Eight players were moved on to the semifinals, and the variety of "musical self-portraits" they had chosen for the second round was interesting: Aaron Akugbo (U.K.) and Marion Vezzosi (France) had opted for a set of orchestral excerpts from Mahler's 5th and 7th symphonies, Strauss' Alpine Symphony, Bach's Christmas Oratorio, Mussorgsky's and Ravel's Pictures at an Exhibition, Stravinsky's Petrushka, Respighi's Pines of Rome and Verdi's Othello. The valveless Baroque trumpet in D at A=415 Hz was the vehicle for both Maximilian Morel (France) in Telemann's four-movement concerto and Andreu Vidal (Spain) in Torelli's Étienne Roger Concerto. Matilda Lloyd (U.K.) had chosen Sarabande et Finale by Raymond Gallois-Montbrun, and Philippe Préponiot (France) interpreted Hans-Werner Henze's Sonatina for unaccompanied trumpet. Two contestants presented compositions of their own: Emilia Suchlich (Germany) performed her Schön absurd (Pretty absurd), a witty patchwork of orchestral excerpts arranged for a dancing trumpeter and an (obviously stationary) double-bass player, both of whom doubled as singers, whereas Nicolas Chatenet (France) played his monumental composition Electronic Pressure for trumpet and pre-recorded tape. Other contestants had performed folk or popular music from their respective countries. The range of styles was very impressive. Playing all optional works from memory was compulsory.
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