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