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 because of all our great composers who shaped composers who shaped our sounds. our sounds. we had members who played we had members who played in the first performance in the first performance of beethoven's ninth symphony of beethoven's ninth symphony conducted by beethoven. conducted by beethoven.

so these people brought so these people brought the knowledge how beethoven the knowledge how beethoven wanted his music to be played wanted his music to be played into our orchestras. 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, john williams. john williams. and i think that shaped and i think that shaped our collective memory. our collective memory. today we have three today we have three since 183 years. of our academies here of our academies here to get a masterclass. to get a masterclass. two violinists, two violinists, one flute player. one flute player. our academy is a training our academy is a training program for young musicians program for young musicians to become excellent orchestral to become excellent orchestral musicians. musicians. being the academy being the academy for me is a great gift. for me is a great gift. i can rememberwatching, i can rememberwatching, i think, every new year'sl i think, every new year'sl concert to vienna philharmonic concert to vienna philharmonic my whole life _ you get so many opportunities my whole life _ you get so many opportunities to play with the orchestra to play with the orchestra and to rehearse with them. and to rehearse with them. to nurture young players, to nurture young players, this is our future. this is our future.

the orchestra is now 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. 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.

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... 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 because it's very dangerous to get lost in emotions. to get lost in emotions. it's always good to go to the basic. it's always good to go to the basic. what did tchaikovsky write? what did tchaikovsky write? ok, this is the problem ok, this is the problem that we... that we... dah—dum, ba—dah—dum, dah—dum, ba—dah—dum, ba—dah—dum... ba—dah—dum... it's so easy on piano it's so easy on piano or some other instrument. or some other instrument. but we have but we have difficulties with. .. ..light here, to heavy here. difficulties with. .. ..light here, to heavy here. so we have to really so we have to really even it out. even it out. mm—hm. mm—hm. 0k. 0k. sorry. sorry. no, it's very clear. no, it's very clear. it's good. it's good. but you play every note but you play every note

with much effort, and it's with much effort, and it's not very efficient. 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. we are members of the vienna philharmonic. today we have three of our academies here to get a masterclass. 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.

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. 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? orthere? no, here. yes. you need to have all of your colour palette here. and you're like, "hm, which one? "this? this? no, no, i don'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 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 beautiful sound, except it was a little boring. was a little boring. so i tried to explain to him so i tried to explain to him that mozart has to speak. that mozart has to speak. you have to play a little bit you have to play a little bit more what he wanted to express. more what he wanted to express. like i said, with this like i said, with this variation, it could variation, it could bring so much energy. bring so much energy. so exaggerate, yeah? so exaggerate, yeah? it's always good to play it's always good to play for such a master of for such a master of the violin, to just hear it the violin, to just hear it in a different way. in a different way. take more bow. take more bow. dee—da, da—da—da—da—da—da, dee. dee—da, da—da—da—da—da—da, dee. when you go to the top when you go to the top of the mountain, you have of the mountain, you have to have still energy. to have still energy. my teacher always my teacher always told me, "you're not told me, "you're not playing for yourself. playing for yourself. "you have to project "you have to project more for many people." more for many people." in david's case, he played in david's case, he played a little bit for himself. a little bit for himself. good. good. much better. much better.

go on. go on. yeah. yeah. good. this part... there's a tension there, yeah? you need to exaggerate that. 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 brunt of the snowfall as we head through daylight hours on sunday. through the first part of the morning, still some snow falling across high ground, north wales, the north midlands. could see 30cm in total for some higher ground here. at lower levels, perhaps turning back to sleet and rain in places, but that snow continuing to fall across northern england, remaining very cold here as we start the day. milder, you'll notice, down to the south west, 12 celsius there in plymouth. now, as we go through the day, where we have that mild air in the south, it will be rain that falls from the sky. quite windy, particularly around the coasts. some really heavy rain setting in once again across parts of wales through the afternoon. snow will continue to affect parts of northern england, particularly over higher ground, maybe more like rain at low levels. some snow into the eastern side of northern ireland, southern and eastern parts of scotland. staying very cold across the northern half of the uk, much milderfurther south, 12—13 celsius. as we head through sunday night, this whole weather system just swirls away eastward. some further snowfall likely across parts of southern scotland, northern england,

perhaps down into wales, and the midlands. on the back edge of that weather system, frequent snow showers pushing into some northern areas, another cold night. holding onto some milder conditions first thing on monday across the southeast corner. but, as this weather system swings away, it'll take rain with it. behind it, we will start to see some brighter skies developing out towards the west — albeit with a fair few wintry showers. and, with the winds coming down from the north, we will all be back into the cold air through monday afternoon. temperatures by 3pm on monday around 2—5 celsius across most parts of the uk. and, once that cold air sets in, it will be with us for quite some time — our area of low pressure swirling away eastwards, northerly winds, snow showers in that northerly flow. it may be that we see further weather systems pushing in from the south and west, giving some rain, sleet, and snow at times. but certainly a cold week ahead, and there will be

some wintry showers.

live from washington, this is bbc news. the coffin of the former us presidentjimmy carter has arrived in the capital of his home state of georgia, where people are paying their respects. members of the royal family send their condolences to the family of a british man killed in the new year's day attack in new orleans, where a vigil is being held to honour the 1a victims. the biden administration proposes another multibillion—dollar arms sale to israel, despite calls to suspend military backing over the number of civilians killed in gaza.

hello, i'm helena humphrey. the body of the late us presidentjimmy carter has arrived at his presidential library in georgia, as america begins six days of funeral ceremonies to pay respect to its 39th president, who died last week at the age of 100. the cortege carrying mr carter's coffin and members of his family made its first stop saturday at the georgia state capitol building in atlanta, where he served as governor during the 19705. the procession then carried on to the carter presidential center. mr carter's body will lie there in repose for the public to pay their respects over the next several days. but far from the sprawling streets of atlanta or the monuments of washington, where his funeral will take place on thursday, mr carter's finaljourney began in the same tiny georgia town where he was born — in plains.

our carl nasman is there.