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