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This programme contains some stong language and some scenes of a sexual nature | 0:00:02 | 0:00:08 | |
WOMAN COUGHS SOFTLY | 0:00:20 | 0:00:22 | |
DOOR OPENS | 0:00:22 | 0:00:24 | |
FOOTSTEPS ECHOING | 0:00:24 | 0:00:27 | |
LOUD APPLAUSE | 0:00:29 | 0:00:32 | |
SLOW, SOMBRE ORCHESTRAL OVERTURE PLAYS | 0:01:07 | 0:01:11 | |
LATCHES CLICK | 0:01:15 | 0:01:16 | |
PLAYING SLOW, MELANCHOLY MELODY | 0:02:07 | 0:02:10 | |
"Time present and time past | 0:02:18 | 0:02:21 | |
"Are both perhaps present in time future, | 0:02:21 | 0:02:24 | |
"And time future contained in time past. | 0:02:24 | 0:02:28 | |
"If all time is eternally present | 0:02:28 | 0:02:31 | |
"All time is unredeemable. | 0:02:31 | 0:02:34 | |
"Or say that the end precedes the beginning, | 0:02:34 | 0:02:37 | |
"And the end and the beginning were always there | 0:02:37 | 0:02:40 | |
"Before the beginning and after the end. | 0:02:40 | 0:02:42 | |
"And all is always now." | 0:02:42 | 0:02:46 | |
That's TS Eliot, his take on Beethoven's late quartets. | 0:02:47 | 0:02:53 | |
Today, we think about what Eliot might have meant. | 0:02:53 | 0:02:56 | |
We begin with Beethoven's Opus 131, said to be his personal favourite. | 0:02:56 | 0:03:02 | |
It has seven movements, at a time when the standard was four. | 0:03:02 | 0:03:06 | |
'And they're all connected. | 0:03:06 | 0:03:08 | |
'You're not allowed to stop between movements. | 0:03:08 | 0:03:10 | |
'No resting, no tuning.' | 0:03:10 | 0:03:13 | |
Beethoven insisted it be played attacca, without pause. | 0:03:13 | 0:03:17 | |
'Was he maybe trying to point out some cohesion, some unity between...' | 0:03:17 | 0:03:22 | |
Excuse me. | 0:03:22 | 0:03:23 | |
'..the random acts of life?' | 0:03:23 | 0:03:24 | |
Or being deaf, alone, and sensing the end, | 0:03:24 | 0:03:28 | |
he might have felt he had no time, to pause, to take a breath. | 0:03:28 | 0:03:33 | |
For us, it means that playing for so long without pause, | 0:03:34 | 0:03:38 | |
our instruments must in time go out of tune, | 0:03:38 | 0:03:41 | |
each in its own quite different way. | 0:03:41 | 0:03:43 | |
It's a mess. | 0:03:43 | 0:03:44 | |
What are we supposed to do, stop? | 0:03:45 | 0:03:47 | |
Or, struggle, to continuously adjust to each other up to the end, | 0:03:47 | 0:03:52 | |
even if we are out of tune? | 0:03:52 | 0:03:54 | |
I don't know. | 0:03:57 | 0:03:59 | |
Let's find out. | 0:03:59 | 0:04:01 | |
PHONE RINGING | 0:04:03 | 0:04:05 | |
That was quick. | 0:04:13 | 0:04:15 | |
WOMAN SPEAKING INDISTINCTLY OVER PHONE | 0:04:15 | 0:04:18 | |
HE CHUCKLES CLICKS MOUSE | 0:04:18 | 0:04:20 | |
All right, hold on a sec. | 0:04:20 | 0:04:21 | |
Hong Kong on the second and fourth. | 0:04:24 | 0:04:26 | |
Shanghai on the 13th. | 0:04:27 | 0:04:30 | |
Let me double-check with everybody first. | 0:04:32 | 0:04:34 | |
Toast, if I may. | 0:04:36 | 0:04:38 | |
I've missed you this pre-season break. | 0:04:38 | 0:04:42 | |
The past year has been difficult, as you know. | 0:04:42 | 0:04:45 | |
Miriam would have been here with us today, celebrating... | 0:04:46 | 0:04:49 | |
Peter, she's always here. | 0:04:49 | 0:04:50 | |
It's a year in three weeks. | 0:04:50 | 0:04:53 | |
But the music, the quartet, us together have gotten me through it, | 0:04:53 | 0:04:59 | |
and I need to thank you and tip a glass to our... Can it be 25 seasons together? | 0:04:59 | 0:05:05 | |
To the Fugue. To the Fugue. | 0:05:05 | 0:05:07 | |
The Fugue. | 0:05:07 | 0:05:08 | |
Alexandra tells me your class really rocks. | 0:05:11 | 0:05:13 | |
Really? When did you speak with her? | 0:05:13 | 0:05:15 | |
This afternoon. | 0:05:15 | 0:05:16 | |
She's very good. Advanced, quick. | 0:05:16 | 0:05:19 | |
You should be pleased. That's my girl. | 0:05:19 | 0:05:20 | |
She really hardly ever plays for us anymore. | 0:05:20 | 0:05:23 | |
Let's hope she does now that she's back from Curtis. | 0:05:23 | 0:05:25 | |
But to be first violin... | 0:05:25 | 0:05:27 | |
..she needs particular, careful coaching. | 0:05:28 | 0:05:31 | |
In fact, Daniel, I wonder if you'd give her a listen. | 0:05:31 | 0:05:36 | |
Tell her what you think, encourage. | 0:05:36 | 0:05:38 | |
I'll give her a listen. If you want to. | 0:05:38 | 0:05:41 | |
Sure, that'd be great. | 0:05:41 | 0:05:43 | |
Shall we? All right, yes. Ready? | 0:05:43 | 0:05:45 | |
You know, maybe this is the season we play the Beethoven cycle... | 0:05:45 | 0:05:49 | |
by heart. | 0:05:49 | 0:05:50 | |
I've always liked that idea. I still think it's a gimmick. | 0:05:50 | 0:05:54 | |
I think playing the cycle without these endless markings | 0:05:54 | 0:05:56 | |
would be exciting and a worthwhile risk. | 0:05:56 | 0:05:58 | |
A risk? | 0:05:58 | 0:06:00 | |
A risk. | 0:06:00 | 0:06:02 | |
We're in the casino business now, Robert? | 0:06:02 | 0:06:04 | |
These, these markings represent layers of thought. | 0:06:05 | 0:06:08 | |
I tend to agree with Daniel. | 0:06:09 | 0:06:10 | |
Tie goes to the conservatives, I guess. | 0:06:13 | 0:06:15 | |
TUNING INSTRUMENTS | 0:06:15 | 0:06:18 | |
PLAYING SLOW, MELANCHOLY MELODY | 0:06:32 | 0:06:34 | |
OTHERS STOP PLAYING | 0:07:26 | 0:07:28 | |
Our vibrato doesn't match. | 0:07:28 | 0:07:30 | |
I must be on vacation time still. | 0:07:30 | 0:07:32 | |
CHUCKLES | 0:07:32 | 0:07:33 | |
From the top, once more please. OK. | 0:07:34 | 0:07:37 | |
Let's do it from, from Juliette. Sure. | 0:07:37 | 0:07:39 | |
MELANCHOLY MELODY RESUMES | 0:07:43 | 0:07:44 | |
MUSIC STOPS | 0:08:05 | 0:08:07 | |
I'm sorry, my mind's wandering. It's the cello. | 0:08:07 | 0:08:11 | |
Sorry, guys. I'm not myself. Maybe a day or two, get my hands back. | 0:08:11 | 0:08:16 | |
That's all right. Sure. | 0:08:16 | 0:08:18 | |
Let's reschedule? | 0:08:18 | 0:08:19 | |
Reschedule. Next Tuesday. | 0:08:19 | 0:08:21 | |
You all right, Peter? | 0:08:21 | 0:08:23 | |
Sure. It's just...strange. | 0:08:23 | 0:08:27 | |
Put your hands out like this. | 0:08:31 | 0:08:34 | |
INDISTINCT ANNOUNCEMENTS OVER PA | 0:08:34 | 0:08:36 | |
OK. Now close the right fist, and open it. | 0:08:38 | 0:08:43 | |
Left fist. Open it. | 0:08:43 | 0:08:46 | |
Now do it fast. | 0:08:46 | 0:08:48 | |
Open, shut. Open, shut. | 0:08:48 | 0:08:50 | |
All right. | 0:08:53 | 0:08:54 | |
OK. Now, just stand. | 0:08:58 | 0:09:01 | |
Now walk to the end of the room, | 0:09:09 | 0:09:12 | |
to the door, and then walk back, naturally, towards me. | 0:09:12 | 0:09:15 | |
OK. | 0:09:25 | 0:09:27 | |
OK. I think we should get a blood sample, | 0:09:35 | 0:09:40 | |
and arrange for a MRI. | 0:09:40 | 0:09:42 | |
Why don't we meet in a week when we should have all the results? | 0:09:42 | 0:09:46 | |
MRI? Is there something I should know. | 0:09:46 | 0:09:49 | |
I think we should run the test first. | 0:09:50 | 0:09:53 | |
You could tell me what you think, even if you're not certain. | 0:09:53 | 0:09:56 | |
It's OK. We've known each other a long time. | 0:09:57 | 0:10:00 | |
Well? | 0:10:03 | 0:10:05 | |
Well, based on the examination that we just ran, | 0:10:07 | 0:10:11 | |
and the complaints you've described to me, | 0:10:11 | 0:10:14 | |
it's my opinion that you are experiencing | 0:10:14 | 0:10:18 | |
the early symptoms of Parkinson's. | 0:10:18 | 0:10:20 | |
Well, you know... | 0:10:23 | 0:10:26 | |
From this, from what we just did, you can tell that? | 0:10:26 | 0:10:29 | |
Yes. I'm afraid I can. Parkinson's? | 0:10:29 | 0:10:32 | |
But we should still run the blood test and have the MRI, | 0:10:32 | 0:10:36 | |
just to rule out any more adverse possibilities. | 0:10:36 | 0:10:40 | |
Wow. | 0:10:46 | 0:10:47 | |
KETTLE WHISTLING | 0:10:50 | 0:10:52 | |
LIVELY, ANIMATED STRING QUARTET MUSIC PLAYING | 0:10:53 | 0:10:56 | |
PLAYFULLY: The aroma... | 0:11:18 | 0:11:20 | |
WHISPERS: Wake up. | 0:11:29 | 0:11:30 | |
I'll make it worth your while. | 0:11:32 | 0:11:33 | |
MUMBLING | 0:11:33 | 0:11:35 | |
What about if I talked in a really bad French accent? | 0:11:36 | 0:11:39 | |
Oui oui? | 0:11:39 | 0:11:42 | |
Please, I'm not... Lover? | 0:11:42 | 0:11:44 | |
Robert. Robert, please. I'm really... I'm not... | 0:11:44 | 0:11:48 | |
I'm really not in the mood. | 0:11:48 | 0:11:50 | |
PLAYING SLOW, MELANCHOLY MELODY | 0:11:58 | 0:12:02 | |
OK. It's an adagio, right? | 0:12:04 | 0:12:07 | |
Slower, please. | 0:12:07 | 0:12:09 | |
VOCALIZING MELODY | 0:12:17 | 0:12:21 | |
The bow goes into the string and out. | 0:12:21 | 0:12:23 | |
You have to feel the resistance, then the release afterwards. | 0:12:23 | 0:12:26 | |
That's what I'm trying to do. | 0:12:26 | 0:12:28 | |
Without intention. What do you mean without intention? | 0:12:28 | 0:12:31 | |
This fugue is a tremendous... it's an emotional upheaval, | 0:12:31 | 0:12:34 | |
and I don't hear it. | 0:12:34 | 0:12:36 | |
The colour must be dark, always. Again. | 0:12:36 | 0:12:39 | |
Vibrato. From the first note. | 0:12:44 | 0:12:45 | |
Mm-hm. | 0:12:45 | 0:12:47 | |
It's a prayer, Alexandra. | 0:12:53 | 0:12:56 | |
Can you let me play one bar? | 0:12:56 | 0:12:58 | |
I don't think you're ready for this piece. | 0:13:00 | 0:13:02 | |
In class, everybody was very happy with my performance. | 0:13:02 | 0:13:05 | |
That's fantastic. | 0:13:05 | 0:13:06 | |
Peter was too. | 0:13:06 | 0:13:07 | |
Why does he open with a slow fugue? Beethoven, that is. | 0:13:07 | 0:13:11 | |
I don't know. | 0:13:11 | 0:13:12 | |
If you insist on tackling the 131 prematurely, | 0:13:12 | 0:13:16 | |
at least read his biography first. Right? | 0:13:16 | 0:13:19 | |
Try to get into his mind. | 0:13:19 | 0:13:21 | |
Did you know his father used to wake him up in the middle of the night | 0:13:24 | 0:13:26 | |
to play for his drunken cronies? | 0:13:26 | 0:13:28 | |
Imagine the mark that leaves on you. May I? | 0:13:30 | 0:13:34 | |
I... | 0:13:35 | 0:13:36 | |
PLAYING BRIGHT, LYRICAL MELODY | 0:13:40 | 0:13:44 | |
Pilar. | 0:13:57 | 0:13:58 | |
Hello, Robert. | 0:13:59 | 0:14:01 | |
Long time no see. Yeah. | 0:14:01 | 0:14:03 | |
What've you been up to? | 0:14:03 | 0:14:04 | |
Practising for my new show, remember? We start Thursday. | 0:14:04 | 0:14:08 | |
You've got to come this time. I'll put your name on the guest list. | 0:14:08 | 0:14:11 | |
OK. | 0:14:11 | 0:14:13 | |
I loved the Bartok quartet you recommended. | 0:14:13 | 0:14:16 | |
The Fifth? Explosive. | 0:14:16 | 0:14:19 | |
Hold on, hold on a second. | 0:14:19 | 0:14:21 | |
You liked it? Yeah. | 0:14:21 | 0:14:23 | |
I could choreograph a piece to it. | 0:14:23 | 0:14:25 | |
The next step is the... Shostakovich cycle. | 0:14:26 | 0:14:30 | |
You up for it? Yeah. | 0:14:32 | 0:14:33 | |
It's all on here. | 0:14:35 | 0:14:37 | |
Listen to it while you run. | 0:14:38 | 0:14:40 | |
What are you playing on this one? | 0:14:40 | 0:14:43 | |
Second violin. Always, that's my part. | 0:14:43 | 0:14:47 | |
Always? | 0:14:47 | 0:14:48 | |
Yeah. Well, without me they'd be a lonely, frustrated trio. | 0:14:48 | 0:14:51 | |
Seriously, the second and first violin aren't hierarchical, | 0:14:53 | 0:14:56 | |
they're just different roles. | 0:14:56 | 0:14:58 | |
Different how? | 0:14:58 | 0:15:00 | |
Well, sometimes I get the melody, sometimes the bass line. | 0:15:00 | 0:15:05 | |
Uh... | 0:15:07 | 0:15:08 | |
I connect the first violin, which tends to be the soloist's part, | 0:15:08 | 0:15:12 | |
with the viola and cello, | 0:15:12 | 0:15:15 | |
which just flow... right underneath the surface. | 0:15:15 | 0:15:19 | |
Simply put, I pull it all together. That's my job. | 0:15:19 | 0:15:24 | |
Sounds important, but still... | 0:15:24 | 0:15:27 | |
Don't you have the urge to play the solo part once in a while? | 0:15:27 | 0:15:30 | |
Yeah. Of course. | 0:15:31 | 0:15:35 | |
So? Why don't you do something about it? | 0:15:35 | 0:15:38 | |
Hm? | 0:15:40 | 0:15:41 | |
Well, I was going to do something about it, but then, last year, uh... | 0:15:42 | 0:15:46 | |
It just wasn't the right time, so... | 0:15:48 | 0:15:51 | |
I know that feeling. | 0:15:51 | 0:15:52 | |
My mother says, "it's never the right time, | 0:15:52 | 0:15:54 | |
"and therefore it's always the right time," Robert. | 0:15:54 | 0:15:58 | |
Your mother. God bless her. Yeah. | 0:15:58 | 0:16:02 | |
Let's go, come on. | 0:16:02 | 0:16:03 | |
MEDIUM TEMPO, WARM STRING QUARTET MUSIC PLAYING | 0:16:03 | 0:16:07 | |
VOICES MURMURING | 0:16:18 | 0:16:20 | |
CHUCKLING, CHATTERING | 0:16:22 | 0:16:24 | |
MUSIC FADES | 0:16:38 | 0:16:39 | |
I spoke with Dr Nadir. This difficulty I've been having... | 0:16:39 | 0:16:43 | |
Parkinson's, she says, early stages, maybe. | 0:16:43 | 0:16:47 | |
Parkinson's? | 0:16:51 | 0:16:53 | |
Yes, my brain is running out of something. | 0:16:53 | 0:16:55 | |
Dopamine. It regulates movement. | 0:16:55 | 0:16:57 | |
Is it painful? | 0:16:57 | 0:16:59 | |
Not at all, and the even better part is, there is medication. | 0:16:59 | 0:17:03 | |
It replaces this dopamine. | 0:17:03 | 0:17:05 | |
It's not a cure, but it can slow the progress. | 0:17:05 | 0:17:08 | |
That's encouraging. | 0:17:08 | 0:17:10 | |
However, playing for much longer is not in the cards for me. | 0:17:10 | 0:17:14 | |
What if the drugs work? | 0:17:16 | 0:17:17 | |
I need to be real about this. | 0:17:17 | 0:17:20 | |
Deal with it. Name it. | 0:17:20 | 0:17:22 | |
The doctor says it might give me a season, could be two. | 0:17:23 | 0:17:26 | |
But I've made up my mind | 0:17:26 | 0:17:30 | |
that it's best for the quartet to plan ahead, | 0:17:30 | 0:17:33 | |
to think about what comes next. | 0:17:33 | 0:17:35 | |
I think Nina Lee should replace me. | 0:17:35 | 0:17:39 | |
She's a wonderful cellist, we all like her. | 0:17:39 | 0:17:40 | |
She's the one. Everybody OK with that? Daniel? | 0:17:40 | 0:17:43 | |
Nina... She's playing with Gideon still, right? | 0:17:43 | 0:17:47 | |
No, I'm not OK with this. We shouldn't be discussing this right now. | 0:17:47 | 0:17:50 | |
It's not the time. I agree. | 0:17:50 | 0:17:52 | |
One thing more - if this drug works | 0:17:52 | 0:17:55 | |
and I am able to play well enough by then, | 0:17:55 | 0:17:58 | |
I'd like the season's first concert to be my farewell. | 0:17:58 | 0:18:02 | |
It's just... | 0:18:39 | 0:18:42 | |
You know, if we do end up taking on a new cellist, | 0:18:42 | 0:18:45 | |
if that's what we decide... | 0:18:45 | 0:18:47 | |
..I think it'll feel like a beginning. | 0:18:50 | 0:18:53 | |
We'll have a new sound. | 0:18:53 | 0:18:54 | |
If that happens... | 0:18:58 | 0:18:59 | |
..I don't want to play second violin exclusively anymore. | 0:19:01 | 0:19:04 | |
OK. So what exactly do you have in mind, may I ask? | 0:19:09 | 0:19:14 | |
That you and I alternate between the two chairs. | 0:19:16 | 0:19:20 | |
It doesn't have to be an even split at first, | 0:19:20 | 0:19:22 | |
but eventually on each piece, I think we could decide | 0:19:22 | 0:19:25 | |
who plays first violin and who plays second. | 0:19:25 | 0:19:28 | |
Oh, my God, I cannot believe this is happening. | 0:19:28 | 0:19:30 | |
What a terrible idea, Robert. | 0:19:35 | 0:19:37 | |
It's a terrible idea. | 0:19:38 | 0:19:40 | |
It's not a terrible idea. Yes, it is. | 0:19:40 | 0:19:42 | |
And you know what? The timing... it just couldn't be worse. | 0:19:42 | 0:19:46 | |
Peter says you're ready for a new violin. | 0:20:33 | 0:20:36 | |
He did? | 0:20:37 | 0:20:39 | |
Start looking for one. | 0:20:39 | 0:20:41 | |
Your mom and I will check it out for you. | 0:20:41 | 0:20:43 | |
Aw, man, Peter's so awesome. | 0:20:44 | 0:20:47 | |
You know he cancelled tomorrow's coaching class? | 0:20:47 | 0:20:50 | |
Do you know how he's doing? | 0:20:50 | 0:20:52 | |
All in all, he's taking it surprisingly well. | 0:20:53 | 0:20:56 | |
It's your mother I'm worried about. | 0:20:56 | 0:20:58 | |
Oh, God. It's like she's the one with the Parkinson's. | 0:20:58 | 0:21:02 | |
Don't be so hard on her. | 0:21:02 | 0:21:04 | |
She's upset. Why don't you give her a break? | 0:21:04 | 0:21:07 | |
Whatever. | 0:21:07 | 0:21:09 | |
How's Mr Perfection coping with the situation? | 0:21:09 | 0:21:12 | |
He's helping Peter look for a new cellist. | 0:21:12 | 0:21:16 | |
Ooh. He has no heart. | 0:21:16 | 0:21:19 | |
Oh, he's got plenty. He just reserves it for the violin. | 0:21:19 | 0:21:23 | |
Well, I don't think I'm going to keep taking these classes with him. | 0:21:24 | 0:21:27 | |
Why not? | 0:21:30 | 0:21:31 | |
Because he sent me home after ten minutes | 0:21:31 | 0:21:33 | |
in order to read Beethoven's biography, | 0:21:33 | 0:21:36 | |
so I could connect to his misery before I dare attempt the Opus 131. | 0:21:36 | 0:21:42 | |
He might have a point, though. | 0:21:42 | 0:21:43 | |
Did Peter ever tell you about Schubert's last musical request? | 0:21:43 | 0:21:48 | |
Yeah, how...he only wanted to hear Beethoven's Opus 131, | 0:21:48 | 0:21:54 | |
and they played it for him, like, five days before he died. | 0:21:54 | 0:21:57 | |
Right. Here's what I do. | 0:21:57 | 0:21:59 | |
Before we play the piece, I imagine our quartet, | 0:22:00 | 0:22:05 | |
surrounding Schubert on his deathbed, | 0:22:05 | 0:22:08 | |
about to play for him the last music he'll hear on earth. | 0:22:08 | 0:22:12 | |
Bow Bridge. | 0:22:21 | 0:22:22 | |
I don't think I've been here | 0:22:24 | 0:22:25 | |
since the first time I came to this country. | 0:22:25 | 0:22:27 | |
Hm. | 0:22:27 | 0:22:29 | |
Juilliard years. | 0:22:29 | 0:22:31 | |
Juilliard. | 0:22:32 | 0:22:33 | |
Do you remember why we picked this as our meeting place? | 0:22:35 | 0:22:37 | |
Um... | 0:22:37 | 0:22:39 | |
No. Darwin. | 0:22:39 | 0:22:41 | |
Darwin. | 0:22:41 | 0:22:42 | |
You were so into Darwin. Everything was natural selection. | 0:22:42 | 0:22:47 | |
Yep. | 0:22:47 | 0:22:48 | |
In that respect, things haven't changed much. | 0:22:48 | 0:22:50 | |
Really? Yep. | 0:22:50 | 0:22:53 | |
The old man is ill, the old man is out. | 0:22:53 | 0:22:55 | |
SIGHS | 0:22:57 | 0:22:59 | |
Any news about the medication? | 0:23:01 | 0:23:04 | |
It hasn't had much effect yet, but it's still...it's still early. | 0:23:04 | 0:23:08 | |
Let's hope it's quick enough for the concert. | 0:23:10 | 0:23:11 | |
If he's well enough to play the concert, | 0:23:11 | 0:23:14 | |
then he should be able to finish the rest of the season with us, Daniel. | 0:23:14 | 0:23:17 | |
Why not respect his wish, Jules? | 0:23:17 | 0:23:20 | |
Because I don't believe it is his wish. | 0:23:20 | 0:23:22 | |
He's overwhelmed right now. | 0:23:22 | 0:23:25 | |
Imagine how devastating this has been for him. | 0:23:25 | 0:23:27 | |
First Miriam and now this. | 0:23:27 | 0:23:30 | |
We have to give him time to adjust. | 0:23:31 | 0:23:34 | |
What do we do about Robert? | 0:23:34 | 0:23:36 | |
What about Robert? | 0:23:37 | 0:23:38 | |
Alternating chairs Robert? | 0:23:38 | 0:23:42 | |
You should talk to him about that. | 0:23:42 | 0:23:43 | |
I doubt me talking to him would help. | 0:23:43 | 0:23:46 | |
It will completely alter our sound, Jules, you understand that. | 0:23:48 | 0:23:50 | |
That's also true if we replace Peter with another cellist. | 0:23:50 | 0:23:54 | |
Not if it's Nina, no. | 0:23:54 | 0:23:57 | |
She subbed for Peter very well last year. She's very compatible. | 0:23:57 | 0:24:01 | |
Would you please talk to him? | 0:24:03 | 0:24:05 | |
Anyway, if Peter quits, I may not continue. | 0:24:07 | 0:24:11 | |
All right. | 0:24:17 | 0:24:18 | |
I talk to Peter, you talk to Robert. | 0:24:20 | 0:24:23 | |
You know, I didn't expect to feel this, | 0:24:32 | 0:24:34 | |
but it turns out, I love being our age. | 0:24:34 | 0:24:39 | |
I just love not having to prove anything to anybody. | 0:24:39 | 0:24:43 | |
It's just great to go on stage, sit down and play music. | 0:24:43 | 0:24:48 | |
You know, in Munich, after our concert, | 0:24:48 | 0:24:52 | |
the audience was applauding and Nina whispered to me, "That was fun!" | 0:24:52 | 0:24:56 | |
Ah. | 0:24:56 | 0:24:58 | |
Can you imagine Nina? "That was fun!" | 0:24:58 | 0:25:01 | |
You really taught her well, and I am very, very grateful to you. | 0:25:01 | 0:25:07 | |
Gideon, I need to ask a big, serious favour. | 0:25:07 | 0:25:10 | |
Well, for you, anything. | 0:25:10 | 0:25:12 | |
I've made up my mind to stop performing, | 0:25:16 | 0:25:18 | |
and my choice to replace me at the Fugue would be Nina. | 0:25:18 | 0:25:21 | |
Nina? From my trio? Your Nina. | 0:25:23 | 0:25:26 | |
She's the one who can do it. | 0:25:26 | 0:25:28 | |
She knows our repertoire, | 0:25:28 | 0:25:30 | |
the quartet likes her, personally, creatively. | 0:25:30 | 0:25:33 | |
We need her. | 0:25:34 | 0:25:36 | |
If she'll agree, of course. | 0:25:36 | 0:25:38 | |
Peter that would be a big mistake. | 0:25:40 | 0:25:44 | |
Don't retire! | 0:25:44 | 0:25:46 | |
I promise you, you are going to get a second wind, | 0:25:46 | 0:25:50 | |
and it could be the nicest part of your entire life. | 0:25:50 | 0:25:54 | |
I mean, and you certainly can't ask me to give up Nina. | 0:25:54 | 0:26:00 | |
I mean, she's become an integral part of the trio, I could never replace her. | 0:26:00 | 0:26:05 | |
Gideon, there's no comparing. It's easier to replace for a piano trio. | 0:26:05 | 0:26:08 | |
There are cellists who could take her place, I can help you find one. | 0:26:08 | 0:26:11 | |
To my mind, the Fugue without Nina might not survive. | 0:26:13 | 0:26:17 | |
It's that serious. | 0:26:18 | 0:26:20 | |
I understand what you're saying, but I can't do that. | 0:26:30 | 0:26:33 | |
I can't give her up. | 0:26:34 | 0:26:36 | |
I'm going to begin by talking about some general principles | 0:26:40 | 0:26:43 | |
that involve Parkinson's. | 0:26:43 | 0:26:46 | |
One of them is that everything gets smaller. | 0:26:46 | 0:26:49 | |
Our posture gets smaller, our stride gets smaller, | 0:26:49 | 0:26:54 | |
our voice gets smaller, even our handwriting gets small. | 0:26:54 | 0:26:58 | |
Everything contracts and closes in. | 0:26:58 | 0:27:01 | |
So we need to push those boundaries out. | 0:27:01 | 0:27:03 | |
We need to move big, so that we can take control of Parkinson's, | 0:27:03 | 0:27:08 | |
rather than it taking control of us. | 0:27:08 | 0:27:10 | |
And to do that, we use conscious movement. | 0:27:10 | 0:27:14 | |
So, let's just start by stretching the arms out, | 0:27:14 | 0:27:19 | |
and bringing them up and bringing them down, | 0:27:19 | 0:27:24 | |
and bringing them up and out. | 0:27:24 | 0:27:27 | |
And we're going to go front and side. | 0:27:27 | 0:27:31 | |
And up and down. Good job. | 0:27:31 | 0:27:35 | |
And front, and stretch side. | 0:27:35 | 0:27:38 | |
And up and down. | 0:27:38 | 0:27:42 | |
PLAYING SLOW, LUSH MELODY | 0:27:42 | 0:27:45 | |
Nice. | 0:28:09 | 0:28:11 | |
My father gave me a tip. | 0:28:11 | 0:28:14 | |
Sounds like a good one. | 0:28:14 | 0:28:16 | |
It was a good one. You should take a tip from him yourself. | 0:28:16 | 0:28:19 | |
Yeah? Like what? | 0:28:19 | 0:28:21 | |
He could teach you to be a little less... | 0:28:21 | 0:28:23 | |
..anal. | 0:28:26 | 0:28:28 | |
That's funny. | 0:28:31 | 0:28:33 | |
OK... Frankly, I don't think you need my help anymore. | 0:28:34 | 0:28:39 | |
And don't worry, I'll call Peter, tell him something. | 0:28:39 | 0:28:42 | |
Come on, Daniel, I was... I was kidding. I didn't mean it like that. | 0:28:42 | 0:28:45 | |
Of course you did. Just testing the extent of your power, it's fine. | 0:28:45 | 0:28:49 | |
The extent of my power? Could you illuminate me, please? | 0:28:49 | 0:28:54 | |
Actually, it's more of a desperate need for attention. | 0:28:54 | 0:28:57 | |
I would suggest you focus on the music. | 0:28:57 | 0:28:59 | |
Focus on the music? | 0:29:02 | 0:29:03 | |
METRONOME CLICKING | 0:29:06 | 0:29:08 | |
Is that all? | 0:29:08 | 0:29:10 | |
Yeah, you've probably just realised how much hard work it takes | 0:29:10 | 0:29:14 | |
to become a decent violinist, let alone a good one, | 0:29:14 | 0:29:17 | |
and you're not sure anymore whether it's worth the trouble, | 0:29:17 | 0:29:20 | |
whether you're talented enough, whether you can handle the pressure. | 0:29:20 | 0:29:25 | |
Just you and the violin in a small studio | 0:29:25 | 0:29:28 | |
making the most minuscule progress every day...of your life. | 0:29:28 | 0:29:34 | |
That's why you formed your quartet. | 0:29:34 | 0:29:36 | |
You thought it would alleviate all of your problems. | 0:29:36 | 0:29:40 | |
You found it's even more work and now you're stuck with three other people. | 0:29:40 | 0:29:44 | |
Totally dependent on the way they play, their taste. | 0:29:44 | 0:29:47 | |
They constantly scrutinize your talent. They hear every flaw. | 0:29:47 | 0:29:52 | |
And that hurts your little ego very much. | 0:29:53 | 0:29:57 | |
Doesn't it? | 0:29:58 | 0:30:00 | |
RAIN PATTERING | 0:30:00 | 0:30:02 | |
DISTANT SIREN BLARING | 0:30:02 | 0:30:04 | |
THUNDER RUMBLES | 0:30:07 | 0:30:08 | |
You're special, Alex. | 0:30:08 | 0:30:10 | |
Yeah, right. | 0:30:12 | 0:30:13 | |
Don't waste it. | 0:30:14 | 0:30:15 | |
See you next week. | 0:30:18 | 0:30:19 | |
I was relentless about getting him to form a quartet, | 0:30:41 | 0:30:45 | |
but he yearned, as they always do, to become a soloist. | 0:30:45 | 0:30:48 | |
How little they know, or even suspect. | 0:30:48 | 0:30:51 | |
Then, on the final day of the semester, | 0:30:51 | 0:30:54 | |
Daniel comes to me and he says, | 0:30:54 | 0:30:55 | |
"Professor, I've decided to form a quartet | 0:30:55 | 0:30:59 | |
"and I want you to be its cellist." | 0:30:59 | 0:31:01 | |
I'm thinking, "Is this guy nuts? I'm 30 years older." | 0:31:01 | 0:31:05 | |
And I had made it clear that since the Hudson's break up, | 0:31:05 | 0:31:09 | |
where I played with Juliette's mother, I was not inclined to perform anymore. | 0:31:09 | 0:31:13 | |
'Daniel insisted and my wife said, "Do it!" | 0:31:14 | 0:31:18 | |
'So I said, OK, providing that Jules would join us on viola. | 0:31:18 | 0:31:25 | |
'That would've been my first choice regardless. | 0:31:25 | 0:31:28 | |
'But the really curious, star-crossed aspect of this is how we found Robert. | 0:31:28 | 0:31:33 | |
'You tell 'em. | 0:31:33 | 0:31:35 | |
'I was leaving Juilliard for the day, | 0:31:36 | 0:31:38 | |
'and Daniel pokes his head out of the room and says, | 0:31:38 | 0:31:42 | |
IN DANIEL'S ACCENT: "Robert... | 0:31:42 | 0:31:44 | |
'..would you like to play... play a movement with us, | 0:31:44 | 0:31:49 | |
'"just to, you know, wrap up the night?" | 0:31:49 | 0:31:51 | |
'I was... . I hadn't even really considered it. | 0:31:51 | 0:31:54 | |
'I was a freshman at the time, | 0:31:54 | 0:31:56 | |
'and was about to transfer to NEC to study modern composition with Lampl. | 0:31:56 | 0:32:01 | |
'And, you know, second violin, playing with a quartet, | 0:32:01 | 0:32:06 | |
'I wasn't sure if I was ready for that commitment. | 0:32:06 | 0:32:09 | |
'Anyway, from the first note, it was... | 0:32:09 | 0:32:11 | |
'..I got it. | 0:32:13 | 0:32:15 | |
'You know, I understood, this... | 0:32:15 | 0:32:18 | |
'..the dynamic of a quartet and how special that was | 0:32:20 | 0:32:23 | |
'to be a part of a group. | 0:32:23 | 0:32:25 | |
'And that being a part of a group is about becoming one. | 0:32:25 | 0:32:29 | |
'And until that point, I don't think I understood that. | 0:32:31 | 0:32:33 | |
'I thought I was the one, you know? | 0:32:33 | 0:32:36 | |
'But that was more special, to be a part. | 0:32:36 | 0:32:40 | |
'And...and there was this incredibly beautiful woman | 0:32:40 | 0:32:43 | |
'across from me, playing the viola, | 0:32:43 | 0:32:47 | |
'like...like her life depended upon it. | 0:32:47 | 0:32:50 | |
'She was...breathtaking. | 0:32:55 | 0:32:58 | |
'"Star-crossed," you know, I don't know.' | 0:33:00 | 0:33:02 | |
Robert. Mm-hm. | 0:33:12 | 0:33:14 | |
I'd really like you to drop the alternating chairs idea. | 0:33:14 | 0:33:17 | |
Why? | 0:33:17 | 0:33:19 | |
Because it puts the quartet in danger. | 0:33:19 | 0:33:22 | |
Why is it every time I... | 0:33:24 | 0:33:25 | |
Daniel will never agree to accompany you. | 0:33:25 | 0:33:27 | |
Well, I don't view our roles as accompaniment. | 0:33:27 | 0:33:30 | |
No, of course not. Of course not. | 0:33:30 | 0:33:32 | |
But why now, why are you making an issue of this now? | 0:33:33 | 0:33:37 | |
I never wanted to be a second violin. | 0:33:37 | 0:33:40 | |
And I never pushed it because...we were good. | 0:33:42 | 0:33:46 | |
Well, I liked it... for the harmony. | 0:33:48 | 0:33:53 | |
I know, I appreciate that. | 0:33:53 | 0:33:54 | |
You know, when Peter brought up that he might be leaving... | 0:33:54 | 0:33:59 | |
But what if he stays? | 0:33:59 | 0:34:01 | |
I'd still want us to alternate. | 0:34:04 | 0:34:06 | |
You remember, remember when we first started out, | 0:34:09 | 0:34:12 | |
that every rehearsal was... discovery? | 0:34:12 | 0:34:17 | |
We'd look forward to going there. | 0:34:17 | 0:34:18 | |
We'd argue just to argue over a hairpin. | 0:34:18 | 0:34:21 | |
We'd jump down each other's throats over a bow stroke. | 0:34:21 | 0:34:25 | |
"I think it's up." "It's down." | 0:34:25 | 0:34:27 | |
"I think it's up." "It's down." | 0:34:27 | 0:34:29 | |
"I think it's up." I know, it was awful. | 0:34:29 | 0:34:32 | |
CHUCKLES | 0:34:32 | 0:34:33 | |
I miss that. Yeah. | 0:34:33 | 0:34:35 | |
I miss being excited. | 0:34:36 | 0:34:38 | |
I miss that. I can't tell you. | 0:34:38 | 0:34:41 | |
Daniel... | 0:34:45 | 0:34:47 | |
Daniel doesn't think that your qualities are best suited for first chair. | 0:34:47 | 0:34:52 | |
Excuse me? | 0:34:53 | 0:34:54 | |
He just doesn't think that you would be a good first chair. | 0:34:54 | 0:34:58 | |
Why don't you have my back on this? I do. | 0:35:00 | 0:35:03 | |
Why do you have his back, and you do not have my back on this? | 0:35:03 | 0:35:05 | |
That's not the case. | 0:35:05 | 0:35:07 | |
Look, we've always agreed to be impartial | 0:35:07 | 0:35:10 | |
in these particular matters, you know that. | 0:35:10 | 0:35:12 | |
Fine. | 0:35:12 | 0:35:14 | |
Completely impartial. | 0:35:16 | 0:35:17 | |
Do you think I wouldn't be as good a first violin as Daniel? | 0:35:17 | 0:35:20 | |
Oh, come on. I think you... Impartial. Impartial. | 0:35:20 | 0:35:24 | |
I think you're an amazing violinist. I think you're...great. | 0:35:27 | 0:35:32 | |
First, second... it doesn't matter to me. | 0:35:32 | 0:35:36 | |
It matters to me. But this isn't about you or me. | 0:35:36 | 0:35:39 | |
Yes, it's about me. Yeah, it is. No. No, this is about the quartet. | 0:35:39 | 0:35:43 | |
SIGHS | 0:35:43 | 0:35:45 | |
And I think that you are... | 0:35:45 | 0:35:49 | |
the best second violinist out there. | 0:35:49 | 0:35:51 | |
There's nobody better for your part. Wow. | 0:35:52 | 0:35:56 | |
Wow. | 0:35:58 | 0:35:59 | |
Could you stop the cab? Please don't. Robert. | 0:36:06 | 0:36:09 | |
Everyone values your contribution. Oh, God. | 0:36:09 | 0:36:13 | |
Robert... Right here. | 0:36:13 | 0:36:15 | |
When did you and Daniel talk this through? | 0:36:16 | 0:36:18 | |
He wanted to meet to talk about how we could stay together, Rob... | 0:36:22 | 0:36:26 | |
I met with Gideon... | 0:36:40 | 0:36:41 | |
Mm-hm. ..and he says no. | 0:36:41 | 0:36:45 | |
You offered to help him find another cellist, right? | 0:36:45 | 0:36:47 | |
He likes working with Nina too much. | 0:36:47 | 0:36:49 | |
Yeah, of course he does. | 0:36:49 | 0:36:50 | |
He had six different cellists he liked working with too much before Nina. | 0:36:50 | 0:36:53 | |
Over 40 years. | 0:36:53 | 0:36:55 | |
Right, don't worry, I'll talk to Nina tomorrow. | 0:36:55 | 0:36:57 | |
Not yet, wait. See what happens. | 0:36:57 | 0:37:00 | |
Maybe you should reconsider your retirement, Peter. | 0:37:02 | 0:37:05 | |
If you'll be able to play well soon, we're all confident you will, | 0:37:05 | 0:37:09 | |
we would love for you to continue playing with us for as long as you can. | 0:37:09 | 0:37:12 | |
What about no compromise, quality above all? | 0:37:12 | 0:37:16 | |
Find a new cellist and then take the Fugue to another place. | 0:37:16 | 0:37:20 | |
Now, if you don't mind, I need to rest. | 0:37:21 | 0:37:25 | |
Practice, practice. Get ready to do what we do best. | 0:37:25 | 0:37:30 | |
We have a performance coming up. | 0:37:30 | 0:37:32 | |
FLAMENCO MUSIC PLAYING | 0:37:33 | 0:37:37 | |
SINGING IN SPANISH | 0:38:00 | 0:38:03 | |
FLAMENCO MUSIC CONTINUING | 0:38:27 | 0:38:29 | |
SIGHS | 0:38:34 | 0:38:36 | |
FLAMENCO MUSIC FADES | 0:38:36 | 0:38:39 | |
Nina, he has Parkinson's. | 0:38:53 | 0:38:55 | |
Yeah. | 0:38:58 | 0:38:59 | |
He probably didn't want Gideon to know. | 0:39:00 | 0:39:03 | |
Not good. | 0:39:06 | 0:39:07 | |
It's not good. | 0:39:08 | 0:39:10 | |
PILAR BREATHING HEAVILY | 0:39:28 | 0:39:30 | |
FOOTSTEPS APPROACHING | 0:39:48 | 0:39:50 | |
Hey. | 0:40:21 | 0:40:23 | |
Hi. Hey. | 0:40:24 | 0:40:25 | |
I made your favourite breakfast. | 0:40:30 | 0:40:31 | |
You hungry? You must be. | 0:40:33 | 0:40:36 | |
Hey, I'm sorry about yesterday. I was wrong. I'm so sorry. | 0:40:38 | 0:40:43 | |
I don't mind. I just... I really stink. | 0:40:45 | 0:40:48 | |
Oh, that's OK. | 0:40:48 | 0:40:50 | |
I just want to go to the bathroom and take a shower. Just one second. | 0:40:50 | 0:40:53 | |
OK. I'll be right back. | 0:41:01 | 0:41:03 | |
DOOR CLOSES | 0:41:10 | 0:41:12 | |
Um... | 0:41:12 | 0:41:13 | |
CELLPHONE BUZZES | 0:41:15 | 0:41:16 | |
WATER RUNNING | 0:41:20 | 0:41:23 | |
Um... Where's your violin? What? | 0:41:42 | 0:41:44 | |
I need rosin. I can't find it. | 0:41:44 | 0:41:47 | |
It's not by the couch? | 0:41:47 | 0:41:49 | |
No, it's not there. It's not in the bedroom either. | 0:41:49 | 0:41:53 | |
Oh, fuck! | 0:41:53 | 0:41:55 | |
Fuck, I left it at the bar. | 0:41:55 | 0:41:57 | |
Really? What bar? I'll call. | 0:41:58 | 0:42:00 | |
I'll get it, just give me a second, let me get out. I'll get it. Fuck! | 0:42:00 | 0:42:04 | |
Hi. Hi. | 0:42:48 | 0:42:49 | |
Thank you. | 0:43:02 | 0:43:03 | |
You look tired. Yeah. | 0:43:04 | 0:43:07 | |
Did you manage to get some sleep? | 0:43:09 | 0:43:11 | |
Only a few hours. | 0:43:11 | 0:43:13 | |
I didn't get a single minute, you know. | 0:43:13 | 0:43:16 | |
I just lay in bed thinking of us till sunrise. | 0:43:16 | 0:43:20 | |
We can't do this. | 0:43:20 | 0:43:21 | |
We can't, um... | 0:43:23 | 0:43:25 | |
What happened between us last night is rare, Robert, you know? | 0:43:25 | 0:43:28 | |
And you don't deny these feelings. | 0:43:28 | 0:43:30 | |
You just have to live, you just have to feel them. | 0:43:30 | 0:43:32 | |
I know. I really can't. | 0:43:32 | 0:43:34 | |
FOOTSTEPS APPROACHING | 0:43:35 | 0:43:37 | |
Hi, Jules. | 0:43:44 | 0:43:46 | |
This is, uh, Pilar. | 0:43:48 | 0:43:50 | |
We, um... | 0:43:50 | 0:43:52 | |
Remember I told you about her? We run together in the park. | 0:43:55 | 0:43:58 | |
She's a fan of the Fugue. | 0:43:58 | 0:44:00 | |
I was just about to leave. | 0:44:02 | 0:44:04 | |
Please, you can have my chair. | 0:44:05 | 0:44:06 | |
She seems nice. | 0:44:11 | 0:44:12 | |
Yeah, she's...she's nice. | 0:44:12 | 0:44:14 | |
You took this whole alternating chairs theme | 0:44:14 | 0:44:16 | |
a little too far, though, don't you think? | 0:44:16 | 0:44:18 | |
I mean, my God... Fuck. Oh, great. | 0:44:18 | 0:44:20 | |
I'm sorry. | 0:44:20 | 0:44:21 | |
I'm so sorry. | 0:44:24 | 0:44:26 | |
It was a... It was a one-time thing. | 0:44:26 | 0:44:29 | |
I... I just ended it. It's done. Yeah? You reamed me yesterday. | 0:44:29 | 0:44:33 | |
You were furious with me yesterday | 0:44:33 | 0:44:37 | |
for talking to Daniel about securing the future... | 0:44:37 | 0:44:39 | |
I was really hurt by what you said yesterday. | 0:44:39 | 0:44:42 | |
..the quartet's future! You said I wasn't good enough! | 0:44:42 | 0:44:45 | |
This is how you decide to communicate this to me, by fucking another woman? | 0:44:45 | 0:44:48 | |
I'm not good enough? | 0:44:48 | 0:44:50 | |
I don't give a shit about first chair... | 0:44:50 | 0:44:53 | |
It's my life! | 0:44:53 | 0:44:54 | |
..that's all your ego. Bullshit! And the violin, it's everything! | 0:44:54 | 0:44:58 | |
I don't care! | 0:44:58 | 0:45:00 | |
I love you. SCOFFS | 0:45:11 | 0:45:14 | |
I love you more than anything in the world. | 0:45:14 | 0:45:17 | |
You have to know that. | 0:45:18 | 0:45:19 | |
I made a stupid mistake. God, I fucked up. | 0:45:21 | 0:45:25 | |
I'm asking you to forgive me. | 0:45:25 | 0:45:28 | |
I'll be out late. I want your stuff out by midnight. | 0:45:30 | 0:45:33 | |
No... Jules... | 0:45:35 | 0:45:38 | |
Get your stuff out of the house. | 0:45:38 | 0:45:41 | |
PHONE RINGING | 0:46:03 | 0:46:05 | |
It's Daniel. Leave a message. MACHINE BEEPS | 0:46:09 | 0:46:12 | |
'Daniel, I have news. Very good. | 0:46:12 | 0:46:15 | |
'Gideon called. He changed his mind. | 0:46:15 | 0:46:19 | |
'I spoke with Nina. She's standing by.' | 0:46:19 | 0:46:21 | |
I'll call you later. Bye-bye. | 0:46:21 | 0:46:23 | |
Good news. Nina will be joining us. | 0:46:24 | 0:46:28 | |
Peter... | 0:46:30 | 0:46:31 | |
What's the matter? You're upset about something? | 0:46:32 | 0:46:35 | |
I can't imagine... | 0:46:45 | 0:46:47 | |
I can't imagine playing in the quartet without you, Peter. | 0:46:49 | 0:46:53 | |
You know, travelling without you, performing without you next to me. | 0:46:53 | 0:46:58 | |
I don't... I'm not sure I can do it. | 0:46:58 | 0:47:00 | |
I don't think I want to. | 0:47:00 | 0:47:02 | |
Please don't speak that way. | 0:47:02 | 0:47:04 | |
When your mother died, the big mistake I made | 0:47:04 | 0:47:07 | |
was allowing the quartet to break up. | 0:47:07 | 0:47:09 | |
I should have fought, find a new violist, | 0:47:09 | 0:47:11 | |
stay together, despite all the sadness. | 0:47:11 | 0:47:13 | |
Instead of being weak and scared and lazy. | 0:47:13 | 0:47:19 | |
Don't make that mistake. | 0:47:19 | 0:47:20 | |
Be brave. I got a second chance. | 0:47:22 | 0:47:26 | |
Not everybody does. | 0:47:26 | 0:47:29 | |
Thank you for inviting me along on this ride. | 0:47:45 | 0:47:48 | |
I just love it out here. | 0:47:48 | 0:47:49 | |
Let me tell you what makes the Fugue such a great quartet. | 0:47:57 | 0:48:01 | |
OK. | 0:48:01 | 0:48:02 | |
First, they have you. | 0:48:02 | 0:48:05 | |
And you're hypnotising the audience with your relentless precision. | 0:48:05 | 0:48:09 | |
They follow you like a cobra follows a snake charmer. | 0:48:10 | 0:48:14 | |
Well... | 0:48:14 | 0:48:15 | |
Then...you have my father. | 0:48:15 | 0:48:18 | |
And he's adding colour and texture and rhythm. | 0:48:18 | 0:48:23 | |
He's always enhancing you, he's lifting you up, | 0:48:24 | 0:48:27 | |
but he'll never outshine you. | 0:48:27 | 0:48:28 | |
There are many quartets with an accomplished first violin. | 0:48:29 | 0:48:32 | |
It's the second violinist, | 0:48:32 | 0:48:34 | |
the quality of the second violinist, that makes a quartet stand out. | 0:48:34 | 0:48:37 | |
And your father is great. | 0:48:37 | 0:48:40 | |
Then there's my mother. | 0:48:40 | 0:48:41 | |
She adds a depth of sound that none of you could bring. | 0:48:42 | 0:48:45 | |
She makes you want to weep without exactly knowing why. | 0:48:47 | 0:48:51 | |
Is that the voice of a wounded soul? | 0:48:53 | 0:48:56 | |
The survival skills she had to develop | 0:48:59 | 0:49:02 | |
prepared her to perfectly serve three masters at the same time. | 0:49:02 | 0:49:05 | |
The one she loves, | 0:49:07 | 0:49:10 | |
the one she partners with, | 0:49:10 | 0:49:13 | |
and the one she desires. | 0:49:13 | 0:49:15 | |
That was a long time ago, Alex. It was before your parents got together. | 0:49:18 | 0:49:21 | |
Oh, yeah. Sure, sure. | 0:49:21 | 0:49:22 | |
Whatever. | 0:49:26 | 0:49:27 | |
To close a perfect square, you've got the big-hearted man with the cello. | 0:49:29 | 0:49:34 | |
When the gates are secured, emotions are welcome. | 0:49:34 | 0:49:38 | |
We can all sit down ready to be swept away. | 0:49:38 | 0:49:42 | |
It's the ideal quartet. | 0:49:43 | 0:49:46 | |
Bravo. | 0:49:46 | 0:49:47 | |
Hey, what are you going to do now with Peter retiring, | 0:49:52 | 0:49:54 | |
everything that's happening with Mom and Dad? | 0:49:54 | 0:49:56 | |
What's happening with your mom and dad? | 0:49:58 | 0:50:00 | |
Robert? | 0:50:06 | 0:50:07 | |
Hi. Hello. | 0:50:07 | 0:50:10 | |
Grabbed the Gagliano for you. | 0:50:10 | 0:50:11 | |
Terrific. | 0:50:11 | 0:50:13 | |
Give it a try. We've got some time before the auction starts. | 0:50:17 | 0:50:19 | |
OK. Thank you. Yeah. | 0:50:19 | 0:50:21 | |
Hi, Jules. So sorry I'm late. Hi. Juliette. | 0:50:21 | 0:50:24 | |
Hi. Brenda Franklin. How do you do? | 0:50:24 | 0:50:26 | |
Nice to meet you. Thank you. | 0:50:26 | 0:50:28 | |
I'll be back in a bit. OK. | 0:50:28 | 0:50:29 | |
Thank you. | 0:50:29 | 0:50:31 | |
Perfect timing. | 0:50:31 | 0:50:32 | |
Want to give it a try? No, you go ahead. | 0:50:33 | 0:50:36 | |
PLAYING DRAMATIC MUSICAL PHRASE | 0:50:50 | 0:50:53 | |
The lower register has nice depth, it'll blend... | 0:51:06 | 0:51:09 | |
Warm tone, responsive. ..very nicely with the viola. Yeah. | 0:51:09 | 0:51:13 | |
The scrolls. I can see why Alexandra wants it. | 0:51:13 | 0:51:16 | |
Beautiful. Let me see it, please. | 0:51:16 | 0:51:17 | |
The body's in perfect condition. | 0:51:17 | 0:51:20 | |
Sure you don't want it? No, thank you. | 0:51:20 | 0:51:23 | |
Yeah, we should bid on it. Definitely. | 0:51:23 | 0:51:25 | |
Can we talk now? | 0:51:26 | 0:51:28 | |
We're here to buy a violin, Robert. | 0:51:28 | 0:51:30 | |
Can we discuss this? | 0:51:30 | 0:51:32 | |
We've discussed it. | 0:51:32 | 0:51:34 | |
Well, we haven't discussed it. | 0:51:34 | 0:51:36 | |
I think that's the problem. | 0:51:36 | 0:51:38 | |
You know, we've...shared an intense life for almost 25 years together. | 0:51:38 | 0:51:43 | |
I think that, you know, deserves more discussion, you know? | 0:51:45 | 0:51:48 | |
And, um... I mean, living and playing together... | 0:51:48 | 0:51:52 | |
Both of us knew going in it wasn't going to be easy. | 0:51:54 | 0:51:57 | |
CHUCKLES | 0:51:57 | 0:51:58 | |
That was exciting back then, but we've had our ups and downs. | 0:51:58 | 0:52:02 | |
But on a whole, I think... I think our marriage is a good one. | 0:52:02 | 0:52:05 | |
So I can't believe that one truly regrettable night's going to ruin all that. | 0:52:07 | 0:52:13 | |
I've loved you madly since the moment I met you, | 0:52:13 | 0:52:16 | |
but I've always feared deep down that you felt like you were forced into it. | 0:52:16 | 0:52:20 | |
That you wouldn't have married me if you didn't get pregnant. | 0:52:20 | 0:52:23 | |
Because in so many ways, you haven't really been there. | 0:52:23 | 0:52:26 | |
Not completely. | 0:52:26 | 0:52:29 | |
And I've learned to live with that, you know, expecting one day | 0:52:29 | 0:52:31 | |
that you'll, you know, finally want to be closer to me. | 0:52:31 | 0:52:34 | |
I did away with my dreams of composing and playing other forms of music. | 0:52:36 | 0:52:40 | |
And I did it gladly, without reservation, for us. | 0:52:40 | 0:52:44 | |
To be together. | 0:52:44 | 0:52:45 | |
To play. | 0:52:47 | 0:52:49 | |
To have a child. | 0:52:49 | 0:52:50 | |
Do you really love me? | 0:52:55 | 0:52:57 | |
Or am I just convenient? | 0:52:57 | 0:52:59 | |
Good father. Good husband. Good second violin player. | 0:53:03 | 0:53:07 | |
Isn't it great? Yes, it's...perfect. | 0:53:09 | 0:53:13 | |
We'll bid on it, yeah. | 0:53:13 | 0:53:15 | |
Oh, great. Good luck. Thank you. | 0:53:15 | 0:53:17 | |
We're getting started. OK. | 0:53:17 | 0:53:19 | |
WHINNIES | 0:53:27 | 0:53:30 | |
This is some good stuff, man. | 0:53:30 | 0:53:32 | |
It's not bad. Not bad. | 0:53:34 | 0:53:37 | |
What about this one here? | 0:53:37 | 0:53:39 | |
Actually, he doesn't cut it off the horse. | 0:53:39 | 0:53:43 | |
He imports it from all over the world. | 0:53:43 | 0:53:45 | |
This is Siberia, right? That's right, yeah. | 0:53:45 | 0:53:47 | |
Look, I'll bundle up the best samples that I've got, | 0:53:47 | 0:53:51 | |
and whatever you don't use, you can just mail 'em back to me. | 0:53:51 | 0:53:53 | |
Thanks, Jack. | 0:53:55 | 0:53:56 | |
"This one's Siberia." What? What is that about? | 0:53:59 | 0:54:04 | |
You can't just use any hair for a bow. | 0:54:06 | 0:54:09 | |
The smallest differences in hair structure change the timbre | 0:54:09 | 0:54:12 | |
of the instrument completely. | 0:54:12 | 0:54:14 | |
What? | 0:54:15 | 0:54:17 | |
You're obsessed. | 0:54:17 | 0:54:19 | |
You're obsessed. | 0:54:20 | 0:54:22 | |
I guess so. | 0:54:23 | 0:54:25 | |
You cold? | 0:54:25 | 0:54:27 | |
HORSES WHINNYING | 0:54:29 | 0:54:31 | |
Why didn't you pursue a solo career? | 0:54:31 | 0:54:33 | |
I would never trade with them. | 0:54:36 | 0:54:38 | |
As a soloist, you rehearse with an orchestra three, maybe four times, | 0:54:40 | 0:54:46 | |
and perform the piece once or twice. | 0:54:46 | 0:54:49 | |
And that's it. Next city, next conductor, next orchestra. | 0:54:49 | 0:54:55 | |
We celebrated 3,000 concerts together last season. | 0:54:57 | 0:55:00 | |
Which makes me feel kind of ancient, but... | 0:55:02 | 0:55:04 | |
CHUCKLES | 0:55:04 | 0:55:05 | |
It's the only way to find meaningful interpretations. | 0:55:08 | 0:55:11 | |
The greatest composers, when they wanted to express | 0:55:12 | 0:55:15 | |
their most sincere thoughts, feelings... | 0:55:15 | 0:55:20 | |
dig deep into their souls, | 0:55:20 | 0:55:22 | |
always this form, always, always the quartet. | 0:55:22 | 0:55:25 | |
If they were courageous enough, Alex... | 0:55:28 | 0:55:31 | |
WHISPERING: What are you doing? | 0:55:39 | 0:55:40 | |
Need to get the samples. | 0:55:50 | 0:55:52 | |
A really beautiful Gagliano with a slab cut back. | 0:55:56 | 0:55:59 | |
At 14,000 on the telephone now. Raise your hand. | 0:55:59 | 0:56:02 | |
..at 14,000, with a circa 1820. How far are we willing to go? | 0:56:02 | 0:56:05 | |
15. | 0:56:05 | 0:56:06 | |
15,000 is on the aisle. Raise your hand. | 0:56:06 | 0:56:08 | |
15,000 dollars now. 16,000. | 0:56:08 | 0:56:10 | |
Thank you, on the right. The lady with the really lovely hat. | 0:56:10 | 0:56:12 | |
It's 16,000 on my right. | 0:56:12 | 0:56:14 | |
That's $16,000. Now bidding at 16. | 0:56:14 | 0:56:17 | |
Raise your hand. | 0:56:17 | 0:56:18 | |
Jules, I didn't mean to upset you back there. | 0:56:18 | 0:56:20 | |
Gagliano... 20! | 0:56:20 | 0:56:22 | |
$20,000 on the aisle. If I am off track, just tell me. | 0:56:22 | 0:56:26 | |
$21,000 in the back. It's a lady in the back. | 0:56:26 | 0:56:28 | |
At $21,000, $21,000. 25! | 0:56:28 | 0:56:32 | |
25,000, $25,000 now on the aisle again. | 0:56:33 | 0:56:37 | |
25,000. 26? All through at 25? | 0:56:37 | 0:56:40 | |
At $25,000, now bidding at 25, all through. | 0:56:40 | 0:56:43 | |
$25,000, fair warning. Sold for $25,000. | 0:56:43 | 0:56:46 | |
Congratulations, sir, you just took a quality violin from a real musician. | 0:56:46 | 0:56:49 | |
Jules! | 0:56:52 | 0:56:54 | |
Jules! | 0:56:54 | 0:56:55 | |
Jules, hold on! | 0:57:00 | 0:57:01 | |
Would you mind waiting a minute, please? | 0:57:01 | 0:57:02 | |
Hold on. Thank you. | 0:57:02 | 0:57:04 | |
What is it? What is it that you want...Robert? | 0:57:04 | 0:57:08 | |
What is it that you want me to tell you? | 0:57:09 | 0:57:11 | |
That I've always loved you, | 0:57:11 | 0:57:12 | |
but I'm just incapable of showing you in the way you'd like me to? | 0:57:12 | 0:57:16 | |
Here's the truth. I don't know. | 0:57:18 | 0:57:20 | |
I don't know if I love you, I don't know if I don't. | 0:57:20 | 0:57:23 | |
I don't know how I feel. I don't. | 0:57:24 | 0:57:26 | |
You need to leave me alone. | 0:57:30 | 0:57:32 | |
TAXI DOOR CLOSES | 0:57:37 | 0:57:38 | |
TAXI DRIVES OFF | 0:57:38 | 0:57:40 | |
SIGHS SOFTLY | 0:58:11 | 0:58:14 | |
KNOCKING ON DOOR | 0:58:15 | 0:58:17 | |
Who is it? | 0:58:18 | 0:58:19 | |
KNOCKING | 0:58:20 | 0:58:22 | |
Daniel. Hey. | 0:58:26 | 0:58:28 | |
Come on in. | 0:58:30 | 0:58:32 | |
DOOR CLOSES | 0:58:32 | 0:58:33 | |
What were you thinking, Robert? | 0:58:37 | 0:58:40 | |
Compromising your marriage, our quartet, for what, for a fuck? | 0:58:42 | 0:58:47 | |
SIGHS | 0:58:47 | 0:58:49 | |
What about you? | 0:58:49 | 0:58:50 | |
What about me? | 0:58:50 | 0:58:52 | |
Oh, sneaking around with Juliette behind my back. | 0:58:52 | 0:58:55 | |
Trying to manipulate my wife against me. | 0:58:57 | 0:58:59 | |
Don't be ridiculous. Please, no-one is trying to manipulate you. | 0:58:59 | 0:59:02 | |
You just went too far. | 0:59:02 | 0:59:03 | |
Somebody had to bring you back to your senses, that's all. | 0:59:03 | 0:59:07 | |
Actually, my senses are coming back to me | 0:59:07 | 0:59:09 | |
for the first time in a very long time. | 0:59:09 | 0:59:11 | |
Really? | 0:59:11 | 0:59:12 | |
Stay someplace where I'm not respected? | 0:59:12 | 0:59:15 | |
That's over. | 0:59:17 | 0:59:18 | |
You're a great violinist. | 0:59:25 | 0:59:26 | |
I love playing with you, I truly do. | 0:59:27 | 0:59:30 | |
You can't lead a quartet, man. | 0:59:30 | 0:59:33 | |
You're not sufficiently disciplined... You think you're better... | 0:59:33 | 0:59:36 | |
..not motivated. ..than me. | 0:59:36 | 0:59:37 | |
You just don't have that in you, and it's fine. It's perfectly fine. | 0:59:37 | 0:59:41 | |
You think you're better than me. | 0:59:41 | 0:59:44 | |
When did I say that? | 0:59:44 | 0:59:45 | |
You're wrong. | 0:59:45 | 0:59:47 | |
You know, practising obsessively doesn't make your playing perfect. | 0:59:49 | 0:59:53 | |
It actually sucks the life right out of it. | 0:59:53 | 0:59:56 | |
It's rigid and...and monotonous, | 0:59:56 | 1:00:01 | |
and, and self-loving, and safe. | 1:00:01 | 1:00:07 | |
Jesus, Robert, would you stop being so childish? | 1:00:07 | 1:00:11 | |
Please. Yeah, I know it's a challenging period... | 1:00:11 | 1:00:14 | |
The whole group is going down the path that you have us on. | 1:00:14 | 1:00:19 | |
Yes. I understand that. | 1:00:19 | 1:00:20 | |
The way you play is the way the quartet plays, | 1:00:20 | 1:00:23 | |
and it's the same thing over and over and over and over! | 1:00:23 | 1:00:28 | |
I am in my 40s. We've been playing since we were in our early 20s. | 1:00:28 | 1:00:32 | |
That is where you've taken this group. | 1:00:32 | 1:00:35 | |
But if we keep it together, now we have Nina on board... | 1:00:35 | 1:00:38 | |
That is where you have taken this group! | 1:00:38 | 1:00:40 | |
That is where we have let you take this group! | 1:00:40 | 1:00:42 | |
I have let you do that! | 1:00:42 | 1:00:45 | |
A disservice. | 1:00:45 | 1:00:47 | |
You're not even willing to play Beethoven without your notes. | 1:00:54 | 1:00:58 | |
Unleash your passion, man. Unleash my passion? | 1:00:59 | 1:01:02 | |
Unleash your passion! What are you afraid of? | 1:01:02 | 1:01:06 | |
You have the three of us to cover your ass. | 1:01:06 | 1:01:08 | |
Unleash your passion. | 1:01:10 | 1:01:12 | |
Wow. | 1:01:13 | 1:01:14 | |
GIRL HALTINGLY: "People expect old men to die. | 1:01:19 | 1:01:23 | |
"They do not really mourn old men. | 1:01:23 | 1:01:28 | |
"Old men are different. | 1:01:28 | 1:01:31 | |
"People look at them with eyes that wonder when... | 1:01:31 | 1:01:38 | |
"People watch with unshocked eyes, | 1:01:38 | 1:01:41 | |
"But the old men know when an old man dies." | 1:01:41 | 1:01:47 | |
MUSIC: Salty Air by J.Viewz | 1:02:20 | 1:02:22 | |
DOORBELL BUZZES | 1:02:33 | 1:02:35 | |
Come on up. | 1:02:37 | 1:02:39 | |
Mom. | 1:02:39 | 1:02:40 | |
MUSIC STOPS | 1:02:52 | 1:02:53 | |
DOOR CREAKS OPEN | 1:02:53 | 1:02:55 | |
DOOR CLOSES | 1:02:57 | 1:02:59 | |
MAN SNIFFS | 1:03:01 | 1:03:03 | |
MUSIC RESUMES PLAYING | 1:03:29 | 1:03:31 | |
DOORBELL BUZZES | 1:04:00 | 1:04:02 | |
MOANING, PANTING | 1:04:02 | 1:04:04 | |
Shit. | 1:04:04 | 1:04:05 | |
What? | 1:04:05 | 1:04:06 | |
It's my mom. What? | 1:04:06 | 1:04:09 | |
That's...not funny, Alex. I'm not kidding. | 1:04:09 | 1:04:11 | |
That's not funny. She's coming over. | 1:04:11 | 1:04:13 | |
Your mom? Yeah. | 1:04:13 | 1:04:15 | |
ALEXANDRA LAUGHS | 1:04:16 | 1:04:17 | |
Oh, my God. You gotta get dressed. | 1:04:20 | 1:04:21 | |
DOORBELL BUZZES | 1:04:42 | 1:04:43 | |
BUZZES | 1:04:45 | 1:04:47 | |
Hello? Hi, it's me. | 1:04:47 | 1:04:49 | |
I'm going to grab my stuff, I'll meet you downstairs. | 1:04:49 | 1:04:51 | |
I'd like to come up and see your apartment. | 1:04:51 | 1:04:53 | |
I'm dying for some coffee. I don't have any coffee here. | 1:04:53 | 1:04:55 | |
We'll go right after, Alex. | 1:04:56 | 1:04:58 | |
OK, come on up. | 1:04:59 | 1:05:00 | |
No, she's coming up the stairs. | 1:05:04 | 1:05:06 | |
Daniel, you're going to have to go out the window. | 1:05:06 | 1:05:08 | |
Daniel, I'm really sorry, but that's the only option. | 1:05:08 | 1:05:10 | |
I'm so sorry. | 1:05:10 | 1:05:12 | |
Shit, shit. Go, go, go... KNOCKING ON DOOR | 1:05:14 | 1:05:16 | |
WINDOW OPENS | 1:05:16 | 1:05:17 | |
WINDOW CLOSES | 1:05:18 | 1:05:20 | |
KNOCKING CONTINUES | 1:05:20 | 1:05:21 | |
Alexandra. | 1:05:21 | 1:05:23 | |
Hey, sorry. The door... That's OK. | 1:05:23 | 1:05:26 | |
How are you? | 1:05:26 | 1:05:28 | |
Good. Oh. You look great. | 1:05:29 | 1:05:31 | |
Nice. Nice. Yeah? | 1:05:37 | 1:05:40 | |
I brought you a house-warming... Thank you. | 1:05:40 | 1:05:42 | |
Madeleines. I'll open it in a sec. | 1:05:42 | 1:05:44 | |
So how do you like living out here? | 1:05:45 | 1:05:48 | |
Oh, it's perfect. Yeah? | 1:05:48 | 1:05:49 | |
Yeah, I'm really happy here. | 1:05:49 | 1:05:51 | |
Good. Reminds me of SoHo 20 years ago. | 1:05:51 | 1:05:54 | |
GRUNTING | 1:05:57 | 1:05:58 | |
CLATTERING | 1:05:58 | 1:06:00 | |
I saw Dad on Sunday for dinner. | 1:06:05 | 1:06:08 | |
So I suppose he told you what was going on between us. | 1:06:08 | 1:06:11 | |
He's very unhappy. | 1:06:11 | 1:06:13 | |
I don't know why you're torturing him. | 1:06:13 | 1:06:16 | |
He told you I was torturing him? | 1:06:16 | 1:06:18 | |
No. No, Dad would never say a bad word about you. | 1:06:18 | 1:06:22 | |
What your father did, though, is totally unacceptable to me, | 1:06:22 | 1:06:25 | |
Alexandra, and wrong. | 1:06:25 | 1:06:27 | |
If you treat him like a doormat, | 1:06:27 | 1:06:29 | |
he's going to start to wonder what's outside the door. | 1:06:29 | 1:06:31 | |
A doormat? You don't have any idea about our relationship, Alexandra. | 1:06:31 | 1:06:36 | |
I know what I see. I'll tell you what I see. | 1:06:36 | 1:06:39 | |
Daniel's car... on the street. | 1:06:39 | 1:06:44 | |
What was he doing at your apartment? | 1:06:44 | 1:06:47 | |
He teaches me. | 1:06:47 | 1:06:49 | |
The violin, I hope, because your bed is a mess. | 1:06:49 | 1:06:53 | |
I'm not going to lie to you. | 1:06:55 | 1:06:57 | |
Good. | 1:06:57 | 1:06:58 | |
Daniel and I are in love. | 1:06:59 | 1:07:01 | |
You're not in love. That's ridiculous. | 1:07:05 | 1:07:08 | |
You're jealous. | 1:07:10 | 1:07:13 | |
Why are you so angry with me? | 1:07:13 | 1:07:15 | |
What did I do to cause you to talk to me in this way? | 1:07:15 | 1:07:18 | |
I mean, did we just spoil you too much, is that what it is? | 1:07:18 | 1:07:22 | |
Do you think I had fun? | 1:07:22 | 1:07:24 | |
Do you think it was fun growing up with two roving quartet players for parents, | 1:07:25 | 1:07:29 | |
who were gone seven months of the year, | 1:07:29 | 1:07:32 | |
and I was always taking a back seat to a violin and a viola? | 1:07:32 | 1:07:37 | |
Always, is that fun? Does that seem fun to you? | 1:07:37 | 1:07:40 | |
You have always been our first priority. | 1:07:40 | 1:07:42 | |
That is bullshit! That's bullshit, that's just words. It's nothing. | 1:07:42 | 1:07:47 | |
If that were true, you would have cut back on the touring. | 1:07:47 | 1:07:51 | |
We couldn't... You would have paid more attention to what was going on with me. | 1:07:51 | 1:07:54 | |
Not always looking for a perfect goddamn fingering to a Haydn quartet. | 1:07:54 | 1:07:59 | |
I did the best I could. I tried to be a good mother to you. | 1:07:59 | 1:08:03 | |
I wanted to be perfect, but this is a musician's life. | 1:08:03 | 1:08:07 | |
We rehearse and we practice and we perform. | 1:08:07 | 1:08:12 | |
Unfortunately, that's how it's going to be for you, too, you'll see. | 1:08:13 | 1:08:18 | |
No, I won't. | 1:08:19 | 1:08:20 | |
Because I would never raise a child that way. | 1:08:22 | 1:08:24 | |
I'm sorry. | 1:08:24 | 1:08:26 | |
If I were you, if I had been you in that position... | 1:08:30 | 1:08:33 | |
..I would've had an abortion. | 1:08:35 | 1:08:37 | |
How can you be so cruel? | 1:08:54 | 1:08:56 | |
I risked everything to have you. | 1:09:00 | 1:09:02 | |
Do you understand? | 1:09:02 | 1:09:05 | |
Do you have any idea what it feels like, do you? | 1:09:05 | 1:09:07 | |
Yeah. Yeah. No. | 1:09:07 | 1:09:09 | |
I know... I know what it's like to grow up without a fucking mother! | 1:09:10 | 1:09:16 | |
SOBBING | 1:09:17 | 1:09:20 | |
Oh, my God. | 1:09:20 | 1:09:21 | |
STRING QUARTET PLAYING SLOW, LUSH MELODY | 1:09:32 | 1:09:36 | |
They're fucking sixteenths, Steve, stop milking them. | 1:09:46 | 1:09:50 | |
Folks, disagree, but do it nicely, and please... | 1:09:50 | 1:09:54 | |
try not to get caught up in mistakes. | 1:09:54 | 1:09:57 | |
When I was your age, I met the great Pablo Casals. | 1:09:58 | 1:10:01 | |
I was so intimidated I could barely speak. | 1:10:01 | 1:10:04 | |
He must have sensed this, because... | 1:10:04 | 1:10:06 | |
instead of a chat, he asked me to play. | 1:10:06 | 1:10:10 | |
He requested the prelude to the Fourth Bach suite. | 1:10:10 | 1:10:12 | |
I focused, took a deep breath, began, the notes started to flow, | 1:10:14 | 1:10:17 | |
the music's in the air, and it was the worst music I ever made. | 1:10:17 | 1:10:21 | |
STUDENTS CHUCKLE | 1:10:21 | 1:10:23 | |
I played so badly, I got halfway through and had to stop. | 1:10:23 | 1:10:27 | |
"Bravo," he said, "Well done." | 1:10:27 | 1:10:29 | |
Then, he asked me to play the allemande. | 1:10:31 | 1:10:33 | |
"A second chance," I think to myself. | 1:10:33 | 1:10:35 | |
I never played worse. | 1:10:37 | 1:10:38 | |
"Wonderful. Splendid," he praised me. | 1:10:40 | 1:10:43 | |
And when I left that night, I felt terrible about my performance, | 1:10:43 | 1:10:48 | |
but what really bothered me wasn't my playing, it was Casals. | 1:10:48 | 1:10:51 | |
The insincerity. | 1:10:51 | 1:10:53 | |
Years later, I met him in Paris | 1:10:55 | 1:10:57 | |
and by then I was professional, we played together. | 1:10:57 | 1:11:01 | |
We became acquaintances, and one evening, over a glass of wine... | 1:11:01 | 1:11:05 | |
..I confessed to him what I thought of his horseshit all those years ago. | 1:11:07 | 1:11:11 | |
LAUGHTER | 1:11:11 | 1:11:13 | |
And he got angry. His demeanour changed, he grabbed his cello, | 1:11:15 | 1:11:19 | |
"Listen," he said. And he played this phrase. | 1:11:19 | 1:11:22 | |
PLAYS DYNAMIC, DRAMATIC PHRASE | 1:11:23 | 1:11:27 | |
"Didn't you play that? Fingering. | 1:11:38 | 1:11:41 | |
"You did. It was novel to me. It was good. | 1:11:41 | 1:11:45 | |
"And here, didn't you attack this passage with an up-bow like this?" | 1:11:45 | 1:11:49 | |
Casals emphasised the good stuff, the things he enjoyed. | 1:12:03 | 1:12:07 | |
He encouraged. And for the rest, leave that to the morons, | 1:12:08 | 1:12:13 | |
or whatever it is in Spanish, who judge by counting faults. | 1:12:13 | 1:12:18 | |
"I can be grateful, and so must you be," he said, | 1:12:18 | 1:12:21 | |
"for even one singular phrase, one transcendent moment." | 1:12:21 | 1:12:26 | |
Hmm? | 1:12:26 | 1:12:27 | |
Wow. Yeah, wow. Pablo Casals. Champion. | 1:12:28 | 1:12:33 | |
Once more, with feeling please. Feeling! | 1:12:34 | 1:12:38 | |
SLOW, LUSH MELODY RESUMES | 1:12:41 | 1:12:45 | |
'Hello, you've reached Robert and Juliette. | 1:12:56 | 1:12:58 | |
'Neither one of us is available to take your call right now, | 1:12:58 | 1:13:01 | |
'so please leave a message after the beep. Thanks.' | 1:13:01 | 1:13:04 | |
MACHINE BEEPS | 1:13:04 | 1:13:06 | |
'Jules, Robert... the medication is working. | 1:13:06 | 1:13:09 | |
'I'm OK for now. I can play. | 1:13:09 | 1:13:12 | |
'Rehearsal at my place, Tuesday. I'm calling Daniel. Goodbye.' | 1:13:12 | 1:13:17 | |
INHALES | 1:13:32 | 1:13:34 | |
PLAYING FAST, PLAYFUL MELODY | 1:13:37 | 1:13:40 | |
Huh? This is good. We're getting there. Energy. Umph. | 1:13:47 | 1:13:53 | |
I can't figure out which string crossing I like. | 1:13:55 | 1:13:57 | |
I like very much what you did now. You should stick to that. | 1:13:58 | 1:14:02 | |
I think she should do whatever she wants. | 1:14:02 | 1:14:04 | |
Let's continue. Yeah. | 1:14:05 | 1:14:08 | |
All right, let's continue. Let's continue. Let's move on. | 1:14:08 | 1:14:11 | |
PLUCKING "THE BLUE DANUBE WALTZ" | 1:14:11 | 1:14:13 | |
Do you mind, Robert? | 1:14:17 | 1:14:19 | |
PLUCKS DISSONANT NOTE | 1:14:20 | 1:14:22 | |
What is going on? | 1:14:24 | 1:14:26 | |
Fill me in. | 1:14:28 | 1:14:29 | |
We've got a concert on Thursday. | 1:14:36 | 1:14:38 | |
I think it would be best if personal matters waited. | 1:14:38 | 1:14:40 | |
Oh, God, I think it would be best | 1:14:40 | 1:14:42 | |
if you'd just shut the fuck up, you know? | 1:14:42 | 1:14:44 | |
Can you control yourself, Robert? | 1:14:44 | 1:14:46 | |
You mind? | 1:14:47 | 1:14:48 | |
You control yourself, Daniel. | 1:14:48 | 1:14:49 | |
You couldn't find somebody else's daughter to sleep with? | 1:14:51 | 1:14:54 | |
What? | 1:14:55 | 1:14:57 | |
What? What did you do? | 1:14:59 | 1:15:01 | |
SIGHS | 1:15:01 | 1:15:03 | |
Alex and I are involved. | 1:15:03 | 1:15:05 | |
It is what it is, Robert. | 1:15:08 | 1:15:10 | |
You slept with her? | 1:15:13 | 1:15:15 | |
We're in love. | 1:15:18 | 1:15:19 | |
Didn't mean for it to happen, it happened. | 1:15:35 | 1:15:38 | |
It is what it is, Robert. | 1:15:38 | 1:15:39 | |
Sit down! | 1:15:40 | 1:15:41 | |
Stop! Don't do that, please. Not in my house, please. | 1:15:44 | 1:15:49 | |
That's enough. Out! All of you, stop it. | 1:15:49 | 1:15:51 | |
Feel better? Leave now, please. | 1:15:52 | 1:15:54 | |
She's not your property. I'm your property. | 1:15:54 | 1:15:58 | |
I'm your property. We are all your fucking property! | 1:15:58 | 1:16:02 | |
Well, I guess your life is a mess! | 1:16:02 | 1:16:05 | |
For the first time in many years, I love someone, and you know what? | 1:16:05 | 1:16:08 | |
This time, I'm not going to give it up. Stop it, Daniel. Stop it. | 1:16:08 | 1:16:11 | |
I am sick of the bunch of you. Out. | 1:16:11 | 1:16:14 | |
I'm sorry. | 1:16:14 | 1:16:15 | |
You have no respect for the music. | 1:16:15 | 1:16:17 | |
You should've told me. Each other. I'm sorry. Robert, wait, please. Nothing. | 1:16:17 | 1:16:20 | |
I'm going upstairs, when I come back, I want you gone. | 1:16:20 | 1:16:23 | |
Don't follow me! You should've told me! | 1:16:23 | 1:16:25 | |
Forget about the concert. There's no concert. No nothing. | 1:16:25 | 1:16:28 | |
MUTTERS: Can't believe this. | 1:16:29 | 1:16:31 | |
SOFT KNOCK ON DOOR | 1:16:40 | 1:16:42 | |
SIGHS | 1:16:42 | 1:16:44 | |
When you asked me 25 years ago... to help you form a quartet, | 1:16:52 | 1:16:57 | |
I understood what it meant to be so much older. | 1:16:57 | 1:17:00 | |
I knew that one day I'd have to step aside. | 1:17:00 | 1:17:04 | |
I simply never imagined it would be so difficult. | 1:17:04 | 1:17:07 | |
And to watch the quartet evaporate in front of me at the same time, it's... | 1:17:07 | 1:17:11 | |
It's not like anything. It's a nightmare. | 1:17:14 | 1:17:17 | |
It's a nightmare for me, too. | 1:17:19 | 1:17:21 | |
You must end this relationship right now. | 1:17:23 | 1:17:28 | |
Whatever you think it is, | 1:17:29 | 1:17:30 | |
whatever you think you're doing...end it. | 1:17:30 | 1:17:34 | |
No. | 1:17:34 | 1:17:36 | |
No, I can't do that. | 1:17:38 | 1:17:39 | |
Then working together has taught you nothing. | 1:17:42 | 1:17:45 | |
Shame on you. | 1:17:47 | 1:17:49 | |
If you look at these pictures in a certain way, | 1:18:07 | 1:18:09 | |
it's as if they open up. | 1:18:09 | 1:18:10 | |
One might go inside and meet these people. | 1:18:11 | 1:18:13 | |
They've been here watching, listening. | 1:18:15 | 1:18:18 | |
Miriam felt that one might exchange thoughts with them. | 1:18:18 | 1:18:22 | |
She liked this one in particular. | 1:18:24 | 1:18:25 | |
And what does Rembrandt say to you today? | 1:18:29 | 1:18:32 | |
"I'm the boss. I'm the king of painters. I'm very great and I know it. | 1:18:34 | 1:18:38 | |
"I'm getting old, but still, I'm at the height of my power." | 1:18:39 | 1:18:44 | |
Look at the gaze from the shadow, he's strong. | 1:18:44 | 1:18:47 | |
He's a bit silly, in his gold dress and all, he knows that, | 1:18:47 | 1:18:50 | |
but still, his body and mind have not betrayed him. Not yet. | 1:18:50 | 1:18:56 | |
It's inspiring. | 1:18:56 | 1:18:58 | |
My own body and mind is a different story. | 1:18:59 | 1:19:02 | |
The drugs I'm taking aren't going to work for all that much longer. | 1:19:08 | 1:19:12 | |
In time, they'll make me anxious, I'll begin to imagine things, | 1:19:12 | 1:19:16 | |
and after that I'll be dependent on other people | 1:19:16 | 1:19:19 | |
to feed me, dress me, bathe me. | 1:19:19 | 1:19:20 | |
These days I think about how to avoid that. | 1:19:20 | 1:19:22 | |
I'm being a burden. Peter, you'll never be a burden. | 1:19:24 | 1:19:27 | |
I want to take care of you. | 1:19:27 | 1:19:28 | |
You have the quartet. | 1:19:28 | 1:19:30 | |
You have Robert and Alexandra to look after, guide them, take care of them. | 1:19:30 | 1:19:35 | |
So please, keep the quartet together. | 1:19:35 | 1:19:38 | |
Make me happy. | 1:19:40 | 1:19:42 | |
OK? | 1:19:46 | 1:19:48 | |
SNIFFLES | 1:19:48 | 1:19:49 | |
I was born in New York City, in 1963. | 1:19:51 | 1:19:54 | |
My mother, Frangoise Reynaud, played in the Hudson String Quartet with Peter. | 1:19:56 | 1:20:00 | |
He was her closest friend. | 1:20:00 | 1:20:03 | |
And my mother died, and the quartet broke up. | 1:20:03 | 1:20:07 | |
She died while in childbirth with me. | 1:20:07 | 1:20:10 | |
I studied with Gil Breton, until was 16, | 1:20:13 | 1:20:16 | |
when Peter arranged for me to study at Juilliard, under scholarship, | 1:20:16 | 1:20:21 | |
and then I moved here, he and Miriam invited me to live with them. | 1:20:21 | 1:20:24 | |
Happily, they became my family. | 1:20:24 | 1:20:27 | |
But truly, everything in my life that was good | 1:20:29 | 1:20:31 | |
happened as a result of their incredible love for me. | 1:20:31 | 1:20:37 | |
We formed the Fugue, and then I met Robert. | 1:20:38 | 1:20:44 | |
And then we had a daughter, a baby girl. | 1:20:46 | 1:20:50 | |
Alexandra. | 1:20:50 | 1:20:52 | |
I think the truly gifted one in the family... | 1:20:52 | 1:20:55 | |
DOOR OPENS | 1:20:55 | 1:20:56 | |
..you'll hear, I'm sure, see for yourself soon enough. | 1:20:56 | 1:20:58 | |
I've spent most of those years travelling, but it's a very demanding... | 1:20:58 | 1:21:03 | |
RECORDING STOPS | 1:21:03 | 1:21:04 | |
You OK? Mm-hm. | 1:21:08 | 1:21:09 | |
OK. | 1:21:14 | 1:21:15 | |
Open it. | 1:21:22 | 1:21:23 | |
It's for you. | 1:21:37 | 1:21:38 | |
Dad said this went for 25 grand. I can't accept it. | 1:21:42 | 1:21:47 | |
Oh, no, don't worry about it. | 1:21:47 | 1:21:48 | |
It belongs to a friend who owes me a favour. | 1:21:48 | 1:21:52 | |
You can use it for as long as you wish. | 1:21:52 | 1:21:55 | |
And this one, I made especially for you. | 1:21:57 | 1:22:00 | |
Try it. | 1:22:00 | 1:22:02 | |
Daniel, can I talk to you for a sec? | 1:22:06 | 1:22:09 | |
Uh... Yeah. Sure. | 1:22:11 | 1:22:13 | |
What? | 1:22:15 | 1:22:16 | |
You're an amazing man. | 1:22:18 | 1:22:19 | |
You're brilliant. | 1:22:20 | 1:22:22 | |
I admire you, and I think... SIGHS | 1:22:24 | 1:22:26 | |
..you're a dream for any girl who can handle a man like you. | 1:22:26 | 1:22:30 | |
I don't think I can be that girl now. | 1:22:30 | 1:22:33 | |
It's your parents, right? | 1:22:36 | 1:22:39 | |
No. No. It's your parents. It's your dad. | 1:22:39 | 1:22:41 | |
This is my decision. | 1:22:43 | 1:22:45 | |
Not going to let them come between us. | 1:22:47 | 1:22:49 | |
It's the Fugue, Daniel. | 1:22:52 | 1:22:54 | |
Hm? | 1:22:54 | 1:22:56 | |
It's the Fugue. | 1:22:56 | 1:22:58 | |
The Fugue? | 1:23:03 | 1:23:04 | |
You want to end what we have because of the quartet, this is crazy. | 1:23:09 | 1:23:13 | |
Alex, you understand, it's insane. | 1:23:13 | 1:23:15 | |
One doesn't have to be at the expense of the other. | 1:23:15 | 1:23:17 | |
Yeah, but it will be. | 1:23:17 | 1:23:18 | |
You know, I could never forgive myself for that, and neither would you. | 1:23:18 | 1:23:21 | |
You can't... Alex, Alex, relax. All right? Relax. | 1:23:21 | 1:23:26 | |
It's OK, it's going to be fine. | 1:23:26 | 1:23:28 | |
I'm going to take care of it. No, you're not listening to me. | 1:23:30 | 1:23:32 | |
I'm going to have a very serious talk with your parents. | 1:23:32 | 1:23:35 | |
If they're not going to accept what we have, | 1:23:35 | 1:23:37 | |
I have no interest in playing with these people. You understand me? | 1:23:37 | 1:23:40 | |
We'll form a new quartet. | 1:23:42 | 1:23:44 | |
New one. You and I, Alex. You and I. | 1:23:46 | 1:23:49 | |
We have Nina. Daniel, this is it. | 1:23:50 | 1:23:53 | |
I'm trying to talk to you, I'm trying to tell you | 1:23:53 | 1:23:55 | |
that this is done now, for me. It's done. | 1:23:55 | 1:23:59 | |
Go away. | 1:24:11 | 1:24:12 | |
Just, uh...go away. | 1:24:18 | 1:24:21 | |
SNIFFLES | 1:24:21 | 1:24:23 | |
Daniel? | 1:24:33 | 1:24:34 | |
Daniel... | 1:24:46 | 1:24:47 | |
(WATER RUNNING) | 1:24:59 | 1:25:00 | |
WOMAN SINGING PLAINTIVE ARIA IN GERMAN | 1:25:51 | 1:25:54 | |
ARIA ECHOES, FADES | 1:26:45 | 1:26:49 | |
DOOR OPENS | 1:27:34 | 1:27:36 | |
MAN COUGHS SOFTLY | 1:27:36 | 1:27:37 | |
FOOTSTEPS ECHOING | 1:27:40 | 1:27:43 | |
LOUD APPLAUSE | 1:27:43 | 1:27:45 | |
APPLAUSE FADES | 1:28:05 | 1:28:07 | |
PLAYING SLOW, MELANCHOLY MELODY | 1:28:29 | 1:28:33 | |
ROBERT JOINS IN | 1:28:45 | 1:28:47 | |
PLAYING LIVELY, ANIMATED MELODY | 1:29:26 | 1:29:30 | |
PLAYING MEDIUM TEMPO, WARM MELODY | 1:29:55 | 1:29:59 | |
PLAYING FAST, PLAYFUL MELODY | 1:30:28 | 1:30:32 | |
PLAYING LUSH, SOULFUL MELODY | 1:30:43 | 1:30:46 | |
PLAYING BRISK, LIVELY MELODY | 1:31:17 | 1:31:21 | |
MUSIC STOPS | 1:31:41 | 1:31:42 | |
SIGHS SOFTLY | 1:31:42 | 1:31:45 | |
SIGHS QUIETLY | 1:31:51 | 1:31:52 | |
Huh... | 1:32:12 | 1:32:14 | |
FOOTSTEPS ECHOING | 1:32:17 | 1:32:19 | |
Ladies and gentlemen, I have to stop. | 1:32:24 | 1:32:26 | |
My friends are playing way too fast, I can't keep up. | 1:32:28 | 1:32:31 | |
It's Beethoven's fault, insisting we play... | 1:32:31 | 1:32:35 | |
..Opus 131 attacca, without pause. | 1:32:36 | 1:32:40 | |
I need a pause. Nina Lee. | 1:32:40 | 1:32:43 | |
APPLAUSE | 1:32:44 | 1:32:47 | |
Wonderful cellist... | 1:32:47 | 1:32:48 | |
..friend of the Fugue... | 1:32:50 | 1:32:52 | |
..will replace me for the remainder of tonight's programme, | 1:32:55 | 1:32:58 | |
and, hopefully, for much longer than that. | 1:32:58 | 1:33:01 | |
Nina, please. | 1:33:01 | 1:33:02 | |
It has been my pleasure to play for you through the years... | 1:33:03 | 1:33:07 | |
..together with Robert, Daniel, Juliette. | 1:33:08 | 1:33:13 | |
Thank you. Thank you. | 1:33:13 | 1:33:15 | |
And for Miriam... My wife, is out there somewhere... | 1:33:15 | 1:33:21 | |
..I thank you, I miss you, I think of you. | 1:33:22 | 1:33:26 | |
I'll be seeing you. | 1:33:39 | 1:33:41 | |
THUNDEROUS APPLAUSE | 1:33:41 | 1:33:44 | |
CHEERING | 1:33:44 | 1:33:45 | |
APPLAUSE CONTINUING | 1:33:49 | 1:33:52 | |
APPLAUSE CONTINUING | 1:34:01 | 1:34:03 | |
APPLAUSE CONTINUING | 1:34:11 | 1:34:14 | |
The seventh movement. | 1:34:15 | 1:34:17 | |
These movements are all connected. | 1:34:19 | 1:34:21 | |
You can't ride the wild horses of the seventh | 1:34:21 | 1:34:24 | |
without mounting them during the sixth. | 1:34:24 | 1:34:27 | |
So with your indulgence, ladies and gentlemen, we'll go a few bars back. | 1:34:27 | 1:34:33 | |
Thank you. | 1:34:33 | 1:34:34 | |
Four bars back? | 1:34:46 | 1:34:47 | |
PLAYING LUSH, SOULFUL MELODY | 1:35:43 | 1:35:48 | |
PLAYING BRISK, LIVELY MELODY | 1:36:01 | 1:36:04 | |
BRISK, LIVELY MELODY CONTINUING | 1:36:39 | 1:36:41 | |
BEETHOVEN'S OPUS 131 CONTINUING | 1:36:54 | 1:36:56 |