0:00:08 > 0:00:10Joyce wasn't a big fan of eulogies.
0:00:10 > 0:00:13She wasn't interested in what people thought about her.
0:00:13 > 0:00:16She used to say,
0:00:16 > 0:00:19"I play the music, and that's enough."
0:00:19 > 0:00:21But since she died,
0:00:21 > 0:00:23a huge number of people have talked about her
0:00:23 > 0:00:28and what her music meant to the world
0:00:28 > 0:00:33and - sorry, Joyce - just to give you a tiny flavour.
0:00:34 > 0:00:38Radio Three called her musicality an inspiration.
0:00:41 > 0:00:45"A virtuoso with an awesome pianistic technique."
0:00:46 > 0:00:49The Independent, "I know of no pianist in the world
0:00:49 > 0:00:53"who is her superior, musically or technically."
0:00:53 > 0:00:56And some people have said how sad it was
0:00:56 > 0:01:00that illness cut short her concert career
0:01:00 > 0:01:03and that her recording success came so late in life.
0:01:03 > 0:01:05Joyce didn't say that.
0:01:05 > 0:01:07She wasn't interested in success,
0:01:07 > 0:01:10she was only interested in the music.
0:01:10 > 0:01:13Joyce Hatto doesn't matter, she would say,
0:01:13 > 0:01:16it's only the music that matters.
0:01:16 > 0:01:18So I'm going to shut up now.
0:01:18 > 0:01:24I can imagine Joycey looking down saying, "Get on with it, Barrie."
0:01:24 > 0:01:28I'll leave you with the most important bit of Joyce.
0:01:31 > 0:01:33The music.
0:01:41 > 0:01:43MUSIC: "Piano Concerto No 1" by Rachmaninov
0:02:13 > 0:02:15Just one picture, please!
0:02:17 > 0:02:19PHONE RINGS
0:02:19 > 0:02:22'Hi, Barrie - James Inverne again. I'm sorry about the tabloids,
0:02:22 > 0:02:25'we had no choice but to publish the story.
0:02:25 > 0:02:29'I'm afraid we now have even more evidence about Joyce's recordings.
0:02:29 > 0:02:31'I suggest you call me. Thanks.'
0:02:42 > 0:02:46This is Barrington-Coupe here. I'm prepared to talk.
0:02:47 > 0:02:49Give you the whole story.
0:02:58 > 0:03:02MUSIC: "Piano Concerto No 1" by Rachmaninoff
0:03:39 > 0:03:41She's jolly good.
0:03:42 > 0:03:44She's not a student, is she?
0:03:44 > 0:03:46Yes. Joyce Hatto.
0:03:49 > 0:03:51She must be going places.
0:03:51 > 0:03:55Well, girls - they always have that toss up about babies, don't they?
0:04:15 > 0:04:16Lovely.
0:04:17 > 0:04:20No, I agree, she's one to watch.
0:04:41 > 0:04:45Very, very good! Well done, Miss Hatto.
0:04:45 > 0:04:49A round of applause, boys, please, for our rehearsal pianist.
0:05:01 > 0:05:04- Golly, sorry. - No, no, it's my fault, sorry.
0:05:04 > 0:05:07- I forgot I was holding them. - Oh, Lord, are they all out of order?
0:05:07 > 0:05:08Oh, I'll sort them out.
0:05:08 > 0:05:11I'm Barrie, by the way.
0:05:11 > 0:05:15Barrington-Coupe. Barrie. Either... "Eether". You say potahto.
0:05:16 > 0:05:19- And I know who you are - obviously. - Do you want a hand?
0:05:19 > 0:05:22No, no, no, I'm used to wrestling with chunks of music.
0:05:22 > 0:05:25I work for a music publishers. Hence my manly physique!
0:05:25 > 0:05:27Mr Coupe, when they're in order I'll have them, thank you.
0:05:27 > 0:05:30Two ticks, Miss Guisely. Just wrestling with them.
0:05:32 > 0:05:33That was brilliant, by the way.
0:05:33 > 0:05:36I'm just the rehearsal dogsbody, not needed on voyage.
0:05:36 > 0:05:40Oh, well, it won't get any better tonight - it couldn't.
0:05:40 > 0:05:41That was just...
0:05:41 > 0:05:44It was very moving.
0:05:44 > 0:05:45We aim to please.
0:05:45 > 0:05:49You wouldn't fancy a cup of tea or something, I suppose, would you?
0:05:49 > 0:05:53Well, I suppose I could. As long as I get the bus by...
0:05:53 > 0:05:55I don't know any places. I'm... I'm a Thermos kind of girl.
0:05:55 > 0:05:58I'm sure we could strike out and find somewhere.
0:06:00 > 0:06:03Mr Coupe, lovely to see you and all that
0:06:03 > 0:06:06- but I was rather hoping you might bring me up the music...- Sorry.
0:06:06 > 0:06:09..which, I believe, was the reason for your visit?
0:06:13 > 0:06:16I bet you've had all the agents sniffing around, haven't you?
0:06:16 > 0:06:17Oh, no, I haven't, really.
0:06:17 > 0:06:20I haven't really had any big recitals.
0:06:20 > 0:06:23I'm not really one of the sort of chosen few.
0:06:23 > 0:06:24- The golden boys?- Yes!
0:06:24 > 0:06:26Some of them have concert tours booked
0:06:26 > 0:06:28and they haven't even graduated.
0:06:28 > 0:06:31You could do a concert tour.
0:06:31 > 0:06:33Liszt.
0:06:33 > 0:06:34I bet you're brilliant at Liszt.
0:06:34 > 0:06:37Go on, you love him, don't you?
0:06:37 > 0:06:39Oh, I do love him.
0:06:39 > 0:06:40BOTH: And Chopin!
0:06:40 > 0:06:42SHE GIGGLES
0:06:42 > 0:06:44I have this mad urge to do the Godowsky Variations.
0:06:44 > 0:06:46Do you know them?
0:06:46 > 0:06:49No, I do know them. I'd love to hear you play them.
0:06:49 > 0:06:51Well, come back to me in about ten years, then.
0:06:53 > 0:06:54Actually, I sort of think
0:06:54 > 0:06:56I play a little bit better when no-one's listening.
0:06:56 > 0:06:58Not much of a career, playing in the front room!
0:06:58 > 0:07:01I'd love to do the whole concert thing,
0:07:01 > 0:07:04but you have to be pretty tough.
0:07:04 > 0:07:07No, you don't need to be tough, you just need someone in your corner
0:07:07 > 0:07:10who'll do all the tough stuff for you.
0:07:10 > 0:07:12I don't really have too many people in my corner.
0:07:12 > 0:07:14Well, um...
0:07:14 > 0:07:18I'm all for love's young dream, but some of us have got homes to go to.
0:07:19 > 0:07:24Seems a bit peculiar, why are you auditioning for a French man?
0:07:24 > 0:07:25French genius.
0:07:25 > 0:07:28Alfred Cortot is going to take five of us next term, one-on-one.
0:07:28 > 0:07:31We're all going to play and he's going to choose his five.
0:07:31 > 0:07:32Five's not many.
0:07:32 > 0:07:34Barrie thinks I'm in with a chance.
0:07:34 > 0:07:37He thinks Cortot and I are very sympathique!
0:07:37 > 0:07:39Oh, so, this was BARRIE'S suggestion?
0:07:39 > 0:07:42You don't have to say his name like you're holding it with tongs.
0:07:42 > 0:07:45I'm not sure that I approve of all this boosting you up.
0:07:45 > 0:07:48If that's viscose it'll need a cloth.
0:07:49 > 0:07:51Where's the bottle?
0:07:51 > 0:07:55Barrie thinks I have a future doing big concerts.
0:07:56 > 0:07:59Barrie didn't see you run off the stage with nerves
0:07:59 > 0:08:00at the Chelsea Town Hall.
0:08:00 > 0:08:02That was years ago.
0:08:02 > 0:08:03Sleeves first.
0:08:03 > 0:08:07Or sit there like a rabbit in headlights at that charity do.
0:08:07 > 0:08:09Oh, I was mortified.
0:08:09 > 0:08:11Barrie and I are working on that.
0:08:11 > 0:08:15What exactly is he, this Barrie?
0:08:15 > 0:08:18He's a classical music impresario.
0:08:18 > 0:08:21You want to talk to Daddy about music people.
0:08:21 > 0:08:23Daddy's a baker, what does he know about music people?
0:08:23 > 0:08:25Remember the Beverley Sisters' wedding cake
0:08:25 > 0:08:27and all those shenanigans?
0:08:27 > 0:08:29They were music people, if you call that music.
0:08:29 > 0:08:32I think he sounds wily, this Barrie.
0:08:32 > 0:08:34You can't go living on compliments.
0:08:37 > 0:08:41Sorry, sorry, I'm late. Shirt collar debacle. What time's kick off?
0:08:41 > 0:08:43Cortot's gone in. I should go and warm up.
0:08:43 > 0:08:46- Are you ready for this ordeal? - Yes, I'll see you in there, Erich!
0:08:46 > 0:08:47I'll see you in there!
0:08:49 > 0:08:50He's German.
0:08:54 > 0:08:57Joyce, you can absolutely do this.
0:08:57 > 0:09:01Keep your eye on the prize - learning from Cortot.
0:09:01 > 0:09:04This is your big chance, Joyce.
0:09:04 > 0:09:07Keep telling yourself - you deserve this.
0:09:07 > 0:09:09Oh, Lord, now I'm getting emotional!
0:09:20 > 0:09:22PIANO PLAYS
0:09:41 > 0:09:46Thank you, Robert. And can we have Joyce Hatto, please?
0:09:55 > 0:09:56Playing?
0:09:56 > 0:09:57Sorry?
0:09:57 > 0:09:59You are playing?
0:09:59 > 0:10:02Oh, sorry. Schumann. Fantasie Opus 17.
0:10:16 > 0:10:18Sorry...
0:10:21 > 0:10:23SHE PLAYS
0:10:32 > 0:10:35Sorry, I just need to...
0:11:22 > 0:11:25SHE STUMBLES OVER THE NOTES
0:11:34 > 0:11:37SHE HITS SOME WRONG NOTES
0:11:58 > 0:12:00OK. So Cortot's a blithering idiot
0:12:00 > 0:12:04and he's picked five no-hopers who won't threaten him, but...
0:12:04 > 0:12:05how'd it go for you?
0:12:05 > 0:12:07How much did you hear?
0:12:07 > 0:12:10Me? I never even went into the college.
0:12:10 > 0:12:12Well, I was pretty pleased.
0:12:12 > 0:12:15- Good!- Couple of bishes, but the emotion was there.
0:12:15 > 0:12:18That's what probably scared him off, all that womanly passion!
0:12:18 > 0:12:22Steady the buffs! Old Erich didn't get through either.
0:12:22 > 0:12:25Well, frog's not going to pick a Kraut, is he?
0:12:27 > 0:12:30Anyway, this time next year, Miss Hatto,
0:12:30 > 0:12:33you can forget that bunch of desiccated old shirt-lifters,
0:12:33 > 0:12:35because you will be under the care
0:12:35 > 0:12:39of Barrington-Coupe Artistes Management
0:12:39 > 0:12:42and you will be heading straight for the stratosphere.
0:12:44 > 0:12:46- Fancy a bun?- Oh, yes, I love buns.
0:12:49 > 0:12:51I'm not sure you should be signing a contract
0:12:51 > 0:12:53without showing it to your father.
0:12:53 > 0:12:57What does Daddy know about artists' management? Nothing!
0:12:57 > 0:12:59He knows about invoices.
0:12:59 > 0:13:00Yes.
0:13:00 > 0:13:04This isn't an invoice, it's a management agreement.
0:13:04 > 0:13:06Between me and Mr Barrington-Coupe.
0:13:06 > 0:13:09It's not an order for two-dozen coffee eclairs.
0:13:09 > 0:13:11What's he going to do, this Barrington-Coupe,
0:13:11 > 0:13:12once you've signed it?
0:13:12 > 0:13:14- He's going to manage my career. - Your teaching?
0:13:14 > 0:13:17I'm not doing teaching! How many more times...
0:13:17 > 0:13:20I mean, I might do a bit of teaching,
0:13:20 > 0:13:22but basically I'll be building up my concert profile
0:13:22 > 0:13:25and if you don't want to witness my signature
0:13:25 > 0:13:27then I'll take it to Barrie's office
0:13:27 > 0:13:29and get one of the girls there to do it.
0:13:29 > 0:13:30Sorry to have bothered you.
0:13:35 > 0:13:37Morning, Joyce.
0:13:56 > 0:13:58Sorry, excuse me,
0:13:58 > 0:14:00I was just looking for Mr Barrington-Coupe's office
0:14:00 > 0:14:03- and I only have his card from when he was working here.- Barrie?- Yes.
0:14:03 > 0:14:05I wasn't sure where his new offices were.
0:14:05 > 0:14:08He doesn't have another office, but I think he's in now.
0:14:08 > 0:14:11- He's here?- No, he'll be on the fifth floor.- It's his late morning.
0:14:11 > 0:14:14PHONE RINGS
0:14:14 > 0:14:16Seidelman Music Publishing.
0:14:16 > 0:14:19I know, that was my posh voice!
0:14:40 > 0:14:42TOILET FLUSHES
0:14:43 > 0:14:45I was looking for your office.
0:14:47 > 0:14:49Is this where you live?
0:14:49 > 0:14:50The thing is...
0:14:50 > 0:14:53The girl didn't seem to know anything about a new office.
0:14:53 > 0:14:55And I thought you lived in Henley.
0:14:55 > 0:14:58- Look, Joyce...- No, I don't think I will look, thank you.
0:14:58 > 0:15:00Because I seem to be looking at a liar
0:15:00 > 0:15:03and someone who's made a pretty good idiot out of me by buttering me up.
0:15:04 > 0:15:06Why did you say you could help my career?
0:15:06 > 0:15:08What on earth did you think you were playing at?
0:15:08 > 0:15:11Because I can help your career.
0:15:11 > 0:15:15Managing someone's career is about passion and instinct and empathy,
0:15:15 > 0:15:17and I've got all that.
0:15:17 > 0:15:21And no, I don't have filing cabinets and switchboards.
0:15:21 > 0:15:24- But you said you did! - Because I will have!
0:15:27 > 0:15:30I visualise things and then I make them happen.
0:15:33 > 0:15:34And now I've ballsed it all up.
0:15:37 > 0:15:38So, yes, I'm a liar.
0:15:41 > 0:15:44Live in one horrible room.
0:15:44 > 0:15:46It's my mother who lives in Henley
0:15:46 > 0:15:48and she's not very keen on me.
0:15:52 > 0:15:56And I saw something in you and I wanted to make it work for you
0:15:56 > 0:15:58and I got a bit ahead of myself
0:15:58 > 0:16:00because I could see it all so clearly.
0:16:03 > 0:16:06And I am heartbroken that I've messed it all up.
0:16:08 > 0:16:10Oh, Lord, don't cry.
0:16:10 > 0:16:11Well, I will cry.
0:16:14 > 0:16:17Because I can't bear that I've lost you.
0:16:21 > 0:16:23Do you really believe in me as a pianist?
0:16:24 > 0:16:25No question.
0:16:30 > 0:16:32I'm sorry for the muddle.
0:16:35 > 0:16:39Be careful going down the stairs, they've got a bit of a dip in them.
0:16:42 > 0:16:44You're a lovely girl, Joyce.
0:16:44 > 0:16:46Hardly. I've got wonky hair!
0:16:46 > 0:16:49That's what your mother makes you see, that's not what I see.
0:16:49 > 0:16:50You're lovely.
0:16:50 > 0:16:55And you're sweet. And funny.
0:16:55 > 0:16:59That's what I see anyway. Or did see.
0:17:01 > 0:17:03We can't have any more muddles.
0:17:04 > 0:17:06We won't.
0:17:07 > 0:17:09Scout's honour.
0:17:09 > 0:17:10- Were you a Scout?- No.
0:17:10 > 0:17:12Thought not.
0:17:12 > 0:17:13Can you make tea?
0:17:13 > 0:17:15Oh, yeah.
0:17:17 > 0:17:19I'll, erm... I'll get the milk.
0:17:24 > 0:17:26I'll, erm, I'll just get the milk.
0:17:36 > 0:17:39That's enough, Horace. Three's enough.
0:17:39 > 0:17:43- Shall I get someone to take the four of us? - No, don't go bothering people.
0:17:43 > 0:17:46Excuse me. Sorry, daughter's wedding.
0:17:47 > 0:17:50Are you sure you don't want to go out for a nice supper?
0:17:50 > 0:17:53No, honestly, we've got so much to do at the house.
0:17:53 > 0:17:55- Wallpapering waits for no man. - Oh, are you waiting for a man?
0:17:55 > 0:17:58We could have given you the name of a man.
0:17:58 > 0:18:00No, no, we're going to do it ourselves.
0:18:00 > 0:18:05- I thought you were waiting for a man.- Say cheese.
0:18:05 > 0:18:08- Or should it be Tchaikovsky? - Don't try and be funny, Horace.
0:18:13 > 0:18:15Your case is upstairs, Mrs BC.
0:18:19 > 0:18:22Do you, er, fancy turning in?
0:18:22 > 0:18:24Yes, yes, let's go up.
0:18:26 > 0:18:30Did I, erm... Did I hear something about a negligee?
0:18:30 > 0:18:32Yes.
0:18:32 > 0:18:34Would you want me to put it on?
0:18:34 > 0:18:36I'll say.
0:18:36 > 0:18:39Let the dog see the rabbit.
0:18:39 > 0:18:41What?
0:18:43 > 0:18:44Er, nothing.
0:18:44 > 0:18:48Look, I'll, er... I'll go for a stroll.
0:18:48 > 0:18:49Nice married man's stroll.
0:18:49 > 0:18:55And, er, you sort yourself out and I'll see you in the boudoir.
0:19:00 > 0:19:03Do you think I should just check the piano?
0:19:03 > 0:19:05It's fine, it's got all its legs.
0:19:07 > 0:19:09In a while, crocodile.
0:19:18 > 0:19:22JOYCE PLAYS: "Piano Concerto No 2" Rachmaninov
0:19:42 > 0:19:44Joycey?
0:19:45 > 0:19:49Oh, Lord, negligee, wedding night, sorry.
0:19:49 > 0:19:51You carry on.
0:19:51 > 0:19:54I'll have another scrape at the banisters.
0:20:08 > 0:20:11Yes, I shall get my secretary to type that up for you
0:20:11 > 0:20:15and I shall see you with Miss Hatto on the 24th...
0:20:15 > 0:20:17Looking forward to it...
0:20:17 > 0:20:19OK. Bye, bye.
0:20:19 > 0:20:23Mrs Barrington-Coupe, just putting in another booking for Miss Hatto.
0:20:23 > 0:20:26What do you do when they ask to speak to the secretary?
0:20:26 > 0:20:27I say she's on the other line.
0:20:27 > 0:20:28Have you got two lines?
0:20:28 > 0:20:30No. Now, look at this.
0:20:30 > 0:20:32Kirkcaldy and Pitlochry all booked in.
0:20:32 > 0:20:35Letchworth, Evesham, Spalding,
0:20:35 > 0:20:37music club circuit looks like it might happen.
0:20:37 > 0:20:39Golly, it's really filled up!
0:20:39 > 0:20:40I said it would.
0:20:40 > 0:20:43Oh, and look what came back from the printers!
0:20:46 > 0:20:48I'm hardly acclaimed or international.
0:20:48 > 0:20:49Just one nice review from Ventnor.
0:20:49 > 0:20:53Let me explain something to you.
0:20:53 > 0:20:55I go to see Joyce Hatto.
0:20:55 > 0:20:58The poster says - Joyce Hatto hasn't done much.
0:20:58 > 0:21:00I don't have much of an evening, do I?
0:21:00 > 0:21:03But if I give over my 17 and 6 to see Joyce Hatto -
0:21:03 > 0:21:05acclaimed international pianist...
0:21:05 > 0:21:06I have a fantastic evening!
0:21:06 > 0:21:08But the playing will be the same!
0:21:08 > 0:21:10Everyone in this agency can play!
0:21:10 > 0:21:13What matters is the story.
0:21:13 > 0:21:15Now, you play, I'll figure out the story.
0:21:27 > 0:21:30No-one to move Miss Hatto's stool, thank you!
0:22:41 > 0:22:42OK, gents, OK, OK, OK.
0:22:42 > 0:22:45I just need to hear the strings on their own - this is Jealous Lover.
0:22:45 > 0:22:47You've all got Jealous Lover, haven't you?
0:22:47 > 0:22:49If nine of you play Jealous Lover
0:22:49 > 0:22:51and one plays Dangerous Moonlight it'll be a long day.
0:22:51 > 0:22:53I shall see you in there.
0:23:00 > 0:23:02Er, shall I play, Barrie?
0:23:02 > 0:23:05Why not? It is your album, after all.
0:23:05 > 0:23:07Do you want to count them in, Joycey, just for now?
0:23:07 > 0:23:09OK.
0:23:09 > 0:23:10On my wife's count.
0:23:10 > 0:23:13Two, three, four, one, two.
0:24:10 > 0:24:12Barrie!
0:24:46 > 0:24:48We'll get there with the babies, Ducky.
0:24:50 > 0:24:52The doc said it was nobody's fault.
0:25:00 > 0:25:02Nice, aren't they, those radios?
0:25:02 > 0:25:05I'm bringing 4,000 in from Hong Kong.
0:25:05 > 0:25:06I'm on a whacking profit.
0:25:06 > 0:25:08Velly nice.
0:25:08 > 0:25:10Have you given up the record label, then?
0:25:10 > 0:25:15No! In fact, we've just signed a new artist!
0:25:15 > 0:25:17Oh...
0:25:17 > 0:25:19just Joyce.
0:25:19 > 0:25:22Music from the Films.
0:25:22 > 0:25:25You look quite beaky in profile, you'd have done better full-face.
0:25:25 > 0:25:28This is more like it - Dream Of Olwen.
0:25:28 > 0:25:30We thought we'd make some more albums this year.
0:25:30 > 0:25:32And get Joyce back on the road next year,
0:25:32 > 0:25:34when she's bounced back from the, erm...
0:25:34 > 0:25:37And I'm going to do a bit of teaching. Mother?
0:25:37 > 0:25:39You could play the accordion, Joyce.
0:25:39 > 0:25:42Just two days a week, nice private girls' school in Hertfordshire
0:25:42 > 0:25:44What will you do, go from Euston?
0:25:44 > 0:25:47Sshh, Andy Stewart -
0:25:47 > 0:25:49turn it up, Barrie!
0:25:49 > 0:25:53MUSIC: "Donald Where's Your Troosers?" by Andy Stewart
0:26:08 > 0:26:10Faster! Faster!
0:26:19 > 0:26:22Now, how do we think Chopin would have played it?
0:26:46 > 0:26:49I'm Miss Hatto, and you are?
0:26:49 > 0:26:51I'm Elizabeth Jane Pilkington, Miss Hatto.
0:26:51 > 0:26:54EJ Pilkington at 11:30, very good.
0:26:54 > 0:26:56So, who are you?
0:26:56 > 0:26:59Please, she's Eleanor Margaret Bird and she doesn't
0:26:59 > 0:27:01have to do Domestic Science because her mother's just died.
0:27:01 > 0:27:04So, I thought she might like to come and help me have my lesson.
0:27:04 > 0:27:06Pilks!
0:27:06 > 0:27:09Eleanor Margaret Bird, do you find that in any way an appealing plan?
0:27:09 > 0:27:12Yes, it is, please, thank you.
0:27:12 > 0:27:14Shoes off, then, girls!
0:27:14 > 0:27:17Now, Miss EJ Pilkington,
0:27:17 > 0:27:22are you Elizabeth, Betty, Beth, Lizzie?
0:27:22 > 0:27:23What do I call you?
0:27:23 > 0:27:25Oh, I'm Pilks. And she's Birdy.
0:27:27 > 0:27:30Very good. Birdy and Pilks - hop up!
0:27:31 > 0:27:34Each of you put a foot on the pedal. Birdy, you're soft
0:27:34 > 0:27:35and Pilks, you're sustain.
0:27:35 > 0:27:38Now, I'm going to play and when I shout out, you're going to pedal.
0:27:38 > 0:27:40Mm-hm?
0:27:40 > 0:27:43Sustain!
0:27:43 > 0:27:44Soft!
0:27:44 > 0:27:46Sustain!
0:27:46 > 0:27:47Soft!
0:27:47 > 0:27:49Oh, Serge!
0:27:49 > 0:27:51You called, m'lady?
0:27:51 > 0:27:53I was talking to the dog.
0:27:53 > 0:27:55So hard to tell.
0:27:55 > 0:27:58Now, I bet Miss Hatto has never mentioned this, has she?
0:28:02 > 0:28:04Wow!
0:28:04 > 0:28:05Or this?
0:28:07 > 0:28:09And this, you are the first people to see this.
0:28:11 > 0:28:13Now, this isn't even in the shops yet.
0:28:16 > 0:28:17Bax?
0:28:17 > 0:28:20Not easy to play, unless you happen to be Miss Hatto, of course.
0:28:20 > 0:28:24And when Miss Hatto plays the Festival Hall...there will,
0:28:24 > 0:28:27of course, be two seats reserved in the name of Birdy and Pilks.
0:28:27 > 0:28:30The Festival Hall - that's so posh!
0:28:30 > 0:28:32And just to prove I'm not completely useless myself - make a tray -
0:28:32 > 0:28:35make a tray!
0:28:35 > 0:28:40Present from Golders Green via Hong Kong - the smallest
0:28:40 > 0:28:42Dictaphone in the world.
0:28:44 > 0:28:46It's like Crackerjack!
0:28:46 > 0:28:48Do you have any comment to make?
0:28:50 > 0:28:53Right, scrap that one...
0:28:53 > 0:28:55suppose we start with the Bach?
0:28:55 > 0:28:58No, these are big concert halls, you have to start with a bang,
0:28:58 > 0:28:59set your stall out.
0:29:00 > 0:29:03Prokofiev.
0:29:03 > 0:29:04No messing about.
0:29:04 > 0:29:06Right, scribble this down
0:29:06 > 0:29:09because I am in the groove, daddy-o.
0:29:09 > 0:29:11DOORBELL RINGS
0:29:11 > 0:29:12Right, Prokofiev to kick off.
0:29:12 > 0:29:15I've got a big hole in my second half, then.
0:29:15 > 0:29:17- Yes?- Mr Coup, we're from Customs and Excise.
0:29:19 > 0:29:22- Joyce.- What?
0:29:24 > 0:29:27It's not about the dog again, is it? We try and keep him in!
0:29:27 > 0:29:28It's about the radios.
0:29:28 > 0:29:29Radios?
0:29:29 > 0:29:31It's just a muddle.
0:29:31 > 0:29:32Are they all here, Mr Coupe?
0:29:32 > 0:29:35No, no, there are some in the garage and, er,
0:29:35 > 0:29:37some in the box room on the top floor.
0:29:37 > 0:29:39Start upstairs, Mendelssohn,
0:29:39 > 0:29:40you can get Parker to help.
0:29:40 > 0:29:42A policeman called Mendelssohn!
0:29:42 > 0:29:45We'll need all the paperwork, of course.
0:29:45 > 0:29:47Yes, yes, of course.
0:29:49 > 0:29:53Sorry, er, I don't understand. Are the radios faulty,
0:29:53 > 0:29:55are they being recalled?
0:29:55 > 0:29:57- It's a purchase tax issue. - We're impounding them.
0:29:57 > 0:29:58It's just a muddle, Joycey.
0:29:58 > 0:30:00I'll just have to go with them to sort it out.
0:30:00 > 0:30:02Not today, though, surely!
0:30:02 > 0:30:04I'm preparing some important concerts
0:30:04 > 0:30:05and we need to sort out the programme.
0:30:05 > 0:30:08I'm afraid we don't usually arrest people at their own convenience.
0:30:11 > 0:30:12Can we take the gentleman
0:30:12 > 0:30:15up with us, sir, make sure we're taking the right things?
0:30:21 > 0:30:22Do you know how long it will take?
0:30:22 > 0:30:24I was going to do chops.
0:30:24 > 0:30:27I can't say. We won't starve him.
0:30:27 > 0:30:28I don't understand what's happened.
0:30:28 > 0:30:31He's been importing all sorts of things for nearly a year.
0:30:31 > 0:30:32So we've gathered.
0:30:33 > 0:30:37He may have got in a muddle with his paperwork.
0:30:37 > 0:30:40We've been a bit distracted planning these concerts.
0:30:40 > 0:30:42I mean, it's not a serious offence?
0:30:42 > 0:30:44It's a very serious offence.
0:31:53 > 0:31:55Dog behaving himself?
0:31:55 > 0:31:56- Yes.- That's good.
0:32:00 > 0:32:01Not knocked over any more gnomes?
0:32:01 > 0:32:02No.
0:32:05 > 0:32:07How's the playing?
0:32:07 > 0:32:08What playing would that be?
0:32:08 > 0:32:10Oh, come on, Joyce.
0:32:10 > 0:32:12Would that be the playing for the big concert series?
0:32:12 > 0:32:14I had to cancel that, didn't I?
0:32:14 > 0:32:16Because the promoter's on trial at the Old Bailey.
0:32:16 > 0:32:19- Why do you bother to come, Joyce?- Well...
0:32:20 > 0:32:23I'm still hoping to hear some kind of explanation.
0:32:25 > 0:32:27I was just doing what every other bugger in business does,
0:32:27 > 0:32:30if they think they can get away with it.
0:32:30 > 0:32:34I didn't rob a bank. I just skimped on some paperwork.
0:32:34 > 0:32:36- We needed the money...- We needed money because you made
0:32:36 > 0:32:39such a lamentable fist of being a concert promoter.
0:32:39 > 0:32:41No, Joyce, we needed the money because...
0:32:41 > 0:32:43Because what?
0:32:45 > 0:32:47It doesn't matter.
0:33:03 > 0:33:05PIANO MUSIC
0:33:25 > 0:33:26Don't stop.
0:33:26 > 0:33:30I'm sure that's one thing you didn't miss - me murdering Godowsky.
0:33:30 > 0:33:31I missed all of it.
0:33:39 > 0:33:41I was a nit.
0:33:45 > 0:33:49They're doing a big Chopin thing at the Festival Hall.
0:33:49 > 0:33:51They called me. I thought I might give it a bash.
0:33:52 > 0:33:55Toe in the water. No boosting required.
0:33:58 > 0:34:01Are you going self-op, or can a pal come along?
0:34:04 > 0:34:06Pal's always nice.
0:34:22 > 0:34:23Getting the feel, Miss Hatto?
0:34:31 > 0:34:34Everyone's parked up, your mother's been to the Ladies, all serene!
0:34:34 > 0:34:36I can't get this...
0:34:36 > 0:34:38- Here, let me... - Leave it. I'll do it later.
0:34:40 > 0:34:42Come on...
0:34:42 > 0:34:44we've worked for this.
0:34:45 > 0:34:47Play how you play at home.
0:34:47 > 0:34:50Never mind about the stool and people fanning themselves
0:34:50 > 0:34:52with their programmes, just play the music.
0:34:55 > 0:34:57This is us back in the game, hm?
0:34:57 > 0:35:00The old firm!
0:35:00 > 0:35:03The two before you, they're not going to set the Thames on fire.
0:35:03 > 0:35:05No hoper, no hoper, Hatto, interval, perfect.
0:35:06 > 0:35:08Get on, get off, get out. Yep?
0:35:10 > 0:35:12See you later, alligator.
0:36:04 > 0:36:05Good luck, Miss Hatto!
0:36:08 > 0:36:10Ready for off?
0:36:32 > 0:36:34(Always has to fiddle.)
0:39:06 > 0:39:09SLOW HANDCLAPS
0:40:05 > 0:40:07I thought I could do it.
0:40:08 > 0:40:10But I couldn't do it.
0:40:14 > 0:40:16Look, there's...
0:40:19 > 0:40:22There's a thing you have to have inside...
0:40:24 > 0:40:25..to really make it.
0:40:29 > 0:40:30And I don't have it.
0:40:39 > 0:40:41Maybe neither of us do.
0:40:44 > 0:40:46Maybe we just flew too high.
0:40:48 > 0:40:50Melted our wings?
0:40:53 > 0:40:54Melted our wings, Ducky.
0:41:04 > 0:41:06We'll be all right.
0:41:09 > 0:41:11We'll be all right.
0:41:48 > 0:41:51People say to me, "Oh, Liszt is so romantic," and I say,
0:41:51 > 0:41:54"No, you're wrong, he's not romantic, he's passionate,
0:41:54 > 0:41:56"and there's every difference in the world."
0:41:56 > 0:41:59And I say, "There's no point in waving your arms about like a dying
0:41:59 > 0:42:02"duck in a thunderstorm, because if you don't feel the power from here,
0:42:02 > 0:42:04"then it doesn't matter what you feel about Liszt,
0:42:04 > 0:42:07"you won't be doing him justice when you play."
0:42:07 > 0:42:09Absolutely, we'll remember that when Claudie gets on to Liszt.
0:42:09 > 0:42:11Say thank you for the KitKat, Eleanor.
0:42:11 > 0:42:12Thank you, Miss Hatto.
0:42:12 > 0:42:15See you next Monday - thank you!
0:42:15 > 0:42:16People think it's from the wrist,
0:42:16 > 0:42:20but the wrists have nothing to do with it. It's all from here.
0:42:44 > 0:42:46- TV PRESENTER:- '...into a full blown squabble.
0:42:46 > 0:42:49'But there is still no dominance, despite...'
0:42:49 > 0:42:51DOOR OPENS
0:42:51 > 0:42:55'..and Simon definitely needs the discipline.'
0:42:55 > 0:42:56I'm back.
0:42:56 > 0:42:58Big drama with the new monkey?
0:42:59 > 0:43:01Simon?
0:43:01 > 0:43:03He's just bitten Arthur and they've got rid of him!
0:43:03 > 0:43:06I knew it. It's an accident waiting to happen.
0:43:06 > 0:43:07How was the post office?
0:43:07 > 0:43:10Very boring. Big queue.
0:43:10 > 0:43:12Lots of old dodderers.
0:43:12 > 0:43:15Isn't that the pot calling?
0:43:15 > 0:43:18But what I did spot while I was waiting...
0:43:18 > 0:43:20Fanfare?
0:43:22 > 0:43:24Oh, that's jolly nifty.
0:43:24 > 0:43:27I should cocoa... Put them all in of a Sunday night, Bob's your uncle,
0:43:27 > 0:43:29and Fanny we don't talk about.
0:43:29 > 0:43:31You didn't put the answer machine on. I like this.
0:43:31 > 0:43:34I know. I remembered while I was in the queue.
0:43:34 > 0:43:36- You didn't pick up? - No, it rang a couple of times.
0:43:36 > 0:43:41Oh, right, well, I'll just put your horse pills in here
0:43:41 > 0:43:46and then, erm, how are we feeling about macaroni cheese?
0:43:46 > 0:43:48We're feeling reasonably positive.
0:43:48 > 0:43:51Hah, turn up the monkeys and call me
0:43:51 > 0:43:54if the girl with the bottom comes on.
0:43:54 > 0:43:56'Now, it's low-ranking male Arthur's turn.'
0:43:56 > 0:43:58DOORBELL RINGS
0:43:58 > 0:44:00What's that idiot child forgotten now?
0:44:04 > 0:44:06I'm so sorry just to ring the doorbell.
0:44:06 > 0:44:09I did phone earlier, but got no reply.
0:44:09 > 0:44:12I am looking for Concert Artists, the record label?
0:44:12 > 0:44:14Yes, yes that's us. How can I help?
0:44:14 > 0:44:17I'm only in England for a couple more days and you have a couple
0:44:17 > 0:44:21of records on your website I would very much like to get hold of.
0:44:21 > 0:44:24I don't know if you keep stock here.
0:44:24 > 0:44:25Well...I do.
0:44:25 > 0:44:28Just tell me what you want and I can pack them up.
0:44:28 > 0:44:29Only take a few minutes.
0:44:29 > 0:44:31Do you have the Bax Variations by Hatto?
0:44:31 > 0:44:33Yes, I can let you have that.
0:44:33 > 0:44:35I've sold a surprising number of those.
0:44:35 > 0:44:37There's more Bax lovers in the world than I knew.
0:44:37 > 0:44:40I had never warmed to him but I read a couple of positive
0:44:40 > 0:44:43comments on Piano Fanatic about the Hatto recording.
0:44:43 > 0:44:44I'm sorry. Where was this?
0:44:44 > 0:44:45Online.
0:44:45 > 0:44:48I was intrigued to read these comments about Joyce Hatto
0:44:48 > 0:44:52because we were at the Royal Academy together.
0:44:52 > 0:44:53You were at the Academy with Joyce?
0:44:53 > 0:44:56Yes, I studied piano for a while there.
0:44:56 > 0:44:59Get away! Well, Joyce is here!
0:44:59 > 0:45:00We live together here!
0:45:00 > 0:45:06Joyce is my wife. She'll be delighted, come in, come in!
0:45:06 > 0:45:08Joyce! Joycey!
0:45:08 > 0:45:10Turn the monkeys off!
0:45:10 > 0:45:13And do you remember that ghastly audition for
0:45:13 > 0:45:15the blessed Cortot masterclass, and neither of us got it?
0:45:15 > 0:45:19I was absolutely heartbroken, went off and sobbed in the ladies...
0:45:19 > 0:45:22My mind sings so much...
0:45:22 > 0:45:24But you were not to be defeated,
0:45:24 > 0:45:26whereas I did not have the right sort of guts
0:45:26 > 0:45:28to make it as a soloist.
0:45:28 > 0:45:32Oh, Joyce has the guts but fate hasn't been entirely kind to her.
0:45:32 > 0:45:34Oh, it's just I have this silly,
0:45:34 > 0:45:37silly cancer which I'm absolutely not going to talk about,
0:45:37 > 0:45:41but obviously it's meant that I can't really perform much in public.
0:45:41 > 0:45:46So sorry. But you've been able to make recordings?
0:45:46 > 0:45:48- Yes.- Yes, we haven't let the grass grow.
0:45:48 > 0:45:51I don't think I saw more than a couple on the website,
0:45:51 > 0:45:53there was the Bax and the Gershwin.
0:45:53 > 0:45:58Well, I'm a little bit of a fledgling at this website malarkey
0:45:58 > 0:45:59but give me a couple of months
0:45:59 > 0:46:01and hopefully it'll be a different story.
0:46:01 > 0:46:05No, because several posts have asked, where you can buy more Hatto?
0:46:05 > 0:46:08"Have you heard Hatto?" "What else has she done?"
0:46:15 > 0:46:18Ah, ah there you go - got it!
0:46:18 > 0:46:21"Wowee, Crotchetman was right - Hatto is awesome."
0:46:23 > 0:46:25What does that mean?
0:46:25 > 0:46:27And who the heck is Crotchetman?
0:46:27 > 0:46:29Well, maybe he's a bit further down here somewhere.
0:46:31 > 0:46:33Yes, look!
0:46:33 > 0:46:38"Thanks, HG, for posting Nocturne from Bax Symphonic Variations.
0:46:38 > 0:46:42The CD arrived and it is awesome playing. Who is she?
0:46:42 > 0:46:45What does it mean, posting Nocturne?
0:46:45 > 0:46:47Yeah, well, move out the way a sec.
0:46:47 > 0:46:50It means that some bright spark on the other side of the world
0:46:50 > 0:46:53has put a little bit of Joyce Hatto on here...
0:46:53 > 0:46:54and if you...
0:46:54 > 0:46:56click it...
0:46:57 > 0:46:59MUSIC PLAYS
0:47:08 > 0:47:10Golly.
0:47:10 > 0:47:12You're on the world wide web, Ducky.
0:47:58 > 0:48:01Nice to hear you play.
0:48:01 > 0:48:03Hardly "playing!"
0:48:03 > 0:48:06Who knew you had an international following?
0:48:06 > 0:48:08From one ancient CD!
0:48:08 > 0:48:10Yeah, well, leave 'em wanting more.
0:48:14 > 0:48:15What are you thinking, Ducky?
0:48:17 > 0:48:19Oh, the Academy.
0:48:21 > 0:48:23High hopes.
0:48:23 > 0:48:25We've done all right.
0:48:25 > 0:48:27We do pretty well for old codgers.
0:48:28 > 0:48:30Do you remember what you said to me when we met?
0:48:32 > 0:48:35A lot of rubbish, no doubt.
0:48:35 > 0:48:38You said all I needed was someone in my corner to protect me,
0:48:38 > 0:48:40make it all happen for me.
0:48:43 > 0:48:45Sorry, have I remembered that incorrectly?
0:48:48 > 0:48:51Didn't I say I was worried I didn't have the nerve for a solo career
0:48:51 > 0:48:54and you said you had enough nerve for both of us?
0:48:55 > 0:48:57I was a bloody idiot. I was young.
0:48:58 > 0:49:03Young people make promises because they don't know what life's like.
0:49:03 > 0:49:05What did you just say? "We'd done pretty well"?!
0:49:08 > 0:49:11If you call teaching piano to dim-witted children
0:49:11 > 0:49:16while you run a potty, one-man record label in the spare bedroom
0:49:16 > 0:49:19in a town that hasn't even got a concert hall...
0:49:21 > 0:49:25..then your standards are even more poverty-stricken than I imagined.
0:49:29 > 0:49:31Don't leave your cocoa too long.
0:49:41 > 0:49:42Are we ready? Yes?
0:49:43 > 0:49:46Hang on, I just need to wedge it...
0:49:48 > 0:49:50That should hold it.
0:49:50 > 0:49:55- Yes? Is it on?- Yes - go!
0:49:56 > 0:49:59PIANO MUSIC PLAYS
0:51:11 > 0:51:15Joyce! Come and listen to something.
0:51:15 > 0:51:16Coming!
0:51:26 > 0:51:28PIANO MUSIC
0:51:53 > 0:51:54What do you think?
0:51:54 > 0:51:56It's about the tempo I used to play it?
0:51:56 > 0:51:58Yes, it is.
0:51:58 > 0:52:00Who is it? Please tell me it's someone English,
0:52:00 > 0:52:03I get so tired of those endless Koreans!
0:52:03 > 0:52:05- It's someone very English.- Good.
0:52:05 > 0:52:07She's called Joyce Hatto.
0:52:08 > 0:52:10No!
0:52:11 > 0:52:15Was that one of my tapes? Did you find the old tapes?
0:52:15 > 0:52:18Oh, it was jolly good quality - I thought you were up to something!
0:52:18 > 0:52:21Did you do some computer things to it?
0:52:21 > 0:52:24No, well, I did try, I took them to the chap at Wheathampstead
0:52:24 > 0:52:26and he had a go at cleaning them up but they're very old.
0:52:26 > 0:52:29And they're not top quality. I mean, they were only for fun.
0:52:29 > 0:52:30Oh, so...
0:52:30 > 0:52:33So, I was thinking about what we'd been saying
0:52:33 > 0:52:35about all those internet chappies wanting a bit more Hatto,
0:52:35 > 0:52:37and they're ain't no Hatto to give them,
0:52:37 > 0:52:39so, I took another recording,
0:52:39 > 0:52:41and I followed all the temping, the dynamics,
0:52:41 > 0:52:45and so on, from your recording, and I sort of did a new version.
0:52:45 > 0:52:49What, you took another of my recordings?
0:52:49 > 0:52:51Well, no, because you didn't do any other recordings.
0:52:51 > 0:52:53I found one that was most like yours
0:52:53 > 0:52:56and I stuck to your score markings and I sort of...
0:52:56 > 0:52:58Hattoised it.
0:52:58 > 0:53:00So what you just played -
0:53:00 > 0:53:02it's not me?
0:53:02 > 0:53:04Well, in a musical sense it's you.
0:53:04 > 0:53:08Yes, but in any sense that anyone else would recognise it's not!
0:53:13 > 0:53:16You are quite astounding!
0:53:16 > 0:53:18Oh, get off your high horse.
0:53:20 > 0:53:21You can't play.
0:53:23 > 0:53:24You've got one brilliant recording out there
0:53:24 > 0:53:26and everyone's itching for more.
0:53:28 > 0:53:30And you like to read about yourself on the internet.
0:53:32 > 0:53:36I just thought I'd do something that would cheer you up.
0:53:36 > 0:53:39All modern recordings are put together note by note,
0:53:39 > 0:53:42so what I was doing I didn't think was so bad, or so different.
0:53:45 > 0:53:48But, of course, in Joyce's world,
0:53:48 > 0:53:50Barrie is always in the wrong,
0:53:50 > 0:53:52because he can't be as clever,
0:53:52 > 0:53:54or as right, or as good,
0:53:54 > 0:53:56or as wronged as Joyce.
0:54:41 > 0:54:43That's a big cake.
0:54:43 > 0:54:45Don't you know there's a war on?
0:54:45 > 0:54:46What can I get you?
0:54:46 > 0:54:49In here? Botulism, I should think.
0:54:49 > 0:54:52You know you're quite right about modern recordings.
0:54:52 > 0:54:54People today don't even have to play the right notes.
0:54:54 > 0:54:57I mean technicians do all that afterwards, don't they?
0:54:57 > 0:55:00Take out the bishes, blend one note into another.
0:55:00 > 0:55:03Since we've gone digital, the sky's the limit.
0:55:04 > 0:55:06Not like your day, Ducky,
0:55:06 > 0:55:10where you had to struggle to get through it without a mistake.
0:55:10 > 0:55:12But there you are.
0:55:12 > 0:55:14Oh, go on, I'll try a tiny bit.
0:55:14 > 0:55:16Coffee and walnut.
0:55:16 > 0:55:19You know, it would be jolly nice to have a few more CDs whizzing around
0:55:19 > 0:55:21the internet.
0:55:21 > 0:55:24But thanks to the old lurgy, I can't play like I used to, I haven't got
0:55:24 > 0:55:25the feeling.
0:55:25 > 0:55:27You can be as musical and interpretative as you like,
0:55:27 > 0:55:30but if you can't feel your finger ends you might as well be
0:55:30 > 0:55:32playing with mittens.
0:55:32 > 0:55:34As you say, there we are.
0:55:36 > 0:55:40Quite funny you should have made a recording and I thought it was me.
0:55:40 > 0:55:42Well, if you thought it was you,
0:55:42 > 0:55:44think how many other people would think it was you.
0:55:46 > 0:55:50You've got a very naughty twinkle in your eye, Mr Barrington Coupe.
0:55:50 > 0:55:52Got to do something, Joyce.
0:55:53 > 0:55:56We're both near enough the bucket to kick it.
0:55:57 > 0:56:01I could run a couple up the flagpole, see if anyone salutes.
0:56:01 > 0:56:04Keep Crotchetman happy?
0:56:04 > 0:56:06I'm rather fond of Crotchetman.
0:56:06 > 0:56:11You know this isn't half bad, considering the place is so ghastly.
0:56:11 > 0:56:13One in the eye for those shirt-lifters on Radio Three.
0:56:15 > 0:56:18Why, would you send them to be reviewed?
0:56:18 > 0:56:21Yes. We've got nothing to lose.
0:56:21 > 0:56:24Joyce Hatto on the wireless...
0:56:24 > 0:56:26that would be rather satisfying.
0:56:30 > 0:56:33Would you, erm, would you like a latte?
0:56:34 > 0:56:35A latte?
0:56:37 > 0:56:41Yes, all right, Mr BC.
0:56:41 > 0:56:42I'll have a latte.
0:57:23 > 0:57:26It's a great life if you don't weaken!
0:57:26 > 0:57:32It's my own fault for marrying a blooming concert pianist.
0:57:34 > 0:57:37Ducky, what say we get one of those posh cakes with the strawberries on?
0:57:37 > 0:57:38Can we afford?
0:57:38 > 0:57:41Can we afford? Have you seen the orders coming in?
0:57:41 > 0:57:44The website's buzzing. Hattomania!
0:57:44 > 0:57:47And you haven't had to lie on top of a flipping concert grand to do it.
0:57:47 > 0:57:48It's never too late.
0:57:48 > 0:57:50LAUGHS: I could give you a bunk up?
0:58:04 > 0:58:06Did I hear your name on the radio this morning?
0:58:06 > 0:58:07Oh, probably.
0:58:07 > 0:58:10They're just reviewing one of Joyce's Chopin
0:58:10 > 0:58:12recordings on Building A Library.
0:58:12 > 0:58:13No biggie!
0:58:13 > 0:58:14What time will that be on?
0:58:14 > 0:58:16The programme starts at ten...
0:58:16 > 0:58:18I shan't be listening, I've really no interest.
0:58:18 > 0:58:21You're not going to listen?
0:58:21 > 0:58:25I don't believe in critics, it's the music that matters.
0:58:25 > 0:58:27I'd want to hear what they were saying about me.
0:58:27 > 0:58:30I'm not as high-minded as you!
0:58:30 > 0:58:31Toodle-oo!
0:58:32 > 0:58:34What time is it?
0:58:34 > 0:58:35Starts in ten minutes.
0:58:35 > 0:58:37Shall we go in now?
0:58:39 > 0:58:44- PRESENTER:- 'And although I loved the delicacy of the Ashkenazy, it didn't
0:58:44 > 0:58:48'quite have the verve and, well, just the sheer sparkle of the Hatto.
0:58:48 > 0:58:51'In fact, I hope to be taking a look at more Hatto
0:58:51 > 0:58:52'recordings on a future programme.
0:58:52 > 0:58:55'This lady seems to be having something of a late flowering -
0:58:55 > 0:58:57'can one say that, or should I say a renaissance,
0:58:57 > 0:58:59'that's possibly more polite.
0:58:59 > 0:59:02'Anyway, that's my choice for Building A Library,
0:59:02 > 0:59:05that's Joyce Hatto - Chopin Complete Etudes
0:59:05 > 0:59:08and that's on the Concert Artist label and...
0:59:08 > 0:59:12Sounds like you might have your own radio programme, Ducky.
0:59:12 > 0:59:16Hardly, but he seemed fairly intelligent.
0:59:16 > 0:59:19Well, this isn't going to buy the baby a new bonnet.
0:59:19 > 0:59:21I've got to pop to the printers,
0:59:21 > 0:59:23check the new cover for your Rach Three,
0:59:23 > 0:59:26because the one they faxed through was absolutely shocking.
0:59:26 > 0:59:29- The things you have to keep an eye on.- And you love it.
0:59:29 > 0:59:32Orders coming in, parcels going out, fans all over the world,
0:59:32 > 0:59:34of course I love it!
0:59:34 > 0:59:39And because it's all for you, all for Joyce Hatto.
0:59:39 > 0:59:40Fan-dabby-dozy.
0:59:41 > 0:59:44Right, and I'll pick up the bird seed.
0:59:44 > 0:59:46Don't forget the horse pills, they should be in today.
0:59:46 > 0:59:49Roger Wilco, no peace for the wicked.
0:59:49 > 0:59:52Barrie?
0:59:52 > 0:59:54We're not wicked, are we?
0:59:56 > 0:59:58Get away!
1:00:01 > 1:00:04I'll tell you what's wicked.
1:00:04 > 1:00:07The fact that it took forty years to get Joyce Hatto on to the BBC.
1:00:09 > 1:00:10That's wicked.
1:00:15 > 1:00:16Did you put the machine on?
1:00:16 > 1:00:18DOOR CLOSES
1:00:21 > 1:00:24PHONE RINGS
1:00:25 > 1:00:28Oh, Barrie, you never remember!
1:00:33 > 1:00:36Oh, er, Concert Artists, can I help you?
1:00:36 > 1:00:38'Yes, my name is Philip Hill.
1:00:38 > 1:00:40'I wanted to speak to someone about one of your artists.
1:00:40 > 1:00:44'I actually did the review of the Joyce Hatto Chopin this morning
1:00:44 > 1:00:46'on Radio Three on Building a Library
1:00:46 > 1:00:49'and A: I wanted to order more Hatto discs,
1:00:49 > 1:00:53'but also I wondered whether you had any way of contacting her
1:00:53 > 1:00:55'as I'd be interested in talking to her for a piece
1:00:55 > 1:00:57'I'm writing for Gramophone Magazine.'
1:00:57 > 1:01:01Oh. Well, you are actually speaking to her.
1:01:01 > 1:01:05'One doesn't really expect a concert pianist to answer the phone.
1:01:05 > 1:01:09'I don't know if you heard my review this morning?'
1:01:09 > 1:01:13Er, no, I was playing the piano, I'm afraid. I forgot to tune in.
1:01:13 > 1:01:17My husband says that I'm ridiculously non-publicity-minded,
1:01:17 > 1:01:19very behind the times in that way.
1:01:19 > 1:01:21I hope you were kind to me?
1:01:30 > 1:01:34Ducky? Do I smell baking?
1:01:35 > 1:01:37Buns? This is a turn up.
1:01:37 > 1:01:41- I've had a gentleman caller. - Oh, yes?
1:01:41 > 1:01:45Well, telephonic caller, because you didn't put the answer phone on.
1:01:45 > 1:01:47Darn it. Sorry.
1:01:47 > 1:01:49When I picked up, who should it be but the gentlemen
1:01:49 > 1:01:51who was so enamoured of the Hatto Chopin Etudes
1:01:51 > 1:01:54- on the wireless this morning. - Oh, Philip thingy.
1:01:54 > 1:01:58He was very delighted to find that he was talking to the lady herself.
1:01:58 > 1:02:01- I bet he was.- And we had a very nice chat about Chopin
1:02:01 > 1:02:04and the Liszt Transcendental Etudes and Godowksys
1:02:04 > 1:02:07and all sorts of things. And it rather lifted my spirits
1:02:07 > 1:02:10and I thought, we shall have buns, buns is what we shall have.
1:02:10 > 1:02:14Jolly good. He phoned Concert Artists did he?
1:02:14 > 1:02:17He's doing a piece for the Gramophone
1:02:17 > 1:02:19and he wants to talk to me.
1:02:21 > 1:02:22About what, though, Ducky?
1:02:22 > 1:02:24About my recording techniques.
1:02:27 > 1:02:31- Well, that's going to be a bit awkward, isn't it?- Why?
1:02:31 > 1:02:33You don't have a recording technique.
1:02:33 > 1:02:36No, but I can tell him how I play the pieces
1:02:36 > 1:02:39and how I tackle a new piece.
1:02:39 > 1:02:41Yes, I suppose so...
1:02:41 > 1:02:44Well, when he rings, Joyce, keep it vague.
1:02:44 > 1:02:46You can talk about how you feel about the music,
1:02:46 > 1:02:49but we don't want to get into the nuts and bolts of where we record the things.
1:02:49 > 1:02:54He's not ringing, he's taking us out for lunch in Cambridge.
1:02:54 > 1:02:55Are you potty?
1:02:55 > 1:02:58No! I'm not potty!
1:02:58 > 1:03:00He's got a lot of my CDs.
1:03:00 > 1:03:03In fact, he was calling to order some more, it's all on the pad.
1:03:03 > 1:03:08Joyce, selling online, getting reviews online,
1:03:08 > 1:03:11chaps talking about you on the radio, that's all fine,
1:03:11 > 1:03:13but you can't sit down with a journalist, face-to-face
1:03:13 > 1:03:16and talk about how we make these records.
1:03:16 > 1:03:18- Why?- Because we didn't make them!
1:03:18 > 1:03:23Think, sweetie! I mean, yes, they sound like you, but they're not you!
1:03:23 > 1:03:27Joyce, trust me, this is a bad idea!
1:03:27 > 1:03:30Trust you? I remember trying that a long time ago,
1:03:30 > 1:03:33so, I'm very much once bitten there!
1:03:33 > 1:03:36Oh, don't worry, I'll call him back.
1:03:37 > 1:03:39I'll explain that I'm not able to have
1:03:39 > 1:03:43a nice lunch with an intelligent, cultured music critic,
1:03:43 > 1:03:47because MY husband has a very limited view of my capabilities
1:03:47 > 1:03:51and would rather I stayed at home with nothing else to think about
1:03:51 > 1:03:53but how long I've got to live!
1:03:55 > 1:03:57DOOR SLAMS
1:04:06 > 1:04:08Not too mutton?
1:04:08 > 1:04:10Not mutton at all.
1:04:11 > 1:04:13There you go!
1:04:13 > 1:04:16Merci.
1:04:16 > 1:04:18- Hair?- Luxuriant.- Hmm.
1:04:18 > 1:04:21I wasn't trying to spoil your fun, Ducky,
1:04:21 > 1:04:24putting the kibosh on meeting Philip, I just thought,
1:04:24 > 1:04:26we're safer flying under the radar.
1:04:26 > 1:04:29I just fancied flying a little higher.
1:04:29 > 1:04:31Fly too high, your wings fall off.
1:04:31 > 1:04:34My wings aren't going to last me much longer anyway, are they?
1:04:34 > 1:04:38Get your skates on, the train waits for no man.
1:04:38 > 1:04:40BOTH: Bags I forward.
1:04:40 > 1:04:43I said it first.
1:04:43 > 1:04:47Come on then Mrs Barrington Coupe, let's take Joyce Hatto out to lunch.
1:04:49 > 1:04:51Thank you.
1:04:51 > 1:04:56So, basically, Joyce, since you gave up live performance,
1:04:56 > 1:04:59you've just been working away and when you feel a piece is ready,
1:04:59 > 1:05:00you record it.
1:05:00 > 1:05:04So, what do you do? Just book a studio?
1:05:04 > 1:05:06Well, I leave all that to Barrie.
1:05:06 > 1:05:08I say my job is to make the bread
1:05:08 > 1:05:10and Barrie has to put it in the oven!
1:05:10 > 1:05:12Yes, Joyce always says working on a piece
1:05:12 > 1:05:15is like making a loaf of bread - you know, first you have to work it...
1:05:15 > 1:05:20Yes, you work it and you knead it and then you leave it to rise.
1:05:20 > 1:05:22You have to let it become what it wants to be.
1:05:22 > 1:05:25Yeah, and once it's recorded, Joyce never listens to it again.
1:05:25 > 1:05:26- Really?- Not interested.
1:05:26 > 1:05:30No, not interested. I don't do retakes or whatever they're called.
1:05:30 > 1:05:33I record it, I go home and what people want to make of it
1:05:33 > 1:05:35is up to them, it's none of my business.
1:05:35 > 1:05:37So, not much editing time, then, Barrie?
1:05:37 > 1:05:40Yes, as far as recording goes, Joyce is a very cheap date!
1:05:40 > 1:05:42THEY GIGGLE
1:05:42 > 1:05:48When Barrie and I met, I was giving a concert at the Strathmore
1:05:48 > 1:05:50and he was a little bit bowled over, weren't you?
1:05:50 > 1:05:52He took me for a cup of tea and he said,
1:05:52 > 1:05:53"Would you like a cup or mug?"
1:05:53 > 1:05:56I was desperate for a mug but I thought it wasn't very ladylike,
1:05:56 > 1:05:58- so I said, "I'll have a cup ..." - A cup was thrupence.
1:05:58 > 1:06:02And a mug was fivepence. That made me a cheap date in Barrie's eyes!
1:06:05 > 1:06:07Tired, sweetie?
1:06:07 > 1:06:09Do you know, I'm absolutely not.
1:06:09 > 1:06:13Wasn't it lovely talking about music to someone who knew about it?
1:06:14 > 1:06:17While you were in the ladies, he said he was going to e-mail me
1:06:17 > 1:06:20to get some facts straight.
1:06:20 > 1:06:22We can cobble something together,
1:06:22 > 1:06:25at least on the e-mail you've got thinking time.
1:06:25 > 1:06:29I thought we did very well with our ducking and diving over lunch.
1:06:29 > 1:06:33While you were in the gents, I told him I was working on the Godowskys.
1:06:33 > 1:06:35You didn't say you were bringing them out?
1:06:35 > 1:06:37I think I may have done.
1:06:37 > 1:06:38You don't make life easy, Ducky.
1:06:38 > 1:06:41You know there are only about three versions to choose from.
1:06:43 > 1:06:45Did you set the video for Monkey World?
1:06:45 > 1:06:50- I did.- End of a perfect day.
1:06:50 > 1:06:52PHONE RINGS
1:06:52 > 1:06:54'Where do you usually do these recordings?
1:06:54 > 1:06:56'Well, you use a studio one year
1:06:56 > 1:06:58'and the next it's a blooming coffee shop.
1:06:58 > 1:07:00'Or one of those tanning places, we have one of those
1:07:00 > 1:07:03'down the road, don't we, Barrie? And if you can believe this,
1:07:03 > 1:07:05'you have to stand up! I mean it's umpetty pounds
1:07:05 > 1:07:06'and you can't even lie down.'
1:07:06 > 1:07:08PHONE RINGS
1:07:08 > 1:07:10- Larry...- 'How are you?'
1:07:10 > 1:07:13I'm good. I'm doing a big piece on this woman, Joyce Hatto.
1:07:13 > 1:07:17'Yeah, I'm just reading about her, I might do a piece myself.'
1:07:17 > 1:07:21Yes, well you know, the Gramophone found her first.
1:07:21 > 1:07:24'Is she for real? It's a heck of an output.'
1:07:24 > 1:07:26No, I know, she does everything - Bach, Messaien, Gershwin...
1:07:26 > 1:07:28it's remarkable.
1:07:28 > 1:07:31It's like listening to about eight different pianists.
1:07:31 > 1:07:34"Her illness has brought a depth and gravitas to her playing"
1:07:35 > 1:07:39Someone here thinks she's more than one person.
1:07:39 > 1:07:42Is she? More than one person?
1:07:42 > 1:07:44'People are so bloody cynical.'
1:07:44 > 1:07:46She's old, she's ill and she's good. End of story.
1:07:46 > 1:07:50I've got to go, Larry, I'll ring you back.
1:07:50 > 1:07:52Joyce Hatto?
1:07:52 > 1:07:54Yes, I need to talk to her again.
1:07:54 > 1:07:57I've had a call from someone who knew her husband years ago.
1:07:57 > 1:07:58Really?
1:07:58 > 1:08:02He just said the husband doesn't have the most blameless career path.
1:08:02 > 1:08:05Well, he's a harmless old beggar now, I mean, I've met him.
1:08:05 > 1:08:09Well, this person, someone we both know, said he heard Joyce Hatto
1:08:09 > 1:08:12play in the '60s sometime. I think at the Festival Hall.
1:08:12 > 1:08:14And she did fistfuls of wrong notes
1:08:14 > 1:08:16and then practically conked out at the keyboard.
1:08:16 > 1:08:19Well, I don't see what that's got to do with her recording career.
1:08:19 > 1:08:23No, but do check all the facts won't you?
1:08:23 > 1:08:25- Of course.- Now I know you will.
1:08:25 > 1:08:29I mean, 40 years down the line, she's obviously improved!
1:08:29 > 1:08:31Yes.
1:08:31 > 1:08:32Hope for us all!
1:08:34 > 1:08:37Ah-ha! Hot-air balloon!
1:08:39 > 1:08:41You don't want to drop the piece in the Gramophone, do you?
1:08:41 > 1:08:44- It seems to have turned into quite a big thing.- No.
1:08:44 > 1:08:47I think Mr Hill's going to make a jolly good fist of it.
1:08:47 > 1:08:51Bah, I thought that was bulrushes, and it ain't.
1:08:51 > 1:08:52It could be reflected bulrushes?
1:08:52 > 1:08:54Oh, he's not as dumb as he looks!
1:08:54 > 1:08:56Why are you saying drop it?
1:08:56 > 1:09:00There was an answer phone message from Philip, fact checking.
1:09:00 > 1:09:03Said he couldn't find anything on Rene Kohler, your esteemed conductor.
1:09:03 > 1:09:06Not surprising, seeing as he doesn't exist!
1:09:06 > 1:09:10I don't want to call him about it as he will have more awkward questions.
1:09:10 > 1:09:13Oh! Got the top of the lupin.
1:09:13 > 1:09:16I could pop a little biog on the internet, I suppose?
1:09:17 > 1:09:20Poor Rene, obviously a foreigner.
1:09:20 > 1:09:23So, just fit in there, thank you.
1:09:23 > 1:09:27I think he may have trained in Dresden.
1:09:27 > 1:09:30Somewhere sadly flattened by bombs.
1:10:15 > 1:10:18Philip, it's Larry. Can you call me back?
1:10:19 > 1:10:22Some more Joyce Hatto weirdness.
1:10:25 > 1:10:26And how is Joyce?
1:10:26 > 1:10:29Well, yeah, cancer isn't a barrel of laughs, as you know.
1:10:29 > 1:10:31We're keeping our peckers up pretty well.
1:10:31 > 1:10:36Having something to look forward to, like your piece in the Gramophone.
1:10:36 > 1:10:38That's as good as buns to Joyce, that is.
1:10:38 > 1:10:42Right. Now, we have a slight problem. I believe the Gramophone
1:10:42 > 1:10:45still hasn't received the information they asked for.
1:10:45 > 1:10:46That's very odd.
1:10:46 > 1:10:50That was all sent in the post many moons ago. I'll track it down.
1:10:50 > 1:10:52But it will involve talking to someone in Bangalore
1:10:52 > 1:10:54with a slim grasp of the language.
1:10:54 > 1:10:57There's something else, Barrie. A friend of mine in New York, you see,
1:10:57 > 1:11:00he ordered Joyce's Transcendental Etudes.
1:11:00 > 1:11:02Now he put it into iTunes,
1:11:02 > 1:11:04the database recognised it as the Etudes,
1:11:04 > 1:11:07but, well, it came up with a different name.
1:11:07 > 1:11:10Well, that doesn't surprise me. We've had Joyce Natto, Hitto ...
1:11:10 > 1:11:15No, no, no, it came up with the name of another pianist, Laszlo Simon.
1:11:15 > 1:11:17Well, there's no logic with these computers.
1:11:17 > 1:11:20Look, Barrie, people are asking questions about Joyce's output,
1:11:20 > 1:11:23questioning the names of the orchestras.
1:11:23 > 1:11:26- Now, you've seen all the online traffic, I know...- Philip,
1:11:26 > 1:11:29I beg you, do not say anything of this to Joyce.
1:11:29 > 1:11:32And I can't discuss it now.
1:11:32 > 1:11:34But I need every little bit of spirit I can muster
1:11:34 > 1:11:39to go in there and be the person I need to be for my darling wife.
1:11:39 > 1:11:42I won't have her for long, Philip.
1:11:42 > 1:11:45So I want us to go in there, both of us with big smiles on our faces,
1:11:45 > 1:11:48because Joyce is very sensitive.
1:11:48 > 1:11:51Your championing of her and the prospect of the piece
1:11:51 > 1:11:55in the Gramophone are literally what's keeping her going right now.
1:11:55 > 1:11:57Can we carry on this conversation later?
1:11:57 > 1:11:59Oh, yes. We must, we must.
1:11:59 > 1:12:03This Laszlo Simon snafu, I'm as baffled as you are
1:12:03 > 1:12:06and I certainly don't want him getting all of Joyce's royalties!
1:12:06 > 1:12:07HE LAUGHS
1:12:12 > 1:12:14Barrie was very good-looking.
1:12:15 > 1:12:21Yes, and not quite as confident as he looks there.
1:12:21 > 1:12:22Really?
1:12:22 > 1:12:26He had a certain air which was misleading, as it turned out.
1:12:28 > 1:12:30We were both vulnerable, I suppose.
1:12:32 > 1:12:35Vulnerable people can protect each other.
1:12:35 > 1:12:36Oh, they can.
1:12:37 > 1:12:39Or they can double their weaknesses.
1:12:39 > 1:12:42But that's the gamble in a marriage, isn't it?
1:12:44 > 1:12:47Now, do have some of Barrie's Swiss roll, baked in your honour,
1:12:47 > 1:12:51and you can use any of the photos you like for your piece.
1:12:51 > 1:12:52Oh, thank you.
1:12:54 > 1:12:57Could I just ask you about your recording
1:12:57 > 1:13:00of the Transcendental Etudes?
1:13:00 > 1:13:02Of course.
1:13:02 > 1:13:04Where did you record them?
1:13:09 > 1:13:10Well...
1:13:12 > 1:13:15..we did them in a tiny studio in Cambridge
1:13:15 > 1:13:19and I was very tired when I went in to play them.
1:13:19 > 1:13:20But if you've done the work,
1:13:20 > 1:13:27then somehow...the music can take over and it did take over.
1:13:27 > 1:13:30I almost didn't need to do anything.
1:13:32 > 1:13:36And when I finished playing the last piece...
1:13:39 > 1:13:40..there was just...
1:13:43 > 1:13:44..silence.
1:13:47 > 1:13:51And all the technical people on the other side of the glass...
1:13:54 > 1:13:56..just...
1:13:56 > 1:13:57still.
1:14:04 > 1:14:05Hmm.
1:14:06 > 1:14:10Now, I have a little parting gift for you.
1:14:10 > 1:14:14I don't imagine we'll be meeting again,
1:14:14 > 1:14:17if I can contradict dear old Vera Lynn.
1:14:26 > 1:14:31Ah! Never gave you my famous marmalade!
1:14:31 > 1:14:34Ah, that's fine. I... I had my present from Joyce.
1:14:34 > 1:14:35What was that?
1:14:35 > 1:14:38She gave me a test copy of the Godowsky.
1:14:38 > 1:14:39Did she?
1:14:39 > 1:14:42I hadn't realised she'd been well enough to record them.
1:14:42 > 1:14:44Look, it's not one of her best.
1:14:44 > 1:14:47She hasn't heard it, of course, but it's not one of the finest.
1:14:47 > 1:14:49I won't release it.
1:14:49 > 1:14:52As a courtesy to me, Philip, don't play it.
1:14:54 > 1:14:57Look, Barrie, the editor of the Gramophone wants to get
1:14:57 > 1:15:00the Hatto Etudes compared with the Laszlo Simon.
1:15:00 > 1:15:04A proper digital comparison by an independent source.
1:15:04 > 1:15:06Now, can you tell me if you think that will show up
1:15:06 > 1:15:09any problem as far as Joyce's recording is concerned?
1:15:09 > 1:15:12- No, I'm sure it won't. - So I can tell him to go ahead.
1:15:12 > 1:15:15- You fully accept the consequences? - Absolutely.
1:15:15 > 1:15:18I'm pretty tired of all this carping.
1:15:18 > 1:15:22I see all this bumf the classical music buffs put on the internet.
1:15:22 > 1:15:25Well, if they think an F sharp that Joyce played last Wednesday
1:15:25 > 1:15:29sounds like a B flat Martha Argerich played 20 years ago,
1:15:29 > 1:15:30then quite frankly,
1:15:30 > 1:15:33to use an expression Joyce hates, which I rather like,
1:15:33 > 1:15:35"They need to get a life!"
1:15:35 > 1:15:36HE LAUGHS
1:15:49 > 1:15:51Now, this isn't just chocolate.
1:15:51 > 1:15:54This is Belgian chocolate.
1:15:54 > 1:15:55Mmm, Lovely.
1:15:57 > 1:15:59Philip get off all right?
1:15:59 > 1:16:02He said you gave him the Godowsky.
1:16:02 > 1:16:04Yes.
1:16:04 > 1:16:06Was I a naughty Hatto?
1:16:06 > 1:16:07No harm done.
1:16:10 > 1:16:13I forgot to ask him when the piece was coming out.
1:16:13 > 1:16:14It's coming out quite soon.
1:16:17 > 1:16:21There hasn't been any more stuff on the internet?
1:16:21 > 1:16:23I thought Philip seemed a little distant.
1:16:23 > 1:16:26No. That's all died down.
1:16:26 > 1:16:27Eat up, Ducky.
1:16:29 > 1:16:31It wasn't so wrong to do, was it?
1:16:31 > 1:16:32No.
1:16:32 > 1:16:36If things had been different, you'd have been selling them all along.
1:16:36 > 1:16:40- Because I could play, couldn't I? - Oh, I'll say.
1:16:40 > 1:16:43I knew that from the day you had them standing in the aisles at the Strathmore.
1:16:45 > 1:16:47Typical Barrie exaggeration.
1:16:49 > 1:16:52Just you and...Miss Guisely.
1:16:52 > 1:16:54Enhancement.
1:16:54 > 1:16:56Like the recordings.
1:16:56 > 1:16:58No harm done.
1:16:58 > 1:17:02Hertfordshire's Bonnie and Clyde.
1:17:02 > 1:17:05We shan't die in a hail of bullets, hopefully.
1:17:09 > 1:17:11You'll manage, will you?
1:17:18 > 1:17:21Looking forward to it, Ducky.
1:17:21 > 1:17:24- Fill the place with dancing girls. - Hmm...
1:17:26 > 1:17:27You sure?
1:17:29 > 1:17:30Go on.
1:17:31 > 1:17:33Shame to waste it.
1:17:34 > 1:17:36Don't you know there's a war on?
1:17:36 > 1:17:38SHE LAUGHS GENTLY
1:17:51 > 1:17:53TV: 'And in a change to our advertised programme,
1:17:53 > 1:17:56'there will now be a tribute to the acclaimed pianist, Joyce Hatto,
1:17:56 > 1:17:59'whose death was announced yesterday.
1:17:59 > 1:18:02'Joyce Hatto had renaissance in the last few years of her life,
1:18:02 > 1:18:05'when unable to perform in concert because of illness,
1:18:05 > 1:18:07'she concentrated on recording.
1:18:07 > 1:18:09'Many tributes have been paid...'
1:18:41 > 1:18:42Got away with it, Ducky.
1:18:45 > 1:18:48The top one's the Laszlo Simon and the bottom one's Hatto.
1:18:48 > 1:18:50They're identical.
1:18:50 > 1:18:54And that can't happen unless one's been copied from the other.
1:18:54 > 1:18:57Now, here's the Rachmaninov second and third.
1:18:57 > 1:18:59That's Joyce on the top and that's Yefim Bronfman on the bottom.
1:18:59 > 1:19:03They're slightly different because they've taken his and speeded it up
1:19:03 > 1:19:04and then pitch corrected.
1:19:04 > 1:19:06So you'll go ahead with the story.
1:19:06 > 1:19:10We need to find one more fake to put me in the clear legally.
1:19:11 > 1:19:14Look, he... He might just talk to me.
1:19:14 > 1:19:17Sure. I mean, it's sad, isn't it?
1:19:17 > 1:19:20I'm not trying to crush the poor old bugger.
1:19:20 > 1:19:24If he tells us the truth, I'll print it and if he doesn't, he's had it.
1:19:24 > 1:19:27I'm sorry the Gramophone has got its knickers in a twist,
1:19:27 > 1:19:29but from our end, there is no story.
1:19:31 > 1:19:34It's Joyce on the box and it's Joyce on the recording.
1:19:34 > 1:19:37So, the two they've found are sheer coincidence?
1:19:37 > 1:19:39- All the others are genuine? - Absolutely.
1:19:39 > 1:19:41- What about the Godowsky? - We didn't release the Godowsky.
1:19:41 > 1:19:44I told you, Joyce wasn't up to scratch on it.
1:19:44 > 1:19:48The Godowsky was clever because it was nicked from three pianists
1:19:48 > 1:19:49and it was speeded up.
1:19:49 > 1:19:51So, you could've played it to Marc-Andre Hamelin
1:19:51 > 1:19:55and he wouldn't have had a clue he was listening to himself.
1:19:55 > 1:19:57I mean, it was brilliant, really.
1:19:58 > 1:20:00Right, that's going online.
1:20:01 > 1:20:04And once the red tops get hold of it...
1:20:04 > 1:20:07Heaven help Barrie.
1:20:07 > 1:20:08'So far the husband of Joyce Hatto
1:20:08 > 1:20:12'is not, as far as I know, coming forward with his side of the story.
1:20:12 > 1:20:15'But if it does turn out that some or all of Joyce Hatto's recordings
1:20:15 > 1:20:19'are from other sources, that really will be very sad indeed.'
1:20:22 > 1:20:23Mr Coupe.
1:20:23 > 1:20:25Mr Coupe.
1:20:26 > 1:20:29Look, this is vile.
1:20:29 > 1:20:33My father-in-law had cancer. It makes people absolutely desperate.
1:20:35 > 1:20:39That's what we'll pay for an exclusive. Just call me.
1:20:39 > 1:20:41Then you can get rid of this lot.
1:20:42 > 1:20:47It's desperately sad, and we want people to see your side.
1:20:47 > 1:20:49Nobody will think the worse of you.
1:20:50 > 1:20:51Mr Coupe?
1:21:00 > 1:21:04You dumb cluck, we're cooking for one, aren't we?
1:21:12 > 1:21:15Well, we could have predicted it ending like this, couldn't we?
1:21:15 > 1:21:17Typical Barriean muddle.
1:21:17 > 1:21:20I'm trying to think if anything you ever did came right.
1:21:20 > 1:21:21No answer came, none.
1:21:21 > 1:21:24I hope you're not going to say I had anything to do with this.
1:21:24 > 1:21:27No, we can't have Joyce's name dragged through the mud, can we(?)
1:21:27 > 1:21:30No, that's right. Because what you have to remember
1:21:30 > 1:21:33is that all the things that happened to me were your fault.
1:21:33 > 1:21:37Because nothing is ever Joyce's fault, is it?
1:21:37 > 1:21:38No.
1:21:38 > 1:21:41Joyce mucks up her audition for the BBC. Is that Joyce's fault?
1:21:41 > 1:21:44No, that was Barrie's fault. He made her nervous.
1:21:44 > 1:21:47He was too jolly or he was too encouraging
1:21:47 > 1:21:49or he wasn't encouraging enough.
1:21:49 > 1:21:52Joyce has a miscarriage - not usually anyone's fault
1:21:52 > 1:21:54but in this case, it was Barrie's fault.
1:21:54 > 1:21:57Oh, and then, of course, Barrie went to prison!
1:21:57 > 1:21:58Did he murder someone?
1:21:58 > 1:22:01Did he hit an old lady on the head with a brick?
1:22:01 > 1:22:05No, he just messed up on his purchase tax returns,
1:22:05 > 1:22:09trying to earn a living so that Joyce could stay in the house
1:22:09 > 1:22:11and Joyce could carry on playing the piano,
1:22:11 > 1:22:15which, by the way, wasn't anything anyone wanted to pay money to hear.
1:22:15 > 1:22:17You said you'd make me famous!
1:22:17 > 1:22:19I was stupid, then, wasn't I? Cos I tell you what,
1:22:19 > 1:22:22when I first walked into the Strathmore and heard you play,
1:22:22 > 1:22:24I was quite a happy chap. I was nothing special,
1:22:24 > 1:22:28mucking about at the publishers', joking with the girls in the office,
1:22:28 > 1:22:30but I tell you what, I was doing OK.
1:22:30 > 1:22:32- You loved me.- Yes, I did.
1:22:32 > 1:22:34But living with a disappointed person is hard.
1:22:34 > 1:22:36It drains the flippin' life out of you.
1:22:36 > 1:22:39Maybe it was a daft scheme putting out those recordings
1:22:39 > 1:22:42but I thought it might cheer you up. Simple as that.
1:22:42 > 1:22:45So, what are you going to tell your sympathetic lady journalist?
1:22:45 > 1:22:49- I could just tell her the truth. - Golly. That would be a novelty.
1:22:49 > 1:22:51That you hadn't recorded in years.
1:22:51 > 1:22:53That you were too ill to play.
1:22:53 > 1:22:55That every interview you gave was a lie.
1:22:55 > 1:22:58That would make my obituaries pretty meaningless, wouldn't it?
1:23:01 > 1:23:03You went down with the Titanic, Joyce.
1:23:03 > 1:23:06I'm the poor sod clinging to a deck chair.
1:23:06 > 1:23:08It's every man for himself.
1:23:56 > 1:23:58DOORBELL RINGS
1:24:08 > 1:24:10We're Birdy and Pilks.
1:24:10 > 1:24:12We were at the funeral.
1:24:23 > 1:24:25We've seen the news about the recordings
1:24:25 > 1:24:28and we've been so upset, haven't we, Pilks?
1:24:28 > 1:24:31Because we loved her and we just can't see how it can have happened.
1:24:31 > 1:24:34- You've come to get the full story, is that it?- Well, not...
1:24:34 > 1:24:37I'll be giving my story to the Daily Mail, you can read it in there.
1:24:37 > 1:24:41- That do you?- Oh, dear. We haven't just come poking around.
1:24:41 > 1:24:43Pilks said we shouldn't just turn up
1:24:43 > 1:24:47but no-one was answering the phone and your website's shut down.
1:24:47 > 1:24:50Well, I can tell you what I'm going to tell the Daily Mail, if you like.
1:24:50 > 1:24:53- But you're not going to like it. - Give Barrie the...
1:24:53 > 1:24:55God, I'll forget my head next.
1:24:55 > 1:24:59I was having a clear-out and this was in a cupboard.
1:24:59 > 1:25:01Do you remember?
1:25:01 > 1:25:03I should say.
1:25:04 > 1:25:07They're what landed me in the Old Bailey.
1:25:08 > 1:25:09Look, girls, I...
1:25:09 > 1:25:11Girls!
1:25:11 > 1:25:13Well, you're girls to me.
1:25:14 > 1:25:15Shall we sit down?
1:25:35 > 1:25:38You're going to read it in the paper anyway
1:25:38 > 1:25:40so you might as well hear it now.
1:25:44 > 1:25:46HE CHUCKLES
1:25:48 > 1:25:53Your Miss Hatto and my Joyce were perhaps not quite the same person.
1:25:54 > 1:25:57DICTAPHONE HUMS Oh, my God! It still works.
1:25:57 > 1:26:00Oh, yes. That's why we brought it.
1:26:00 > 1:26:03We interviewed Miss Hatto for the school mag.
1:26:03 > 1:26:07We thought you might like to hear it. The tape was still in it.
1:26:09 > 1:26:11GIRL: 'Miss Hatto...
1:26:11 > 1:26:14'Oh, sorry, Birdy, what am I asking first?'
1:26:14 > 1:26:16'(What's the best thing about being a concert pianist?)'
1:26:16 > 1:26:19'Yes, sorry. Miss Hatto, can you tell us, please,
1:26:19 > 1:26:22'what is the best thing about being a concert pianist?
1:26:22 > 1:26:27'Well, I think it's that every time you sit down to play,
1:26:27 > 1:26:29'you don't actually know what's going to happen
1:26:29 > 1:26:33'because every concert is different, every audience is different.
1:26:36 > 1:26:40'And you don't always want them to say, "Wasn't Joyce Hatto wonderful?"
1:26:40 > 1:26:43'Or you don't even necessarily want them to say,
1:26:43 > 1:26:46'"Wasn't Chopin wonderful?" or Bach or Beethoven.
1:26:46 > 1:26:49'I want them to go away feeling
1:26:49 > 1:26:52'something wonderful and special has happened just to them.
1:26:52 > 1:26:55'And what's the worst thing?
1:26:55 > 1:26:57- 'Birdy!- What?
1:26:57 > 1:27:00'Well, it...it can be quite lonely.
1:27:00 > 1:27:03'I'm very lucky, I have the most encouraging husband.
1:27:03 > 1:27:06'I can get a little bit discouraged sometimes
1:27:06 > 1:27:09'when a piece doesn't quite go as I think it should
1:27:09 > 1:27:13'and I say, "Oh, Barrie I can't do this," and "Barrie, I can't do that"
1:27:13 > 1:27:15'and he says, "Go on, you can do it."
1:27:15 > 1:27:17'And he's right, I can.'
1:27:18 > 1:27:19Sorry.
1:27:21 > 1:27:24I just thought you might like to hear her voice.
1:27:26 > 1:27:28We should scarper, Birdy.
1:27:28 > 1:27:31- No, no, stay.- No, no. We can read it in the papers.
1:27:31 > 1:27:33- You don't owe us an explanation. - It's just that
1:27:33 > 1:27:37because she always said playing music was about being honest,
1:27:37 > 1:27:39we couldn't really believe
1:27:39 > 1:27:43that she would have had anything to do with something fraudulent.
1:27:47 > 1:27:48She didn't.
1:27:49 > 1:27:51She didn't?
1:27:51 > 1:27:53Oh, Pilks. She really didn't?
1:27:58 > 1:28:01She didn't know anything about it.
1:28:01 > 1:28:05As far as she was concerned, the recordings were as she played them.
1:28:06 > 1:28:08So they were her recordings?
1:28:08 > 1:28:10Absolutely they were.
1:28:25 > 1:28:28The trouble was, poor thing...
1:28:30 > 1:28:34When she played, she would make these little noises,
1:28:34 > 1:28:37little cries of pain.
1:28:37 > 1:28:40She didn't even know she was doing them.
1:28:40 > 1:28:44So I had to find a way to patch them up
1:28:44 > 1:28:48and yes, it's a fair cop in a sense,
1:28:48 > 1:28:51I... I made little edits,
1:28:51 > 1:28:54but I never took a whole movement,
1:28:54 > 1:28:56not even a whole bar.
1:29:01 > 1:29:04'It can get a bit lonely,
1:29:04 > 1:29:07'but I'm very lucky, I have the most encouraging husband.
1:29:07 > 1:29:09'I can get a little bit discouraged sometimes
1:29:09 > 1:29:12'when a piece doesn't go quite as I think it should
1:29:12 > 1:29:15'and I say, "Oh, Barrie, I can't do this,"
1:29:15 > 1:29:16'and "Barrie, I can't do that,"
1:29:16 > 1:29:19'and he says, "Go on, you can do it.
1:29:19 > 1:29:21'And he's right, I can.
1:29:22 > 1:29:27'He always says that I'm the engine driver and he's the oily rag
1:29:27 > 1:29:31'and sometimes you need an oily rag to get the engine going.'
1:29:31 > 1:29:34I don't care if the only thing you ever manage to play
1:29:34 > 1:29:36is The Teddy Bear's Picnic.
1:29:36 > 1:29:40You know, if you play it with passion, commitment and truth,
1:29:40 > 1:29:42then you'll have my vote.
1:29:42 > 1:29:45And you'll make me a very happy Hatto.
1:30:36 > 1:30:38Subtitles by Red Bee Media Ltd