0:00:00 > 0:00:00- 888
0:00:00 > 0:00:02- 888- - 888
0:00:07 > 0:00:09- 888
0:00:14 > 0:00:16- 888
0:00:30 > 0:00:32- KNOCK ON THE DOOR
0:00:45 > 0:00:47- APPLAUSE
0:00:47 > 0:00:49# New York, New York #
0:00:53 > 0:00:55It's time to start spreading the news...
0:00:55 > 0:00:58..just as Ol' Blue Eyes himself once did...
0:00:58 > 0:01:02..that a pianist from a little town is about to make it in America.
0:01:02 > 0:01:05- # Start spreading the news
0:01:06 > 0:01:09- # I'm leaving today
0:01:11 > 0:01:15- # I want to be a part of it
0:01:15 > 0:01:18- # New York, New York #
0:01:20 > 0:01:21- Without a doubt...
0:01:22 > 0:01:24- ..the pinnacle for any musician...
0:01:25 > 0:01:29- ..who likes to perform - on a concert hall stage...
0:01:29 > 0:01:33- ..is treading the boards - at Carnegie Hall.
0:01:33 > 0:01:36- # New York, New York #
0:01:37 > 0:01:42- Everyone who's anyone - has performed in Carnegie Hall.
0:01:42 > 0:01:46- "If you haven't played it, - you haven't made it."
0:01:46 > 0:01:50- # And find I'm king of the hill
0:01:51 > 0:01:53- # Top of the heap #
0:01:53 > 0:01:56- It's something - that one dreams about...
0:01:56 > 0:01:59- ..with an artist - at the beginning of their career.
0:01:59 > 0:02:01- It's an amazing thing.
0:02:03 > 0:02:07- # I'll make a brand new start of it
0:02:08 > 0:02:10- # In old New York #
0:02:10 > 0:02:14It's one of the most important invitations I've received.
0:02:14 > 0:02:17- # If I can make it there
0:02:17 > 0:02:19- # I'll make it
0:02:19 > 0:02:21- # Anywhere
0:02:22 > 0:02:24- # It's up to you
0:02:24 > 0:02:26- # New York
0:02:26 > 0:02:29- # New York #
0:02:30 > 0:02:32- There aren't many people...
0:02:32 > 0:02:35- ..who are invited by Carnegie Hall - to give a debut.
0:02:35 > 0:02:38- It's a very elite category.
0:02:39 > 0:02:43- # New York, New York #
0:02:43 > 0:02:48Every professional musician knows about the challenge they face...
0:02:49 > 0:02:52..but for a pianist aiming for the top...
0:02:52 > 0:02:54..the competition is intense.
0:02:54 > 0:02:59Recognition on both sides of the Atlantic is crucial.
0:02:59 > 0:03:03Being invited to play Carnegie Hall in New York...
0:03:04 > 0:03:07..as part of a series so early in his career...
0:03:07 > 0:03:09..is a major feather in Llyr's cap.
0:03:09 > 0:03:14A true privilege - he's the first Welshman to accept the invitation.
0:03:18 > 0:03:21Two days before the concert in Carnegie Hall...
0:03:22 > 0:03:24..Llyr has other matters on his mind.
0:03:24 > 0:03:26He's been invited by the Assembly...
0:03:27 > 0:03:31..to take part in the city's St David's Day celebration.
0:03:31 > 0:03:34He must choose a piano for the occasion.
0:03:34 > 0:03:36- We have two Americans, two Gamberts.
0:03:36 > 0:03:40- They're all beautiful pianos. - So see what you like.
0:03:40 > 0:03:43- There are more possibilities - with Steinway.
0:03:43 > 0:03:46- You can have many more extremes.
0:03:46 > 0:03:50- You can play lightly, - heavily and with more noise.
0:03:57 > 0:04:00- It all depends - what noise is produced.
0:04:00 > 0:04:04- Mechanically, all Steinways - have their own personality.
0:04:08 > 0:04:12- The Steinway people know what - I'm looking for in their pianos.
0:04:13 > 0:04:17- If I'm hiring a piano for a concert, - I ask for a particular piano.
0:04:17 > 0:04:21- If I'm performing in Britain, - they know what I want.
0:04:36 > 0:04:43- First, I look for a light action - which isn't too difficult to play.
0:04:54 > 0:04:57- I look for a full - and powerful sound.
0:05:01 > 0:05:03- Then again, it has to be clear.
0:05:04 > 0:05:09- I don't like a piano when you have - to work hard to play it quietly.
0:05:09 > 0:05:11- I prefer a strong piano.
0:05:28 > 0:05:32- There are no special tricks. - I'm just looking for a nice piano.
0:05:32 > 0:05:38- If you have a good piano, - it's suitable for most repertoires.
0:05:41 > 0:05:45- A piano doesn't improve with age...
0:05:45 > 0:05:49- ..but a piano that's just left the - factory isn't quite right either.
0:05:50 > 0:05:52- It hasn't settled down.
0:05:52 > 0:05:56- A piano that's two or three - years old is probably the best.
0:05:59 > 0:06:01- How do you feel?
0:06:01 > 0:06:03- I guess one of these two.
0:06:04 > 0:06:08- In my repertoire, I'm going - to be playing Debussy and Schubert.
0:06:08 > 0:06:12- This one would be my choice, - I think.
0:06:12 > 0:06:14- How do you feel about the action?
0:06:15 > 0:06:19- I like a light action that doesn't - make me have to work too hard.
0:06:20 > 0:06:22- If there's anything you want done...
0:06:22 > 0:06:26- There's one phrase in Debussy - which sometimes causes problems.
0:06:32 > 0:06:34- It's doing it quite well actually.
0:06:34 > 0:06:37- I played it in Wigmore Hall - in London last weekend...
0:06:38 > 0:06:40- ..it wasn't doing it too well.
0:06:40 > 0:06:43- The springs got soggy - - the place was too humid.
0:06:44 > 0:06:46- We'll double-check them for you.
0:06:46 > 0:06:48- Thank you very much.
0:06:50 > 0:06:54- I'll call the technician in England - and bawl him out!
0:06:54 > 0:06:57- Alfred Brendel's signature.
0:06:57 > 0:07:00- I travelled with him. - This was the last piano he played.
0:07:00 > 0:07:03- We asked him to sign it.
0:07:03 > 0:07:06Unbeknown to him, Llyr chooses a remarkable piano...
0:07:07 > 0:07:11..for the celebration in the Essex House Hotel.
0:07:12 > 0:07:15To prepare the way for the genius on the piano...
0:07:15 > 0:07:18..and to wow the New York glitterati...
0:07:19 > 0:07:22..the men who are fast becoming stars - Only Men Aloud.
0:07:22 > 0:07:27# A-a-a-men
0:07:27 > 0:07:33# A-a-a-men
0:07:33 > 0:07:42# A-a-a-a-men #
0:07:53 > 0:07:57- Llyr, by the way, is - a very, very ancient name in Wales.
0:07:57 > 0:08:01- Put your tongues - on the top of your mouths, flat...
0:08:01 > 0:08:05- ..open your lips a little bit - and blow outside.
0:08:05 > 0:08:06- Ll.
0:08:06 > 0:08:08- Good.
0:08:08 > 0:08:10- That's Ll.
0:08:11 > 0:08:14- Then you've got a long 'ee'. Ll-ee.
0:08:15 > 0:08:18- Then you've got a rolled "r". - R-r-r-r.
0:08:18 > 0:08:20- It's Ll-ee-r-r-r.
0:08:20 > 0:08:22- That's great.
0:08:38 > 0:08:42Schubert Impromptu No.4
0:11:00 > 0:11:01- .
0:11:06 > 0:11:06- 888
0:11:06 > 0:11:08- 888- - 888
0:11:48 > 0:11:53"Wales in America" Concert. Essex House Hotel, New York
0:11:54 > 0:11:57Ballade No. 3 Chopin
0:12:36 > 0:12:40- I was thrilled to be able to see - Llyr in such an intimate setting.
0:12:40 > 0:12:44- It was great to hear - his very straightforward style.
0:12:44 > 0:12:48- He is sensitive - and not overly sentimental.
0:12:48 > 0:12:51- It's hard to be - not overly sentimental...
0:12:51 > 0:12:55- ..when you're performing - Chopin and Schubert.
0:12:55 > 0:13:00- Llyr has a clear style and one that - lets the music speak for itself.
0:13:10 > 0:13:14- It was the most marvellous, - phenomenal experience.
0:13:16 > 0:13:19- He reminded me of fluid water.
0:13:20 > 0:13:23- His fingers fly over the keys.
0:13:23 > 0:13:27- It's almost like he's not going - to touch the piano but he does.
0:13:48 > 0:13:51- In Wales, they say "canu piano" - - sing the piano.
0:13:51 > 0:13:54- He certainly did make - the piano sing.
0:14:09 > 0:14:12- All I could tell you - is that I felt very tickled.
0:14:13 > 0:14:17- That is something you have - when you're a kid...
0:14:17 > 0:14:20- ..when it just makes you - kind of happy.
0:14:20 > 0:14:21- Do you know?
0:14:21 > 0:14:23- Particularly in the Chopin.
0:14:24 > 0:14:27- There was a lot of movement - in the audience.
0:14:27 > 0:14:29- To me, that was exciting.
0:14:29 > 0:14:32- You see that happen and you think...
0:14:32 > 0:14:35- .."Wow, everyone - is really engaged in this.
0:14:36 > 0:14:38- "They have to enjoy that music."
0:15:06 > 0:15:11- I found his Chopin and Schubert - a very interesting performance.
0:15:11 > 0:15:15- Such care and thought - and beautifully articulated.
0:15:15 > 0:15:18- It was a real ,delight.
0:15:19 > 0:15:23- Hearing someone in a setting - like this is a different experience.
0:15:23 > 0:15:25- It brings us back - to the 19th-century ideas...
0:15:26 > 0:15:29- ..of salons and listening to music - in a more intimate environment.
0:16:20 > 0:16:22- APPLAUSE
0:16:26 > 0:16:28- It was an honour - to share a stage with Llyr...
0:16:29 > 0:16:32- ..but we weren't present - for his performance...
0:16:32 > 0:16:37- ..because all the tickets had sold - out for the maestro's performance.
0:16:37 > 0:16:40- We had the chance - to listen behind the doors.
0:16:43 > 0:16:48- I'm pleased to see Llyr - performing here tonight...
0:16:48 > 0:16:51- ..and, of course, in Carnegie Hall.
0:16:51 > 0:16:57- It's a pleasure to see other Welsh - performers succeeding in America.
0:16:58 > 0:17:02- It's so difficult to break - into this market. It's fantastic.
0:17:47 > 0:17:50- I was surprised to see - the audience in Essex House...
0:17:50 > 0:17:52- ..listening so intently...
0:17:52 > 0:17:56- ..especially for - an unfamiliar piece by Debussy.
0:17:56 > 0:17:59- They'd settled down - right from the start...
0:18:00 > 0:18:02- ..and appreciated the performance.
0:18:02 > 0:18:06- You don't have to play down - to an audience...
0:18:06 > 0:18:08- ..if you can do something well.
0:18:08 > 0:18:13- You can draw the audience in. - They're on your side from the start.
0:18:50 > 0:18:52- I loved the Debussy.
0:18:53 > 0:18:56- I think maybe - it's the acoustic in this room...
0:18:56 > 0:19:01- ..but it seemed he was having a love - affair with French music tonight.
0:19:47 > 0:19:50- Finding one's way as an artist - is the most important thing...
0:19:50 > 0:19:53- ..and always being true - to one's self.
0:19:53 > 0:19:56- Trying to adhere to - a marketing department's vision...
0:19:56 > 0:20:02- ..is one of the most potentially - confusing things that could happen.
0:20:02 > 0:20:06- If you say this is who I am, - this is the repertoire I perform...
0:20:06 > 0:20:09- ..and Llyr does that very strongly.
0:20:09 > 0:20:13- That is the road to a larger - presence and larger career.
0:20:27 > 0:20:30- APPLAUSE
0:20:32 > 0:20:36- The people who do come - to classical concerts...
0:20:36 > 0:20:39- ..are a dedicated and fervent bunch.
0:20:39 > 0:20:42- There's a real audience - for artists...
0:20:42 > 0:20:45- ..who are - as intellectually engaged as he is.
0:20:47 > 0:20:52Madog (World Premiere) Karl Jenkins
0:21:12 > 0:21:16- It's important to me that Welsh - composers receive more attention...
0:21:16 > 0:21:18- ..outside Wales.
0:21:18 > 0:21:22- The idea behind this is Madog - who, according to legend...
0:21:23 > 0:21:27- ..sailed to America - long before Columbus arrived here.
0:21:29 > 0:21:34- He settled with the Native - American Indians after his arrival.
0:21:36 > 0:21:38- He was welcomed by them.
0:21:40 > 0:21:46- The music conveys an American idiom - with the boogie-woogie.
0:22:53 > 0:22:54- APPLAUSE
0:23:00 > 0:23:04The audience of the St David's Day celebration in Essex House...
0:23:05 > 0:23:07..is absolutely enthralled.
0:23:07 > 0:23:12Tomorrow, Llyr performs on one of the world's most renowned stages...
0:23:12 > 0:23:14..Carnegie Hall.
0:23:14 > 0:23:17Hopefully, the response will be the same.
0:23:20 > 0:23:21- .
0:23:25 > 0:23:25- 888
0:23:25 > 0:23:27- 888- - 888
0:23:28 > 0:23:31In America, there are many wonders.
0:23:31 > 0:23:34Carnegie Hall is certainly one of them.
0:23:35 > 0:23:39Dreaming of playing here is a performer's ultimate desire.
0:23:39 > 0:23:44- You're pitting yourself against - everyone who's been on that stage.
0:23:45 > 0:23:48- Caruso, Rachmaninov, - Ravel, Stravinsky...
0:23:49 > 0:23:52- ..Theodore Roosevelt - and Martin Luther King.
0:23:52 > 0:23:56- It takes quite a bit of guts - to go up there and say...
0:23:56 > 0:23:59- .."I think I can do just as well."
0:24:01 > 0:24:05In 1887, millionaire Andrew Carnegie and his wife Louise...
0:24:05 > 0:24:10..were sailing from New York to spend their honeymoon in Scotland.
0:24:10 > 0:24:13Also on the ship was Walter Damrosch...
0:24:13 > 0:24:18..conductor of the Oratorio Society of which Louise was a member.
0:24:18 > 0:24:22They both persuaded Andrew to build a new concert hall.
0:24:26 > 0:24:28Much to everyone's surprise...
0:24:28 > 0:24:33..the location chosen by Carnegie was a long way from the city centre.
0:24:33 > 0:24:35- This area was known as Hogtown.
0:24:35 > 0:24:39- There were 40,000 pigs - roaming around.
0:24:39 > 0:24:42- People were almost in disbelief.
0:24:42 > 0:24:45- They would say, "Who's going - to go that far to hear music?"
0:24:45 > 0:24:49- But then heard about three other - performance halls in the building.
0:24:49 > 0:24:51- They found it incredulous.
0:24:51 > 0:24:56To tempt New Yorkers 20 blocks north to the inaugural festival...
0:24:56 > 0:24:59..a special artist was needed.
0:24:59 > 0:25:01There was one who could do that.
0:25:01 > 0:25:04The world's most famous musician at the time.
0:25:04 > 0:25:08- At first. Tchaikovsky said no, - he was a little busy.
0:25:08 > 0:25:12- Andrew Carnegie made him an offer - he couldn't refuse.
0:25:12 > 0:25:15Tchaikovsky performed there for 20 days...
0:25:16 > 0:25:19..for a sum of 2,500, a huge payment at the time...
0:25:19 > 0:25:22..but it was a very shrewd investment.
0:25:22 > 0:25:26- No musician of this calibre - had ever come to America before.
0:25:27 > 0:25:29- He was quite the superstar.
0:25:29 > 0:25:33- The tickets sold out, partly because - they wanted to see the hall...
0:25:33 > 0:25:37- ..but more importantly, - they wanted to see Tchaikovsky.
0:25:41 > 0:25:46Recreation of the Opening Night 1947 Film Carnegie Hall
0:25:46 > 0:25:49Piano Concerto No.1 in B Flat Minor Op.23
0:25:59 > 0:26:05On the grand opening night, carriages queued for half a mile.
0:26:06 > 0:26:10After the first three days, it all fell rather quiet.
0:26:10 > 0:26:14New ideas were needed to attract the crowds.
0:26:14 > 0:26:16The piano saved the day.
0:26:18 > 0:26:23- The United States was the largest - manufacturer of pianos in the world.
0:26:24 > 0:26:26- I like to say - the iPod of its day.
0:26:28 > 0:26:33When Theodore Steinway heard Polish pianist Paderewski playing...
0:26:33 > 0:26:38..he concluded that the Steinway Hall would be too small for him.
0:26:38 > 0:26:43- Steinway had never seen an audience - react to a pianist like this.
0:26:43 > 0:26:47- They were pounding their fists - on the stage.
0:26:47 > 0:26:50- The concerts sold out.
0:26:50 > 0:26:56- As one critic in the paper said, - "What a difference 30 blocks makes."
0:26:56 > 0:27:01- Meaning - if you were good enough, - the public went the extra mile.
0:27:01 > 0:27:04- And put it on your publicity.
0:27:04 > 0:27:07- It said, - "Sold Out, Carnegie's Hall."
0:27:07 > 0:27:11- That started to mean things - to people around town...
0:27:11 > 0:27:12- ..and it still does.
0:27:13 > 0:27:16If Carnegie Hall, so far from the city centre...
0:27:16 > 0:27:19..wanted to attract a loyal audience...
0:27:20 > 0:27:22..it had to attract the artistes.
0:27:22 > 0:27:26Since the early days, the best have continued to perform there.
0:27:26 > 0:27:30Maria Callas, Enrico Caruso, Pablo Casals, Jascha Heifetz...
0:27:31 > 0:27:35..Vladimir Horowitz, Gustav Mahler, Sergei Rachmaninov...
0:27:35 > 0:27:38..Luciano Pavarotti and Bryn Terfel.
0:27:39 > 0:27:43- Two Americans outside the hall - and one asks the other...
0:27:43 > 0:27:47- .."Excuse me, sir, do you know - the way to Carnegie Hall?"
0:27:47 > 0:27:51- The other one answers, - "Practice, practice, practice."
0:27:52 > 0:27:59Over 75% of the concerts are held by artistes who've invited themselves...
0:27:59 > 0:28:02..through private impresarios.
0:28:02 > 0:28:06It's a greater honour to be invited to play there.
0:28:06 > 0:28:10Only 180 of these concerts are held each year.
0:28:12 > 0:28:17- The decision of who to engage - is made on artistic merit.
0:28:17 > 0:28:23- I first encountered Llyr's playing - in a BBC music magazine CD.
0:28:24 > 0:28:29- A recording of the Liszt B Minor - Sonata that was white hot.
0:28:29 > 0:28:31- It was such electrifying playing.
0:28:32 > 0:28:36Llyr was invited to perform in the Weill Recital Hall...
0:28:36 > 0:28:41..the stage famous for its chamber music performances.
0:28:41 > 0:28:45- Although Weill is the smaller venue - at Carnegie Hall...
0:28:46 > 0:28:49- ..it is no less prestigious - than the other two halls.
0:28:50 > 0:28:54- In fact, we only present - four debut recitals a season.
0:28:55 > 0:28:59- That's from the entire universe - of artistes, we choose four people.
0:28:59 > 0:29:01- APPLAUSE
0:29:01 > 0:29:04It's quite an achievement.
0:29:04 > 0:29:08Invited as one of four of the world's best musicians.
0:29:09 > 0:29:12Enough to send anyone's heartbeat racing.
0:29:12 > 0:29:18- I didn't feel nervous at all - making my debut in Carnegie Hall.
0:29:18 > 0:29:24- If something, I felt more nervous - in Wigmore Hall, London.
0:29:25 > 0:29:29- I knew more people there. - I had a reputation to preserve.
0:29:31 > 0:29:36Schubert First Movement Piano Sonata in C Minor D.958
0:30:00 > 0:30:05- Since this was the first full - recital I'd done in Carnegie Hall...
0:30:05 > 0:30:11- ..I wanted to perform works - I could play well.
0:30:11 > 0:30:16- I wanted to showcase my skills - at their best.
0:30:40 > 0:30:44- I was anxious that he shouldn't play - anything too classical...
0:30:45 > 0:30:48- ..like Beethoven or Mozart - by which he would be judged.
0:30:49 > 0:30:52- I thought - something uncontroversial...
0:30:52 > 0:30:55- ..and also something - that's not too often done.
0:31:05 > 0:31:08- To start with the Schubert sonata - was amazingly bold.
0:31:08 > 0:31:11- It's a big work - to start a concert with.
0:31:12 > 0:31:15- It shows the kind - of confidence that he has.
0:31:21 > 0:31:26Schubert Fourth Movement Piano Sonata in C Minor D.958
0:32:07 > 0:32:10In the early days of a professional career...
0:32:10 > 0:32:13..an agent's advice and support is crucial.
0:32:14 > 0:32:16Between the rehearsal and performance...
0:32:17 > 0:32:20..time to relax and sample some local cuisine.
0:32:20 > 0:32:26How would an Oxford First Alpha react to American culture?
0:32:28 > 0:32:30- Enjoy your meal.
0:32:32 > 0:32:34- What an enormous menu.
0:32:36 > 0:32:39- Coffee for you, ma'am. Espresso.
0:32:39 > 0:32:44Welcome to the Carnegie Deli. What brings you to our establishment?
0:32:44 > 0:32:48- We saw the name. It said Carnegie - so I thought it would be good.
0:32:48 > 0:32:51What are you doing in New York?
0:32:51 > 0:32:54- I played a concert - in Carnegie Hall last night.
0:32:54 > 0:32:58Oh, yeah? How come I wasn't invited? Is this your first appearance here?
0:32:59 > 0:33:00- My first full concert.
0:33:01 > 0:33:03It's a good venue to start.
0:33:03 > 0:33:05How do you get to Carnegie Hall?
0:33:05 > 0:33:09You gotta come to the Carnegie Deli before you get to Carnegie Hall.
0:33:09 > 0:33:12All these stars - how did they get to Carnegie Hall?
0:33:13 > 0:33:14Through the Carnegie Deli.
0:33:23 > 0:33:28By the way, I didn't introduce myself. I'm Mr Levin.
0:33:28 > 0:33:30I'm the proprietor.
0:33:30 > 0:33:33I have a wonderful degree from Oxford.
0:33:34 > 0:33:36Here's my card.
0:33:38 > 0:33:40MBD. Do you know what that means?
0:33:40 > 0:33:42- Never heard of that one.
0:33:43 > 0:33:47I Married the Boss's Daughter! Then I came right back here.
0:33:48 > 0:33:50There are two rules to adhere to.
0:33:50 > 0:33:53You can't leave until you finish.
0:33:53 > 0:33:56If you finish, we made a mistake.
0:33:58 > 0:34:01Enjoy your meal and thank you for coming.
0:34:01 > 0:34:02- Thank you very much.
0:34:03 > 0:34:06- This is for you.
0:34:06 > 0:34:08She made a mistake.
0:34:13 > 0:34:15Stay with me, guys.
0:34:15 > 0:34:17Stay with me, stay with me.
0:34:20 > 0:34:21- .
0:34:24 > 0:34:24- 888
0:34:24 > 0:34:26- 888- - 888
0:34:26 > 0:34:31After Schubert and Debussy's melodic music in the first half...
0:34:31 > 0:34:35..Llyr has chosen a difficult Russian piece as an exciting finale.
0:34:35 > 0:34:40- Pictures At An Exhibition - by Mussorgsky is interesting.
0:34:40 > 0:34:45- I learnt to play the piece - by performing in masterclasses...
0:34:46 > 0:34:49- ..while I was at university.
0:34:49 > 0:34:54- This piece has been famously - arranged for an orchestra by Ravel.
0:34:57 > 0:35:02Mussorgsky Pictures At An Exhibition
0:35:11 > 0:35:16- The Promenade depicts Mussorgsky - walking around an exhibition.
0:35:16 > 0:35:19- He's confident at the beginning.
0:35:25 > 0:35:28- The Dwarf is the piece - that follows the Promenade.
0:35:33 > 0:35:37- The original painting - hasn't survived.
0:35:37 > 0:35:40- The dwarf - is evidently something very ugly.
0:35:50 > 0:35:53- Halfway through the music...
0:35:53 > 0:35:56- ..there's a slow piece - with strong chords.
0:35:56 > 0:36:00- We get the impression that - the dwarf is trying to follow us...
0:36:01 > 0:36:06- ..but because it's a dwarf, - it can't move quickly.
0:36:06 > 0:36:08- It just decides to turn nasty.
0:36:27 > 0:36:32- After The Dwarf, there's - a quieter piece with The Promenade.
0:36:32 > 0:36:36- It leads straight into The Castle - - Il Vecchio Castello.
0:36:54 > 0:36:56- To make it more interesting...
0:36:56 > 0:36:59- ..there's a person in the painting - - the troubadour.
0:37:00 > 0:37:02- He sings a sad song outside...
0:37:02 > 0:37:06- ..a serenade to his lover - outside the castle.
0:37:31 > 0:37:36- We move on to The Tuileries Gardens - in Paris where children play.
0:38:01 > 0:38:05- Following that is the cart - drawn by oxen in Poland.
0:38:24 > 0:38:27- Mussorgsky was a socialist at heart.
0:38:28 > 0:38:31- He sympathized - with the ordinary worker...
0:38:31 > 0:38:33- ..driving the oxen in the field.
0:38:33 > 0:38:37- That's why it's such an effort - to play this piece.
0:38:59 > 0:39:04- Halfway through the piece, we hear - a sad rendition of The Promenade.
0:39:04 > 0:39:08- It starts quietly - at the top of the piano.
0:39:08 > 0:39:12- This is a tribute - conveying Mussorgsky's sadness...
0:39:12 > 0:39:18- ..as he thinks about his friend, - Hartmann, who painted the images.
0:39:18 > 0:39:20- He'd died a few months earlier.
0:39:44 > 0:39:48- The next piece is - the Ballet Of The Unhatched Chicks.
0:39:54 > 0:39:57- The only painting that has survived - is a sketch.
0:39:57 > 0:40:00- It was very difficult to master - this piece. It can sound too heavy.
0:40:01 > 0:40:03- There's a lot of fast notes.
0:40:03 > 0:40:08- You could easily play them noisily - to identify the nature of the dance.
0:40:08 > 0:40:11- It's one of the most - difficult pieces to play.
0:40:33 > 0:40:38- Suddenly, there's an image - of Samuel Goldenberg, the rich Jew.
0:40:39 > 0:40:41- He's so full of himself.
0:40:45 > 0:40:47- This is in direct contrast...
0:40:47 > 0:40:52- ..with Schmuyle leaning - against a wall, begging for money.
0:40:56 > 0:41:00- Samuel Goldenberg refuses - to give away any of his money.
0:41:00 > 0:41:02- At the end of the piece...
0:41:03 > 0:41:07- ..Mussorgsky brings the characters - together to create a dialogue.
0:41:08 > 0:41:11- Schmuyle begs - but Samuel Goldenberg says, "No!".
0:41:32 > 0:41:37- Immediately afterwards, - we move to the market in Limoges.
0:41:38 > 0:41:42- The women quarrel - at the marketplace.
0:42:00 > 0:42:04- This piece leads into the catacombs.
0:42:06 > 0:42:08- It's very frightening.
0:42:31 > 0:42:35- Near the end, we have another - version of The Promenade.
0:42:35 > 0:42:40- We picture Mussorgsky - walking through the catacombs...
0:42:40 > 0:42:45- ..with a lantern - to guide him along in the dark.
0:43:08 > 0:43:11- The next piece - is The Hut On Hen's Legs.
0:43:15 > 0:43:18- It portrays a witch - who lives in the cabin or hut.
0:43:22 > 0:43:27- You have to create diablerie - - it must sound demonic.
0:43:42 > 0:43:44- After the wickedness...
0:43:45 > 0:43:48- ..we move towards the light - at the end...
0:43:48 > 0:43:50- ..and The Great Gate Of Kiev.
0:44:04 > 0:44:07- The triumphant ringing of the bells.
0:44:07 > 0:44:10- It's an effective piece - by Mussorgsky.
0:44:10 > 0:44:13- We hear one bell in the mid-range - of the piano...
0:44:13 > 0:44:16- ..and another one - closer to the bottom.
0:44:16 > 0:44:21- You combine these two and - build up to the finale at the end.
0:44:21 > 0:44:24- There's so much emotion - in the piece...
0:44:24 > 0:44:27- ..but the finale is very triumphant.
0:44:27 > 0:44:31- This composition always - goes down well with audiences.
0:44:31 > 0:44:36- They feel better at the end - than they did at the beginning.
0:47:01 > 0:47:02- APPLAUSE
0:47:14 > 0:47:19- People here don't give everyone - a standing ovation.
0:47:19 > 0:47:22- They have to be quality - performers...
0:47:22 > 0:47:26- ..and Llyr has certainly - reached the New York standard.
0:47:26 > 0:47:30- In the Schubert, I was listening - for his inner voices.
0:47:30 > 0:47:33- His voicing is absolutely superb.
0:47:33 > 0:47:36- The hardest thing - about playing the piano...
0:47:36 > 0:47:39- ..is being able to hear - not only one voice...
0:47:39 > 0:47:44- ..but two or three voices and each - one at a different dynamic level.
0:47:44 > 0:47:46- Many pianists cannot do that.
0:47:46 > 0:47:49- He didn't over pedal, - he didn't bang.
0:47:49 > 0:47:52- We heard beautiful tone no matter - how soft or how loud he plays.
0:47:52 > 0:47:54- That is exceptional.
0:47:54 > 0:47:56- I was speaking to one woman...
0:47:57 > 0:48:00- ..who'd attended performances - such as this since 1997.
0:48:00 > 0:48:04- Until tonight, she had never - stayed for a whole performance.
0:48:05 > 0:48:09- We were sitting in the balcony and - we weren't over in the front row.
0:48:09 > 0:48:12- We could tell that he was looking...
0:48:12 > 0:48:16- ..and saying to the audience, - "Did you feel that? Listen to this."
0:48:16 > 0:48:19- My theory was he had a girlfriend - in the front row!
0:48:30 > 0:48:33- There are two or three small halls.
0:48:33 > 0:48:35- If you succeed there...
0:48:36 > 0:48:40- ..it's a ticket - to perform on that unique stage.
0:48:50 > 0:48:54- I would hope that he'll be - invited back to Carnegie.
0:48:54 > 0:48:59- That's almost as big a step - as being invited in the first place.
0:48:59 > 0:49:01- We'll have to see.
0:49:01 > 0:49:04- I'm reasonably confident - that it won't be too long.
0:49:11 > 0:49:12- APPLAUSE
0:49:15 > 0:49:17S4C Subtitles by Simian 04 Cyf.
0:49:17 > 0:49:18- .