0:00:02 > 0:00:08This programme contains some stong language and some scenes of a sexual nature
0:00:20 > 0:00:22WOMAN COUGHS SOFTLY
0:00:22 > 0:00:24DOOR OPENS
0:00:24 > 0:00:27FOOTSTEPS ECHOING
0:00:29 > 0:00:32LOUD APPLAUSE
0:01:07 > 0:01:11SLOW, SOMBRE ORCHESTRAL OVERTURE PLAYS
0:01:15 > 0:01:16LATCHES CLICK
0:02:07 > 0:02:10PLAYING SLOW, MELANCHOLY MELODY
0:02:18 > 0:02:21"Time present and time past
0:02:21 > 0:02:24"Are both perhaps present in time future,
0:02:24 > 0:02:28"And time future contained in time past.
0:02:28 > 0:02:31"If all time is eternally present
0:02:31 > 0:02:34"All time is unredeemable.
0:02:34 > 0:02:37"Or say that the end precedes the beginning,
0:02:37 > 0:02:40"And the end and the beginning were always there
0:02:40 > 0:02:42"Before the beginning and after the end.
0:02:42 > 0:02:46"And all is always now."
0:02:47 > 0:02:53That's TS Eliot, his take on Beethoven's late quartets.
0:02:53 > 0:02:56Today, we think about what Eliot might have meant.
0:02:56 > 0:03:02We begin with Beethoven's Opus 131, said to be his personal favourite.
0:03:02 > 0:03:06It has seven movements, at a time when the standard was four.
0:03:06 > 0:03:08'And they're all connected.
0:03:08 > 0:03:10'You're not allowed to stop between movements.
0:03:10 > 0:03:13'No resting, no tuning.'
0:03:13 > 0:03:17Beethoven insisted it be played attacca, without pause.
0:03:17 > 0:03:22'Was he maybe trying to point out some cohesion, some unity between...'
0:03:22 > 0:03:23Excuse me.
0:03:23 > 0:03:24'..the random acts of life?'
0:03:24 > 0:03:28Or being deaf, alone, and sensing the end,
0:03:28 > 0:03:33he might have felt he had no time, to pause, to take a breath.
0:03:34 > 0:03:38For us, it means that playing for so long without pause,
0:03:38 > 0:03:41our instruments must in time go out of tune,
0:03:41 > 0:03:43each in its own quite different way.
0:03:43 > 0:03:44It's a mess.
0:03:45 > 0:03:47What are we supposed to do, stop?
0:03:47 > 0:03:52Or, struggle, to continuously adjust to each other up to the end,
0:03:52 > 0:03:54even if we are out of tune?
0:03:57 > 0:03:59I don't know.
0:03:59 > 0:04:01Let's find out.
0:04:03 > 0:04:05PHONE RINGING
0:04:13 > 0:04:15That was quick.
0:04:15 > 0:04:18WOMAN SPEAKING INDISTINCTLY OVER PHONE
0:04:18 > 0:04:20HE CHUCKLES CLICKS MOUSE
0:04:20 > 0:04:21All right, hold on a sec.
0:04:24 > 0:04:26Hong Kong on the second and fourth.
0:04:27 > 0:04:30Shanghai on the 13th.
0:04:32 > 0:04:34Let me double-check with everybody first.
0:04:36 > 0:04:38Toast, if I may.
0:04:38 > 0:04:42I've missed you this pre-season break.
0:04:42 > 0:04:45The past year has been difficult, as you know.
0:04:46 > 0:04:49Miriam would have been here with us today, celebrating...
0:04:49 > 0:04:50Peter, she's always here.
0:04:50 > 0:04:53It's a year in three weeks.
0:04:53 > 0:04:59But the music, the quartet, us together have gotten me through it,
0:04:59 > 0:05:05and I need to thank you and tip a glass to our... Can it be 25 seasons together?
0:05:05 > 0:05:07To the Fugue. To the Fugue.
0:05:07 > 0:05:08The Fugue.
0:05:11 > 0:05:13Alexandra tells me your class really rocks.
0:05:13 > 0:05:15Really? When did you speak with her?
0:05:15 > 0:05:16This afternoon.
0:05:16 > 0:05:19She's very good. Advanced, quick.
0:05:19 > 0:05:20You should be pleased. That's my girl.
0:05:20 > 0:05:23She really hardly ever plays for us anymore.
0:05:23 > 0:05:25Let's hope she does now that she's back from Curtis.
0:05:25 > 0:05:27But to be first violin...
0:05:28 > 0:05:31..she needs particular, careful coaching.
0:05:31 > 0:05:36In fact, Daniel, I wonder if you'd give her a listen.
0:05:36 > 0:05:38Tell her what you think, encourage.
0:05:38 > 0:05:41I'll give her a listen. If you want to.
0:05:41 > 0:05:43Sure, that'd be great.
0:05:43 > 0:05:45Shall we? All right, yes. Ready?
0:05:45 > 0:05:49You know, maybe this is the season we play the Beethoven cycle...
0:05:49 > 0:05:50by heart.
0:05:50 > 0:05:54I've always liked that idea. I still think it's a gimmick.
0:05:54 > 0:05:56I think playing the cycle without these endless markings
0:05:56 > 0:05:58would be exciting and a worthwhile risk.
0:05:58 > 0:06:00A risk?
0:06:00 > 0:06:02A risk.
0:06:02 > 0:06:04We're in the casino business now, Robert?
0:06:05 > 0:06:08These, these markings represent layers of thought.
0:06:09 > 0:06:10I tend to agree with Daniel.
0:06:13 > 0:06:15Tie goes to the conservatives, I guess.
0:06:15 > 0:06:18TUNING INSTRUMENTS
0:06:32 > 0:06:34PLAYING SLOW, MELANCHOLY MELODY
0:07:26 > 0:07:28OTHERS STOP PLAYING
0:07:28 > 0:07:30Our vibrato doesn't match.
0:07:30 > 0:07:32I must be on vacation time still.
0:07:32 > 0:07:33CHUCKLES
0:07:34 > 0:07:37From the top, once more please. OK.
0:07:37 > 0:07:39Let's do it from, from Juliette. Sure.
0:07:43 > 0:07:44MELANCHOLY MELODY RESUMES
0:08:05 > 0:08:07MUSIC STOPS
0:08:07 > 0:08:11I'm sorry, my mind's wandering. It's the cello.
0:08:11 > 0:08:16Sorry, guys. I'm not myself. Maybe a day or two, get my hands back.
0:08:16 > 0:08:18That's all right. Sure.
0:08:18 > 0:08:19Let's reschedule?
0:08:19 > 0:08:21Reschedule. Next Tuesday.
0:08:21 > 0:08:23You all right, Peter?
0:08:23 > 0:08:27Sure. It's just...strange.
0:08:31 > 0:08:34Put your hands out like this.
0:08:34 > 0:08:36INDISTINCT ANNOUNCEMENTS OVER PA
0:08:38 > 0:08:43OK. Now close the right fist, and open it.
0:08:43 > 0:08:46Left fist. Open it.
0:08:46 > 0:08:48Now do it fast.
0:08:48 > 0:08:50Open, shut. Open, shut.
0:08:53 > 0:08:54All right.
0:08:58 > 0:09:01OK. Now, just stand.
0:09:09 > 0:09:12Now walk to the end of the room,
0:09:12 > 0:09:15to the door, and then walk back, naturally, towards me.
0:09:25 > 0:09:27OK.
0:09:35 > 0:09:40OK. I think we should get a blood sample,
0:09:40 > 0:09:42and arrange for a MRI.
0:09:42 > 0:09:46Why don't we meet in a week when we should have all the results?
0:09:46 > 0:09:49MRI? Is there something I should know.
0:09:50 > 0:09:53I think we should run the test first.
0:09:53 > 0:09:56You could tell me what you think, even if you're not certain.
0:09:57 > 0:10:00It's OK. We've known each other a long time.
0:10:03 > 0:10:05Well?
0:10:07 > 0:10:11Well, based on the examination that we just ran,
0:10:11 > 0:10:14and the complaints you've described to me,
0:10:14 > 0:10:18it's my opinion that you are experiencing
0:10:18 > 0:10:20the early symptoms of Parkinson's.
0:10:23 > 0:10:26Well, you know...
0:10:26 > 0:10:29From this, from what we just did, you can tell that?
0:10:29 > 0:10:32Yes. I'm afraid I can. Parkinson's?
0:10:32 > 0:10:36But we should still run the blood test and have the MRI,
0:10:36 > 0:10:40just to rule out any more adverse possibilities.
0:10:46 > 0:10:47Wow.
0:10:50 > 0:10:52KETTLE WHISTLING
0:10:53 > 0:10:56LIVELY, ANIMATED STRING QUARTET MUSIC PLAYING
0:11:18 > 0:11:20PLAYFULLY: The aroma...
0:11:29 > 0:11:30WHISPERS: Wake up.
0:11:32 > 0:11:33I'll make it worth your while.
0:11:33 > 0:11:35MUMBLING
0:11:36 > 0:11:39What about if I talked in a really bad French accent?
0:11:39 > 0:11:42Oui oui?
0:11:42 > 0:11:44Please, I'm not... Lover?
0:11:44 > 0:11:48Robert. Robert, please. I'm really... I'm not...
0:11:48 > 0:11:50I'm really not in the mood.
0:11:58 > 0:12:02PLAYING SLOW, MELANCHOLY MELODY
0:12:04 > 0:12:07OK. It's an adagio, right?
0:12:07 > 0:12:09Slower, please.
0:12:17 > 0:12:21VOCALIZING MELODY
0:12:21 > 0:12:23The bow goes into the string and out.
0:12:23 > 0:12:26You have to feel the resistance, then the release afterwards.
0:12:26 > 0:12:28That's what I'm trying to do.
0:12:28 > 0:12:31Without intention. What do you mean without intention?
0:12:31 > 0:12:34This fugue is a tremendous... it's an emotional upheaval,
0:12:34 > 0:12:36and I don't hear it.
0:12:36 > 0:12:39The colour must be dark, always. Again.
0:12:44 > 0:12:45Vibrato. From the first note.
0:12:45 > 0:12:47Mm-hm.
0:12:53 > 0:12:56It's a prayer, Alexandra.
0:12:56 > 0:12:58Can you let me play one bar?
0:13:00 > 0:13:02I don't think you're ready for this piece.
0:13:02 > 0:13:05In class, everybody was very happy with my performance.
0:13:05 > 0:13:06That's fantastic.
0:13:06 > 0:13:07Peter was too.
0:13:07 > 0:13:11Why does he open with a slow fugue? Beethoven, that is.
0:13:11 > 0:13:12I don't know.
0:13:12 > 0:13:16If you insist on tackling the 131 prematurely,
0:13:16 > 0:13:19at least read his biography first. Right?
0:13:19 > 0:13:21Try to get into his mind.
0:13:24 > 0:13:26Did you know his father used to wake him up in the middle of the night
0:13:26 > 0:13:28to play for his drunken cronies?
0:13:30 > 0:13:34Imagine the mark that leaves on you. May I?
0:13:35 > 0:13:36I...
0:13:40 > 0:13:44PLAYING BRIGHT, LYRICAL MELODY
0:13:57 > 0:13:58Pilar.
0:13:59 > 0:14:01Hello, Robert.
0:14:01 > 0:14:03Long time no see. Yeah.
0:14:03 > 0:14:04What've you been up to?
0:14:04 > 0:14:08Practising for my new show, remember? We start Thursday.
0:14:08 > 0:14:11You've got to come this time. I'll put your name on the guest list.
0:14:11 > 0:14:13OK.
0:14:13 > 0:14:16I loved the Bartok quartet you recommended.
0:14:16 > 0:14:19The Fifth? Explosive.
0:14:19 > 0:14:21Hold on, hold on a second.
0:14:21 > 0:14:23You liked it? Yeah.
0:14:23 > 0:14:25I could choreograph a piece to it.
0:14:26 > 0:14:30The next step is the... Shostakovich cycle.
0:14:32 > 0:14:33You up for it? Yeah.
0:14:35 > 0:14:37It's all on here.
0:14:38 > 0:14:40Listen to it while you run.
0:14:40 > 0:14:43What are you playing on this one?
0:14:43 > 0:14:47Second violin. Always, that's my part.
0:14:47 > 0:14:48Always?
0:14:48 > 0:14:51Yeah. Well, without me they'd be a lonely, frustrated trio.
0:14:53 > 0:14:56Seriously, the second and first violin aren't hierarchical,
0:14:56 > 0:14:58they're just different roles.
0:14:58 > 0:15:00Different how?
0:15:00 > 0:15:05Well, sometimes I get the melody, sometimes the bass line.
0:15:07 > 0:15:08Uh...
0:15:08 > 0:15:12I connect the first violin, which tends to be the soloist's part,
0:15:12 > 0:15:15with the viola and cello,
0:15:15 > 0:15:19which just flow... right underneath the surface.
0:15:19 > 0:15:24Simply put, I pull it all together. That's my job.
0:15:24 > 0:15:27Sounds important, but still...
0:15:27 > 0:15:30Don't you have the urge to play the solo part once in a while?
0:15:31 > 0:15:35Yeah. Of course.
0:15:35 > 0:15:38So? Why don't you do something about it?
0:15:40 > 0:15:41Hm?
0:15:42 > 0:15:46Well, I was going to do something about it, but then, last year, uh...
0:15:48 > 0:15:51It just wasn't the right time, so...
0:15:51 > 0:15:52I know that feeling.
0:15:52 > 0:15:54My mother says, "it's never the right time,
0:15:54 > 0:15:58"and therefore it's always the right time," Robert.
0:15:58 > 0:16:02Your mother. God bless her. Yeah.
0:16:02 > 0:16:03Let's go, come on.
0:16:03 > 0:16:07MEDIUM TEMPO, WARM STRING QUARTET MUSIC PLAYING
0:16:18 > 0:16:20VOICES MURMURING
0:16:22 > 0:16:24CHUCKLING, CHATTERING
0:16:38 > 0:16:39MUSIC FADES
0:16:39 > 0:16:43I spoke with Dr Nadir. This difficulty I've been having...
0:16:43 > 0:16:47Parkinson's, she says, early stages, maybe.
0:16:51 > 0:16:53Parkinson's?
0:16:53 > 0:16:55Yes, my brain is running out of something.
0:16:55 > 0:16:57Dopamine. It regulates movement.
0:16:57 > 0:16:59Is it painful?
0:16:59 > 0:17:03Not at all, and the even better part is, there is medication.
0:17:03 > 0:17:05It replaces this dopamine.
0:17:05 > 0:17:08It's not a cure, but it can slow the progress.
0:17:08 > 0:17:10That's encouraging.
0:17:10 > 0:17:14However, playing for much longer is not in the cards for me.
0:17:16 > 0:17:17What if the drugs work?
0:17:17 > 0:17:20I need to be real about this.
0:17:20 > 0:17:22Deal with it. Name it.
0:17:23 > 0:17:26The doctor says it might give me a season, could be two.
0:17:26 > 0:17:30But I've made up my mind
0:17:30 > 0:17:33that it's best for the quartet to plan ahead,
0:17:33 > 0:17:35to think about what comes next.
0:17:35 > 0:17:39I think Nina Lee should replace me.
0:17:39 > 0:17:40She's a wonderful cellist, we all like her.
0:17:40 > 0:17:43She's the one. Everybody OK with that? Daniel?
0:17:43 > 0:17:47Nina... She's playing with Gideon still, right?
0:17:47 > 0:17:50No, I'm not OK with this. We shouldn't be discussing this right now.
0:17:50 > 0:17:52It's not the time. I agree.
0:17:52 > 0:17:55One thing more - if this drug works
0:17:55 > 0:17:58and I am able to play well enough by then,
0:17:58 > 0:18:02I'd like the season's first concert to be my farewell.
0:18:39 > 0:18:42It's just...
0:18:42 > 0:18:45You know, if we do end up taking on a new cellist,
0:18:45 > 0:18:47if that's what we decide...
0:18:50 > 0:18:53..I think it'll feel like a beginning.
0:18:53 > 0:18:54We'll have a new sound.
0:18:58 > 0:18:59If that happens...
0:19:01 > 0:19:04..I don't want to play second violin exclusively anymore.
0:19:09 > 0:19:14OK. So what exactly do you have in mind, may I ask?
0:19:16 > 0:19:20That you and I alternate between the two chairs.
0:19:20 > 0:19:22It doesn't have to be an even split at first,
0:19:22 > 0:19:25but eventually on each piece, I think we could decide
0:19:25 > 0:19:28who plays first violin and who plays second.
0:19:28 > 0:19:30Oh, my God, I cannot believe this is happening.
0:19:35 > 0:19:37What a terrible idea, Robert.
0:19:38 > 0:19:40It's a terrible idea.
0:19:40 > 0:19:42It's not a terrible idea. Yes, it is.
0:19:42 > 0:19:46And you know what? The timing... it just couldn't be worse.
0:20:33 > 0:20:36Peter says you're ready for a new violin.
0:20:37 > 0:20:39He did?
0:20:39 > 0:20:41Start looking for one.
0:20:41 > 0:20:43Your mom and I will check it out for you.
0:20:44 > 0:20:47Aw, man, Peter's so awesome.
0:20:47 > 0:20:50You know he cancelled tomorrow's coaching class?
0:20:50 > 0:20:52Do you know how he's doing?
0:20:53 > 0:20:56All in all, he's taking it surprisingly well.
0:20:56 > 0:20:58It's your mother I'm worried about.
0:20:58 > 0:21:02Oh, God. It's like she's the one with the Parkinson's.
0:21:02 > 0:21:04Don't be so hard on her.
0:21:04 > 0:21:07She's upset. Why don't you give her a break?
0:21:07 > 0:21:09Whatever.
0:21:09 > 0:21:12How's Mr Perfection coping with the situation?
0:21:12 > 0:21:16He's helping Peter look for a new cellist.
0:21:16 > 0:21:19Ooh. He has no heart.
0:21:19 > 0:21:23Oh, he's got plenty. He just reserves it for the violin.
0:21:24 > 0:21:27Well, I don't think I'm going to keep taking these classes with him.
0:21:30 > 0:21:31Why not?
0:21:31 > 0:21:33Because he sent me home after ten minutes
0:21:33 > 0:21:36in order to read Beethoven's biography,
0:21:36 > 0:21:42so I could connect to his misery before I dare attempt the Opus 131.
0:21:42 > 0:21:43He might have a point, though.
0:21:43 > 0:21:48Did Peter ever tell you about Schubert's last musical request?
0:21:48 > 0:21:54Yeah, how...he only wanted to hear Beethoven's Opus 131,
0:21:54 > 0:21:57and they played it for him, like, five days before he died.
0:21:57 > 0:21:59Right. Here's what I do.
0:22:00 > 0:22:05Before we play the piece, I imagine our quartet,
0:22:05 > 0:22:08surrounding Schubert on his deathbed,
0:22:08 > 0:22:12about to play for him the last music he'll hear on earth.
0:22:21 > 0:22:22Bow Bridge.
0:22:24 > 0:22:25I don't think I've been here
0:22:25 > 0:22:27since the first time I came to this country.
0:22:27 > 0:22:29Hm.
0:22:29 > 0:22:31Juilliard years.
0:22:32 > 0:22:33Juilliard.
0:22:35 > 0:22:37Do you remember why we picked this as our meeting place?
0:22:37 > 0:22:39Um...
0:22:39 > 0:22:41No. Darwin.
0:22:41 > 0:22:42Darwin.
0:22:42 > 0:22:47You were so into Darwin. Everything was natural selection.
0:22:47 > 0:22:48Yep.
0:22:48 > 0:22:50In that respect, things haven't changed much.
0:22:50 > 0:22:53Really? Yep.
0:22:53 > 0:22:55The old man is ill, the old man is out.
0:22:57 > 0:22:59SIGHS
0:23:01 > 0:23:04Any news about the medication?
0:23:04 > 0:23:08It hasn't had much effect yet, but it's still...it's still early.
0:23:10 > 0:23:11Let's hope it's quick enough for the concert.
0:23:11 > 0:23:14If he's well enough to play the concert,
0:23:14 > 0:23:17then he should be able to finish the rest of the season with us, Daniel.
0:23:17 > 0:23:20Why not respect his wish, Jules?
0:23:20 > 0:23:22Because I don't believe it is his wish.
0:23:22 > 0:23:25He's overwhelmed right now.
0:23:25 > 0:23:27Imagine how devastating this has been for him.
0:23:27 > 0:23:30First Miriam and now this.
0:23:31 > 0:23:34We have to give him time to adjust.
0:23:34 > 0:23:36What do we do about Robert?
0:23:37 > 0:23:38What about Robert?
0:23:38 > 0:23:42Alternating chairs Robert?
0:23:42 > 0:23:43You should talk to him about that.
0:23:43 > 0:23:46I doubt me talking to him would help.
0:23:48 > 0:23:50It will completely alter our sound, Jules, you understand that.
0:23:50 > 0:23:54That's also true if we replace Peter with another cellist.
0:23:54 > 0:23:57Not if it's Nina, no.
0:23:57 > 0:24:01She subbed for Peter very well last year. She's very compatible.
0:24:03 > 0:24:05Would you please talk to him?
0:24:07 > 0:24:11Anyway, if Peter quits, I may not continue.
0:24:17 > 0:24:18All right.
0:24:20 > 0:24:23I talk to Peter, you talk to Robert.
0:24:32 > 0:24:34You know, I didn't expect to feel this,
0:24:34 > 0:24:39but it turns out, I love being our age.
0:24:39 > 0:24:43I just love not having to prove anything to anybody.
0:24:43 > 0:24:48It's just great to go on stage, sit down and play music.
0:24:48 > 0:24:52You know, in Munich, after our concert,
0:24:52 > 0:24:56the audience was applauding and Nina whispered to me, "That was fun!"
0:24:56 > 0:24:58Ah.
0:24:58 > 0:25:01Can you imagine Nina? "That was fun!"
0:25:01 > 0:25:07You really taught her well, and I am very, very grateful to you.
0:25:07 > 0:25:10Gideon, I need to ask a big, serious favour.
0:25:10 > 0:25:12Well, for you, anything.
0:25:16 > 0:25:18I've made up my mind to stop performing,
0:25:18 > 0:25:21and my choice to replace me at the Fugue would be Nina.
0:25:23 > 0:25:26Nina? From my trio? Your Nina.
0:25:26 > 0:25:28She's the one who can do it.
0:25:28 > 0:25:30She knows our repertoire,
0:25:30 > 0:25:33the quartet likes her, personally, creatively.
0:25:34 > 0:25:36We need her.
0:25:36 > 0:25:38If she'll agree, of course.
0:25:40 > 0:25:44Peter that would be a big mistake.
0:25:44 > 0:25:46Don't retire!
0:25:46 > 0:25:50I promise you, you are going to get a second wind,
0:25:50 > 0:25:54and it could be the nicest part of your entire life.
0:25:54 > 0:26:00I mean, and you certainly can't ask me to give up Nina.
0:26:00 > 0:26:05I mean, she's become an integral part of the trio, I could never replace her.
0:26:05 > 0:26:08Gideon, there's no comparing. It's easier to replace for a piano trio.
0:26:08 > 0:26:11There are cellists who could take her place, I can help you find one.
0:26:13 > 0:26:17To my mind, the Fugue without Nina might not survive.
0:26:18 > 0:26:20It's that serious.
0:26:30 > 0:26:33I understand what you're saying, but I can't do that.
0:26:34 > 0:26:36I can't give her up.
0:26:40 > 0:26:43I'm going to begin by talking about some general principles
0:26:43 > 0:26:46that involve Parkinson's.
0:26:46 > 0:26:49One of them is that everything gets smaller.
0:26:49 > 0:26:54Our posture gets smaller, our stride gets smaller,
0:26:54 > 0:26:58our voice gets smaller, even our handwriting gets small.
0:26:58 > 0:27:01Everything contracts and closes in.
0:27:01 > 0:27:03So we need to push those boundaries out.
0:27:03 > 0:27:08We need to move big, so that we can take control of Parkinson's,
0:27:08 > 0:27:10rather than it taking control of us.
0:27:10 > 0:27:14And to do that, we use conscious movement.
0:27:14 > 0:27:19So, let's just start by stretching the arms out,
0:27:19 > 0:27:24and bringing them up and bringing them down,
0:27:24 > 0:27:27and bringing them up and out.
0:27:27 > 0:27:31And we're going to go front and side.
0:27:31 > 0:27:35And up and down. Good job.
0:27:35 > 0:27:38And front, and stretch side.
0:27:38 > 0:27:42And up and down.
0:27:42 > 0:27:45PLAYING SLOW, LUSH MELODY
0:28:09 > 0:28:11Nice.
0:28:11 > 0:28:14My father gave me a tip.
0:28:14 > 0:28:16Sounds like a good one.
0:28:16 > 0:28:19It was a good one. You should take a tip from him yourself.
0:28:19 > 0:28:21Yeah? Like what?
0:28:21 > 0:28:23He could teach you to be a little less...
0:28:26 > 0:28:28..anal.
0:28:31 > 0:28:33That's funny.
0:28:34 > 0:28:39OK... Frankly, I don't think you need my help anymore.
0:28:39 > 0:28:42And don't worry, I'll call Peter, tell him something.
0:28:42 > 0:28:45Come on, Daniel, I was... I was kidding. I didn't mean it like that.
0:28:45 > 0:28:49Of course you did. Just testing the extent of your power, it's fine.
0:28:49 > 0:28:54The extent of my power? Could you illuminate me, please?
0:28:54 > 0:28:57Actually, it's more of a desperate need for attention.
0:28:57 > 0:28:59I would suggest you focus on the music.
0:29:02 > 0:29:03Focus on the music?
0:29:06 > 0:29:08METRONOME CLICKING
0:29:08 > 0:29:10Is that all?
0:29:10 > 0:29:14Yeah, you've probably just realised how much hard work it takes
0:29:14 > 0:29:17to become a decent violinist, let alone a good one,
0:29:17 > 0:29:20and you're not sure anymore whether it's worth the trouble,
0:29:20 > 0:29:25whether you're talented enough, whether you can handle the pressure.
0:29:25 > 0:29:28Just you and the violin in a small studio
0:29:28 > 0:29:34making the most minuscule progress every day...of your life.
0:29:34 > 0:29:36That's why you formed your quartet.
0:29:36 > 0:29:40You thought it would alleviate all of your problems.
0:29:40 > 0:29:44You found it's even more work and now you're stuck with three other people.
0:29:44 > 0:29:47Totally dependent on the way they play, their taste.
0:29:47 > 0:29:52They constantly scrutinize your talent. They hear every flaw.
0:29:53 > 0:29:57And that hurts your little ego very much.
0:29:58 > 0:30:00Doesn't it?
0:30:00 > 0:30:02RAIN PATTERING
0:30:02 > 0:30:04DISTANT SIREN BLARING
0:30:07 > 0:30:08THUNDER RUMBLES
0:30:08 > 0:30:10You're special, Alex.
0:30:12 > 0:30:13Yeah, right.
0:30:14 > 0:30:15Don't waste it.
0:30:18 > 0:30:19See you next week.
0:30:41 > 0:30:45I was relentless about getting him to form a quartet,
0:30:45 > 0:30:48but he yearned, as they always do, to become a soloist.
0:30:48 > 0:30:51How little they know, or even suspect.
0:30:51 > 0:30:54Then, on the final day of the semester,
0:30:54 > 0:30:55Daniel comes to me and he says,
0:30:55 > 0:30:59"Professor, I've decided to form a quartet
0:30:59 > 0:31:01"and I want you to be its cellist."
0:31:01 > 0:31:05I'm thinking, "Is this guy nuts? I'm 30 years older."
0:31:05 > 0:31:09And I had made it clear that since the Hudson's break up,
0:31:09 > 0:31:13where I played with Juliette's mother, I was not inclined to perform anymore.
0:31:14 > 0:31:18'Daniel insisted and my wife said, "Do it!"
0:31:18 > 0:31:25'So I said, OK, providing that Jules would join us on viola.
0:31:25 > 0:31:28'That would've been my first choice regardless.
0:31:28 > 0:31:33'But the really curious, star-crossed aspect of this is how we found Robert.
0:31:33 > 0:31:35'You tell 'em.
0:31:36 > 0:31:38'I was leaving Juilliard for the day,
0:31:38 > 0:31:42'and Daniel pokes his head out of the room and says,
0:31:42 > 0:31:44IN DANIEL'S ACCENT: "Robert...
0:31:44 > 0:31:49'..would you like to play... play a movement with us,
0:31:49 > 0:31:51'"just to, you know, wrap up the night?"
0:31:51 > 0:31:54'I was... . I hadn't even really considered it.
0:31:54 > 0:31:56'I was a freshman at the time,
0:31:56 > 0:32:01'and was about to transfer to NEC to study modern composition with Lampl.
0:32:01 > 0:32:06'And, you know, second violin, playing with a quartet,
0:32:06 > 0:32:09'I wasn't sure if I was ready for that commitment.
0:32:09 > 0:32:11'Anyway, from the first note, it was...
0:32:13 > 0:32:15'..I got it.
0:32:15 > 0:32:18'You know, I understood, this...
0:32:20 > 0:32:23'..the dynamic of a quartet and how special that was
0:32:23 > 0:32:25'to be a part of a group.
0:32:25 > 0:32:29'And that being a part of a group is about becoming one.
0:32:31 > 0:32:33'And until that point, I don't think I understood that.
0:32:33 > 0:32:36'I thought I was the one, you know?
0:32:36 > 0:32:40'But that was more special, to be a part.
0:32:40 > 0:32:43'And...and there was this incredibly beautiful woman
0:32:43 > 0:32:47'across from me, playing the viola,
0:32:47 > 0:32:50'like...like her life depended upon it.
0:32:55 > 0:32:58'She was...breathtaking.
0:33:00 > 0:33:02'"Star-crossed," you know, I don't know.'
0:33:12 > 0:33:14Robert. Mm-hm.
0:33:14 > 0:33:17I'd really like you to drop the alternating chairs idea.
0:33:17 > 0:33:19Why?
0:33:19 > 0:33:22Because it puts the quartet in danger.
0:33:24 > 0:33:25Why is it every time I...
0:33:25 > 0:33:27Daniel will never agree to accompany you.
0:33:27 > 0:33:30Well, I don't view our roles as accompaniment.
0:33:30 > 0:33:32No, of course not. Of course not.
0:33:33 > 0:33:37But why now, why are you making an issue of this now?
0:33:37 > 0:33:40I never wanted to be a second violin.
0:33:42 > 0:33:46And I never pushed it because...we were good.
0:33:48 > 0:33:53Well, I liked it... for the harmony.
0:33:53 > 0:33:54I know, I appreciate that.
0:33:54 > 0:33:59You know, when Peter brought up that he might be leaving...
0:33:59 > 0:34:01But what if he stays?
0:34:04 > 0:34:06I'd still want us to alternate.
0:34:09 > 0:34:12You remember, remember when we first started out,
0:34:12 > 0:34:17that every rehearsal was... discovery?
0:34:17 > 0:34:18We'd look forward to going there.
0:34:18 > 0:34:21We'd argue just to argue over a hairpin.
0:34:21 > 0:34:25We'd jump down each other's throats over a bow stroke.
0:34:25 > 0:34:27"I think it's up." "It's down."
0:34:27 > 0:34:29"I think it's up." "It's down."
0:34:29 > 0:34:32"I think it's up." I know, it was awful.
0:34:32 > 0:34:33CHUCKLES
0:34:33 > 0:34:35I miss that. Yeah.
0:34:36 > 0:34:38I miss being excited.
0:34:38 > 0:34:41I miss that. I can't tell you.
0:34:45 > 0:34:47Daniel...
0:34:47 > 0:34:52Daniel doesn't think that your qualities are best suited for first chair.
0:34:53 > 0:34:54Excuse me?
0:34:54 > 0:34:58He just doesn't think that you would be a good first chair.
0:35:00 > 0:35:03Why don't you have my back on this? I do.
0:35:03 > 0:35:05Why do you have his back, and you do not have my back on this?
0:35:05 > 0:35:07That's not the case.
0:35:07 > 0:35:10Look, we've always agreed to be impartial
0:35:10 > 0:35:12in these particular matters, you know that.
0:35:12 > 0:35:14Fine.
0:35:16 > 0:35:17Completely impartial.
0:35:17 > 0:35:20Do you think I wouldn't be as good a first violin as Daniel?
0:35:20 > 0:35:24Oh, come on. I think you... Impartial. Impartial.
0:35:27 > 0:35:32I think you're an amazing violinist. I think you're...great.
0:35:32 > 0:35:36First, second... it doesn't matter to me.
0:35:36 > 0:35:39It matters to me. But this isn't about you or me.
0:35:39 > 0:35:43Yes, it's about me. Yeah, it is. No. No, this is about the quartet.
0:35:43 > 0:35:45SIGHS
0:35:45 > 0:35:49And I think that you are...
0:35:49 > 0:35:51the best second violinist out there.
0:35:52 > 0:35:56There's nobody better for your part. Wow.
0:35:58 > 0:35:59Wow.
0:36:06 > 0:36:09Could you stop the cab? Please don't. Robert.
0:36:09 > 0:36:13Everyone values your contribution. Oh, God.
0:36:13 > 0:36:15Robert... Right here.
0:36:16 > 0:36:18When did you and Daniel talk this through?
0:36:22 > 0:36:26He wanted to meet to talk about how we could stay together, Rob...
0:36:40 > 0:36:41I met with Gideon...
0:36:41 > 0:36:45Mm-hm. ..and he says no.
0:36:45 > 0:36:47You offered to help him find another cellist, right?
0:36:47 > 0:36:49He likes working with Nina too much.
0:36:49 > 0:36:50Yeah, of course he does.
0:36:50 > 0:36:53He had six different cellists he liked working with too much before Nina.
0:36:53 > 0:36:55Over 40 years.
0:36:55 > 0:36:57Right, don't worry, I'll talk to Nina tomorrow.
0:36:57 > 0:37:00Not yet, wait. See what happens.
0:37:02 > 0:37:05Maybe you should reconsider your retirement, Peter.
0:37:05 > 0:37:09If you'll be able to play well soon, we're all confident you will,
0:37:09 > 0:37:12we would love for you to continue playing with us for as long as you can.
0:37:12 > 0:37:16What about no compromise, quality above all?
0:37:16 > 0:37:20Find a new cellist and then take the Fugue to another place.
0:37:21 > 0:37:25Now, if you don't mind, I need to rest.
0:37:25 > 0:37:30Practice, practice. Get ready to do what we do best.
0:37:30 > 0:37:32We have a performance coming up.
0:37:33 > 0:37:37FLAMENCO MUSIC PLAYING
0:38:00 > 0:38:03SINGING IN SPANISH
0:38:27 > 0:38:29FLAMENCO MUSIC CONTINUING
0:38:34 > 0:38:36SIGHS
0:38:36 > 0:38:39FLAMENCO MUSIC FADES
0:38:53 > 0:38:55Nina, he has Parkinson's.
0:38:58 > 0:38:59Yeah.
0:39:00 > 0:39:03He probably didn't want Gideon to know.
0:39:06 > 0:39:07Not good.
0:39:08 > 0:39:10It's not good.
0:39:28 > 0:39:30PILAR BREATHING HEAVILY
0:39:48 > 0:39:50FOOTSTEPS APPROACHING
0:40:21 > 0:40:23Hey.
0:40:24 > 0:40:25Hi. Hey.
0:40:30 > 0:40:31I made your favourite breakfast.
0:40:33 > 0:40:36You hungry? You must be.
0:40:38 > 0:40:43Hey, I'm sorry about yesterday. I was wrong. I'm so sorry.
0:40:45 > 0:40:48I don't mind. I just... I really stink.
0:40:48 > 0:40:50Oh, that's OK.
0:40:50 > 0:40:53I just want to go to the bathroom and take a shower. Just one second.
0:41:01 > 0:41:03OK. I'll be right back.
0:41:10 > 0:41:12DOOR CLOSES
0:41:12 > 0:41:13Um...
0:41:15 > 0:41:16CELLPHONE BUZZES
0:41:20 > 0:41:23WATER RUNNING
0:41:42 > 0:41:44Um... Where's your violin? What?
0:41:44 > 0:41:47I need rosin. I can't find it.
0:41:47 > 0:41:49It's not by the couch?
0:41:49 > 0:41:53No, it's not there. It's not in the bedroom either.
0:41:53 > 0:41:55Oh, fuck!
0:41:55 > 0:41:57Fuck, I left it at the bar.
0:41:58 > 0:42:00Really? What bar? I'll call.
0:42:00 > 0:42:04I'll get it, just give me a second, let me get out. I'll get it. Fuck!
0:42:48 > 0:42:49Hi. Hi.
0:43:02 > 0:43:03Thank you.
0:43:04 > 0:43:07You look tired. Yeah.
0:43:09 > 0:43:11Did you manage to get some sleep?
0:43:11 > 0:43:13Only a few hours.
0:43:13 > 0:43:16I didn't get a single minute, you know.
0:43:16 > 0:43:20I just lay in bed thinking of us till sunrise.
0:43:20 > 0:43:21We can't do this.
0:43:23 > 0:43:25We can't, um...
0:43:25 > 0:43:28What happened between us last night is rare, Robert, you know?
0:43:28 > 0:43:30And you don't deny these feelings.
0:43:30 > 0:43:32You just have to live, you just have to feel them.
0:43:32 > 0:43:34I know. I really can't.
0:43:35 > 0:43:37FOOTSTEPS APPROACHING
0:43:44 > 0:43:46Hi, Jules.
0:43:48 > 0:43:50This is, uh, Pilar.
0:43:50 > 0:43:52We, um...
0:43:55 > 0:43:58Remember I told you about her? We run together in the park.
0:43:58 > 0:44:00She's a fan of the Fugue.
0:44:02 > 0:44:04I was just about to leave.
0:44:05 > 0:44:06Please, you can have my chair.
0:44:11 > 0:44:12She seems nice.
0:44:12 > 0:44:14Yeah, she's...she's nice.
0:44:14 > 0:44:16You took this whole alternating chairs theme
0:44:16 > 0:44:18a little too far, though, don't you think?
0:44:18 > 0:44:20I mean, my God... Fuck. Oh, great.
0:44:20 > 0:44:21I'm sorry.
0:44:24 > 0:44:26I'm so sorry.
0:44:26 > 0:44:29It was a... It was a one-time thing.
0:44:29 > 0:44:33I... I just ended it. It's done. Yeah? You reamed me yesterday.
0:44:33 > 0:44:37You were furious with me yesterday
0:44:37 > 0:44:39for talking to Daniel about securing the future...
0:44:39 > 0:44:42I was really hurt by what you said yesterday.
0:44:42 > 0:44:45..the quartet's future! You said I wasn't good enough!
0:44:45 > 0:44:48This is how you decide to communicate this to me, by fucking another woman?
0:44:48 > 0:44:50I'm not good enough?
0:44:50 > 0:44:53I don't give a shit about first chair...
0:44:53 > 0:44:54It's my life!
0:44:54 > 0:44:58..that's all your ego. Bullshit! And the violin, it's everything!
0:44:58 > 0:45:00I don't care!
0:45:11 > 0:45:14I love you. SCOFFS
0:45:14 > 0:45:17I love you more than anything in the world.
0:45:18 > 0:45:19You have to know that.
0:45:21 > 0:45:25I made a stupid mistake. God, I fucked up.
0:45:25 > 0:45:28I'm asking you to forgive me.
0:45:30 > 0:45:33I'll be out late. I want your stuff out by midnight.
0:45:35 > 0:45:38No... Jules...
0:45:38 > 0:45:41Get your stuff out of the house.
0:46:03 > 0:46:05PHONE RINGING
0:46:09 > 0:46:12It's Daniel. Leave a message. MACHINE BEEPS
0:46:12 > 0:46:15'Daniel, I have news. Very good.
0:46:15 > 0:46:19'Gideon called. He changed his mind.
0:46:19 > 0:46:21'I spoke with Nina. She's standing by.'
0:46:21 > 0:46:23I'll call you later. Bye-bye.
0:46:24 > 0:46:28Good news. Nina will be joining us.
0:46:30 > 0:46:31Peter...
0:46:32 > 0:46:35What's the matter? You're upset about something?
0:46:45 > 0:46:47I can't imagine...
0:46:49 > 0:46:53I can't imagine playing in the quartet without you, Peter.
0:46:53 > 0:46:58You know, travelling without you, performing without you next to me.
0:46:58 > 0:47:00I don't... I'm not sure I can do it.
0:47:00 > 0:47:02I don't think I want to.
0:47:02 > 0:47:04Please don't speak that way.
0:47:04 > 0:47:07When your mother died, the big mistake I made
0:47:07 > 0:47:09was allowing the quartet to break up.
0:47:09 > 0:47:11I should have fought, find a new violist,
0:47:11 > 0:47:13stay together, despite all the sadness.
0:47:13 > 0:47:19Instead of being weak and scared and lazy.
0:47:19 > 0:47:20Don't make that mistake.
0:47:22 > 0:47:26Be brave. I got a second chance.
0:47:26 > 0:47:29Not everybody does.
0:47:45 > 0:47:48Thank you for inviting me along on this ride.
0:47:48 > 0:47:49I just love it out here.
0:47:57 > 0:48:01Let me tell you what makes the Fugue such a great quartet.
0:48:01 > 0:48:02OK.
0:48:02 > 0:48:05First, they have you.
0:48:05 > 0:48:09And you're hypnotising the audience with your relentless precision.
0:48:10 > 0:48:14They follow you like a cobra follows a snake charmer.
0:48:14 > 0:48:15Well...
0:48:15 > 0:48:18Then...you have my father.
0:48:18 > 0:48:23And he's adding colour and texture and rhythm.
0:48:24 > 0:48:27He's always enhancing you, he's lifting you up,
0:48:27 > 0:48:28but he'll never outshine you.
0:48:29 > 0:48:32There are many quartets with an accomplished first violin.
0:48:32 > 0:48:34It's the second violinist,
0:48:34 > 0:48:37the quality of the second violinist, that makes a quartet stand out.
0:48:37 > 0:48:40And your father is great.
0:48:40 > 0:48:41Then there's my mother.
0:48:42 > 0:48:45She adds a depth of sound that none of you could bring.
0:48:47 > 0:48:51She makes you want to weep without exactly knowing why.
0:48:53 > 0:48:56Is that the voice of a wounded soul?
0:48:59 > 0:49:02The survival skills she had to develop
0:49:02 > 0:49:05prepared her to perfectly serve three masters at the same time.
0:49:07 > 0:49:10The one she loves,
0:49:10 > 0:49:13the one she partners with,
0:49:13 > 0:49:15and the one she desires.
0:49:18 > 0:49:21That was a long time ago, Alex. It was before your parents got together.
0:49:21 > 0:49:22Oh, yeah. Sure, sure.
0:49:26 > 0:49:27Whatever.
0:49:29 > 0:49:34To close a perfect square, you've got the big-hearted man with the cello.
0:49:34 > 0:49:38When the gates are secured, emotions are welcome.
0:49:38 > 0:49:42We can all sit down ready to be swept away.
0:49:43 > 0:49:46It's the ideal quartet.
0:49:46 > 0:49:47Bravo.
0:49:52 > 0:49:54Hey, what are you going to do now with Peter retiring,
0:49:54 > 0:49:56everything that's happening with Mom and Dad?
0:49:58 > 0:50:00What's happening with your mom and dad?
0:50:06 > 0:50:07Robert?
0:50:07 > 0:50:10Hi. Hello.
0:50:10 > 0:50:11Grabbed the Gagliano for you.
0:50:11 > 0:50:13Terrific.
0:50:17 > 0:50:19Give it a try. We've got some time before the auction starts.
0:50:19 > 0:50:21OK. Thank you. Yeah.
0:50:21 > 0:50:24Hi, Jules. So sorry I'm late. Hi. Juliette.
0:50:24 > 0:50:26Hi. Brenda Franklin. How do you do?
0:50:26 > 0:50:28Nice to meet you. Thank you.
0:50:28 > 0:50:29I'll be back in a bit. OK.
0:50:29 > 0:50:31Thank you.
0:50:31 > 0:50:32Perfect timing.
0:50:33 > 0:50:36Want to give it a try? No, you go ahead.
0:50:50 > 0:50:53PLAYING DRAMATIC MUSICAL PHRASE
0:51:06 > 0:51:09The lower register has nice depth, it'll blend...
0:51:09 > 0:51:13Warm tone, responsive. ..very nicely with the viola. Yeah.
0:51:13 > 0:51:16The scrolls. I can see why Alexandra wants it.
0:51:16 > 0:51:17Beautiful. Let me see it, please.
0:51:17 > 0:51:20The body's in perfect condition.
0:51:20 > 0:51:23Sure you don't want it? No, thank you.
0:51:23 > 0:51:25Yeah, we should bid on it. Definitely.
0:51:26 > 0:51:28Can we talk now?
0:51:28 > 0:51:30We're here to buy a violin, Robert.
0:51:30 > 0:51:32Can we discuss this?
0:51:32 > 0:51:34We've discussed it.
0:51:34 > 0:51:36Well, we haven't discussed it.
0:51:36 > 0:51:38I think that's the problem.
0:51:38 > 0:51:43You know, we've...shared an intense life for almost 25 years together.
0:51:45 > 0:51:48I think that, you know, deserves more discussion, you know?
0:51:48 > 0:51:52And, um... I mean, living and playing together...
0:51:54 > 0:51:57Both of us knew going in it wasn't going to be easy.
0:51:57 > 0:51:58CHUCKLES
0:51:58 > 0:52:02That was exciting back then, but we've had our ups and downs.
0:52:02 > 0:52:05But on a whole, I think... I think our marriage is a good one.
0:52:07 > 0:52:13So I can't believe that one truly regrettable night's going to ruin all that.
0:52:13 > 0:52:16I've loved you madly since the moment I met you,
0:52:16 > 0:52:20but I've always feared deep down that you felt like you were forced into it.
0:52:20 > 0:52:23That you wouldn't have married me if you didn't get pregnant.
0:52:23 > 0:52:26Because in so many ways, you haven't really been there.
0:52:26 > 0:52:29Not completely.
0:52:29 > 0:52:31And I've learned to live with that, you know, expecting one day
0:52:31 > 0:52:34that you'll, you know, finally want to be closer to me.
0:52:36 > 0:52:40I did away with my dreams of composing and playing other forms of music.
0:52:40 > 0:52:44And I did it gladly, without reservation, for us.
0:52:44 > 0:52:45To be together.
0:52:47 > 0:52:49To play.
0:52:49 > 0:52:50To have a child.
0:52:55 > 0:52:57Do you really love me?
0:52:57 > 0:52:59Or am I just convenient?
0:53:03 > 0:53:07Good father. Good husband. Good second violin player.
0:53:09 > 0:53:13Isn't it great? Yes, it's...perfect.
0:53:13 > 0:53:15We'll bid on it, yeah.
0:53:15 > 0:53:17Oh, great. Good luck. Thank you.
0:53:17 > 0:53:19We're getting started. OK.
0:53:27 > 0:53:30WHINNIES
0:53:30 > 0:53:32This is some good stuff, man.
0:53:34 > 0:53:37It's not bad. Not bad.
0:53:37 > 0:53:39What about this one here?
0:53:39 > 0:53:43Actually, he doesn't cut it off the horse.
0:53:43 > 0:53:45He imports it from all over the world.
0:53:45 > 0:53:47This is Siberia, right? That's right, yeah.
0:53:47 > 0:53:51Look, I'll bundle up the best samples that I've got,
0:53:51 > 0:53:53and whatever you don't use, you can just mail 'em back to me.
0:53:55 > 0:53:56Thanks, Jack.
0:53:59 > 0:54:04"This one's Siberia." What? What is that about?
0:54:06 > 0:54:09You can't just use any hair for a bow.
0:54:09 > 0:54:12The smallest differences in hair structure change the timbre
0:54:12 > 0:54:14of the instrument completely.
0:54:15 > 0:54:17What?
0:54:17 > 0:54:19You're obsessed.
0:54:20 > 0:54:22You're obsessed.
0:54:23 > 0:54:25I guess so.
0:54:25 > 0:54:27You cold?
0:54:29 > 0:54:31HORSES WHINNYING
0:54:31 > 0:54:33Why didn't you pursue a solo career?
0:54:36 > 0:54:38I would never trade with them.
0:54:40 > 0:54:46As a soloist, you rehearse with an orchestra three, maybe four times,
0:54:46 > 0:54:49and perform the piece once or twice.
0:54:49 > 0:54:55And that's it. Next city, next conductor, next orchestra.
0:54:57 > 0:55:00We celebrated 3,000 concerts together last season.
0:55:02 > 0:55:04Which makes me feel kind of ancient, but...
0:55:04 > 0:55:05CHUCKLES
0:55:08 > 0:55:11It's the only way to find meaningful interpretations.
0:55:12 > 0:55:15The greatest composers, when they wanted to express
0:55:15 > 0:55:20their most sincere thoughts, feelings...
0:55:20 > 0:55:22dig deep into their souls,
0:55:22 > 0:55:25always this form, always, always the quartet.
0:55:28 > 0:55:31If they were courageous enough, Alex...
0:55:39 > 0:55:40WHISPERING: What are you doing?
0:55:50 > 0:55:52Need to get the samples.
0:55:56 > 0:55:59A really beautiful Gagliano with a slab cut back.
0:55:59 > 0:56:02At 14,000 on the telephone now. Raise your hand.
0:56:02 > 0:56:05..at 14,000, with a circa 1820. How far are we willing to go?
0:56:05 > 0:56:0615.
0:56:06 > 0:56:0815,000 is on the aisle. Raise your hand.
0:56:08 > 0:56:1015,000 dollars now. 16,000.
0:56:10 > 0:56:12Thank you, on the right. The lady with the really lovely hat.
0:56:12 > 0:56:14It's 16,000 on my right.
0:56:14 > 0:56:17That's $16,000. Now bidding at 16.
0:56:17 > 0:56:18Raise your hand.
0:56:18 > 0:56:20Jules, I didn't mean to upset you back there.
0:56:20 > 0:56:22Gagliano... 20!
0:56:22 > 0:56:26$20,000 on the aisle. If I am off track, just tell me.
0:56:26 > 0:56:28$21,000 in the back. It's a lady in the back.
0:56:28 > 0:56:32At $21,000, $21,000. 25!
0:56:33 > 0:56:3725,000, $25,000 now on the aisle again.
0:56:37 > 0:56:4025,000. 26? All through at 25?
0:56:40 > 0:56:43At $25,000, now bidding at 25, all through.
0:56:43 > 0:56:46$25,000, fair warning. Sold for $25,000.
0:56:46 > 0:56:49Congratulations, sir, you just took a quality violin from a real musician.
0:56:52 > 0:56:54Jules!
0:56:54 > 0:56:55Jules!
0:57:00 > 0:57:01Jules, hold on!
0:57:01 > 0:57:02Would you mind waiting a minute, please?
0:57:02 > 0:57:04Hold on. Thank you.
0:57:04 > 0:57:08What is it? What is it that you want...Robert?
0:57:09 > 0:57:11What is it that you want me to tell you?
0:57:11 > 0:57:12That I've always loved you,
0:57:12 > 0:57:16but I'm just incapable of showing you in the way you'd like me to?
0:57:18 > 0:57:20Here's the truth. I don't know.
0:57:20 > 0:57:23I don't know if I love you, I don't know if I don't.
0:57:24 > 0:57:26I don't know how I feel. I don't.
0:57:30 > 0:57:32You need to leave me alone.
0:57:37 > 0:57:38TAXI DOOR CLOSES
0:57:38 > 0:57:40TAXI DRIVES OFF
0:58:11 > 0:58:14SIGHS SOFTLY
0:58:15 > 0:58:17KNOCKING ON DOOR
0:58:18 > 0:58:19Who is it?
0:58:20 > 0:58:22KNOCKING
0:58:26 > 0:58:28Daniel. Hey.
0:58:30 > 0:58:32Come on in.
0:58:32 > 0:58:33DOOR CLOSES
0:58:37 > 0:58:40What were you thinking, Robert?
0:58:42 > 0:58:47Compromising your marriage, our quartet, for what, for a fuck?
0:58:47 > 0:58:49SIGHS
0:58:49 > 0:58:50What about you?
0:58:50 > 0:58:52What about me?
0:58:52 > 0:58:55Oh, sneaking around with Juliette behind my back.
0:58:57 > 0:58:59Trying to manipulate my wife against me.
0:58:59 > 0:59:02Don't be ridiculous. Please, no-one is trying to manipulate you.
0:59:02 > 0:59:03You just went too far.
0:59:03 > 0:59:07Somebody had to bring you back to your senses, that's all.
0:59:07 > 0:59:09Actually, my senses are coming back to me
0:59:09 > 0:59:11for the first time in a very long time.
0:59:11 > 0:59:12Really?
0:59:12 > 0:59:15Stay someplace where I'm not respected?
0:59:17 > 0:59:18That's over.
0:59:25 > 0:59:26You're a great violinist.
0:59:27 > 0:59:30I love playing with you, I truly do.
0:59:30 > 0:59:33You can't lead a quartet, man.
0:59:33 > 0:59:36You're not sufficiently disciplined... You think you're better...
0:59:36 > 0:59:37..not motivated. ..than me.
0:59:37 > 0:59:41You just don't have that in you, and it's fine. It's perfectly fine.
0:59:41 > 0:59:44You think you're better than me.
0:59:44 > 0:59:45When did I say that?
0:59:45 > 0:59:47You're wrong.
0:59:49 > 0:59:53You know, practising obsessively doesn't make your playing perfect.
0:59:53 > 0:59:56It actually sucks the life right out of it.
0:59:56 > 1:00:01It's rigid and...and monotonous,
1:00:01 > 1:00:07and, and self-loving, and safe.
1:00:07 > 1:00:11Jesus, Robert, would you stop being so childish?
1:00:11 > 1:00:14Please. Yeah, I know it's a challenging period...
1:00:14 > 1:00:19The whole group is going down the path that you have us on.
1:00:19 > 1:00:20Yes. I understand that.
1:00:20 > 1:00:23The way you play is the way the quartet plays,
1:00:23 > 1:00:28and it's the same thing over and over and over and over!
1:00:28 > 1:00:32I am in my 40s. We've been playing since we were in our early 20s.
1:00:32 > 1:00:35That is where you've taken this group.
1:00:35 > 1:00:38But if we keep it together, now we have Nina on board...
1:00:38 > 1:00:40That is where you have taken this group!
1:00:40 > 1:00:42That is where we have let you take this group!
1:00:42 > 1:00:45I have let you do that!
1:00:45 > 1:00:47A disservice.
1:00:54 > 1:00:58You're not even willing to play Beethoven without your notes.
1:00:59 > 1:01:02Unleash your passion, man. Unleash my passion?
1:01:02 > 1:01:06Unleash your passion! What are you afraid of?
1:01:06 > 1:01:08You have the three of us to cover your ass.
1:01:10 > 1:01:12Unleash your passion.
1:01:13 > 1:01:14Wow.
1:01:19 > 1:01:23GIRL HALTINGLY: "People expect old men to die.
1:01:23 > 1:01:28"They do not really mourn old men.
1:01:28 > 1:01:31"Old men are different.
1:01:31 > 1:01:38"People look at them with eyes that wonder when...
1:01:38 > 1:01:41"People watch with unshocked eyes,
1:01:41 > 1:01:47"But the old men know when an old man dies."
1:02:20 > 1:02:22MUSIC: Salty Air by J.Viewz
1:02:33 > 1:02:35DOORBELL BUZZES
1:02:37 > 1:02:39Come on up.
1:02:39 > 1:02:40Mom.
1:02:52 > 1:02:53MUSIC STOPS
1:02:53 > 1:02:55DOOR CREAKS OPEN
1:02:57 > 1:02:59DOOR CLOSES
1:03:01 > 1:03:03MAN SNIFFS
1:03:29 > 1:03:31MUSIC RESUMES PLAYING
1:04:00 > 1:04:02DOORBELL BUZZES
1:04:02 > 1:04:04MOANING, PANTING
1:04:04 > 1:04:05Shit.
1:04:05 > 1:04:06What?
1:04:06 > 1:04:09It's my mom. What?
1:04:09 > 1:04:11That's...not funny, Alex. I'm not kidding.
1:04:11 > 1:04:13That's not funny. She's coming over.
1:04:13 > 1:04:15Your mom? Yeah.
1:04:16 > 1:04:17ALEXANDRA LAUGHS
1:04:20 > 1:04:21Oh, my God. You gotta get dressed.
1:04:42 > 1:04:43DOORBELL BUZZES
1:04:45 > 1:04:47BUZZES
1:04:47 > 1:04:49Hello? Hi, it's me.
1:04:49 > 1:04:51I'm going to grab my stuff, I'll meet you downstairs.
1:04:51 > 1:04:53I'd like to come up and see your apartment.
1:04:53 > 1:04:55I'm dying for some coffee. I don't have any coffee here.
1:04:56 > 1:04:58We'll go right after, Alex.
1:04:59 > 1:05:00OK, come on up.
1:05:04 > 1:05:06No, she's coming up the stairs.
1:05:06 > 1:05:08Daniel, you're going to have to go out the window.
1:05:08 > 1:05:10Daniel, I'm really sorry, but that's the only option.
1:05:10 > 1:05:12I'm so sorry.
1:05:14 > 1:05:16Shit, shit. Go, go, go... KNOCKING ON DOOR
1:05:16 > 1:05:17WINDOW OPENS
1:05:18 > 1:05:20WINDOW CLOSES
1:05:20 > 1:05:21KNOCKING CONTINUES
1:05:21 > 1:05:23Alexandra.
1:05:23 > 1:05:26Hey, sorry. The door... That's OK.
1:05:26 > 1:05:28How are you?
1:05:29 > 1:05:31Good. Oh. You look great.
1:05:37 > 1:05:40Nice. Nice. Yeah?
1:05:40 > 1:05:42I brought you a house-warming... Thank you.
1:05:42 > 1:05:44Madeleines. I'll open it in a sec.
1:05:45 > 1:05:48So how do you like living out here?
1:05:48 > 1:05:49Oh, it's perfect. Yeah?
1:05:49 > 1:05:51Yeah, I'm really happy here.
1:05:51 > 1:05:54Good. Reminds me of SoHo 20 years ago.
1:05:57 > 1:05:58GRUNTING
1:05:58 > 1:06:00CLATTERING
1:06:05 > 1:06:08I saw Dad on Sunday for dinner.
1:06:08 > 1:06:11So I suppose he told you what was going on between us.
1:06:11 > 1:06:13He's very unhappy.
1:06:13 > 1:06:16I don't know why you're torturing him.
1:06:16 > 1:06:18He told you I was torturing him?
1:06:18 > 1:06:22No. No, Dad would never say a bad word about you.
1:06:22 > 1:06:25What your father did, though, is totally unacceptable to me,
1:06:25 > 1:06:27Alexandra, and wrong.
1:06:27 > 1:06:29If you treat him like a doormat,
1:06:29 > 1:06:31he's going to start to wonder what's outside the door.
1:06:31 > 1:06:36A doormat? You don't have any idea about our relationship, Alexandra.
1:06:36 > 1:06:39I know what I see. I'll tell you what I see.
1:06:39 > 1:06:44Daniel's car... on the street.
1:06:44 > 1:06:47What was he doing at your apartment?
1:06:47 > 1:06:49He teaches me.
1:06:49 > 1:06:53The violin, I hope, because your bed is a mess.
1:06:55 > 1:06:57I'm not going to lie to you.
1:06:57 > 1:06:58Good.
1:06:59 > 1:07:01Daniel and I are in love.
1:07:05 > 1:07:08You're not in love. That's ridiculous.
1:07:10 > 1:07:13You're jealous.
1:07:13 > 1:07:15Why are you so angry with me?
1:07:15 > 1:07:18What did I do to cause you to talk to me in this way?
1:07:18 > 1:07:22I mean, did we just spoil you too much, is that what it is?
1:07:22 > 1:07:24Do you think I had fun?
1:07:25 > 1:07:29Do you think it was fun growing up with two roving quartet players for parents,
1:07:29 > 1:07:32who were gone seven months of the year,
1:07:32 > 1:07:37and I was always taking a back seat to a violin and a viola?
1:07:37 > 1:07:40Always, is that fun? Does that seem fun to you?
1:07:40 > 1:07:42You have always been our first priority.
1:07:42 > 1:07:47That is bullshit! That's bullshit, that's just words. It's nothing.
1:07:47 > 1:07:51If that were true, you would have cut back on the touring.
1:07:51 > 1:07:54We couldn't... You would have paid more attention to what was going on with me.
1:07:54 > 1:07:59Not always looking for a perfect goddamn fingering to a Haydn quartet.
1:07:59 > 1:08:03I did the best I could. I tried to be a good mother to you.
1:08:03 > 1:08:07I wanted to be perfect, but this is a musician's life.
1:08:07 > 1:08:12We rehearse and we practice and we perform.
1:08:13 > 1:08:18Unfortunately, that's how it's going to be for you, too, you'll see.
1:08:19 > 1:08:20No, I won't.
1:08:22 > 1:08:24Because I would never raise a child that way.
1:08:24 > 1:08:26I'm sorry.
1:08:30 > 1:08:33If I were you, if I had been you in that position...
1:08:35 > 1:08:37..I would've had an abortion.
1:08:54 > 1:08:56How can you be so cruel?
1:09:00 > 1:09:02I risked everything to have you.
1:09:02 > 1:09:05Do you understand?
1:09:05 > 1:09:07Do you have any idea what it feels like, do you?
1:09:07 > 1:09:09Yeah. Yeah. No.
1:09:10 > 1:09:16I know... I know what it's like to grow up without a fucking mother!
1:09:17 > 1:09:20SOBBING
1:09:20 > 1:09:21Oh, my God.
1:09:32 > 1:09:36STRING QUARTET PLAYING SLOW, LUSH MELODY
1:09:46 > 1:09:50They're fucking sixteenths, Steve, stop milking them.
1:09:50 > 1:09:54Folks, disagree, but do it nicely, and please...
1:09:54 > 1:09:57try not to get caught up in mistakes.
1:09:58 > 1:10:01When I was your age, I met the great Pablo Casals.
1:10:01 > 1:10:04I was so intimidated I could barely speak.
1:10:04 > 1:10:06He must have sensed this, because...
1:10:06 > 1:10:10instead of a chat, he asked me to play.
1:10:10 > 1:10:12He requested the prelude to the Fourth Bach suite.
1:10:14 > 1:10:17I focused, took a deep breath, began, the notes started to flow,
1:10:17 > 1:10:21the music's in the air, and it was the worst music I ever made.
1:10:21 > 1:10:23STUDENTS CHUCKLE
1:10:23 > 1:10:27I played so badly, I got halfway through and had to stop.
1:10:27 > 1:10:29"Bravo," he said, "Well done."
1:10:31 > 1:10:33Then, he asked me to play the allemande.
1:10:33 > 1:10:35"A second chance," I think to myself.
1:10:37 > 1:10:38I never played worse.
1:10:40 > 1:10:43"Wonderful. Splendid," he praised me.
1:10:43 > 1:10:48And when I left that night, I felt terrible about my performance,
1:10:48 > 1:10:51but what really bothered me wasn't my playing, it was Casals.
1:10:51 > 1:10:53The insincerity.
1:10:55 > 1:10:57Years later, I met him in Paris
1:10:57 > 1:11:01and by then I was professional, we played together.
1:11:01 > 1:11:05We became acquaintances, and one evening, over a glass of wine...
1:11:07 > 1:11:11..I confessed to him what I thought of his horseshit all those years ago.
1:11:11 > 1:11:13LAUGHTER
1:11:15 > 1:11:19And he got angry. His demeanour changed, he grabbed his cello,
1:11:19 > 1:11:22"Listen," he said. And he played this phrase.
1:11:23 > 1:11:27PLAYS DYNAMIC, DRAMATIC PHRASE
1:11:38 > 1:11:41"Didn't you play that? Fingering.
1:11:41 > 1:11:45"You did. It was novel to me. It was good.
1:11:45 > 1:11:49"And here, didn't you attack this passage with an up-bow like this?"
1:12:03 > 1:12:07Casals emphasised the good stuff, the things he enjoyed.
1:12:08 > 1:12:13He encouraged. And for the rest, leave that to the morons,
1:12:13 > 1:12:18or whatever it is in Spanish, who judge by counting faults.
1:12:18 > 1:12:21"I can be grateful, and so must you be," he said,
1:12:21 > 1:12:26"for even one singular phrase, one transcendent moment."
1:12:26 > 1:12:27Hmm?
1:12:28 > 1:12:33Wow. Yeah, wow. Pablo Casals. Champion.
1:12:34 > 1:12:38Once more, with feeling please. Feeling!
1:12:41 > 1:12:45SLOW, LUSH MELODY RESUMES
1:12:56 > 1:12:58'Hello, you've reached Robert and Juliette.
1:12:58 > 1:13:01'Neither one of us is available to take your call right now,
1:13:01 > 1:13:04'so please leave a message after the beep. Thanks.'
1:13:04 > 1:13:06MACHINE BEEPS
1:13:06 > 1:13:09'Jules, Robert... the medication is working.
1:13:09 > 1:13:12'I'm OK for now. I can play.
1:13:12 > 1:13:17'Rehearsal at my place, Tuesday. I'm calling Daniel. Goodbye.'
1:13:32 > 1:13:34INHALES
1:13:37 > 1:13:40PLAYING FAST, PLAYFUL MELODY
1:13:47 > 1:13:53Huh? This is good. We're getting there. Energy. Umph.
1:13:55 > 1:13:57I can't figure out which string crossing I like.
1:13:58 > 1:14:02I like very much what you did now. You should stick to that.
1:14:02 > 1:14:04I think she should do whatever she wants.
1:14:05 > 1:14:08Let's continue. Yeah.
1:14:08 > 1:14:11All right, let's continue. Let's continue. Let's move on.
1:14:11 > 1:14:13PLUCKING "THE BLUE DANUBE WALTZ"
1:14:17 > 1:14:19Do you mind, Robert?
1:14:20 > 1:14:22PLUCKS DISSONANT NOTE
1:14:24 > 1:14:26What is going on?
1:14:28 > 1:14:29Fill me in.
1:14:36 > 1:14:38We've got a concert on Thursday.
1:14:38 > 1:14:40I think it would be best if personal matters waited.
1:14:40 > 1:14:42Oh, God, I think it would be best
1:14:42 > 1:14:44if you'd just shut the fuck up, you know?
1:14:44 > 1:14:46Can you control yourself, Robert?
1:14:47 > 1:14:48You mind?
1:14:48 > 1:14:49You control yourself, Daniel.
1:14:51 > 1:14:54You couldn't find somebody else's daughter to sleep with?
1:14:55 > 1:14:57What?
1:14:59 > 1:15:01What? What did you do?
1:15:01 > 1:15:03SIGHS
1:15:03 > 1:15:05Alex and I are involved.
1:15:08 > 1:15:10It is what it is, Robert.
1:15:13 > 1:15:15You slept with her?
1:15:18 > 1:15:19We're in love.
1:15:35 > 1:15:38Didn't mean for it to happen, it happened.
1:15:38 > 1:15:39It is what it is, Robert.
1:15:40 > 1:15:41Sit down!
1:15:44 > 1:15:49Stop! Don't do that, please. Not in my house, please.
1:15:49 > 1:15:51That's enough. Out! All of you, stop it.
1:15:52 > 1:15:54Feel better? Leave now, please.
1:15:54 > 1:15:58She's not your property. I'm your property.
1:15:58 > 1:16:02I'm your property. We are all your fucking property!
1:16:02 > 1:16:05Well, I guess your life is a mess!
1:16:05 > 1:16:08For the first time in many years, I love someone, and you know what?
1:16:08 > 1:16:11This time, I'm not going to give it up. Stop it, Daniel. Stop it.
1:16:11 > 1:16:14I am sick of the bunch of you. Out.
1:16:14 > 1:16:15I'm sorry.
1:16:15 > 1:16:17You have no respect for the music.
1:16:17 > 1:16:20You should've told me. Each other. I'm sorry. Robert, wait, please. Nothing.
1:16:20 > 1:16:23I'm going upstairs, when I come back, I want you gone.
1:16:23 > 1:16:25Don't follow me! You should've told me!
1:16:25 > 1:16:28Forget about the concert. There's no concert. No nothing.
1:16:29 > 1:16:31MUTTERS: Can't believe this.
1:16:40 > 1:16:42SOFT KNOCK ON DOOR
1:16:42 > 1:16:44SIGHS
1:16:52 > 1:16:57When you asked me 25 years ago... to help you form a quartet,
1:16:57 > 1:17:00I understood what it meant to be so much older.
1:17:00 > 1:17:04I knew that one day I'd have to step aside.
1:17:04 > 1:17:07I simply never imagined it would be so difficult.
1:17:07 > 1:17:11And to watch the quartet evaporate in front of me at the same time, it's...
1:17:14 > 1:17:17It's not like anything. It's a nightmare.
1:17:19 > 1:17:21It's a nightmare for me, too.
1:17:23 > 1:17:28You must end this relationship right now.
1:17:29 > 1:17:30Whatever you think it is,
1:17:30 > 1:17:34whatever you think you're doing...end it.
1:17:34 > 1:17:36No.
1:17:38 > 1:17:39No, I can't do that.
1:17:42 > 1:17:45Then working together has taught you nothing.
1:17:47 > 1:17:49Shame on you.
1:18:07 > 1:18:09If you look at these pictures in a certain way,
1:18:09 > 1:18:10it's as if they open up.
1:18:11 > 1:18:13One might go inside and meet these people.
1:18:15 > 1:18:18They've been here watching, listening.
1:18:18 > 1:18:22Miriam felt that one might exchange thoughts with them.
1:18:24 > 1:18:25She liked this one in particular.
1:18:29 > 1:18:32And what does Rembrandt say to you today?
1:18:34 > 1:18:38"I'm the boss. I'm the king of painters. I'm very great and I know it.
1:18:39 > 1:18:44"I'm getting old, but still, I'm at the height of my power."
1:18:44 > 1:18:47Look at the gaze from the shadow, he's strong.
1:18:47 > 1:18:50He's a bit silly, in his gold dress and all, he knows that,
1:18:50 > 1:18:56but still, his body and mind have not betrayed him. Not yet.
1:18:56 > 1:18:58It's inspiring.
1:18:59 > 1:19:02My own body and mind is a different story.
1:19:08 > 1:19:12The drugs I'm taking aren't going to work for all that much longer.
1:19:12 > 1:19:16In time, they'll make me anxious, I'll begin to imagine things,
1:19:16 > 1:19:19and after that I'll be dependent on other people
1:19:19 > 1:19:20to feed me, dress me, bathe me.
1:19:20 > 1:19:22These days I think about how to avoid that.
1:19:24 > 1:19:27I'm being a burden. Peter, you'll never be a burden.
1:19:27 > 1:19:28I want to take care of you.
1:19:28 > 1:19:30You have the quartet.
1:19:30 > 1:19:35You have Robert and Alexandra to look after, guide them, take care of them.
1:19:35 > 1:19:38So please, keep the quartet together.
1:19:40 > 1:19:42Make me happy.
1:19:46 > 1:19:48OK?
1:19:48 > 1:19:49SNIFFLES
1:19:51 > 1:19:54I was born in New York City, in 1963.
1:19:56 > 1:20:00My mother, Frangoise Reynaud, played in the Hudson String Quartet with Peter.
1:20:00 > 1:20:03He was her closest friend.
1:20:03 > 1:20:07And my mother died, and the quartet broke up.
1:20:07 > 1:20:10She died while in childbirth with me.
1:20:13 > 1:20:16I studied with Gil Breton, until was 16,
1:20:16 > 1:20:21when Peter arranged for me to study at Juilliard, under scholarship,
1:20:21 > 1:20:24and then I moved here, he and Miriam invited me to live with them.
1:20:24 > 1:20:27Happily, they became my family.
1:20:29 > 1:20:31But truly, everything in my life that was good
1:20:31 > 1:20:37happened as a result of their incredible love for me.
1:20:38 > 1:20:44We formed the Fugue, and then I met Robert.
1:20:46 > 1:20:50And then we had a daughter, a baby girl.
1:20:50 > 1:20:52Alexandra.
1:20:52 > 1:20:55I think the truly gifted one in the family...
1:20:55 > 1:20:56DOOR OPENS
1:20:56 > 1:20:58..you'll hear, I'm sure, see for yourself soon enough.
1:20:58 > 1:21:03I've spent most of those years travelling, but it's a very demanding...
1:21:03 > 1:21:04RECORDING STOPS
1:21:08 > 1:21:09You OK? Mm-hm.
1:21:14 > 1:21:15OK.
1:21:22 > 1:21:23Open it.
1:21:37 > 1:21:38It's for you.
1:21:42 > 1:21:47Dad said this went for 25 grand. I can't accept it.
1:21:47 > 1:21:48Oh, no, don't worry about it.
1:21:48 > 1:21:52It belongs to a friend who owes me a favour.
1:21:52 > 1:21:55You can use it for as long as you wish.
1:21:57 > 1:22:00And this one, I made especially for you.
1:22:00 > 1:22:02Try it.
1:22:06 > 1:22:09Daniel, can I talk to you for a sec?
1:22:11 > 1:22:13Uh... Yeah. Sure.
1:22:15 > 1:22:16What?
1:22:18 > 1:22:19You're an amazing man.
1:22:20 > 1:22:22You're brilliant.
1:22:24 > 1:22:26I admire you, and I think... SIGHS
1:22:26 > 1:22:30..you're a dream for any girl who can handle a man like you.
1:22:30 > 1:22:33I don't think I can be that girl now.
1:22:36 > 1:22:39It's your parents, right?
1:22:39 > 1:22:41No. No. It's your parents. It's your dad.
1:22:43 > 1:22:45This is my decision.
1:22:47 > 1:22:49Not going to let them come between us.
1:22:52 > 1:22:54It's the Fugue, Daniel.
1:22:54 > 1:22:56Hm?
1:22:56 > 1:22:58It's the Fugue.
1:23:03 > 1:23:04The Fugue?
1:23:09 > 1:23:13You want to end what we have because of the quartet, this is crazy.
1:23:13 > 1:23:15Alex, you understand, it's insane.
1:23:15 > 1:23:17One doesn't have to be at the expense of the other.
1:23:17 > 1:23:18Yeah, but it will be.
1:23:18 > 1:23:21You know, I could never forgive myself for that, and neither would you.
1:23:21 > 1:23:26You can't... Alex, Alex, relax. All right? Relax.
1:23:26 > 1:23:28It's OK, it's going to be fine.
1:23:30 > 1:23:32I'm going to take care of it. No, you're not listening to me.
1:23:32 > 1:23:35I'm going to have a very serious talk with your parents.
1:23:35 > 1:23:37If they're not going to accept what we have,
1:23:37 > 1:23:40I have no interest in playing with these people. You understand me?
1:23:42 > 1:23:44We'll form a new quartet.
1:23:46 > 1:23:49New one. You and I, Alex. You and I.
1:23:50 > 1:23:53We have Nina. Daniel, this is it.
1:23:53 > 1:23:55I'm trying to talk to you, I'm trying to tell you
1:23:55 > 1:23:59that this is done now, for me. It's done.
1:24:11 > 1:24:12Go away.
1:24:18 > 1:24:21Just, uh...go away.
1:24:21 > 1:24:23SNIFFLES
1:24:33 > 1:24:34Daniel?
1:24:46 > 1:24:47Daniel...
1:24:59 > 1:25:00(WATER RUNNING)
1:25:51 > 1:25:54WOMAN SINGING PLAINTIVE ARIA IN GERMAN
1:26:45 > 1:26:49ARIA ECHOES, FADES
1:27:34 > 1:27:36DOOR OPENS
1:27:36 > 1:27:37MAN COUGHS SOFTLY
1:27:40 > 1:27:43FOOTSTEPS ECHOING
1:27:43 > 1:27:45LOUD APPLAUSE
1:28:05 > 1:28:07APPLAUSE FADES
1:28:29 > 1:28:33PLAYING SLOW, MELANCHOLY MELODY
1:28:45 > 1:28:47ROBERT JOINS IN
1:29:26 > 1:29:30PLAYING LIVELY, ANIMATED MELODY
1:29:55 > 1:29:59PLAYING MEDIUM TEMPO, WARM MELODY
1:30:28 > 1:30:32PLAYING FAST, PLAYFUL MELODY
1:30:43 > 1:30:46PLAYING LUSH, SOULFUL MELODY
1:31:17 > 1:31:21PLAYING BRISK, LIVELY MELODY
1:31:41 > 1:31:42MUSIC STOPS
1:31:42 > 1:31:45SIGHS SOFTLY
1:31:51 > 1:31:52SIGHS QUIETLY
1:32:12 > 1:32:14Huh...
1:32:17 > 1:32:19FOOTSTEPS ECHOING
1:32:24 > 1:32:26Ladies and gentlemen, I have to stop.
1:32:28 > 1:32:31My friends are playing way too fast, I can't keep up.
1:32:31 > 1:32:35It's Beethoven's fault, insisting we play...
1:32:36 > 1:32:40..Opus 131 attacca, without pause.
1:32:40 > 1:32:43I need a pause. Nina Lee.
1:32:44 > 1:32:47APPLAUSE
1:32:47 > 1:32:48Wonderful cellist...
1:32:50 > 1:32:52..friend of the Fugue...
1:32:55 > 1:32:58..will replace me for the remainder of tonight's programme,
1:32:58 > 1:33:01and, hopefully, for much longer than that.
1:33:01 > 1:33:02Nina, please.
1:33:03 > 1:33:07It has been my pleasure to play for you through the years...
1:33:08 > 1:33:13..together with Robert, Daniel, Juliette.
1:33:13 > 1:33:15Thank you. Thank you.
1:33:15 > 1:33:21And for Miriam... My wife, is out there somewhere...
1:33:22 > 1:33:26..I thank you, I miss you, I think of you.
1:33:39 > 1:33:41I'll be seeing you.
1:33:41 > 1:33:44THUNDEROUS APPLAUSE
1:33:44 > 1:33:45CHEERING
1:33:49 > 1:33:52APPLAUSE CONTINUING
1:34:01 > 1:34:03APPLAUSE CONTINUING
1:34:11 > 1:34:14APPLAUSE CONTINUING
1:34:15 > 1:34:17The seventh movement.
1:34:19 > 1:34:21These movements are all connected.
1:34:21 > 1:34:24You can't ride the wild horses of the seventh
1:34:24 > 1:34:27without mounting them during the sixth.
1:34:27 > 1:34:33So with your indulgence, ladies and gentlemen, we'll go a few bars back.
1:34:33 > 1:34:34Thank you.
1:34:46 > 1:34:47Four bars back?
1:35:43 > 1:35:48PLAYING LUSH, SOULFUL MELODY
1:36:01 > 1:36:04PLAYING BRISK, LIVELY MELODY
1:36:39 > 1:36:41BRISK, LIVELY MELODY CONTINUING
1:36:54 > 1:36:56BEETHOVEN'S OPUS 131 CONTINUING