that it's all about the highs and lows of a life in music. it's really challenging. it doesn't sound like it, but it really is. good. very nice. i think we can work a little bit on having more character, more suffering, also, because this actually is the lowest point of a 45—minute symphony. and how we do that is by really having a big climax here to the f sharp. once more, from the solo.

yes. and now to the b. now stay. yes, good. so we have this small building of the phrase, and then it's really like, "huh _ "i will never climb this mountain. "i don't have the strength." so really show us a little bit more of the... like big cry of despair. yes, at least. good. slowly relax. beautiful. don't hold back too much. we always think of brahms as very analytical. no, it's really emotional music. and the second thing is this change of colour in the beginning. i like imagining coming from freezing water into the hot tub.

so you really relax into your beautiful, warm sound. we work a lot with imagination when we talk about creating a sound. string players, they see more what they're doing. i have no idea, actually, what a student that is standing before me is doing in here. everyone can understand freezing water. you feel it in your body, and your mind and your body are really connected. yes, good. it's going into the right direction. so what else do we have? daphnis. yes, great. the second excerpt was daphnis et chloe by maurice ravel. it was written in 1912

for the ballet russe, actually, in paris. it's all about sensuality, seduction. and it's maybe his absolute masterwork. yes. very good. laughter. so you know what happens in the orchestra around you. yes. it's alwaysjust, bum, ding... bum, bum, ding. and usually the conductor does your tempo. the dangerous thing is to get slower and slower and slower. i was a lot slower. you were. yes, i know. yeah. i sometimes lose my pulse and my rhythm. and sometimes she conducted me

on the side so i could imagine what it would be like to play it in the whole orchestra. good. yes, that's a nice tempo. very good. but in a big hall, it might sound a bit...lost. i think we can have more projection by at the beginning, placing all of your weight on your back foot. mm—hm. and when you go up, you go...rum, so that you are really grounded on the first beat. mm—hm. yes. now, take your time and open here. what we naturally tend to do is moving with the music upwards. if i relax, my voice even changes. when i ground my feet into the floor and everything you can hear in the voice, you can hear in the flute playing. yes. so you want to do a change of colour here? yes, a little bit. no, don't do it a little bit. 0k! 0k. if you do it, do it with conviction. yes. yes, and now search for the next colour. where are we going? there?

0rthere? no, here. yes. you need to have all of your colour palette here. and you're like, "hmm, which one? "this? this? — no, no, idon't know..." and then you decide for the brightest colour you can find. yes. yes, beautiful. very good! brava. thank you. you're welcome. petra, she's soaking up all the information you give her. i feel really inspired, and i have a lot more energy. if you just get better every day, you will build up, build up, build up. and she's already at a stage where she can easily win an audition. i will try to take every opportunity that opens up to me, and we'll see.

i'm very happy that i have a masterclass with rainer honeck. it's the dream, i think, because like a little child, i played the violin, i listened to the vienna philharmonic. they're like the big ones you can't reach. it's a lot of pressure to play for someone like rainer honeck, so i'm going to be a little bit nervous. 0k. let's start. david is playing the mozart violin concerto no 4, kochel number 218. mozart composed it while he still lived in salzburg. it's one of the five violin concertos he wrote here.

it sounds quite easy, but to be relaxed and to sound also relaxed and easy, that's the most difficult thing, especially when you're nervous. very good. it's a nice, nice sound. i would suggest to play it more with dynamic differences. especially the beginning. it's a trumpet, eh? dum, dum, dum, dum, duuum, dum, dum. dum, dum—dum—dum—dum, dum—dum—dum—dum, dum—dum—dum—dum—dum—dum! it's really an entrance. very good. let's go on now from the fourth bar. there's piano, yeah? and the spirit of this dee—duh—dum, bum, bum, bum has to be much different to the beginning. very good. give a little sparkle to the...

he had joy, yeah? to compose it. yeah. look, mozart wrote dee—duh—dum, bum, bum, bum duh—dum. and then maybe another composer would have written da—dee—da, dum, bum, bum, bum, duh—dum. so play this variation more interestingly. when david started, everything was good. beautiful sound, except it was a little boring. so i tried to explain to him that mozart has to speak. you have to play a little bit more what he wanted to, er, express. like i said, with this variation, it could bring so much energy. so exaggerate, yeah? it's always good to play

for such a master of the violin, tojust hear it in a different way. take more bow. dee—da, da—da—da—da—da—da, dee. when you go to the top of the mountain, you have to have still energy. my teacher always told me, "you're not playing for yourself. "you have to project more for many people." in david's case, he played a little bit for himself. good. much better. go on. yeah. good. this part... there's a tension there, yeah? you need to exaggerate that. you have to be really aware that you do everything more and more piano, more forte. because you think, "i do it. i play it like this."

but on the outside, when you hear it, it's never like that. so he was right about that. much better. 0k. go on. yeah. so the end of the first solo part has to be more impressive. again, think of a tenor who is always dragging. yeah? dum, ahhhh, dee—ah, dee—ah, dum. but play in tempo. good. ok, i think everything is very nice. very nice sound. what you could still achieve is more to project for everybody what you want to see. but very beautiful. fit very well in our orchestra.

i was quite happy that he said the sound suits to the orchestra. it was, like, a very big compliment for me. he has a wonderful sound, so we are very happy that he is here. but he should have the energy, which is in his playing, actually, he should show it also. well, i enjoyed it. i'm on the right way, butjust with more confidence. they have so much knowledge and so many stories to tell, so it's really exciting to see what they have to tell us as young musicians. they really are here to help us. they were trying - to help us to be more ourselves in our playing. the more we play how we really want to play, the better it is. i

hello there. let's take a brief look now at the weather for the week ahead. so it's been dry for the last couple of days across much of england and wales, with plenty of blue sky and sunshine around. this was flintshire on friday, and for most of us, the sunshine is set to continue too on saturday. but it hasn't been sunny everywhere. there's been more cloud out towards the north and the west, with some outbreaks of patchy rain here, and it's a cloudy and milder start to the day on saturday morning underneath all of that cloud. whereas where we'll see the clear skies on saturday morning, then we're looking at temperatures dropping back to mid single figures. so locally a chilly start, but not quite as much mist around as on friday. and that's because there's a tighter squeeze on the isobars, the winds are stronger.

so on saturday, then, a low pressure out towards the west, just pushing this heavy, more persistent rain across northern ireland and northwestern scotland too. more cloud for eastern scotland. a little bit of patchy rain here, but for much of england and wales, it's dry, there's a lot of sunshine around, a brisk southerly to south easterly wind, particularly up through the irish sea coast, but temperatures again a little above the seasonal average for many — 1a to 18 celsius in the best of the sunshine. now, our weatherfronts will start to push a little further eastwards as we head into sunday, and there'll be plenty of cloud thrown ahead, so it's a much greyer day across the whole of the uk. there will be a lot of thickening cloud from the west and some outbreaks of patchy rain too. still a fresh southerly breeze blowing. there'll be heavier, more persistent rain moving into western wales and down through parts of devon and cornwall by the time we get to the afternoon. temperatures once again

1a to 17 celsius. we've still got that warm southerly wind direction. as we head into next week, the stage is set. it's going to be really quite unsettled. it will be wet and windy at times. a lot of uncertainty regarding the middle of the week too, and i'll come on to that in just a moment. but on sunday night, that front is going to roll further northwards and eastwards, bringing rain with it for many of us. behind it, low pressure dominant into the start of next week. more of a south—westerly wind and some showers. rain for northeastern areas of scotland. most of those showers across england and wales, so towards the south. but there could be a slice of perhaps northern england, southern scotland that does stay largely dry. temperatures again 1a to 18 celsius. it's more of the same on monday night and into tuesday. so low pressure, very much dominant. all of these showers swirling around. impossible to say exactly where the showers are likely to pop up, but this time there could be a little more frequent, perhaps across northern ireland and across northern england working their way up into scotland, whereas it could be a little drier further south. again, some spots could get as high

as 18 celsius, but we're looking out towards the atlantic to find our weather through the middle of the week. now, if we just break the timeline, this is hurricane kirk. it's out in the atlantic. it's working its way further northwards and eastwards towards the united kingdom and towards europe. this is one scenario that on wednesday into thursday, we'll see the ex—hurricane combined with ourjet stream and move across the uk, bringing very wet, very windy, very stormy conditions. but this is another solution here that the remnants of very heavy rain, the strong gusty winds will go over france and spain potentially. so a lot of uncertainty regarding the middle part of the week. it is likely to stay really quite unsettled. we will keep you informed, of course, and we could draw in more of a northerly wind as we head through saturday and sunday, making it feel really very cold indeed. bye—bye for now.

live from london. this is bbc news. more israeli strikes on beirut — people are warned to leave their homes while israel claims a mosque it targeted in southern lebanon contained a hezbollah command centre. at least four hospitals are now closed in lebanon because of the airstrikes — leaving a humanitarian situation worsening by the hour. hamas says one of its leaders was killed in an israeli strike in the lebanese city of tripoli. anti—war protesters are gathering in london, cape town and paris as the first anniversary of october 7th approaches. hello, i'm kasia.