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Hello! | 0:00:02 | 0:00:03 | |
Hello, it's John W here. | 0:00:05 | 0:00:08 | |
Williams. | 0:00:08 | 0:00:09 | |
The guitar player. | 0:00:09 | 0:00:10 | |
John Williams is able to sort of enrapture you, | 0:00:13 | 0:00:17 | |
and wrap himself | 0:00:17 | 0:00:20 | |
and the sound of the guitar around you. | 0:00:20 | 0:00:23 | |
I've known John since he was about 11. | 0:00:23 | 0:00:26 | |
He is a complete enigma to me as a person. | 0:00:26 | 0:00:30 | |
But that doesn't mean to say we don't make good music together. | 0:00:30 | 0:00:34 | |
One of the finest guitar players, ladies and gentlemen, | 0:00:36 | 0:00:39 | |
in the world today - Mr John Williams. | 0:00:39 | 0:00:40 | |
APPLAUSE | 0:00:40 | 0:00:42 | |
This guy, there's nothing like it. | 0:00:44 | 0:00:47 | |
I definitely think it was a kind of magic. | 0:00:47 | 0:00:49 | |
I was voted something like 12th best electric guitarist, | 0:00:49 | 0:00:52 | |
which is totally ridiculous. | 0:00:52 | 0:00:55 | |
JW, what a man. | 0:00:55 | 0:00:57 | |
John Williams? Brilliant guitarist. | 0:00:58 | 0:01:02 | |
He liked a joke. | 0:01:02 | 0:01:04 | |
I love it. And, you know, hopefully, if one is lucky, | 0:01:04 | 0:01:07 | |
one can be good at something one loves doing. | 0:01:07 | 0:01:09 | |
I remember it well. | 0:01:46 | 0:01:47 | |
Because my father was more or less responsible for the huge | 0:01:47 | 0:01:51 | |
popularity in the mid-'50s of the classical Spanish guitar, | 0:01:51 | 0:01:55 | |
as opposed to all the other, you know, skiffle, pop, jazz etc. | 0:01:55 | 0:01:59 | |
And his guitar school was quite a focal point. | 0:02:02 | 0:02:05 | |
But it's far too fast. | 0:02:08 | 0:02:10 | |
I've known John since he was about 11. | 0:02:12 | 0:02:15 | |
I thought he was a remarkable player. | 0:02:15 | 0:02:18 | |
But he'd been playing a long time. | 0:02:18 | 0:02:20 | |
He'd been playing since six. | 0:02:20 | 0:02:21 | |
He was taught beautifully and his father was a very fine teacher. | 0:02:21 | 0:02:27 | |
Len. | 0:02:27 | 0:02:28 | |
'The teacher, Mr Williams, is a dedicated man. His method is strict. | 0:02:28 | 0:02:32 | |
'He stands no nonsense.' | 0:02:32 | 0:02:34 | |
Yes, that's very good. Don't hurry from one phrase to another. | 0:02:35 | 0:02:39 | |
You see, you did this. | 0:02:39 | 0:02:41 | |
My father was actually very circumspect about | 0:02:41 | 0:02:45 | |
sort of exploiting me. | 0:02:45 | 0:02:47 | |
'A rock and roll guitarist can be turned out in 12 hours flat. | 0:02:49 | 0:02:52 | |
'The classical player must devote at least 12 solid years to | 0:02:52 | 0:02:55 | |
'patient study. | 0:02:55 | 0:02:57 | |
'You pays your money and you takes your pick.' | 0:02:57 | 0:03:00 | |
He was totally against the idea of the young so-called prodigy, | 0:03:00 | 0:03:04 | |
or talented young person, whatever, | 0:03:04 | 0:03:07 | |
being put out, you know, to do concerts. | 0:03:07 | 0:03:10 | |
Seeing yourself, like, from 50 years ago - I mean, I'm 74 now - | 0:03:25 | 0:03:29 | |
is, you know, a bit daunting, to be honest, you know. | 0:03:29 | 0:03:32 | |
It's like, almost, seeing someone else. | 0:03:32 | 0:03:34 | |
Will you please meet John Williams? Thank you! | 0:04:15 | 0:04:18 | |
APPLAUSE | 0:04:18 | 0:04:20 | |
The fantastic John Williams. And of course everybody knows | 0:04:20 | 0:04:23 | |
that's Eric Clapton's father. | 0:04:23 | 0:04:25 | |
Ladies and gentlemen, Mr John Williams. | 0:04:25 | 0:04:29 | |
Thank you very much. | 0:06:13 | 0:06:14 | |
We came together. I think it was my idea but it may have been John's. | 0:06:43 | 0:06:47 | |
I certainly wanted us to play some duets | 0:06:47 | 0:06:50 | |
because, over number of years, there were two camps. | 0:06:50 | 0:06:56 | |
There was the Williams camp and the Bream camp, you see. | 0:06:56 | 0:07:00 | |
It was... It wasn't very pleasant, really. | 0:07:04 | 0:07:07 | |
And I thought the best thing John and I could do were to play duets. | 0:07:07 | 0:07:12 | |
That would disperse them. | 0:07:12 | 0:07:14 | |
And it duly did. | 0:07:15 | 0:07:16 | |
With Julian it was great, because we're very different. | 0:07:18 | 0:07:22 | |
And we mutually respect that. | 0:07:22 | 0:07:24 | |
It's better than being, like, two people who play the same. | 0:07:49 | 0:07:52 | |
But we used to feel, because we play differently, | 0:07:55 | 0:07:58 | |
it gave it a real dynamic, you know. | 0:07:58 | 0:08:00 | |
We'd have a phrase and we'd have to repeat it. | 0:08:00 | 0:08:03 | |
Then it would come out differently. It would still be together, we hope. | 0:08:03 | 0:08:06 | |
We were never a great duo, as such. | 0:08:12 | 0:08:16 | |
We were just rather good players, who played well together. | 0:08:16 | 0:08:20 | |
I liked the difference of our approach. | 0:08:28 | 0:08:31 | |
Well, you're no good playing table tennis without a bit of competition. | 0:08:31 | 0:08:34 | |
And I like the spontaneity. | 0:08:34 | 0:08:36 | |
Spontaneity is very important when there are two of you. | 0:08:36 | 0:08:40 | |
# Some of my best friends are songs. # | 0:09:24 | 0:09:29 | |
I just loved the opportunity of getting the guitar over, you know. | 0:09:29 | 0:09:33 | |
And a popular music show on Saturday night, for a classical musician, | 0:09:33 | 0:09:36 | |
so-called classical musician, to agree to go on it. | 0:09:36 | 0:09:40 | |
I mean, it's extraordinary to think nowadays, because no-one | 0:09:40 | 0:09:44 | |
would dream of saying... | 0:09:44 | 0:09:45 | |
Everyone's sort of... if there was a show like that, | 0:09:45 | 0:09:47 | |
there'd be sort of queueing up to try and get on it. | 0:09:47 | 0:09:50 | |
One of the finest guitar players, ladies and gentlemen, | 0:09:50 | 0:09:52 | |
in the world today, Mr John Williams. | 0:09:52 | 0:09:54 | |
APPLAUSE | 0:09:54 | 0:09:56 | |
I just thought, "Oh, what an opportunity," you know, | 0:09:56 | 0:09:59 | |
to play to 18 million people, live on a Saturday night. | 0:09:59 | 0:10:02 | |
APPLAUSE | 0:13:18 | 0:13:22 | |
Val loved the guitar. | 0:13:27 | 0:13:29 | |
I think the popularity of the guitar itself, of the classical guitar, | 0:16:08 | 0:16:12 | |
has a lot to do with me having been a guest on Val's show. | 0:16:12 | 0:16:18 | |
I mean, he did an enormous amount, quite apart from the | 0:16:18 | 0:16:22 | |
people that loved watching him every Saturday night. | 0:16:22 | 0:16:25 | |
A lot of people whose shows I was on that were in popular entertainment, | 0:16:25 | 0:16:29 | |
I was so impressed by their attitudes, | 0:16:29 | 0:16:32 | |
their ease of personality, the way they related to people. | 0:16:32 | 0:16:35 | |
The way they did their act. | 0:16:35 | 0:16:37 | |
Can I have a chair, please? | 0:16:45 | 0:16:47 | |
That's all I ask. Thank you. | 0:16:47 | 0:16:49 | |
Eric Sykes was a real musician's comedian, you know. | 0:16:49 | 0:16:53 | |
All the musicians loved him because of his timing. | 0:16:53 | 0:16:55 | |
Something very close to music in miming. | 0:16:55 | 0:17:00 | |
I was going to play a little piece, by Bach. | 0:17:03 | 0:17:06 | |
And then I thought, why? | 0:17:06 | 0:17:07 | |
He never plays any of mine. | 0:17:07 | 0:17:09 | |
LAUGHTER | 0:17:09 | 0:17:11 | |
It's a little piece called Amour, and it goes like this. | 0:17:13 | 0:17:17 | |
LAUGHTER | 0:17:24 | 0:17:28 | |
APPLAUSE | 0:17:28 | 0:17:33 | |
LAUGHTER | 0:17:33 | 0:17:36 | |
Our act started with him doing a Bach gavotte. | 0:17:47 | 0:17:50 | |
GUITAR MUSIC CONTINUES | 0:18:03 | 0:18:06 | |
APPLAUSE | 0:18:06 | 0:18:10 | |
And he would be playing something on guitar, which he could do. | 0:18:10 | 0:18:14 | |
He could play quite well. | 0:18:14 | 0:18:15 | |
Enough to mime something. And it would fool you. | 0:18:18 | 0:18:20 | |
It would even fool another guitarist, you know. | 0:18:20 | 0:18:22 | |
I've got to be honest, | 0:18:22 | 0:18:24 | |
that everybody mimes to records. | 0:18:24 | 0:18:27 | |
Well, I don't mime to records. | 0:18:27 | 0:18:29 | |
I have the real guy here, who's round the back. | 0:18:29 | 0:18:32 | |
The greatest guitarist in the world, and we're going to play you a duet, | 0:18:32 | 0:18:36 | |
John Williams. | 0:18:36 | 0:18:37 | |
APPLAUSE | 0:18:37 | 0:18:40 | |
I told you it was a classy act! | 0:18:52 | 0:18:54 | |
It's all right. | 0:18:59 | 0:19:01 | |
Fine, yes. | 0:19:01 | 0:19:02 | |
-OK, John. -Same piece or... | 0:19:02 | 0:19:04 | |
Lovely. | 0:19:10 | 0:19:11 | |
-This one. -Yes. | 0:19:11 | 0:19:14 | |
-HE CHANGES TUNE -Yes. That one? | 0:19:14 | 0:19:17 | |
That one, yes. | 0:19:17 | 0:19:18 | |
LAUGHTER AND APPLAUSE | 0:19:20 | 0:19:24 | |
B. | 0:20:36 | 0:20:38 | |
-E? -B. | 0:20:38 | 0:20:40 | |
C. | 0:20:43 | 0:20:44 | |
APPLAUSE | 0:20:54 | 0:20:57 | |
# Kiss today goodbye. # | 0:24:31 | 0:24:33 | |
Hello. | 0:24:33 | 0:24:35 | |
Hello. | 0:24:36 | 0:24:37 | |
'I think the word jazz is bandied around a lot, you know. | 0:24:42 | 0:24:45 | |
'Especially these days. By people who sort of play AT it. | 0:24:45 | 0:24:48 | |
'They play at jazz.' | 0:24:48 | 0:24:50 | |
They like the jazzy feeling, but generally when classical | 0:24:50 | 0:24:53 | |
people play anything popular or jazz, | 0:24:53 | 0:24:55 | |
they don't get quite the right feel, I think. | 0:24:55 | 0:24:57 | |
I'm not being conceited here. | 0:24:57 | 0:25:00 | |
I say it's a little bit in my blood, | 0:25:00 | 0:25:02 | |
'because my father was a 1930s, '40s session guitarist, | 0:25:02 | 0:25:06 | |
'jazz guitarist.' | 0:25:06 | 0:25:08 | |
We met him at Ronnie Scott's. | 0:25:14 | 0:25:16 | |
We went to see him | 0:25:16 | 0:25:17 | |
because we had heard that he was interested in doing something. | 0:25:17 | 0:25:21 | |
He liked to know and learn from | 0:25:23 | 0:25:26 | |
all these different people that we threw him into. | 0:25:26 | 0:25:29 | |
Of course at first one didn't feel that he was particularly funny or | 0:25:35 | 0:25:39 | |
had a sense of humour or something, | 0:25:39 | 0:25:41 | |
and he needed someone like... | 0:25:41 | 0:25:43 | |
say, like, John Dankworth, who had a great sense of humour | 0:25:43 | 0:25:46 | |
and they brought each other out. | 0:25:46 | 0:25:48 | |
Whereas I was never as good as them two. | 0:25:50 | 0:25:52 | |
I would like to have been, but I never achieved it! | 0:25:52 | 0:25:56 | |
I would like to introduce somebody | 0:25:56 | 0:25:59 | |
who is an old friend of ours. | 0:25:59 | 0:26:02 | |
Somebody who actually needs no introduction at all. | 0:26:02 | 0:26:05 | |
I'd heard him playing it on the guitar. | 0:26:08 | 0:26:11 | |
And I was quite happy to just sit and listen to it. | 0:26:11 | 0:26:15 | |
And I said, oh, I love that. | 0:26:17 | 0:26:19 | |
And there were no words to it then. | 0:26:19 | 0:26:21 | |
And I thought, that really is very beautiful. | 0:26:21 | 0:26:23 | |
# He was beautiful | 0:26:25 | 0:26:33 | |
# Beautiful | 0:26:33 | 0:26:37 | |
# To my eyes | 0:26:37 | 0:26:41 | |
# From the moment | 0:26:41 | 0:26:46 | |
# I saw him | 0:26:46 | 0:26:50 | |
# Sun filled the skies | 0:26:50 | 0:26:57 | |
# He was so, so beautiful | 0:26:58 | 0:27:07 | |
# Beautiful | 0:27:07 | 0:27:11 | |
# Just to hold | 0:27:11 | 0:27:15 | |
# In my arms | 0:27:15 | 0:27:19 | |
# He was springtime | 0:27:19 | 0:27:24 | |
# Winter was cold | 0:27:24 | 0:27:32 | |
# How could I tell him | 0:27:32 | 0:27:40 | |
# What I so clearly could see. # | 0:27:40 | 0:27:45 | |
I wrote that lyric in less than a week. | 0:27:45 | 0:27:48 | |
It just came very, very easily. | 0:27:48 | 0:27:50 | |
I didn't have to think about those lyrics whatsoever and a lot people | 0:27:50 | 0:27:54 | |
say to me, they nudge me in the ribs and say, "Come on, girl, tell me." | 0:27:54 | 0:27:59 | |
Who was he? | 0:27:59 | 0:28:01 | |
It wasn't anybody! | 0:28:01 | 0:28:03 | |
Except my husband and John Williams. | 0:28:09 | 0:28:11 | |
He is a complete enigma to me as a person. | 0:28:13 | 0:28:18 | |
But that doesn't mean to say we don't make good music together. | 0:28:18 | 0:28:22 | |
We're very different performers. | 0:28:49 | 0:28:53 | |
But that, I think, is good. | 0:28:53 | 0:28:55 | |
There is a tendency for people to want to make | 0:29:01 | 0:29:05 | |
a more uniform sound between two instruments, | 0:29:05 | 0:29:08 | |
but I think that the difference is very important | 0:29:08 | 0:29:11 | |
because, amongst other things, it adds a bit of pepper and salt. | 0:29:11 | 0:29:17 | |
We had ideas. | 0:29:20 | 0:29:22 | |
Not arguments. | 0:29:22 | 0:29:25 | |
Discussion. | 0:29:25 | 0:29:27 | |
And we put them in a hat and eventually it came out in the wash. | 0:29:27 | 0:29:31 | |
Until we got something halfway decent by way of a programme. | 0:29:31 | 0:29:35 | |
We were of our time. | 0:33:14 | 0:33:15 | |
And that was the sort of thing people wanted to hear. | 0:33:16 | 0:33:20 | |
Two good guitar players playing duets. | 0:33:20 | 0:33:22 | |
And then, finally, we didn't do anything very much more. | 0:33:26 | 0:33:30 | |
It...it... | 0:33:30 | 0:33:32 | |
it had come to an end. | 0:33:32 | 0:33:35 | |
We had said what we wanted to say as eloquently as we could. | 0:33:35 | 0:33:38 | |
And that was it. | 0:33:40 | 0:33:42 | |
It's very interesting. | 0:34:03 | 0:34:05 | |
You see, when you're with someone else on stage, | 0:34:05 | 0:34:07 | |
what you're communicating to the audience, | 0:34:07 | 0:34:10 | |
and it can be in a room with friends or it can be in a public, | 0:34:10 | 0:34:13 | |
you know, space, is you're communicating | 0:34:13 | 0:34:17 | |
the togetherness of the two of you and the music you're making. | 0:34:17 | 0:34:20 | |
Which is... OK, which seems obvious. | 0:34:20 | 0:34:23 | |
But when you're on your own, | 0:34:23 | 0:34:25 | |
a lot of the attention is on how well you are doing on your own. | 0:34:25 | 0:34:28 | |
To...to express yourself. | 0:34:28 | 0:34:30 | |
And, um... I'm sort of in two minds about that. | 0:34:30 | 0:34:33 | |
POUNDING ROCK BEAT | 0:34:33 | 0:34:35 | |
I met John on a recording session. | 0:34:50 | 0:34:53 | |
I think it was for Stanley Myers. | 0:34:53 | 0:34:55 | |
It was Francis Monkman on keyboard and we had such a rapport | 0:34:55 | 0:35:00 | |
going between us that Stanley Myers said, "You lot should form a band. | 0:35:00 | 0:35:06 | |
"You have a nice groove together when you're playing." | 0:35:06 | 0:35:09 | |
I think John thought the idea of playing a different | 0:35:11 | 0:35:15 | |
sort of music was quite... interesting. | 0:35:15 | 0:35:20 | |
MUSIC: GIGUE FROM FRENCH SUITE No 5 by BACH | 0:35:20 | 0:35:23 | |
I didn't want to be the only guitarist | 0:35:29 | 0:35:31 | |
and we needed someone who could do different styles. | 0:35:31 | 0:35:34 | |
I can only do the so-called classical style. | 0:35:34 | 0:35:37 | |
And I'd already met Kevin Peek, | 0:35:37 | 0:35:38 | |
an Australian guitarist who used to play backing for the Shadows | 0:35:38 | 0:35:42 | |
and used to do session work like the Val Doonican show, etc. | 0:35:42 | 0:35:46 | |
John was playing electric guitar with his fingers, which I think... | 0:36:02 | 0:36:07 | |
that in itself was a huge jump, especially for John. | 0:36:07 | 0:36:12 | |
I found with electric guitar, I thought | 0:36:17 | 0:36:20 | |
at first I could use my classical, so-called classical technique | 0:36:20 | 0:36:23 | |
on electric strings and then I found out later on that I couldn't. | 0:36:23 | 0:36:27 | |
I did it, and I was voted something like, I think, | 0:36:27 | 0:36:30 | |
12th best electric guitarist by Melody Maker one year, | 0:36:30 | 0:36:33 | |
which is totally ridiculous. | 0:36:33 | 0:36:35 | |
I mean, I wouldn't have been in the top thousand. | 0:36:35 | 0:36:37 | |
I thought, I sensed a look of puzzlement. | 0:36:41 | 0:36:45 | |
He was smiling, but I know he was out of his comfort zone, | 0:36:45 | 0:36:50 | |
but often, you have to be if you're doing something that is original. | 0:36:50 | 0:36:54 | |
Sky was... It was fantastic. | 0:38:02 | 0:38:05 | |
I mean, we gelled terrifically. | 0:38:05 | 0:38:08 | |
You know, we were very different, | 0:38:08 | 0:38:10 | |
some of us from totally different backgrounds | 0:38:10 | 0:38:13 | |
but we found a language of music. | 0:38:13 | 0:38:15 | |
For us, there aren't any barriers. | 0:38:17 | 0:38:18 | |
Were not actually consciously trying to do anything beyond doing | 0:38:18 | 0:38:22 | |
what we ourselves like playing and believe in. | 0:38:22 | 0:38:25 | |
We're not actually consciously trying to break down a barrier | 0:38:25 | 0:38:27 | |
but we recognise that we are, in fact, | 0:38:27 | 0:38:30 | |
probably helping people break down barriers. | 0:38:30 | 0:38:33 | |
We were kind of confident and comfortable with, er, | 0:38:39 | 0:38:44 | |
the music that we had to play, so we didn't need an image. | 0:38:44 | 0:38:47 | |
I had a red and blue jumper that I used to wear | 0:38:49 | 0:38:53 | |
because my mum knitted it. | 0:38:53 | 0:38:54 | |
I think there was a gap between the classical guitar | 0:39:01 | 0:39:05 | |
and the jazz guitar or the rock guitar, | 0:39:05 | 0:39:09 | |
and suddenly, for John Williams to... | 0:39:09 | 0:39:12 | |
lift over into another area, | 0:39:12 | 0:39:16 | |
was brilliant for young guitarists. | 0:39:16 | 0:39:19 | |
JW - what a man! | 0:39:27 | 0:39:29 | |
Why is one of Britain's most celebrated classical guitarists | 0:39:30 | 0:39:33 | |
suddenly becoming a rock guitarist? | 0:39:33 | 0:39:35 | |
Well, I don't know that I'm that successful at actually | 0:39:35 | 0:39:38 | |
becoming a complete rock guitarist. | 0:39:38 | 0:39:39 | |
You know, when things get too rocky and sort of heavy | 0:39:39 | 0:39:42 | |
and really rocky, I pass it all over to Kevin here, you see. | 0:39:42 | 0:39:44 | |
Ultimately, with Sky, it really did, from the guitar point of view, | 0:40:13 | 0:40:17 | |
break boundaries. | 0:40:17 | 0:40:18 | |
I think it was a real trailblazer. | 0:40:18 | 0:40:20 | |
It didn't mean that I stopped in any way my classical playing. | 0:40:20 | 0:40:24 | |
In fact, later on I was doing many other things and people said, | 0:40:24 | 0:40:28 | |
"Oh, you've, you know, you've switched horses. | 0:40:28 | 0:40:31 | |
"You're doing the popular thing. | 0:40:31 | 0:40:32 | |
"You're doing it for money, you're doing it for blah-blah-blah," | 0:40:32 | 0:40:35 | |
all of which is rubbish. | 0:40:35 | 0:40:37 | |
Er... Because, it's quite an embarrassing thing to say. | 0:40:37 | 0:40:41 | |
I didn't want to say it at the time but actually... | 0:40:41 | 0:40:43 | |
if it was a financial thing, I would have been earning much more | 0:40:43 | 0:40:46 | |
just sticking to my classical playing, you know. | 0:40:46 | 0:40:48 | |
Please welcome a master of music. | 0:40:48 | 0:40:51 | |
We are so proud to have on the show Mr John Williams! | 0:40:51 | 0:40:55 | |
APPLAUSE | 0:40:55 | 0:40:58 | |
'I did a Les Dawson guest bit. | 0:41:00 | 0:41:02 | |
'Of course, it was Cavatina, | 0:41:02 | 0:41:04 | |
'the Deer Hunter tune.' | 0:41:04 | 0:41:06 | |
What better for him, you know? | 0:41:06 | 0:41:08 | |
You know, it's strange, when you think of it, | 0:41:08 | 0:41:10 | |
how two musical giants have never actually worked together. | 0:41:10 | 0:41:14 | |
-It would be nice, though, wouldn't it? -I would love it. | 0:41:14 | 0:41:16 | |
Actually, do you like Cavatina? | 0:41:16 | 0:41:18 | |
I prefer Bolognese, myself. | 0:41:18 | 0:41:19 | |
LAUGHTER | 0:41:19 | 0:41:21 | |
He was naturally funny, naturally friendly. | 0:41:21 | 0:41:24 | |
Now, don't be nervous | 0:41:24 | 0:41:25 | |
because I do get a bit intricate in certain parts. | 0:41:25 | 0:41:28 | |
-We do it in E, do we? -Pardon? -In E? -No, we'll do it in here. | 0:41:28 | 0:41:31 | |
LAUGHTER | 0:41:31 | 0:41:33 | |
So...just follow what I do. | 0:41:33 | 0:41:37 | |
All right? I'll just limber up the digits. | 0:41:37 | 0:41:40 | |
HE PLAYS A FEW NOTES | 0:41:40 | 0:41:41 | |
THEY START TO PLAY CAVATINA | 0:41:44 | 0:41:47 | |
LES PLAYS A WRONG NOTE | 0:41:47 | 0:41:49 | |
LAUGHTER | 0:41:49 | 0:41:50 | |
And to actually do it... | 0:41:50 | 0:41:52 | |
do it wrong is actually quite difficult and make it funny as well. | 0:41:52 | 0:41:57 | |
-Shall I show you? -If you think it's better. | 0:41:57 | 0:41:59 | |
It's the B, then the... | 0:41:59 | 0:42:01 | |
and then the C sharp... | 0:42:01 | 0:42:03 | |
CRUNCH! | 0:42:03 | 0:42:05 | |
I knew that would happen! | 0:42:05 | 0:42:06 | |
I knew you'd get your thumb fast. | 0:42:06 | 0:42:08 | |
I knew it. Thank God you didn't have it on your knee. | 0:42:08 | 0:42:11 | |
So wait a minute. | 0:42:11 | 0:42:12 | |
LAUGHTER | 0:42:12 | 0:42:13 | |
You're totally wrong. | 0:42:13 | 0:42:15 | |
Look, this is the way it was written. Please, John. | 0:42:15 | 0:42:17 | |
I mean, I'm very embarrassed now. | 0:42:17 | 0:42:19 | |
LES PLAYS A WRONG NOTE | 0:42:21 | 0:42:23 | |
LAUGHTER | 0:42:23 | 0:42:25 | |
Les, Les. | 0:42:25 | 0:42:26 | |
Les, it really is not a C natural there. | 0:42:26 | 0:42:29 | |
It sounds crazy. | 0:42:29 | 0:42:30 | |
Look, I know you're supposed to know your business | 0:42:30 | 0:42:32 | |
but quite frankly, I know it's not much but this is my show. | 0:42:32 | 0:42:35 | |
As far as I'm concerned, I'm giving you no more support. | 0:42:35 | 0:42:38 | |
If I did, you wouldn't wear it. | 0:42:38 | 0:42:41 | |
As far as I'm concerned, Williams, you're on your own | 0:42:41 | 0:42:43 | |
but just remember one thing. | 0:42:43 | 0:42:45 | |
There's others available. | 0:42:45 | 0:42:46 | |
You're not just on your own, you know. | 0:42:46 | 0:42:48 | |
I can get anybody for that money. | 0:42:48 | 0:42:50 | |
Be it on your own head, Williams. | 0:42:51 | 0:42:52 | |
APPLAUSE | 0:42:52 | 0:42:54 | |
HE STARTS TO PLAY | 0:43:06 | 0:43:09 | |
APPLAUSE | 0:46:20 | 0:46:23 | |
Thank you, the fantastic John Williams. | 0:46:32 | 0:46:35 | |
And of course, everybody knows that's Eric Clapton's father. | 0:46:35 | 0:46:38 | |
APPLAUSE | 0:46:38 | 0:46:41 | |
I had a chance to collaborate with John Williams, | 0:46:49 | 0:46:53 | |
accompanying him in the second movement | 0:46:53 | 0:46:55 | |
of the Concerto de Aranjuez of Rodrigo, | 0:46:55 | 0:46:58 | |
the quintessential guitar piece that everybody knows. | 0:46:58 | 0:47:02 | |
The Rodrigo concerto is one of the great pieces of the 20th century. | 0:47:41 | 0:47:45 | |
I mean, it's the one that's captured the public imagination, | 0:47:45 | 0:47:48 | |
quite apart from the guitar public. | 0:47:48 | 0:47:50 | |
And rightly so, because that slow movement is a wonder. | 0:47:50 | 0:47:54 | |
It's a stroke of genius, the tune. | 0:47:54 | 0:47:56 | |
To have it with just guitar chords | 0:47:56 | 0:47:58 | |
and hearing it on the cor anglais, the tune, to start with, | 0:47:58 | 0:48:02 | |
guitar is a great instrument for playing just chords. | 0:48:02 | 0:48:05 | |
No other instrument plays chords that sound so nice. | 0:48:05 | 0:48:08 | |
I was... really, really scared of, | 0:48:19 | 0:48:23 | |
first of all, to... to play with him. | 0:48:23 | 0:48:27 | |
I mean, he practically wrote this piece. | 0:48:27 | 0:48:30 | |
And just because the music was so well known, I thought, well, | 0:48:32 | 0:48:36 | |
I can't screw this up. | 0:48:36 | 0:48:38 | |
But he made me feel so at ease and so comfortable and he said, | 0:48:38 | 0:48:43 | |
"Just lay the tempo down. | 0:48:43 | 0:48:45 | |
"Conduct, and I'll work around it." | 0:48:46 | 0:48:49 | |
Now, I'm used to following singers all around | 0:49:04 | 0:49:07 | |
and doing all kinds of cartwheels and I didn't have to with him. | 0:49:07 | 0:49:10 | |
I was just, like, working with a great musician | 0:49:10 | 0:49:13 | |
and with that instrument that creates intimacy | 0:49:13 | 0:49:16 | |
like no other instrument. | 0:49:16 | 0:49:17 | |
John is able to sort of enrapture you | 0:49:28 | 0:49:33 | |
and wrap himself and the sound of the guitar around you. | 0:49:33 | 0:49:37 | |
It was a unique experience for me | 0:49:59 | 0:50:01 | |
because I haven't worked with him since, unfortunately. | 0:50:01 | 0:50:03 | |
And I miss that. | 0:50:04 | 0:50:06 | |
HE PLAYS FINAL NOTE AND MUSIC FADES | 0:57:16 | 0:57:18 | |
LOUD APPLAUSE | 0:57:28 | 0:57:29 | |
I enjoy the guitar in a huge space. | 0:57:29 | 0:57:31 | |
I love it. | 0:57:31 | 0:57:33 | |
And hopefully, if one's lucky, | 0:57:33 | 0:57:35 | |
one can be good at something one loves doing. | 0:57:35 | 0:57:38 |