voice-over: this is bbc news. we'll have the headlines for you at the top of the hour, which is straight after this programme. i'm yuja wang. i played the piano throughout the whole world. and today, i'm in london, in the royal college of music. go riot. you're too musical, like. too much, yes? no, it's nice. if you can play this more italian. brava! bravo! i'm here to share my passion for music with the next generation of amazing musicians. yuja wang's been a role model to me. she's got this unique energy.

she is this performer extraordinaire. - applause the first music i heard was swan lake by tchaikovsky. music plays but probably somewhere in america, the first thing they heard was eminem. in the end, it's the same thing that draws us into, say, rock and roll or prokofiev. it's the same primal energy. piano plays being a woman, i'm so annoyed when people are like, "how do you pedal with your high heels?" i try to ignore all that noise. who cares? in the end, it's not about me. it's about the music. i've always looked up to yuja wang as a musician. i really admire her flawless technical ability. when you watch her play,

you know exactly what she wants to say. and that always comes across. the communicative power that she has really sets her apart from her contemporaries. she engages audiences in these sort of sold—out halls across the world. i'm really excited to meet yuja wang in person. - nice to meet you. diana. it's always great to - get feedback from such an outstanding artist. do you ever sort of think about what audience you're playing for? i think about more like how is music relevant to their life? do you find that, like, alleviates the pressure of the performance because you're thinking more about bringing joy to them rather than... anything to alleviate that, right? do you get very nervous? um, i do, but i try not to overthink stuff onstage and just let the moment take over. i remember myself at,

i think, age nine. first time playing in a masterclass in the beijing conservatory of music. i know on the other i know on the other side how scary it is. side how scary it is. my name is thomas kelly, my name is thomas kelly, and i'm going to be performing and i'm going to be performing schubert's erlkonig, a song schubert's erlkonig, a song transcribed for piano by liszt. transcribed for piano by liszt. it's like a whole puccini opera it's like a whole puccini opera condensed into three minutes. condensed into three minutes. there's a son, there's there's a son, there's a father, and there's erlkonig. a father, and there's erlkonig. the child is sick, the child is sick, and the father is on a horse a challenging piece. and the father is on a horse trying to get to the doctor. trying to get to the doctor. and then the kid sees erlkonig. and then the kid sees erlkonig. it's not completely clear it's not completely clear whether this villain, whether this villain, the erlking, is actually real, the erlking, is actually real, or whether it is completely or whether it is completely the imagination of the child. the imagination of the child. the kid is like, "help me. the kid is like, "help me. "help me, father." "help me, father." and he's like, "oh, and he's like, "oh, just, just calm down." just, just calm down." i love it because it's i love it because it's so psychological.

this is such so psychological.

wow! bravo! how do you feel? you're dead? i've just been sort of coming to terms with this piece, bringing out the different characters. perfect. i do hear the different characters very clearly, but it has to be kind of, "here's a story." like, it's already very concerning, you know? um, do this legato. i thinkjust a sense of, like, "what's going to happen?" yeah. i love that. yuja hums along

you know, you can use a pedal. do—da—do—dum—dum. try it. um, so da—da—da—da—da—da—dum, off, dum—bum—bum, like. yeah. sh, really soft. the thing with the kid is, like, um, the kid is stressed because the father does not believe him. can i try? this is the kid. da—da—da. i think whenever the kid comes, it has to be much more anxious. nice. nice. i think i was playing i think i was playing it safe, a bit. it safe, a bit. i could exaggerate different i could exaggerate different

characters much more. characters much more. pizzicato. pizzicato. yuja sings along yuja sings along # come play with me... # # come play with me... # it was fine. it was fine. it's like kind it's like kind of almost comical. of almost comical. um, erlkonig, uh, um, erlkonig, uh, could be more perverse. could be more perverse. like, he's trying to like, he's trying to seduce a kid, right? seduce a kid, right? it's very seductive. it's very seductive. erlkonig is like, "come to me. "i have toys for you to play." "i have toys for you to play." nice. nice. piano volume increases piano volume increases nice! nice! and the end, i feel and the end, i feel like you're...you're doing like you're...you're doing this, but more like, this, but more like, da—da—da—da—da. da—da—da—da—da. like, really mean it, you know? like, really mean it, you know? see, when you do that, it's so loud. it's amazing.

have to do that all the time. it's marked triple forte. 0h, amazing. amazing, really, bravo!

thank you. thank you. i hope i didn't ruin i hope i didn't ruin what you can do. what you can do. i was really, really happy. i was really, really happy. like, especially when like, especially when he played so loud. he played so loud. i'm in london to share i'm in london to share my passion for music my passion for music i'm jeneba kanneh—mason. when i started, i was three i'm jeneba kanneh—mason. when i started, i was three years old, and i think years old, and i think it was because i had four older it was because i had four older siblings who were playing siblings who were playing around the house. i'm playing the second movement around the house. i'm playing the second movement of scriabin�*s sonata of scriabin�*s sonata no. 2. no. 2. alexander scriabin was a russian composer, alexander scriabin was a russian composer, and he was very influenced and he was very influenced by chopin's music. by chopin's music. the pieces are all the pieces are all very sensuous. as a kid, chopin is, very sensuous. as a kid, chopin is, you know, my initial love, you know, my initial love, and then scriabin is like a... and then scriabin is like a... 2.0 chopin. 2.0 chopin. hello. hello.

um, mm, ithink it's almost too comfortable. show a little bit of that, uh, almost like demented, devilish obsession. i think the secret is in the left hand. bum—bum—bum—bum—bum—bum—bum—bum —bum—bum—bum. much more like the dark side is coming out. what if every note is a crescendo? just... no pedal. wait, you're too musical, like... i think she wanted me to take more risks and just be even more extreme with the dynamics. nice! great.

this... um, yeah. it's basically, da—da—dee, right? yes. the use of dynamics is so varied and sudden and surprising. very nervous, right? yuja hums along totally different. maybe more, a little bit more left hand to just give a carpet. a little too much... pianissimo. yeah. take time. mm—hm. great. he has loads of moments which are very delicate and intimate... beautiful.

back. bipolar. ding—ding—ding. ..and then sudden moments of power and virtuosity. forte! yuja hums along much more. you know? this, if you can make it really long line. da—da—da—da—da—da—ba—da da—da—da—da—da—dum. ba—da—da—daaa. you know, like one thing, one idea? beautiful. yuja was encouraging me to see the piece as more of a whole. ooh, it's too loud. whatever you do here,

it mirrors in the left hand. yeah. can you make it even more special? much more contrast. yeah. that harmony. if you hear the harmony, the structure's much more clear in the whole. . .throughout the whole piece. yuja hums along then a little, like, pleading. my teacher always said,

"have the sound in your head "before you play, then when you play, the sound "is your direction." yeah. that's great. it's so beautiful. thank you very much. really inspiring. thank you. you're inspiring. i love that. she played pretty much flawlessly. so amazing. like, superflexible. my name is diana cooper, and i am playing chopin's andante spianato. chopin is one of the greatest composers from the 19th century. we can feel this boiling, tormented soul within him. the music of chopin really made me feel like i can tell a story. i can create colours. ican... you know, this is the canvas, i can do something with it.

there's lots of hills. it's the work that chopin composed at an early age. we can feel the freshness. the harmonies are so inventive and so forward—looking. it speaks to the human primal parts. beautiful.

if you can play this more italian... think of a, like, um, opera, bellini opera. think of, like, maria callas. more free. yeah, more free. beautiful. ok. the melodic line is so italian. keep the line. still sustaining. the right hand flows across the keyboard like an italian singer. beautiful. it's like you're singing, so i have to press it. deeee—da—dee—da. and then that's relief. da—dee—da—dee—da—dee—da. that's great. and then the... yuja hums notes yeah.

improvise it. more and more, you realise you can just decide on the spot how to bring the piece alive. too much? no, it's nice. we definitely know we're going to e minor. yeah. do you let yourself create...? on the spot a bit? yeah. i mean, great composers are all great improvisers, so pretend you're, like, making this up. yes, yes. it's so good to leave space for spontaneity and let the inspiration flow. what if this has... yuja hums notes ..more, um, glitter, more sparkly, like a splash of colour or brightness? yes. yeah. like david hockney.

beautiful. i love that. think of, like, a bird. you know that bird? what's that called? eagle. but very light. it's in one go. yes. yeah. disappears. she wanted me to play this part as light as possible, as if i was hardly touching the keys. beautiful. it's beautiful, ijust... can i try? of course. um. see, it sounds very childlike.

yes. very naive. innocent. yeah, naive. exactly. this is the more adult part. yuja hums notes and i'm back. if you start thinking of it as a mazurka, then you can start dancing a bit. a mazurka is one of the most polish dances you could think of and one of the main signatures of chopin. can you play one now? uh, mazurka. any one. perfect. sorry. yeah, yeah. and play this again. what if you, um... your body language also

suggests a bit, yeah. don't take time anywhere. just let it go. it's nice to always seek forfreshness, inspiration... beautiful. ..as if you were rewriting the piece. thank you so much. of course, that was so beautiful. it's been very inspiring. brava. she was very calm. she was very graceful. and the tone she was producing was just beautiful. i felt that it's so nice to be taught by someone who's such a seasoned performer. she's got such an electrifying energy. i thought it was

really inspiring. she had a very imaginative way of conveying her ideas. can i try? ithink... i was inspired by her- spontaneity and brilliance in technique. i learnt so much. i just went back and, like, wrote everything down, and i was like, "this is what i need to do." the love i have for classical music, there's no end to it. i hope there are people who are actually moved in the soul. not by me, but by the music... ..by what we can bring to the music.

hello there. well, finally some blue sky and some sunshine for many parts of england and wales through the day on saturday. and it was a beautiful end to the day — lots of red skies around, including here in gosport in hampshire with our approaching weather front. but it's that weather front that's introducing a lot more cloud as we head through sunday so it's not such a nice day of weather. there'll be a brisk westerly wind, many places will stay dry and the air is going to turn a lot milder. and that's because it's a warm front marked here, with the red circles gradually slipping southwards and eastwards for the rest of saturday night,

introducing that milder feeling air, marked here in yellow, squeezing the blue, colder air well out of the way. we're staying in that milder air for the next few days. and here it is on sunday morning. a lot of clouds, some coastal, some hill fog around, gales across the northern isles. and it's breezy with that brisk westerly wind further south too. heavy rain pushing into northwest scotland, but elsewhere largely dry away from these northern and western coasts. the best of any breaks in the cloud will be to the east of high ground, so eastern scotland, northeast england, eastern wales should see at least some brighter spells. temperatures will be mild, 12 to iii celsius and the best of any brightness. and it's just more of the same as we head through sunday night and into monday, the rain continues across northwest scotland. a few breaks in the cloud, perhaps further south with the strength of the breeze, but temperatures won't drop much below nine or ten celsius as we kick off the new working week. and if we just take a look at the pressure chart, then you can see that this rain is just set to continue across northwest scotland. there is a met office yellow weather warning in place

for heavy rain here. there could be some localised flooding because the rainfall totals will really start to rack up, particularly as we head through monday and into tuesday. and because of the snow melt, with that milder air, there could be some localised flooding, the rain gradually pushing across caithness and sutherland later on. a few more breaks in the cloud, i think further south on monday. it does stay breezy, but i think we'll stand the chance of seeing more sunshine across east anglia and parts of the east midlands in particular. as we head through monday and into tuesday we look out towards the southwest, it's turning really very wet and windy, with this deep area of low pressure starting to sweep through. the winds turn more southwesterly and it will be very blustery, unsettled as we head through the middle of the week, and then it all turns cooler with a northwesterly wind developing on thursday, so a drop in temperature again. bye— bye.

live from washington. this is bbc news. a week after the ousting of president assad, growing evidence of human rights abuses in syria under his regime. the south korean president vows to fight on, after parliament votes to impeach him over a failed attempt to impose martial law. protestors are back on the streets in georgia, after the parliament chooses a former footballer

with anti—western views as the country's new president. hello, i'm carl nasman, welcome to the programme. the extent of the human rights abuses committed by the regime of syria's ex—president, basharal—assad — is becoming clearer, nearly a week after he was overthrown. the bbc has visited a military base, bombed earlier this week by israel, which has revealed evidence of torture being carried out there. our middle east correspondent, lucy williamson, went to the base in damascus, and just to warn you her report contains details you may find distressing. the men who protected president assad have gone. the control room at mezzeh military air base scarred by the moment control slipped away, its abandoned assets now targets for israeli air strikes.

israel has been systematically destroying the military