A Late Quartet (2012)

1. "Time present and time past

2. Are both perhaps present in time future,

3. And time future contained in time past.

4. If all time is eternally present

5. All time is unredeemable.

6. Or say that the end precedes the beginning,

7. And the end and the beginning were always there

8. Before the beginning and after the end.

9. And all is always now."

10. That's T.S. EIiot, his take on Beethoven's late quartets.

11. Today, we think about what EIiot might have meant.

12. We begin with Beethoven's Opus 131, said to be his personal favorite.

13. It has seven movements, at a time when the standard was four.

14. And they're all connected. You're not allowed to stop between movements.

15. No resting, no tuning.

16. Beethoven insisted it be played attacca, without pause.

17. Was he maybe trying to point out some cohesion, some unity between...

18. Excuse me.

19. the random acts of life?

20. Or being deaf, alone, and sensing the end,

21. he might have felt he had no time, to pause, to take a breath.

22. For us, it means that playing for so long without pause,

23. our instruments must in time go out of tune,

24. each in its own quite different way.

25. It's a mess.

26. What are we supposed to do, stop?

27. Or, struggle, to continuously adjust to each other up to the end,

28. even if we are out of tune?

29. I don't know.

30. Let's find out.

31. That was quick.

32. All right, hold on a sec.

33. Hong Kong on the second and fourth.

34. Shanghai on the 13th.

35. Let me double-check with everybody first.

36. Toast, if I may.

37. I've missed you this pre-season break.

38. The past year has been difficult, as you know.

39. Miriam would have been here with us today, celebrating...

40. Peter, she's always here.

41. It's a year in three weeks.

42. But the music, the quartet, us together have gotten me through it,

43. and I need to thank you and tip a glass to our... Can it be 25 seasons together?

44. - To the Fugue. - To the Fugue.

45. The Fugue.

46. Alexandra tells me your class really rocks.

47. Really? When did you speak with her?

48. This afternoon.

49. She's very good. Advanced, quick.

50. - You should be pleased. - That's my girl.

51. She really hardly ever plays for us anymore.

52. Let's hope she does now that she's back from Curtis.

53. But to be first violin...

54. she needs particular, careful coaching.

55. In fact, Daniel, I wonder if you'd give her a listen.

56. Tell her what you think, encourage.

57. I'll give her a listen. If you want to.

58. Sure, that'd be great.

59. - Shall we? - All right, yes.

60. Ready?

61. You know, maybe this is the season we play the Beethoven cycle... by heart.

62. - I've always Iiked that idea. - I still think it's a gimmick.

63. I think playing the cycle without these endless markings

64. would be exciting and a worthwhile risk.

65. A risk?

66. A risk.

67. We're in the casino business now, Robert?

68. These, these markings represent Iayers of thought.

69. I tend to agree with Daniel.

70. Tie goes to the conservatives, I guess.

71. Our vibrato doesn't match.

72. I must be on vacation time still.

73. - From the top, once more please. - OK.

74. - Let's do it from, from Juliette. - Sure.

75. - I'm sorry, my mind's wandering. - It's the cello.

76. Sorry, guys. I'm not myself. Maybe a day or two, get my hands back.

77. - That's all right. - Sure.

78. Let's reschedule?

79. - Reschedule. Next Tuesday.

80. You all right, Peter?

81. Sure. It's just... strange.

82. Put your hands out like this.

83. OK. Now close the right fist, and open it.

84. Left fist. Open it.

85. Now do it fast.

86. Open, shut. Open, shut.

87. All right.

88. OK. Now, just stand.

89. Now walk to the end of the room,

90. to the door, and then walk back, naturally, towards me.

91. OK.

92. OK. I think we should get a blood sample,

93. and arrange for a MRI.

94. Why don't we meet in a week when we should have all the results?

95. MRI? Is there something I should know.

96. I think we should run the test first.

97. You could tell me what you think, even if you're not certain.

98. It's OK. We've known each other a long time.

99. Well?

100. Well, based on the examination that we just ran,

101. and the complaints you've described to me,

102. it's my opinion that you are experiencing

103. the early symptoms of Parkinson's.

104. Well, you know...

105. From this, from what we just did, you can tell that?

106. - Yes. I'm afraid I can. - Parkinson's?

107. But we should still run the blood test and have the MRI,

108. just to rule out any more adverse possibilities.

109. Wow.

110. The aroma...

111. Wake up.

112. I'll make it worth your while.

113. What about if I talked in a really bad French accent?

114. Oui oui?

115. - Please, I'm not... - Lover?

116. Robert. Robert, please. I'm really... I'm not...

117. I'm really not in the mood.

118. OK. It's an adagio, right?

119. SIower, please.

120. The bow goes into the string and out.

121. You have to feel the resistance, then the release afterwards.

122. That's what I'm trying to do.

123. - Without intention. - What do you mean without intention?

124. This fugue is a tremendous... it's an emotional upheaval,

125. and I don't hear it.

126. The color must be dark, always. Again.

127. Vibrato. From the first note.

128. Mm-hm.

129. It's a prayer, AIexandra.

130. Can you let me play one bar?

131. I don't think you're ready for this piece.

132. In class, everybody was very happy with my performance.

133. That's fantastic.

134. Peter was too.

135. Why does he open with a slow fugue? Beethoven, that is.

136. I don't know.

137. If you insist on tackling the 131 prematurely,

138. at least read his biography first. Right?

139. Try to get into his mind.

140. Did you know his father used to wake him up in the middle of the night

141. to play for his drunken cronies?

142. Imagine the mark that Ieaves on you. May I?

143. I...

144. Pilar.

145. Hello, Robert.

146. - Long time no see. - Yeah.

147. What've you been up to?

148. Practicing for my new show, remember? We start Thursday.

149. You've got to come this time. I'll put your name on the guest Iist.

150. OK.

151. I Ioved the Bartok quartet you recommended.

152. The Fifth? Explosive.

153. Hold on, hold on a second.

154. - You Iiked it? - Yeah.

155. I could choreograph a piece to it.

156. The next step is the... Shostakovich cycle.

157. - You up for it? - Yeah.

158. It's all on here.

159. Listen to it while you run.

160. What are you playing on this one?

161. Second violin. Always, that's my part.

162. Always?

163. Yeah. Well, without me they'd be a Ionely, frustrated trio.

164. Seriously, the second and first violin aren't hierarchical,

165. they're just different roles.

166. Different how?

167. Well, sometimes I get the melody, sometimes the bass line.

168. Uh...

169. I connect the first violin, which tends to be the soloist's part,

170. with the viola and cello,

171. which just flow... right underneath the surface.

172. Simply put, I pull it all together. That's my job.

173. Sounds important, but still...

174. Don't you have the urge to play the solo part once in a while?

175. Yeah. Of course.

176. So? Why don't you do something about it?

177. Hm?

178. Well, I was gonna do something about it, but then, last year, uh...

179. It just wasn't the right time, so...

180. I know that feeling.

181. My mother says, "It's never the right time,

182. and therefore it's always the right time," Robert.

183. - Your mother. Yeah. - God bless her.

184. Let's go, come on.

185. I spoke with Dr. Nadir. This difficulty I've been having...

186. Parkinson's, she says, early stages, maybe.

187. Parkinson's?

188. Yes, my brain is running out of something.

189. Dopamine. It regulates movement.

190. Is it painful?

191. Not at all, and the even better part is, there is medication.

192. It replaces this dopamine.

193. It's not a cure, but it can slow the progress.

194. That's encouraging.

195. However, playing for much longer is not in the cards for me.

196. What if the drugs work?

197. I need to be real about this.

198. Deal with it. Name it.

199. The doctor says it might give me a season, could be two.

200. But I've made up my mind

201. that it's best for the quartet to plan ahead,

202. to think about what comes next.

203. I think Nina Lee should replace me.

204. She's a wonderful cellist, we all like her.

205. She's the one. Everybody OK with that? Daniel?

206. Nina... She's playing with Gideon still, right?

207. No, I'm not OK with this. We shouldn't be discussing this right now.

208. - It's not the time. I agree.

209. One thing more: If this drug works

210. and I am able to play well enough by then,

211. I'd like the season's first concert to be my farewell.

212. It's just...

213. You know, if we do end up taking on a new cellist,

214. if that's what we decide...

215. I think it'll feel like a beginning.

216. We'll have a new sound.

217. If that happens,

218. I don't want to play second violin exclusively anymore.

219. OK. So what exactly do you have in mind, may I ask?

220. That you and I alternate between the two chairs.

221. It doesn't have to be an even split at first,

222. but eventually on each piece, I think we could decide

223. who plays first violin and who plays second.

224. Oh, my God, I cannot believe this is happening.

225. What a terrible idea, Robert.

226. It's a terrible idea.

227. - It's not a terrible idea. - Yes, it is.

228. And you know what? The timing... it just couldn't be worse.

229. Peter says you're ready for a new violin.

230. He did?

231. Start Iooking for one.

232. Your mom and I will check it out for you.

233. Aw, man, Peter's so awesome.

234. You know he cancelled tomorrow's coaching class?

235. Do you know how he's doing?

236. All in all, he's taking it surprisingly well.

237. It's your mother I'm worried about.

238. Oh, God. It's like she's the one with the Parkinson's.

239. Don't be so hard on her.

240. She's upset. Why don't you give her a break?

241. Whatever.

242. How's Mr. Perfection coping with the situation?

243. He's helping Peter look for a new cellist.

244. Ooh. He has no heart.

245. Oh, he's got plenty. He just reserves it for the violin.

246. Well, I don't think I'm going to keep taking these classes with him.

247. Why not?

248. Because he sent me home after ten minutes

249. in order to read Beethoven's biography,

250. so I could connect to his misery before I dare attempt the Opus 131.

251. He might have a point, though.

252. Did Peter ever tell you about Schubert's last musical request?

253. Yeah, how... he only wanted to hear Beethoven's Opus 131,

254. and they played it for him, like, five days before he died.

255. Right. Here's what I do.

256. Before we play the piece, I imagine our quartet,

257. surrounding Schubert on his deathbed,

258. about to play for him the last music he'll hear on earth.

259. Bow Bridge.

260. I don't think I've been here since the first time I came to this country.

261. Hm.

262. Juilliard years.

263. Juilliard.

264. Do you remember why we picked this as our meeting place?

265. Um...

266. - No. - Darwin.

267. Darwin.

268. You were so into Darwin. Everything was natural selection.

269. Yep.

270. In that respect, things haven't changed much.

271. - Really? - Yep.

272. The old man is ill, the old man is out.

273. Any news about the medication?

274. It hasn't had much effect yet, but it's still... it's still early.

275. Let's hope it's quick enough for the concert.

276. If he's well enough to play the concert,

277. then he should be able to finish the rest of the season with us, Daniel.

278. Why not respect his wish, Jules?

279. Because I don't believe it is his wish.

280. He's overwhelmed right now.

281. Imagine how devastating this has been for him.

282. First Miriam and now this.

283. We have to give him time to adjust.

284. What do we do about Robert?

285. What about Robert?

286. Alternating chairs Robert?

287. You should talk to him about that.

288. I doubt me talking to him would help.

289. It will completely alter our sound, Jules, you understand that.

290. That's also true if we replace Peter with another cellist.

291. Not if it's Nina, no.

292. She subbed for Peter very well last year. She's very compatible.

293. Would you please talk to him?

294. Anyway, if Peter quits, I may not continue.

295. All right.

296. I talk to Peter, you talk to Robert.

297. You know, I didn't expect to feel this,

298. but it turns out, I love being our age.

299. I just love not having to prove anything to anybody.

300. It's just great to go on stage, sit down and play music.

301. You know, in Munich, after our concert,

302. the audience was applauding and Nina whispered to me, "That was fun!"

303. Ah.

304. Can you imagine Nina? "That was fun!"

305. You really taught her well, and I am very, very grateful to you.

306. Gideon, I need to ask a big, serious favor.

307. Well, for you, anything.

308. I've made up my mind to stop performing,

309. and my choice to replace me at the Fugue would be Nina.

310. - Nina? From my trio? - Your Nina.

311. She's the one who can do it.

312. She knows our repertoire,

313. the quartet Iikes her, personally, creatively.

314. We need her.

315. If she'll agree, of course.

316. Peter that would be a big mistake.

317. Don't retire!

318. I promise you, you are going to get a second wind,

319. and it could be the nicest part of your entire life.

320. I mean, and you certainly can't ask me to give up Nina.

321. I mean, she's become an integral part of the trio, I could never replace her.

322. Gideon, there's no comparing. It's easier to replace for a piano trio.

323. There are cellists who could take her place, I can help you find one.

324. To my mind, the Fugue without Nina might not survive.

325. It's that serious.

326. I understand what you're saying, but I can't do that.

327. I can't give her up.

328. I'm going to begin by talking about some general principles

329. that involve Parkinson's.

330. One of them is that everything gets smaller.

331. Our posture gets smaller, our stride gets smaller,

332. our voice gets smaller, even our handwriting gets small.

333. Everything contracts and closes in.

334. So we need to push those boundaries out.

335. We need to move big, so that we can take control of Parkinson's,

336. rather than it taking control of us.

337. And to do that, we use conscious movement.

338. So, let's just start by stretching the arms out,

339. and bringing them up and bringing them down,

340. and bringing them up and out.

341. And we're gonna go front and side.

342. And up and down. Good job.

343. And front, and stretch side.

344. And up and down.

345. Nice.

346. My father gave me a tip.

347. Sounds like a good one.

348. It was a good one. You should take a tip from him yourself.

349. Yeah? Like what?

350. He could teach you to be a Iittle less...

351. anal.

352. That's funny.

353. OK... Frankly, I don't think you need my help anymore.

354. And don't worry, I'll call Peter, tell him something.

355. Come on, Daniel, I was... I was kidding. I didn't mean it like that.

356. Of course you did. Just testing the extent of your power, it's fine.

357. The extent of my power? Could you illuminate me please?

358. Actually, it's more of a desperate need for attention.

359. I would suggest you focus on the music.

360. Focus on the music?

361. Is that all?

362. Yeah, you've probably just realized how much hard work it takes

363. to become a decent violinist, let alone a good one,

364. and you're not sure anymore whether it's worth the trouble,

365. whether you're talented enough, whether you can handle the pressure.

366. Just you and the violin in a small studio

367. making the most miniscule progress every day... of your life.

368. That's why you formed your quartet.

369. You thought it would alleviate all of your problems.

370. You found it's even more work and now you're stuck with three other people.

371. Totally dependent on the way they play, their taste.

372. They constantly scrutinize your talent. They hear every flaw.

373. And that hurts your Iittle ego very much.

374. Doesn't it?

375. You're special, Alex.

376. Yeah, right.

377. Don't waste it.

378. See you next week.

379. I was relentless about getting him to form a quartet,

380. but he yearned, as they always do, to become a soloist.

381. How Iittle they know, or even suspect.

382. Then, on the final day of the semester,

383. Daniel comes to me and he says,

384. "Professor, I've decided to form a quartet

385. and I want you to be its cellist."

386. I'm thinking, "Is this guy nuts? I'm 30 years older."

387. And I had made it clear that since the Hudson's breakup,

388. where I played with Juliette's mother, I was not inclined to perform anymore.

389. Daniel insisted and my wife said, "Do it!"

390. So I said, OK, providing that Jules would join us on viola.

391. That would've been my first choice regardless.

392. But the really curious, star-crossed aspect of this is how we found Robert.

393. You tell 'em.

394. I was leaving Juilliard for the day,

395. and Daniel pokes his head out of the room and says,

396. "Robert...

397. would you like to play... play a movement with us,

398. just to, you know, wrap up the night?"

399. I was... I hadn't even really considered it.

400. And I was a freshman at the time,

401. and I was about to transfer to NEC to study modern composition with Lampl.

402. And, you know, second violin, playing with a quartet,

403. I wasn't sure if I was ready for that commitment.

404. Anyway, from the first note, it was...

405. I got it.

406. You know, I understood, this...

407. the dynamic of a quartet and how special that was

408. to be a part of a group.

409. And that being a part of the group is about becoming one.

410. And until that point, I don't think I understood that.

411. I thought I was the one, you know?

412. But that was more special, to be a part.

413. And... and there was this incredibly beautiful woman

414. across from me, playing the viola,

415. like... like her life depended upon it.

416. She was... breathtaking.

417. "Star-crossed," you know, I don't know.

418. Robert. - Mm-hm.

419. I'd really like you to drop the alternating chairs idea.

420. Why?

421. Because it puts the quartet in danger.

422. Why is it every time I...

423. Daniel will never agree to accompany you.

424. Well, I don't view our roles as accompaniment.

425. No, of course not. Of course not.

426. But why now, why are you making an issue of this now?

427. I never wanted to be a second violin.

428. And I never pushed it because... we were good.

429. Well, I Iiked it... for the harmony.

430. I know, I appreciate that.

431. You know, when Peter brought up that he might be leaving...

432. But what if he stays?

433. I'd still want us to alternate.

434. You remember, remember when we first started out,

435. that every rehearsal was... discovery?

436. We'd Iooked forward to going there.

437. We'd argue just to argue over a hairpin.

438. We'd jump down each other's throats over a bow stroke.

439. "I think it's up."It's down."

440. "I think it's up." "It's down."

441. - "I think it's up." - I know, it was awful.

442. - I miss that. - Yeah.

443. I miss being excited.

444. I miss that. I can't tell you.

445. Daniel...

446. Daniel doesn't think that your qualities are best suited for first chair.

447. Excuse me?

448. He just doesn't think that you would be a good first chair.

449. - Why don't you have my back on this? - I do.

450. Why do you have his back, and you do not have my back on this?

451. That's not the case.

452. Look, we've always agreed to be impartial

453. in these particular matters, you know that.

454. Fine.

455. Completely impartial.

456. Do you think I wouldn't be as good a first violin as Daniel?

457. - Oh, come on. I think you... - Impartial. Impartial.

458. I think you're an amazing violinist. I think you're... great.

459. First, second... it doesn't matter to me.

460. - It matters to me. - But this isn't about you or me.

461. - Yes, it's about me. Yeah, it is. - No. No, this is about the quartet.

462. And I think that you are...

463. the best second violinist out there.

464. - There's nobody better for your part. - Wow.

465. Wow.

466. - Could you stop the cab? Please don't. Robert.

467. - Everyone values your contribution. - Oh, God.

468. - Robert... - Right here.

469. When did you and Daniel talk this through?

470. He wanted to meet to talk about how we could stay together, Rob...

471. I met with Gideon...

472. Mm-hm.

473. and he says no.

474. You offered to help him find another cellist, right?

475. He Iikes working with Nina too much.

476. Yeah, of course he does.

477. He had six different cellists he Iiked working with too much before Nina.

478. Over 40 years.

479. Right, don't worry, I'll talk to Nina tomorrow.

480. Not yet, wait. See what happens.

481. Maybe you should reconsider your retirement, Peter.

482. If you'll be able to play well soon, we're all confident you will,

483. we would love for you to continue playing with us for as long as you can.

484. What about no compromise, quality above all?

485. Find a new cellist and then take the Fugue to another place.

486. Now, if you don't mind, I need to rest.

487. Practice, practice. Get ready to do what we do best.

488. We have a performance coming up.

489. Nina, he has Parkinson's.

490. Yeah.

491. He probably didn't want Gideon to know.

492. Not good.

493. It's not good.

494. Hey.

495. - Hi. - Hey.

496. I made your favorite breakfast.

497. You hungry? You must be.

498. Hey, I'm sorry about yesterday. I was wrong. I'm so sorry.

499. - I don't mind. - I just... I really stink.

500. Oh, that's OK.

501. I just wanna go to the bathroom and take a shower. Just one second.

502. OK. I'll be right back.

503. Um...

504. - Um... Where's your violin? What?

505. I need rosin. I can't find it.

506. It's not by the couch?

507. No, it's not there. It's not in the bedroom either.

508. Oh, fuck!

509. Fuck, I left it at the bar.

510. Really? What bar? I'll call.

511. I'll get it, just give me a second, let me get out. I'll get it. Fuck!

512. - Hi. - Hi.

513. Thank you.

514. - You look tired. - Yeah.

515. Did you manage to get some sleep?

516. Only a few hours.

517. I didn't get a single minute, you know.

518. I just Iay in bed thinking of us till sunrise.

519. We can't do this.

520. We can't, um...

521. What happened between us last night is rare, Robert, you know?

522. And you don't deny these feelings.

523. You just have to Iive, you just have to feel them.

524. I know. I really can't.

525. Hi, Jules.

526. This is, uh, Pilar.

527. We, um...

528. Remember I told you about her? We run together in the park.

529. She's a fan of the Fugue.

530. I was just about to leave.

531. Please, you can have my chair.

532. She seems nice.

533. Yeah, she's... she's nice.

534. You took this whole alternating chairs theme

535. a Iittle too far, though, don't you think?

536. - I mean, my God... - Fuck. Oh, great.

537. I'm sorry.

538. I'm so sorry.

539. It was a... It was a one-time thing.

540. - I... I just ended it. It's done. - Yeah? You reamed me yesterday.

541. You were furious with me yesterday

542. for talking to Daniel about securing the future...

543. I was really hurt by what you said yesterday.

544. - ... the quartet's future! - You said I wasn't good enough!

545. This is how you decide to communicate this to me, by fucking another woman?

546. I'm not good enough?

547. I don't give a shit about first chair...

548. It's my life!

549. - ... that's all your ego. Bullshit! - And the violin, it's everything!

550. I don't care!

551. - I love you.

552. I love you more than anything in the world.

553. You have to know that.

554. I made a stupid mistake. God, I fucked up.

555. I'm asking you to forgive me.

556. I'll be out late. I want your stuff out by midnight.

557. - No... - Jules...

558. Get your stuff out of the house.

559. - It's Daniel. Leave a message.

560. Daniel, I have news. Very good.

561. Gideon called. He changed his mind.

562. I spoke with Nina. She's standing by.

563. I'll call you Iater. Bye, bye.

564. Good news. Nina will be joining us.

565. Peter...

566. What's the matter? You're upset about something?

567. I can't imagine...

568. I can't imagine playing in the quartet without you, Peter.

569. You know, traveling without you, performing without you next to me.

570. I don't... I'm not sure I can do it.

571. I don't think I want to.

572. Please don't speak that way.

573. When your mother died, the big mistake I made

574. was allowing the quartet to break up.

575. I should have fought, find a new violist,

576. stay together, despite all the sadness.

577. Instead of being weak and scared and Iazy.

578. Don't make that mistake.

579. Be brave. I got a second chance.

580. Not everybody does.

581. Thank you for inviting me along on this ride.

582. I just love it out here.

583. Let me tell you what makes the Fugue such a great quartet.

584. OK.

585. First, they have you.

586. And you're hypnotizing the audience with your relentless precision.

587. They follow you like a cobra follows a snake charmer.

588. Well...

589. Then... you have my father.

590. And he's adding color and texture and rhythm.

591. He's always enhancing you, he's Iifting you up,

592. but he'll never outshine you.

593. There are many quartets with an accomplished first violin.

594. It's the second violinist,

595. the quality of the second violinist, that makes a quartet stand out.

596. And your father is great.

597. Then there's my mother.

598. She adds a depth of sound that none of you could bring.

599. She makes you wanna weep without exactly knowing why.

600. Is that the voice of a wounded soul?

601. The survival skills she had to develop

602. prepared her to perfectly serve three masters at the same time.

603. The one she loves,

604. the one she partners with,

605. and the one she desires.

606. That was a long time ago, Alex. It was before your parents got together.

607. Oh, yeah. Sure, sure.

608. Whatever.

609. To close a perfect square, you've got the big-hearted man with the cello.

610. When the gates are secured, emotions are welcome.

611. We can all sit down ready to be swept away.

612. It's the ideal quartet.

613. Bravo.

614. Hey, what are you gonna do now with Peter retiring,

615. everything that's happening with Mom and Dad?

616. What's happening with your mom and dad?

617. Robert?

618. - Hi. - Hello.

619. Grabbed the Gagliano for you.

620. Terrific.

621. Give it a try. We've got some time before the auction starts.

622. - OK. Thank you. - Yeah.

623. - Hi, Jules. - So sorry I'm late. Hi. Juliette.

624. - Hi. Brenda Franklin. - How do you do?

625. - Nice to meet you. - Thank you.

626. - I'll be back in a bit. - OK.

627. Thank you.

628. Perfect timing.

629. - Wanna give it a try? - No, you go ahead.

630. The Iower register has nice depth, it'll blend...

631. - Warm tone, responsive. - ... very nicely with the viola. Yeah.

632. - The scrolls. - I can see why AIexandra wants it.

633. Beautiful. Let me see it, please.

634. The body's in perfect condition.

635. - Sure you don't want it? - No, thank you.

636. - Yeah, we should bid on it. - Definitely.

637. Can we talk now?

638. We're here to buy a violin, Robert.

639. Can we discuss this?

640. We've discussed it.

641. Well, we haven't discussed it.

642. I think that's the problem.

643. You know, we've... shared an intense life for almost 25 years together.

644. I think that, you know, deserves more discussion, you know?

645. And, um... I mean, Iiving and playing together...

646. Both of us knew going in it wasn't gonna be easy.

647. That was exciting back then, but we've had our ups and downs.

648. But on a whole, I think... I think our marriage is a good one.

649. So I can't believe that one truly regrettable night's gonna ruin all that.

650. I've Ioved you madly since the moment I met you,

651. but I've always feared deep down that you felt like you were forced into it.

652. That you wouldn't have married me if you didn't get pregnant.

653. Because in so many ways, you haven't really been there.

654. Not completely.

655. And I've learned to live with that, you know, expecting one day

656. that you'll, you know, finally want to be closer to me.

657. I did away with my dreams of composing and playing other forms of music.

658. And I did it gladly, without reservation, for us.

659. To be together.

660. To play.

661. To have a child.

662. Do you really love me?

663. Or am I just convenient?

664. Good father. Good husband. Good second violin player.

665. Isn't it great? - Yes, it's... perfect.

666. We'll bid on it, yeah.

667. - Oh, great. Good Iuck. - Thank you.

668. - We're getting started. - OK.

669. This is some good stuff, man.

670. It's not bad. Not bad.

671. What about this one here?

672. Actually, he doesn't cut it off the horse.

673. He imports it from all over the world.

674. - This is Siberia, right? - That's right, yeah.

675. Look, I'll bundle up the best samples that I've got,

676. and whatever you don't use, you can just mail 'em back to me.

677. Thanks, Jack.

678. "This one's Siberia." What? What is that about?

679. You can't just use any hair for a bow.

680. The smallest differences in hair structure change the timbre

681. of the instrument completely.

682. What?

683. You're obsessed.

684. I guess so.

685. You cold?

686. Why didn't you pursue a solo career?

687. I would never trade with them.

688. As a soloist, you rehearse with an orchestra three, maybe four times,

689. and perform the piece once or twice.

690. And that's it. Next city, next conductor, next orchestra.

691. We celebrated 3,000 concerts together last season.

692. Which makes me feel kind of ancient, but...

693. It's the only way to find meaningful interpretations.

694. The greatest composers, when they wanted to express

695. their most sincere thoughts, feelings...

696. dig deep into their souls,

697. always this form, always, always the quartet.

698. If they were courageous enough, Alex...

699. What are you doing?

700. Need to get the samples.

701. A really beautiful Gagliano with a slab cut back.

702. - At 14,000 on the telephone now. - Raise your hand.

703. at 14,000, with a circa 1820. - How far are we willing to go?

704. Fifteen.

705. Fifteen thousand is on the aisle. - Raise your hand.

706. Fifteen thousand dollars now. Sixteen thousand.

707. Thank you, on the right. The Iady with the really Iovely hat.

708. It's 16,000 on my right.

709. That's $16,000. Now bidding at 16.

710. Raise your hand.

711. Jules, I didn't mean to upset you back there.

712. Gagliano... - Twenty!

713. - Twenty thousand dollars on the aisle. - If I am off track, just tell me.

714. Twenty-one thousand dollars in the back. It's a Iady in the back.

715. - At $21,000, $21,000. - Twenty-five!

716. Twenty-five thousand, $25,000 now on the aisle again.

717. Twenty-five thousand. Twenty-six? All through at 25?

718. At $25,000, now bidding at 25, all through.

719. Twenty-five thousand dollars, fair warning. Sold for $25,000.

720. Congratulations, sir, you just took a quality violin from a real musician.

721. Jules!

722. Jules, hold on!

723. Would you mind waiting a minute, please?

724. - Hold on. - Thank you.

725. What is it? What is it that you want... Robert?

726. What is it that you want me to tell you?

727. That I've always Ioved you,

728. but I'm just incapable of showing you in the way you'd like me to?

729. Here's the truth: I don't know.

730. I don't know if I love you, I don't know if I don't.

731. I don't know how I feel. I don't.

732. You need to leave me alone.

733. Who is it?

734. - Daniel. - Hey.

735. Come on in.

736. What were you thinking, Robert?

737. Compromising your marriage, our quartet, for what, for a fuck?

738. What about you?

739. What about me?

740. Oh, sneaking around with Juliette behind my back.

741. Trying to manipulate my wife against me.

742. Don't be ridiculous. Please, no one is trying to manipulate you.

743. You just went too far.

744. Somebody had to bring you back to your senses, that's all.

745. Actually, my senses are coming back to me

746. for the first time in a very long time.

747. Really?

748. Stay someplace where I'm not respected?

749. That's over.

750. You're a great violinist.

751. I love playing with you, I truly do.

752. You can't Iead a quartet, man.

753. - You're not sufficiently disciplined... - You think you're better...

754. - ... not motivated. - ... than me.

755. You just don't have that in you, and it's fine. It's perfectly fine.

756. You think you're better than me.

757. When did I say that?

758. You're wrong.

759. You know, practicing obsessively doesn't make your playing perfect.

760. It actually sucks the life right out of it.

761. It's rigid and... and monotonous,

762. and, and self-Ioving, and safe.

763. Jesus, Robert, would you stop being so childish?

764. Please. Yeah, I know it's a challenging period...

765. The whole group is going down the path that you have us on.

766. Yes. I understand that.

767. The way you play is the way the quartet plays,

768. and it's the same thing over and over and over and over!

769. I am in my 40s. We've been playing since we were in our early 20s.

770. That is where you've taken this group.

771. But if we keep it together, now we have Nina on board...

772. That is where you have taken this group!

773. That is where we have let you take this group!

774. I have let you do that!

775. A disservice.

776. You're not even willing to play Beethoven without your notes.

777. - Unleash your passion, man. - Unleash my passion?

778. Unleash your passion! What are you afraid of?

779. You have the three of us to cover your ass.

780. Unleash your passion.

781. Wow.

782. "People expect old men to die,

783. They do not really mourn old men.

784. Old men are different.

785. People look At them with eyes that wonder when...

786. People watch with unshocked eyes,

787. But the old men know when an old man dies."

788. Come on up.

789. Mom.

790. Shit.

791. What?

792. - It's my mom. - What?

793. - That's... not funny, Alex. - I'm not kidding.

794. - That's not funny. - She's coming over.

795. - Your mom? - Yeah.

796. Oh, my God. You gotta get dressed.

797. - Hello? Hi, it's me.

798. I'm gonna grab my stuff, I'll meet you down stairs.

799. I'd like to come up and see your apartment.

800. I'm dying for some coffee. I don't have any coffee here.

801. We'll go right after, Alex.

802. OK, come on up.

803. No, she's coming up the stairs.

804. Daniel, you're gonna have to go out the window.

805. Daniel, I'm really sorry, but that's the only option.

806. I'm so sorry.

807. - Shit, shit. Go, go, go...

808. AIexandra.

809. - Hey, sorry. The door... - That's OK.

810. How are you?

811. - Good. Oh. - You look great.

812. - Nice. Nice. - Yeah?

813. - I brought you a housewarming... - Thank you.

814. - Madeleines. - I'll open it in a sec.

815. So how do you like Iiving out here?

816. Oh, it's perfect. Yeah?

817. Yeah, I'm really happy here.

818. Good. Reminds me of SoHo 20 years ago.

819. I saw Dad on Sunday for dinner.

820. So I suppose he told you what was going on between us.

821. He's very unhappy.

822. I don't know why you're torturing him.

823. He told you I was torturing him?

824. No. No, Dad would never say a bad word about you.

825. What your father did, though, is totally unacceptable to me,

826. Alexandra, and wrong.

827. If you treat him like a doormat,

828. he's gonna start to wonder what's outside the door.

829. A doormat? You don't have any idea about our relationship, AIexandra.

830. - I know what I see. - I'll tell you what I see.

831. Daniel's car... on the street.

832. What was he doing at your apartment?

833. He teaches me.

834. The violin, I hope, because your bed is a mess.

835. I'm not going to Iie to you.

836. Good.

837. Daniel and I are in love.

838. You're not in love. That's ridiculous.

839. You're jealous.

840. Why are you so angry with me?

841. What did I do to cause you to talk to me in this way?

842. I mean, did we just spoil you too much, is that what it is?

843. Do you think I had fun?

844. Do you think it was fun growing up with two roving quartet players for parents,

845. who were gone seven months of the year,

846. and I was always taking a backseat to a violin and a viola?

847. Always, is that fun? Does that seem fun to you?

848. You have always been our first priority.

849. That is bullshit! That's bullshit, that's just words. It's nothing.

850. If that were true, you would have cut back on the touring.

851. - We couldn't... - You would have paid more attention

852. to what was going on with me.

853. Not always Iooking for a perfect goddamn fingering to a Haydn quartet.

854. I did the best I could. I tried to be a good mother to you.

855. I wanted to be perfect, but this is a musician's life.

856. We rehearse and we practice and we perform.

857. Unfortunately, that's how it's going to be for you, too, you'll see.

858. No, I won't.

859. Because I would never raise a child that way.

860. I'm sorry.

861. If I were you, if I had been you in that position...

862. I would've had an abortion.

863. How can you be so cruel?

864. I risked everything to have you.

865. Do you understand?

866. Do you have any idea what it feels like, do you?

867. - Yeah. Yeah. - No.

868. I know... I know what it's like to grow up without a fucking mother!

869. Oh, my God.

870. They're fucking sixteenths, Steve, stop milking them.

871. Folks, disagree, but do it nicely, and please...

872. try not to get caught up in mistakes.

873. When I was your age, I met the great Pablo Casals.

874. I was so intimidated I could barely speak.

875. He must have sensed this, because...

876. instead of a chat, he asked me to play.

877. He requested the prelude to the Fourth Bach suite.

878. I focused, took a deep breath, began, the notes started to flow,

879. the music's in the air, and it was the worst music I ever made.

880. I played so badly, I got halfway through and had to stop.

881. "Bravo," he said, "Well done."

882. Then, he asked me to play the allemande. "A second chance," I think to myself.

883. I never played worse.

884. "Wonderful. Splendid," he praised me.

885. And when I left that night, I felt terrible about my performance,

886. but what really bothered me wasn't my playing, it was Casals.

887. The insincerity.

888. Years Iater, I met him in Paris

889. and by then I was professional, we played together.

890. We became acquaintances, and one evening, over a glass ofwine...

891. I confessed to him what I thought of his horseshit all those years ago.

892. And he got angry. His demeanor changed, he grabbed his cello,

893. "Listen," he said. And he played this phrase.

894. "Didn't you play that? Fingering.

895. You did. It was novel to me. It was good.

896. And here, didn't you attack this passage with an up-bow like this?"

897. Casals emphasized the good stuff, the things he enjoyed.

898. He encouraged. And for the rest, leave that to the morons,

899. or whatever it is in Spanish, who judge by counting faults.

900. "I can be grateful, and so must you be," he said,

901. "for even one singular phrase, one transcendent moment."

902. Hmm?

903. - Wow. - Yeah, wow. Pablo Casals. Champion.

904. Once more, with feeling please. Feeling!

905. Hello, you've reached Robert and Juliette.

906. Neither one of us is available to take your call right now,

907. so please leave a message after the beep. Thanks.

908. Jules, Robert... the medication is working.

909. I'm OK for now. I can play.

910. Rehearsal at my place, Tuesday. I'm calling Daniel. Goodbye.

911. Huh? This is good. We're getting there. Energy. Umph.

912. I can't figure out which string crossing I like.

913. I like very much what you did now. You should stick to that.

914. I think she should do whatever she wants.

915. - Let's continue. - Yeah.

916. All right, let's continue. Let's continue. Let's move on.

917. Do you mind, Robert?

918. What is going on?

919. Fill me in.

920. We've got a concert on Thursday.

921. I think it would be best if personal matters waited.

922. Oh, God, I think it would be best if you'd just shut the fuck up, you know?

923. Can you control yourself, Robert?

924. You mind?

925. You control yourself, Daniel.

926. You couldn't find somebody else's daughter to sleep with?

927. What?

928. What? What did you do?

929. Alex and I are involved.

930. It is what it is, Robert.

931. You slept with her?

932. We're in love.

933. Didn't mean for it to happen, it happened. It is what it is, Robert.

934. Sit down!

935. Stop! Don't do that, please. Not in my house, please.

936. That's enough. Out! All of you, stop it.

937. - Feel better? - Leave now, please.

938. - She's not your property. - I'm your property.

939. I'm your property. We are all your fucking property!

940. Well, I guess your life is a mess!

941. For the first time in many years, I love someone, and you know what?

942. - This time, I'm not gonna give it up. Stop it, Daniel. Stop it.

943. I am sick of the bunch of you. Out.

944. I'm sorry.

945. You have no respect for the music.

946. - You should've told me. Each other.

947. - I'm sorry. Robert, wait, please. Nothing.

948. I'm going upstairs, when I come back, I want you gone.

949. Don't follow me! You should've told me!

950. Forget about the concert. There's no concert. No nothing.

951. Can't believe this.

952. When you asked me 25 years ago... to help you form a quartet,

953. I understood what it meant to be so much older.

954. I knew that one day I'd have to step aside.

955. I simply never imagined it would be so difficult.

956. And to watch the quartet evaporate in front of me at the same time, it's...

957. It's not like anything. It's a nightmare.

958. It's a nightmare for me, too.

959. You must end this relationship right now.

960. Whatever you think it is,

961. whatever you think you're doing... end it.

962. No.

963. No, I can't do that.

964. Then working together has taught you nothing.

965. Shame on you.

966. If you look at these pictures in a certain way,

967. it's as if they open up.

968. One might go inside and meet these people.

969. They've been here watching, listening.

970. Miriam felt that one might exchange thoughts with them.

971. She Iiked this one in particular.

972. And what does Rembrandt say to you today?

973. "I'm the boss. I'm the king of painters. I'm very great and I know it.

974. I'm getting old, but still, I'm at the height of my power."

975. Look at the gaze from the shadow, he's strong.

976. He's a bit silly, in his gold dress and all, he knows that,

977. but still, his body and mind have not betrayed him. Not yet.

978. It's inspiring.

979. My own body and mind is a different story.

980. The drugs I'm taking aren't going to work for all that much longer.

981. In time, they'll make me anxious, I'll begin to imagine things,

982. and after that I'll be dependent on other people

983. to feed me, dress me, bathe me.

984. These days I think about how to avoid that.

985. - I'm being a burden. - Peter, you'll never be a burden.

986. I want to take care of you.

987. You have the quartet.

988. You have Robert and AIexandra to look after, guide them, take care of them.

989. So please, keep the quartet together.

990. Make me happy.

991. OK?

992. I was born in New York City, in 1963.

993. My mother, Françoise Reynaud, played in the Hudson String Quartet with Peter.

994. He was her closest friend.

995. And my mother died, and the quartet broke up.

996. She died while in childbirth with me.

997. I studied with Gil Breton, until I was 16,

998. when Peter arranged for me to study at Juilliard, under scholarship,

999. and then I moved here, he and Miriam invited me to live with them.

1000. Happily, they became my family.

1001. But truly, everything in my life that was good

1002. happened as a result of their incredible love for me.

1003. We formed the Fugue, and then I met Robert.

1004. And then we had a daughter, a baby girl.

1005. Alexandra.

1006. I think the truly gifted one in the family...

1007. you'll hear, I'm sure, see for yourself soon enough.

1008. I've spent most of those years traveling, but it's a very demanding...

1009. - You OK? - Mm-hm.

1010. OK.

1011. Open it.

1012. It's for you.

1013. Dad said this went for 25 grand. I can't accept it.

1014. Oh, no, don't worry about it.

1015. It belongs to a friend who owes me a favor.

1016. You can use it for as long as you wish.

1017. And this one, I made especially for you.

1018. Try it.

1019. Daniel, can I talk to you for a sec?

1020. Uh... Yeah. Sure.

1021. What?

1022. You're an amazing man.

1023. You're brilliant.

1024. - I admire you, and I think...

1025. you're a dream for any girl who can handle a man like you.

1026. I don't think I can be that girl now.

1027. It's your parents, right?

1028. - No. No. - It's your parents. It's your dad.

1029. This is my decision.

1030. Not going to let them come between us.

1031. It's the Fugue, Daniel.

1032. Hm?

1033. It's the Fugue.

1034. The Fugue?

1035. You want to end what we have because of the quartet, this is crazy.

1036. Alex, you understand, it's insane.

1037. One doesn't have to be at the expense of the other.

1038. Yeah, but it will be.

1039. You know, I could never forgive myself for that, and neither would you.

1040. - You can't... - Alex, Alex, relax. All right? Relax.

1041. It's OK, it's gonna be fine.

1042. - I'm going to take care of it. - No, you're not listening to me.

1043. I'm going to have a very serious talk with your parents.

1044. If they're not going to accept what we have,

1045. I have no interest in playing with these people. You understand me?

1046. We'll form a new quartet.

1047. New one. You and I, Alex. You and I.

1048. - We have Nina. - Daniel, this is it.

1049. I'm trying to talk to you, I'm trying to tell you

1050. that this is done now, for me. It's done.

1051. Go away.

1052. Just, uh... go away.

1053. Daniel?

1054. Daniel...

1055. Huh...

1056. Ladies and gentlemen, I have to stop.

1057. My friends are playing way too fast, I can't keep up.

1058. It's Beethoven's fault, insisting we play...

1059. Opus 131 attacca, without pause.

1060. I need a pause. Nina Lee.

1061. Wonderful cellist...

1062. friend of the Fugue...

1063. will replace me for the remainder of tonight's program,

1064. and, hopefully, for much longer than that.

1065. Nina, please.

1066. It has been my pleasure to play for you through the years...

1067. together with Robert, Daniel, Juliette.

1068. Thank you. Thank you.

1069. And for Miriam... My wife, is out there somewhere...

1070. I thank you, I miss you, I think of you.

1071. I'll be seeing you.

1072. The seventh movement.

1073. These movements are all connected.

1074. You can't ride the wild horses of the seventh

1075. without mounting them during the sixth.

1076. So with your indulgence, Iadies and gentlemen, we'll go a few bars back.

1077. Thank you.

1078. Four bars back?

1079. English - US - PSDH