talbot this is bbc news. we'll have the headlines and all the main news stories for you at the top of the hour, straight after this programme. 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. 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 now this happens from beethoven to brahms, bruckner, to brahms, bruckner, mahler, richard strauss, mahler, richard strauss, our collective memory. john williams. john williams. and i think that shaped 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. our 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

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. our 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. 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. 0k. i like very much your playing. i like very much your playing. you have to work on this juicy you have to work on this juicy sound, this very tight sound. sound, this very tight sound. you will have much more you will have much more power in your playing. power in your playing. 0k. on the sound, she will be 0k. thank you so much. thank you so much. thank you very much. thank you very much. everything what i tell her, everything what i tell her, she's doing right away. she's doing right away.

i think if she works 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. we are members of the vienna philharmonic. 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.

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. like big cry of despair. yes, at least. yes, at least. good. good. slowly relax. slowly relax. beautiful. beautiful. don't hold back too much. don't hold back too much. we always think of brahms we always think of brahms as very analytical. as very analytical. no, it's really no, it's really emotional music. emotional music. and the second thing and the second thing is this change of colour is this change of colour in the beginning. in the beginning. i like imagining coming i like imagining coming

from freezing water from freezing water into the hot tub. 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. =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

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

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. a weather front is approaching us, and that does mean a lot of cloud for many of us on sunday. quite a few showers too, some of them will be heavy, but i think early in the morning, if you're closer to the north sea coast, there'll be some sunshine. let's have a look at the satellite picture. here's the jet stream pushing the weather front towards us, and that weather front brought a spell of very wet weather saturday evening for cornwall and devon. but i want to talk about the next few days and highlight this feature here. this dartboard low coming out of the tropics — that's actually a hurricane which will transition into an extratropical weather system or a mid—latitude weather system. and look at it. if you eyeball it, it's ominously heading in our direction —

or is it? well, actually, there's a lot of uncertainty. it could go to the south of us, taking its very strong winds and rain. it could just about clip us. and it looks as though midweek we could see some potentially bad weather across the south of the uk. but it's still some days away and there's really a lot of uncertainty with this weather system. so keep track of the weather forecast. now, here's the here and now, or sunday morning, temperatures hovering around 10 degrees, so it's not too cold first thing. and rather a lot of cloud with this weather front sweeping off the atlantic, remember, pushed by that jet stream. a lot of showers through the morning and lunchtime across western areas, around the irish sea, into northern ireland. again, the further east you are, so closer to that north sea coast, the drier it will be. there might be some sunshine around. but i want to show you what's going to happen later on sunday afternoon and evening. the showers in the south really could be quite heavy, downpours moving through parts of wales, into the midlands and also through the peak district and into northern england, but clearing up towards the southwest later. now, monday, i think the gaps between the showers will be

bigger, but there'll still be plenty of showers around, so you'll need your brolly at some point or another, but at least we'll have the sunny spells. how about the temperatures on monday? at best, 17 in the sunshine. most of us around about 15 or 16 degrees. so, that's monday. how about the week ahead? well, we talked about that potentially bad weather coming to the south, but look at this. by the end of the week, we'll see colder northerly winds developing across the uk. and look at that temperature drop — in london from 18 down to 12, cardiff from 17 to 11 degrees. so there's a real chill in the air coming in about a week's time. bye— bye.

live from washington, this is bbc news. a huge explosion rocks the lebanese capital beirut, after the israeli military warns people in a southern suburb of the city to evacuate. this is the scene now live in beirut — where the clock has just hit 4am. and as i was saying... donald trump returns to the stage in butler, pennsylvania — where there was an attempt on his life injuly. and the democratic republic of the congo begins a vaccination campaign against the mpox virus that's killed nearly a thousand people this year hello, i'm carl nasman. we start in the middle east, where there have been

more israeli strikes in the lebanese capital, beirut.