TÁR (2022)

1. You ready?

2. No, just— Yeah, just ignore the microphone.

3. Yeah, just act as if it's not there. Sing as if it's not there.

4. Yeah, uh...

5. Okay?

6. Ready for them? - Yes.

7. Let's go.

8. /f you're here, then you already know who she is.

9. And that is one of the most important musical figures of our time.

10. Lydia Tar is many things.

11. A piano performance graduate at the Curtis Institute,

12. Phi Beta Kappa from Harvard.

13. She got her PhD in Musicology from the University of Vienna,

14. specializing in the indigenous music

15. of the Ucayali valley in eastern Peru,

16. where she spent five years among the Shipibo-Konibo people.

17. As a conductor, Tar began her career with the Cleveland Orchestra,

18. one of the so-called "Big Five."

19. A string of important posts followed,

20. including the Philadelphia Orchestra,

21. the Chicago Symphony Orchestra,

22. the Boston Symphony Orchestra,

23. until she at last arrived here at our own New York Philharmonic.

24. With the /after,

25. she organized the Highway Ten refugee concerts in Zaatari,

26. which were attended by over 75,000 people.

27. She's become particularly well known for commissioning contemporary work

28. from, among others, Jennifer Higdon, Caroline Shaw,

29. Julia Wolfe and Hildur Gudnadotftir.

30. And she's made a point of programming their works

31. alongside composers of the canon.

32. She's been quoted as saying,

33. “These composers are having a conversation.

34. And it may not always be so polite.”

35. Lydia Tar has also written music for the stage and screen.

36. She is, in fact, one of only 15 so-called EGOTs,

37. meaning those who have won all four major entertainment awards.

38. An Emmy, a Grammy,

39. an Oscar and a Tony.

40. It is, as you can imagine, an extremely short and shimmering list

41. that includes Richard Rodgers, Audrey Hepburn, Andrew Lloyd Webber

42. and, of course, Mel Brooks.

43. In 2010, with the support of Eliot Kaplan,

44. she founded the Accordion Conducting Fellowship,

45. which fosters entrepreneurship and performance opportunities

46. for female conductors,

47. allowing them residencies with major orchestras around the world.

48. In 2013, Berlin elected Tar as its principal conductor,

49. in succession to Andris Davis.

50. And she's remained there ever since.

51. Like her mentor, Leonard Bernstein, Tar has a particular affinity for Mahler,

52. whose nine symphonies she recorded during her Big Five stints.

53. However, she never managed to complete the so-called "cycle"

54. with a single orchestra until now.

55. Under her direction, Berlin has recorded eight of the Mahler symphonies,

56. saving the big one, Symphony No. 5, for last.

57. Due to the pandemic, that performance,

58. which was scheduled for last year, had to be canceled.

59. But I'm told that next month, she'll make a live recording of Mahler's Fifth,

60. which will complete the cycle, and will be issued in a box set

61. by Deutsche Grammophon just in time for Mahler's birthday.

62. As if that's not enough, her new book, TAR on TAR,

63. will be published by Nan Talese's imprint at Doubleday,

64. just in time for Christmas, a perfect stocking stuffer,

65. especially if you have a very large stocking.

66. All of us at The New Yorker welcome you.

67. Thank you for joining us, Maestro.

68. Thank you, Adam. Thank you.

69. Lydia, I couldn't—

70. I couldn't help but see you flinch just a little bit as I was reading your bio.

71. Was it because I forgot some other amazing achievement?

72. Or do you have a slight self-consciousness

73. about the incredibly varied things that you've accomplished?

74. Well, in today's world, "varied," it's a dirty word.

75. I mean, our era is one of specialists.

76. And if you're trying to do more than one thing, it's often frowned upon.

77. - Every artist gets typecast. - Oh, yes. Aggressively so.

78. Do you think there'll be a moment, though, when the classical music community, uh,

79. decides not to use, uh, sexual distinctions to differentiate artists?

80. I'm probably the wrong person to ask since I don't read reviews.

81. - Never, really? - No.

82. But it is odd, I think, that anyone ever felt compelled

83. to substitute "maestro" with "maestra."

84. I mean, we don't call, uh, women astronauts "astronettes."

85. But as to the question of, uh, gender bias,

86. I really have nothing to complain about.

87. Nor, for that matter, should Marin Alsop, JOANN Falletta, uh,

88. Laurence Equilbey, Nathalie Stutzmann.

89. I mean, there are so many incredible women who came before us.

90. You know, women who did the real lifting.

91. That's fascinating. Can you— Who, for instance?

92. Uh, okay, sure. Uh, first and foremost, Nadia Boulanger.

93. I mean, that would be the, uh, happy example.

94. Uh, the sad one would be Antonia Brico,

95. who by all accounts was an incredible conductor,

96. but was ghettoized into the non-glamorous status

97. of a "guest conductor" and essentially treated as a dog act.

98. A dog, um— She never got the chance to lead a major orchestra?

99. Well, yes. Yes, she did, uh, conduct

100. the, uh, Berlin Philharmonic as well as the Met,

101. but, again, only as a guest conductor.

102. You know, I mean, at that time, it was... it was all gender spectacle.

103. But fortunately, times change, and the Pauline conversion is,

104. if not complete, then it's evolving nicely.

105. No less, um, having fallen off its horse, um...

106. Lydia, could we talk a little bit about, uh, translation?

107. I think there's still people who think of the conductor

108. as a kind of human metronome.

109. Well, yeah, that's partly true.

110. - Yeah, but it's— - But keeping time, it's no small thing.

111. - But I suspect there's a lot more to it. - Yeah, I would hope so, yes.

112. - But time is the thing. - Ah.

113. Time is the essential piece of, uh, interpretation.

114. You cannot start without me.

115. See, I start the clock.

116. Now, my left hand shapes, but my right hand, the second hand,

117. marks time and moves it forward.

118. However, unlike a clock, sometimes my second hand...

119. stops.

120. Which means that time stops.

121. Now, the illusion is that, like you,

122. I'm responding to the orchestra in real time,

123. making the decision about the right moment to restart the thing, or reset it,

124. or throw time out the window altogether.

125. The reality is that right from the very beginning,

126. - I know precisely what time it is... - Really?

127. and the exact moment that you and I will arrive at our destination together.

128. You know, the only real, uh, discovery for me is in rehearsal.

129. It's never, never in performance.

130. Hard question, I know, but if you could define one thing

131. that Bernstein gave you, what would it be?

132. Kavanah.

133. Yeah, it's the Hebrew word for attention to meaning or intent.

134. What are the composer's priorities, and what are yours,

135. and how do they complement one another?

136. Right, kavanah.

137. I think that's a word that will have slightly different meaning

138. for many in our audience.

139. - Well, yes, I imagine so.

140. Am I right in thinking that a conductor was not always,

141. uh, an onstage presence in classical music?

142. No, that's right.

143. I think I read someplace that it actually was the first violin who was responsible.

144. Yes, the first violinist, whether they had any interest or skill in it or not.

145. When did that change, and who changed it?

146. With the French composer, Jean-Baptiste Lully,

147. who reportedly, uh, used a rather enormous, rather pointy staff

148. to pound the tempt into the floor.

149. It's not something I imagine the players particularly, uh, appreciated.

150. Uh, anyway, that technique ended during a performance

151. when Lully accidentally stabbed himself in the foot with the thing and died.

152. - Yeah, of gangrene.

153. But anyway...

154. Anyway, but the conductor

155. really becomes essential as the ensembles get bigger.

156. And once again, we go back to Beethoven.

157. Now, that doesn't start with the eighth note.

158. The downbeat... it's silent, right?

159. So someone had to start that clock.

160. Someone had to, uh, plant their flag in the sand

161. and say, "Follow me," you know?

162. And when that someone was Lenny,

163. the orchestra was led on the most extraordinary tour of pleasures.

164. 'Cause he knew the music, Mahler especially,

165. as well or better than anyone.

166. And he would often play with the form.

167. "Cause he wanted an orchestra to feel that they had never seen,

168. let alone heard or performed, any of that music.

169. So he would do radical things,

170. like disregarding the tempo primo or ending this phrase motto ritardando,

171. even though it had no such marking.

172. Was he over-egging it?

173. Oh, no, no, no. Not at all.

174. He celebrated the joy of his discovery.

175. You just told us a moment ago that your discovery takes place in rehearsal.

176. When will that process begin again for you?

177. We start on Monday.

178. - Immediately? - Mmm.

179. With this one, it really is about

180. trying to read the tea leaves of Mahler's intention.

181. I mean, we know a great deal about this with his other symphonies.

182. You know, he was so inspired by the poetry of Riickert,

183. that for years, he didn't set another author to music.

184. But all of this changes with the Five.

185. The Five is a mystery.

186. And the only clue he leaves us is on the cover of the manuscript itself.

187. Yes, the dedication to his new wife, Alma.

188. So if you're gonna partner with Mahler on his, uh, fifth symphony,

189. the first thing you must do is try to understand

190. that very complex marriage.

191. And would you say you have a different interpretation of that marriage

192. than Bernstein did?

193. You mentioned my ethnographic fieldwork in the Amazon.

194. Well, Adam, the Shipibo-Konibo only receive an J/caro, or song,

195. if the singer is there, right?

196. On the same side of the spirit that created it.

197. And in that way, the past and the present converge.

198. It's the flip sides of the same cosmic coin.

199. That definition of fidelity makes sense to me.

200. But Lenny, he believed in feshuvanh.

201. The Talmudic power to reach back into time

202. and transform the, uh, significance of one's past deeds.

203. So when he played the "Adagietto” at Robert Kennedy's funeral,

204. it ran for 12 minutes.

205. - He treated it as a mass. - Absolutely. Yeah, right.

206. And you know, if you listen to a recording of it,

207. you will no doubt feel the tragedy and the pathos.

208. And of course, that, uh, interpretation was very true for Mahler later in life,

209. after the professional bottom dropped out and Alma had left him for Gropius.

210. But, as I said before, we are dealing with time.

211. And this piece was not born into aching tragedy.

212. It was born into young love.

213. And so you chose...

214. - Love. Aw.

215. Right, but precisely how long?

216. Seven minutes.

217. I was so taken by what you said to Adam

218. about, um, interpretation and specifically about feelings.

219. And that you chose love.

220. And I know it's said that you should leave the tears for the audience, but...

221. do you ever find yourself overwhelmed by emotion

222. - when you're up there at the podium? Yes.

223. Yes, that does happen.

224. There's an expectation-reward cycle with some works,

225. and there's spots in them that I find so incredible,

226. that when I'm conducting, it's not that I'm rushing exactly,

227. but I don't know, I just can't wait to get to that spot.

228. And yeah, it does it. It does it every time.

229. - So it's physical as well as emotional. Mmm.

230. God, it must take hours to come back down to earth.

231. You say things after others remember, but you won't.

232. And sleep, it's impossible.

233. It's like my freshman year at Smith.

234. Which piece does that to you?

235. Oh, I saw you!

236. I saw you conduct, uh, 7he Rite of Spring at the Met last year.

237. It was so powerful.

238. Thank you. Thank you.

239. It's— It's the 11 pistol shots— it's a prime number—

240. That strike you as both victim and perpetrator.

241. You know, it's not until I conducted it that I became convinced

242. we're all capable of murder.

243. That is a fantastic handbag, by the way.

244. Thank you. I'm glad you like it.

245. Oh, I do. I do.

246. Sorry. Your lunch with Mr. Kaplan. His driver is waiting.

247. All right. I'm sorry, I've forgotten your name.

248. - Whitney. Whitney Reese. - Whitney.

249. Whitney, of course.

250. I'm so sorry, and unfortunately I've left things a bit late

251. - and there's something I can't get out of. - I understand. Can I text you?

252. It's perfect, Aldo.

253. Oh. I was hoping we could celebrate.

254. No. So was I.

255. I've got a class at Juilliard.

256. Oh, good.

257. I promised Ben.

258. I'm sure you'll have a few elbowing for an Accordion slot.

259. We should open up the fellowship.

260. - What, expand our numbers? - No, our sex.

261. I mean, it feels quaint to keep things single-gender.

262. We've made our point.

263. And honestly, we've had no real trouble successfully placing any of them.

264. Except one.

265. Oh, well.

266. She had issues.

267. So I've heard.

268. The topic comes up in every Citibank meeting with her father.

269. I'm sorry about that.

270. It's fine.

271. It's nothing I can't handle.

272. So, you want to torpedo Accordion's founding principle?

273. We'd likely lose donors.

274. Yeah, I suppose that's true.

275. Maybe it's something we revisit down the line.

276. Sure.

277. Bryant Park's locked for the 25th.

278. Nan asked me to help fill the place,

279. so the Kaplan Fund is gonna buy some radio and outdoor advertising.

280. And claqueurs.

281. It's too big, Eliot. She should have booked the Strand.

282. Relax. It'll be great.

283. And it almost falls on your birthday.

284. I was sorry you weren't able to make it to my Mahler 3 in London.

285. Me too.

286. Uh, Petra had a school thing.

287. Uh, and I promised Sharon I'd be there.

288. Of course.

289. I was just hoping for your honest opinion.

290. My player rating sheets were off the charts.

291. Those are confidential, Eliot.

292. Well, the principal oboist is a big fan.

293. On the way back, I was listening to yours with the Israeli Phil.

294. And I was struck by what you managed to pull from the strings

295. in the last movement.

296. I mean, how did you get them there?

297. Was it the hall? Was it the players?

298. The players weren't very obliging.

299. The principal violinist came up to me after the first rehearsal

300. - and asked if I was a Jew. - What?

301. It seemed to him unusual, if not suspicious,

302. that a non-Jew would be interested in conducting Jewish music.

303. - Felt like Max Bruch.

304. Well, big Jew that I am,

305. the Kaplan Fund has, uh, committed a sizable amount to them

306. - for a klezmer commission. - Mm-hmm.

307. Uh, maybe they'll invite me to guest conduct.

308. Well, they'd be lucky to have you.

309. Oh, please. I know my place.

310. Money can't always buy you everything.

311. You don't really believe that.

312. I'll have you know I tried to bribe Francesca to let me look at your notation.

313. She sent me packing.

314. Good girl.

315. That gentleman sitting over there with the gnome

316. is urgently focused on our table.

317. At first, I thought he was looking at me,

318. but I think he's got his eye on you.

319. Please try and ignore him.

320. I can excuse myself and go wash my hands if you'd like to be alone.

321. And I would never forgive you.

322. The last thing I need is to be buttonholed in here

323. by someone exactly like me.

324. Uh, what time are you leavin' tomorrow?

325. Francesca's looking into flights.

326. Well, call her off. Leave when you like.

327. You don't have to do that.

328. My motives are not entirely altruistic.

329. Just one peek. One peek at your performing score.

330. Fine.

331. - Would 5:15 be okay? - Sure.

332. Okay, I mean, I do— I have to get turned around fast.

333. We're filling a vacant position.

334. Please tell me it's Sebastian.

335. Now, be fair, Eliot. Sebastian has decent technique.

336. He has baton.

337. A month ago, I dropped into Bunkamura

338. to watch the touring machine trot out Chopin 1.

339. OI' Sebastian really is Mr. Tempo Rubato.

340. Robot-o is more like it.

341. - Why do you keep him on? - Oh, he's Andris's man, you know that.

342. Exactly. You inherited that decision.

343. Seven years is a long time to pretend you respect it.

344. They have different labor contracts over there.

345. He's a— He's a strange guy.

346. - Who? Andris? - No, Sebastian.

347. He has, um, fetishes.

348. Fetishes? Like what?

349. Nostalgia for pre-war Kalmus miniature scores,

350. dead-stock pencils he's seen von Karajan hold in photographs.

351. You know, that sort of thing.

352. That's just sad.

353. Yeah, but you're not wrong.

354. I am gonna have to rotate him at some point.

355. For who?

356. What Love Teaches Me. That string notation.

357. Mahler gives it to you himself.

358. Come on.

359. Trust me, you do not wanna go to school on someone else's red and blue pencil.

360. Least of all, mine.

361. Oh, but I do.

362. - All right. Will you quit pestering me? - Yes.

363. Free bowing.

364. It's not pretty for an audience to look at.

365. But if you can manage to keep your players outta the weeds,

366. the sound's ferocious.

367. Oh.

368. There's no glory for a robot, Eliot.

369. Do your own thing.

370. Mmm.

371. All right, um,

372. let's stop here.

373. - Thank you, Max. Very good. - Thanks.

374. Um, just for my own edification,

375. why did you come to Juilliard?

376. Uh, it's the best music conservatory in the country?

377. People from Curtis, Eastman and others may beg to differ.

378. I mean, Juilliard's a brand, right?

379. So, did you come to study with a brand?

380. - No, right.

381. So there's a teacher or graduate somewhere down the line

382. who, you know, conjured something in your imagination.

383. Someone you aspire to be yourself.

384. - Mm-hmm. - So, who was that?

385. Sarah Chang.

386. - So you're a violinist? - Yeah.

387. All right, okay.

388. Well, I can see why you would choose to conduct a piece like this.

389. Must be a familiar pleasure in presiding over a bed of strings

390. that behave as if they're tuning.

391. Now, this piece is very au courant.

392. And here, the composer tells us to begin with

393. "back-and-forth tremolo strokes with wire brush

394. and slowly sliding crotales over skin."

395. Sounds like René Redzepi's recipe for reindeer.

396. It's exciting to play new music, isn't it?

397. - Yeah. - Yeah.

398. Great. All right, please, join the other fellows.

399. Now, I know you're all conducting students of, uh, Mr. Wolfe's,

400. but how many of you are also studying composition?

401. Right, what's your name?

402. Olive Kerr.

403. All right, Olive, uh,

404. what do you make of what we've just been listening to?

405. It's pretty awesome. I mean, there's incredible atonal tension.

406. I agree about the tension part.

407. Now, you can intellectually contemplate, or masturbate,

408. about the felicity of the so-called "atonal,"

409. but the important question here is what are you conducting?

410. What is the effect? What is it actually doing to me?

411. Good music can be as ornate as a cathedral or bare as a potting shed,

412. so long as it allows you to answer both those questions.

413. Max.

414. Come on, what do you think?

415. When Anna Thorvaldsdéttir gave her master class,

416. she said she was often influenced by the form

417. and structure of landscapes and nature she grew up within.

418. But I'm not sure she was interested per se in describing those actual sounds.

419. Very Punkt Kontrapunkt.

420. Yes.

421. The intent of her composition is vague, to say the least.

422. So, if her intent is vague,

423. how do you, as a conductor, have a point of view about anything?

424. Now, to be fair, I mean, there are times when you will simply have no choice.

425. And you will be made to stand in front of an orchestra

426. and pretend that there are these invisible structures.

427. But my prayer for you is that you will be spared the embarrassment

428. of standing on the podium with a 433, trying to sell a car without an engine!

429. Because now, my friends, now is the time

430. to conduct music that actually requires something of you.

431. You know, music that everybody knows but will hear differently

432. when you interpret it for them.

433. For instance, Max, why not a Kyrie?

434. You know, like, uh, something like Bach's Mass in B minor.

435. I'm not really into Bach.

436. - You're not into Bach? - Mm-mmm.

437. Oh, Max.

438. Have you read the Schweitzer book?

439. No.

440. Well, you should. It's an important text.

441. Now, Antonia Brico thought so.

442. So much so, that she shipped herself to Equatorial Africa

443. and canoed up the Congo River to track Schweitzer down

444. and ask him to teach her what he knew about Bach.

445. I mean, somewhere I've got a picture of her in a pith helmet.

446. I mean, have you—

447. Have you ever played or conducted Bach?

448. Honestly, as a BIPOC, pangender person,

449. I would say Bach's misogynistic life makes it kind of impossible for me

450. to take his music seriously.

451. Come on.

452. What do you mean by that?

453. Well, didn't he sire, like, 20 kids?

454. Yes, that's documented.

455. Along with a considerable amount of music.

456. But I'm sorry,

457. I'm unclear as to what his prodigious skills in the marital bed

458. have to do with B minor.

459. Sure. All right, whatever. That's your choice.

460. I mean, after all, "a soul selects her own society."

461. But remember, the flip side of that selection

462. closes the valves of one's attention.

463. Now, of course, siloing what is acceptable or not acceptable

464. is a basic construct of many, if not most, symphony orchestras today,

465. who see it as their imperial right to curate for the cretins.

466. So, slippery as it is, there is some merit in examining Max's allergy.

467. Can classical music

468. written by a bunch of straight, Austro-German, church-going white guys

469. exalt us, individually as well as collectively,

470. and who, may I ask, gets to decide that?

471. You know, what about Beethoven?

472. You into him?

473. Because for me, as a U-Haul lesbian,

474. I'm not too sure about old Ludwig.

475. But then, I face him.

476. And I find myself nose-to-nose with his magnitude

477. and inevitability.

478. Come on, Max. Indulge me.

479. Let's allow Bach a similar gaze.

480. Sit.

481. Now, this is all filigree, right?

482. I mean, it could be a first-year piano student.

483. > Or Schroeder playing for Lucy »

484. Or Glenn Gould, for that matter.

485. Now, it's not until it changes...

486. you get inside it, that you hear what it really is.

487. It's a question.

488. And an answer.

489. Which begs another question.

490. There's a humility in Bach.

491. He's not pretending he's certain about anything.

492. 'Cause he knows that it's always the question that involves the listener.

493. It's never the answer, right?

494. Now, the big question for you...

495. is what do you think, Max?

496. You play really well.

497. But nowadays, white, male, cis composers, just not my thing.

498. Don't be so eager to be offended.

499. The narcissism of small differences leads to the most boring conformity.

500. I guess Edgard Varese is okay.

501. I mean, I like Arcana, anyway.

502. Oh, well. Then you must be aware that Varese once famously stated

503. that jazz was "a Negro product exploited by the Jews."

504. Didn't stop Jerry Goldsmith from ripping him off

505. for his Planet of the Apes score.

506. It's kind of a perfect insult, don't you think?

507. But you see,

508. the problem with enrolling yourself as an ultrasonic epistemic dissident

509. is that if Bach's talent can be reduced to his gender, birth country,

510. religion, sexuality and so on, then so can yours.

511. Now, someday, Max, when you go out into the world

512. and you guest conduct for a major or minor orchestra,

513. you may notice that the players

514. have more than light bulbs and music on their stands.

515. They will also have been handed rating sheets,

516. the purpose of which is to rate you.

517. Now, what kind of criteria would you hope that they would use to do this?

518. Your score reading and stick technique, or something else?

519. All right, everyone, using Max's criteria, let's consider Max's thing.

520. In this case, Anna Thorvaldsdottir.

521. Now, can we agree on two pieces of observation?

522. One, that Anna was born in Iceland.

523. And two, that she is, in a Waldorf teacher kinda way, a super hot young woman!

524. Show of hands.

525. All right, now let's turn our gaze back to the piano bench up there,

526. and see if we can square how any of those things

527. possibly relate to the person we see seated before us.

528. Where are you going?

529. You're a fucking bitch.

530. And you are a robot.

531. I mean, unfortunately, the architect of your soul appears to be social media.

532. You wanna dance the mask, you must service the composer.

533. You gotta sublimate yourself, your ego and, yes, your identity.

534. You must, in fact, stand in front of the public and God

535. and obliterate yourself.

536. All right.

537. During the lockdown, you did something I thought remarkable.

538. You made music for free.

539. Anyone at all could stream Berlin performances without ever paying a dime.

540. Well, that was a democratically made decision by the players.

541. And though I wish [ could claim the idea was mine,

542. it really did spring from the heart of Sharon Good now.

543. Sharon is your partner. You have a child together.

544. And she's also the concert master for Berlin.

545. - Does that ever complicate things for you? Yes, that's right.

546. Your work getting into your home or the other way—

547. Jake said he was certain you'd be happy with the drape of the seat.

548. I will be

549. if I can keep the fat off until next month.

550. You never gain weight.

551. Your mother texted me.

552. She knows you're busy, but is hoping to drop by.

553. Next trip.

554. What are you thinking for dinner?

555. Uh, no.

556. No, I'm gonna stay in and put this piano to good use.

557. I'm suspicious of the E natural in the cello line.

558. Doesn't it sound like warmed-over Charles lves to you?

559. Not at all.

560. But don't worry, I'll call Houston. They'll be flexible.

561. You must have some New Haven friends you want to see tonight?

562. No. Not really.

563. Should I stop by later for notes?

564. No, that won't be necessary.

565. - Okay.

566. Oh, I— I almost forgot, but...

567. this was left for you at the front desk.

568. By who?

569. They didn't say.

570. What, no card?

571. No.

572. Okay, just leave it over there. Thanks.

573. Good night.

574. Night.

575. You are listening fo All Things Considered from NPR news.

576. All Things Considered ls brought to you

577. by the Corporation for Public Broadcasting.

578. Public broadcasting.

579. / eat ears. Feeding the discerning listener since 2008.

580. 2008. I eat ears. And you should too...

581. And now more from NPR.

582. Over the next few weeks,

583. you'll be hearing poems from four finalists

584. for the National Youth Poet Laureate award.

585. When were you informed of this?

586. Just this morning.

587. Mr. Kaplan was very apologetic.

588. I was able to get us on the 7:00 a.m. you like, through Munich.

589. The connection's short, but Special Services are standing by.

590. Where are things with DG?

591. Please tell me they've finally woken up to see the wisdom

592. of honest-to-God LPs for this release?

593. No movement there yet.

594. Have you looked at the email I drafted for you?

595. - Sent it last night. - Well, just forward me their response.

596. What's your take on 7he New Yorker talk?

597. It went well, I thought.

598. Oh. You're hedging.

599. I was garrulous.

600. No.

601. No, not at all. You were fabulous.

602. Francesca!

603. If you have any real interest in conducting,

604. you need to be able to speak your mind.

605. Okay. Perhaps you could've made less of the relationship with—

606. Lenny?

607. No, I was thinking about Mahler and Alma's.

608. You implied that she betrayed him. I'm not sure I agree with that.

609. Oh, really?

610. Alma was a composer too. But he insisted she stop writing music.

611. He said there was only room for...

612. - One asshole in the house? - ... one asshole in the house. Yes.

613. And she agreed to those rules. No one made that decision for her.

614. Okay?

615. How was your evening?

616. Yeah, was uneventful.

617. Are there any of Sharon's pills left?

618. No, but Dr. Korovin called these in.

619. Ah. Thanks.

620. I received another weird email from Krista.

621. Mmm?

622. How should I reply?

623. Don't.

624. This one felt especially desperate.

625. Do you have some kind of profit-sharing deal with the utility company

626. that I'm unaware of?

627. The flutter's back.

628. It's... It's racing.

629. I can't find my metoprolol anywhere.

630. Fuck.

631. Uh, I found this lying loose in the drawer.

632. Is this the right one?

633. Yeah.

634. Thank you.

635. Is that a new bag?

636. Oh, it's just a gift from Eliot.

637. - You want it? - No.

638. Suits you.

639. Let's...

640. slow this down to 60 beats a minute.

641. Actually, it's 64 beats.

642. Tried calling you on your mobile last night.

643. Mmm.

644. And again at the hotel.

645. Must've been asleep.

646. You never sleep that deeply.

647. Don't be a scold.

648. > Feelin' a feelin' »

649. » Somethin' there ain't too much of »

650. I'm worried about Petra.

651. She's starting to disappear into herself.

652. Be specific.

653. She keeps coming home with bruises on her shins.

654. And then when I ask her about it, she gets quiet.

655. I mean, I hope it's just playground football

656. and not some Blodeutsche thing.

657. We talked about this.

658. But maybe we just need to put more effort into finding her a friend.

659. Last year was really hard

660. to be locked up alone with two old ladies like us.

661. She's old enough to learn piano.

662. I'll teach her.

663. Yeah.

664. That might be good.

665. How's your heart?

666. Better now.

667. Knock, knock. Who's there?

668. Lenny?

669. Walter?

670. Oh, it's you, MTT.

671. Why do you insist on holding things up like that?

672. Your business here is rejoicing, not screaming like a fucking porn star.

673. Michael Tilson Thomas...

674. Hello, Petra.

675. Why are you lurking, hmm?

676. Tell me and I'll help.

677. Sharon? - Mmm?

678. Uh, I'm taking Petra to school.

679. Oh, okay.

680. Come on. 7schiiss.

681. "Who'll bear the pall?"

682. "We," said the Wren.

683. - "Both the cock and the hen." "The hen."

684. "I'll..."

685. "We'll bear the pall."

686. "And who'll sing a psalm?"

687. "I, said the thrush as she sat on a bush.

688. "Il sing a song."

689. "Who'll toll the bell?"

690. "I," said the Bull, 'because I can pull.

691. I'll toll the bell."™

692. "All the birds of the air fell a-sighing and a-sobbing

693. when they heard the bell toll for poor Cock Robin!"

694. It's gonna be okay.

695. All right. Okay, which one is she?

696. The red one.

697. - Bye. - Goodbye.

698. Hallo, Johanna.

699. Hello. Hi.

700. They're all in the chamber hall?

701. Yes.

702. No.

703. Good morning.

704. Oh, I'm sorry, Maestro.

705. We weren't sure you were coming.

706. We were told there might be a scheduling conflict.

707. - Would you like me to take notes?

708. No, thank you, Sebastian. That won't be necessary.

709. Do we all have our rating sheets?

710. - We narrowed it down to three. - Mm-hmm.

711. So unless anyone has other business to discuss,

712. let's bring in number one.

713. Goossens stands, sounds his A.

714. And, of course, uh, Leon was rather famous

715. for his rather wide vibrato, huh?

716. Beech am looks up and says, "Gentlemen, take your pick."

717. How's the writing going?

718. Ah, I never know how to answer that question.

719. Makes it sound like a physical act.

720. Like, how's the shitting going?

721. Okay. How's the thinking going?

722. Yeah, not so well.

723. I keep hearing something and getting excited

724. only to catch myself in pastiche.

725. It's all pastiche.

726. We all have the same musical grammar.

727. Just look at Beethoven Five.

728. The third movement's theme has the same sequence of intervals

729. as the opening theme of the final movement of Mozart Forty.

730. That could've been a coincidence.

731. No. Not in this case.

732. If you examine the sketchbooks he used,

733. 29 bars of Mozart's finale appear,

734. copied out by Beethoven.

735. Oh, my God. I find that extremely depressing.

736. I finished reading your manuscript. It's very good, Lydia.

737. One for the ages.

738. And, I dare say, will be available long after my book has been forgotten.

739. Oh, yes, you're right.

740. The entire first printing will always be available.

741. Too modest, as usual.

742. Thank you, Andris.

743. I'll cherish this.

744. You may use it.

745. A blurb for the covers.

746. Oh, thank you.

747. I'll send it to the publisher.

748. Hopefully there's still time.

749. I'm proud to call you my pupil,

750. even though there was really nothing I could teach you.

751. Now, that's not true.

752. I'd never have the position here were it not for you.

753. Then you'd be in London, New York.

754. They're not Berlin.

755. Besides, I'm not sure what Sharon would do were we ever to leave.

756. She's so close with her family.

757. Yes. The Good now sisters.

758. I remember the elder one being an absolute ball-breaker

759. while she still held sway at DG.

760. - Heike is a woman of many opinions. - Oh.

761. And that voice.

762. I mean, the signal-to-noise ratio, it's unbearable.

763. I've had to bolt-hole at my old place in town to get any writing done.

764. Schopenhauer measured a man's intelligence against his sensitivity to noise.

765. Didn't he once also throw a woman down a flight of stairs who later sued him?

766. Yes.

767. Although it's unclear that this private and personal failing

768. is at all relevant to his work.

769. You're late.

770. - Here, give me your stick. - Thank you.

771. I've got it.

772. But it's also...

773. It's like we're hearing it from a very, very great distance. So it's...

774. S— Uh— Sorry.

775. Harald, I was just wondering if you might, um, quickly rig something up for us?

776. - Harald.

777. Uh, we'll want the same backstage setup for the live recording.

778. One, two, one.

779. Looks great... but we need to hear it.

780. Okay? It's not...

781. Hey.

782. It's— It's much too slow.

783. Mm-hmm. Okay.

784. - How are things feeling up here? - Fine, yeah.

785. Yeah, actually great, but it's a shame we don't record this one direct-to-disk.

786. Oh, I know. It's criminal, is more like it.

787. Will you shoot me the MP3s?

788. Yeah, sure. But don't you want WAY files?

789. No, just think what people will actually be streaming.

790. - What about video? - Yes, yes. Uh, stage left, A camera.

791. - Okay. - All right. Thanks, guys.

792. - Okay. Bye. You're welcome. - Goodbye.

793. There. Yeah.

794. You want us to come in stronger there?

795. Here, 'cause the reigning dynamic is forte...

796. - ... which is not good.

797. Yeah?

798. Just one small thing, Maestro.

799. During the scherzo, um, the clarinet solo's still a bit too loud.

800. It should really be an accompanying figure to the first violins.

801. But apart from that, I'd say we're in very good shape.

802. Thank you, Sebastian.

803. Thank you.

804. Accurate assessment?

805. I don't think so.

806. The clarinet is marked piano, and we are marked pianissimo.

807. Sebastian likes to sit in the stalls.

808. But there's no problem with the balance in the circle.

809. Mm-hmm.

810. Something a bit more playful.

811. Mm-hmm.

812. Oh, and here's something Tanya and I did with Gustavo.

813. It's very powerful.

814. Yes, it's really wonderful work, uh, Karl.

815. I'm just wondering if we might try something a little less, uh, considered.

816. Something simple like this? Mmm?

817. I'm not sure how you would want to light it.

818. Have Harald dim the house lights to half.

819. House lights down half, please.

820. We could make it work, but we'd have to bring in some lights.

821. Mm-hmm.

822. If we wanna do something like this,

823. uh, we'll have to bring the hot lights next week, Tanya.

824. Forget about the strobes.

825. Thank you for waiting.

826. Of course, Maestro.

827. How are we feeling about today's rehearsal?

828. Well, Sebastian thinks your solo in the scherzo is a bit loud.

829. It's possible.

830. I don't agree.

831. Your dynamic marking is higher than that of the first violin.

832. Yes, that's true.

833. Look. Sebastian's getting old, Knut.

834. I'm rotating him out.

835. You're the first to know.

836. Well...

837. then I will organize a caucus, and we'll take a vote.

838. No. No, you won't.

839. A vote must be taken.

840. I am familiar with the electoral conclave.

841. But the appointment of the assistant conductor

842. is entirely my decision.

843. So, I can count on your support with the others?

844. Yes.

845. Good.

846. Who will you replace him with?

847. Oh, I'm considering a few names,

848. but the main thing is we proceed with this immediately.

849. I understand.

850. Maestro, uh, the other players would like to know

851. if you have chosen the companion piece.

852. Ah!

853. Oh. |--

854. It's okay.

855. > Changing major to minor »

856. Ah, I'm sorry, I knocked.

857. I knew you wanted your keys back as quickly as possible.

858. Yes, thanks.

859. - Did you use the company card? - Yeah.

860. We can use it for your, um... your taxi home.

861. Yeah. It's all right. You can go.

862. It wasn't just the keys.

863. I need someone to hold me.

864. This isn't the place, Francesca.

865. You're— That's not about...

866. I just...

867. I just got this from someone over at Accordion.

868. Oh, no.

869. When did this happen?

870. Day before yesterday.

871. That email she sent you, it felt like she was already—

872. Delete it. And the rest.

873. There's no reason to get caught up in any intrigue.

874. Now, now.

875. Come on. There's nothing we could have done to stop her.

876. She wasn't one of us.

877. I can't stop thinking about our trip up the Ucayali.

878. Mmm.

879. The three of us were so close.

880. Yes, but that was before she started making demands.

881. No, there was just something not quite right about her.

882. She had so much promise.

883. She did.

884. Yes.

885. Almost as much as you.

886. Now, we have to forget about her.

887. You understand?

888. - Right?

889. - I'm sorry. - No.

890. - I know you're working. - Oh...

891. Your... Your keys are on the kitchen table.

892. She went straight to sleep.

893. Didn't even have to hold her foot.

894. And she came home in a much better mood.

895. Oh, attagirl.

896. Met the new cellist today.

897. Oh? What was that like?

898. Olga Metkina. Russian.

899. Strong player.

900. Good.

901. Her facial posture is a bit much.

902. How so?

903. Her legato. Looks like she is on the verge of climaxing.

904. She's young.

905. Ah, so you've met her.

906. No, no.

907. Francesca mentioned something. I think she's arranging a welcome lunch.

908. You may wanna hold off on that.

909. Her invitation is conditional.

910. You have reservations?

911. No.

912. Not really.

913. We need to see if she fits in.

914. Did you take your pill?

915. No.

916. Thank you for reminding me.

917. How was Johanna yesterday?

918. She stays away now.

919. Good. You let me know if that changes.

920. Petra, last night you weren't, by any chance, in my study?

921. No, Lydia.

922. Because you do know you're not supposed to be in there without me.

923. I know.

924. That's right.

925. It's...

926. It's not so simple. It's got... It's gotta be messier.

927. It's, uh—

928. A lot of pressure. Okay.

929. So familiar to everyone here.

930. It really doesn't help you to know this piece so well. Okay.

931. Same place.

932. - Please, please, please, please.

933. You must watch.

934. Okay?

935. It's gotta be like, uh, just one person singing their heart out!

936. Okay.

937. Mmm. Maestro!

938. What a surprise! I was just having a spot of lunch.

939. - C— Can I offer you anything?

940. Uh, no, thank you.

941. - Some tea, perhaps? - No, thank you, Sebastian.

942. You know, I forget sometimes just how impressive your collection is here.

943. - Is that Kalinnikov?

944. - Yes. - Ah!

945. Isn't he marvelous?

946. He belongs in a museum.

947. I rescued him for a hundred rubles from a Kiev street fair back in '90.

948. - Ah! - Right after the Wall came down.

949. Ah, that must really have been something.

950. - Oh, incredible to have lived through it. - Mmm.

951. I'd only just arrived here with Andris,

952. and suddenly the impossible was possible.

953. Yeah.

954. I'd like to talk about that.

955. The reunification?

956. No, no. But please, sit down.

957. No, uh... About the possibility of you fronting a subscription orchestra.

958. But I already do.

959. Yes, but not as Kapellmeister.

960. If not now, then when, Sebastian?

961. You mean leave Berlin?

962. Well, rotate somewhere, yes.

963. But this is my home.

964. Our only home is the podium.

965. We all live out of a suitcase.

966. You know that as well as anyone.

967. Just think about it.

968. Take your time.

969. It's not something we need to decide now.

970. It's the girl, isn't it?

971. I'm sorry, what girl?

972. You're not asking.

973. You're telling.

974. I knew as soon as she showed up that my days here were numbered.

975. Andris told me not to worry... but I knew.

976. I'm sure I don't know what you're talking about.

977. Oh, please.

978. Just because nobody dares breathe it.

979. We know the things you do.

980. The little favors you grant.

981. I'm... I really don't know what to say, Sebastian.

982. I mean, you of all people have the temerity to question my integrity?

983. No, no. I'm sorry, Maestro. I don't know what I'm saying.

984. No, no, no. It's clear you know exactly what you're saying.

985. I mean, if that's how you really feel about me,

986. then wouldn't you say that staying is entirely out of the question?

987. No, no, please, Maestro. Please, forgive me.

988. For what?

989. Your obsequiousness, your hypocrisy, your misogamy?

990. I'm not a misogynist!

991. Misogamy. It's a hatred of marriage.

992. Andris is still very much married.

993. And you occupy an apartment on the same floor, don't you?

994. I just don't like what he's implying.

995. It could lead to more than Chinese whispers.

996. I know.

997. We barely survived Der Spiege/ when you and I came out together.

998. - But with Francesca,

999. no one could point their finger.

1000. It's not like you two are in a relationship.

1001. Yeah, that's true. I just...

1002. Turns my stomach to think the old robot will be right about something.

1003. He's probably already run to Andris.

1004. Well, is there someone other than Francesca you feel is more qualified?

1005. There are others equal to the task.

1006. Mmm.

1007. Maybe wait to decide.

1008. Where are we at with DG?

1009. Uh, I spoke to an assistant in Boyd Muir's office,

1010. who said they weren't sure why they decided on a digital-only set,

1011. what the criteria were.

1012. But I do know they just did a full-vinyl pressing for Long Yu.

1013. Of course they did. The Chinese market's incredible.

1014. All right. Gloves off. I'm going straight to Lucian.

1015. Maybe he needs to be reminded

1016. of his Annenberg Inclusion Initiative.

1017. - You've got his contact details, right? - Mm-hmm.

1018. I'll send it to you right now.

1019. My machine's misbehaving again.

1020. I've already spoken to IT.

1021. Just— Here, let me borrow yours.

1022. Thank you.

1023. Where's the match a?

1024. Ah, I wasn't sure where you were.

1025. Was working out a kink.

1026. The matcha's cold. I'll get another.

1027. It's all right. I don't need it. Let's just keep working.

1028. Francesca, you did as I asked

1029. and deleted any and all correspondence with Krista.

1030. Correct?

1031. Um...

1032. I'm not sure.

1033. [-- I— I'm— I'm not sure. I'll double-check.

1034. You know, Sebastian's leaving us.

1035. And I wondered if you might compile a list of suitable replacements.

1036. Ah. Of course, feel free to add your own name.

1037. Thank you.

1038. Oh, your lunch with the new cellist.

1039. Oh!

1040. Meant to have you reschedule that till after the orchestra votes.

1041. I'll text her now.

1042. No, wait.

1043. Might as well see what she's made of.

1044. This food.

1045. The cucumber salad's, uh, very good.

1046. It's kind of the only real option in this place if you're vegetarian.

1047. Do you eat fish?

1048. Not really.

1049. You know, we can go somewhere else.

1050. Like the Store Kitchen.

1051. I mean, it's kind of a silly tradition, really,

1052. that new members are brought here to sup with the ghosts of the past.

1053. I mean, at some point, everyone from— from Napoleon to Beethoven

1054. tucked in for a meal at one of these tables.

1055. Yes, and Clara Zetkin.

1056. I wonder which one.

1057. Who's that? It's a musician?

1058. No. She helped found Social Democratic Women's Movement in Germany.

1059. And KPD until Hitler came to power and she was exiled to Soviet Union.

1060. Clara Zetkin?

1061. Yes.

1062. Every March 8th, we place flowers at her plaque in Kremlin Wall Necropolis.

1063. Her birthday?

1064. No, International Women's Day.

1065. Are you ready, Maestro?

1066. - Yes, uh— Yes, first shashlik, then veal.

1067. For you?

1068. - Cucumber salad. Thank you. - Good choice.

1069. Some more bread?

1070. Mmm.

1071. It's good. Would you like a bite?

1072. Oh, no. No. Thank you.

1073. Have you lived in Berlin long?

1074. No, not at all.

1075. I have friends in Neukolln I visit until I know decision of orchestra.

1076. Simonov will hold your place?

1077. Yes, I think so. He is my uncle.

1078. Oh.

1079. But my dream has always been to play with Berlin.

1080. Oh, me too.

1081. There's nowhere like it.

1082. I imagine Rostropovich is a hero of yours?

1083. Well, of course, he was great.

1084. We study him at Moscow Conservatory,

1085. but growing up, my favorite is Jacqueline du Pré.

1086. She made me want to play cello.

1087. Which record was it?

1088. Not record. YouTube.

1089. Elgar Concerto.

1090. Oh, of course. With Barenboim conducting the London Phil.

1091. I don't know who was conducting.

1092. But she did something to me.

1093. That's when I decide to learn piece and play it with youth orchestra.

1094. Quite a challenge. How old were you?

1095. Thirteen.

1096. Wow.

1097. I'd love to hear it.

1098. They make video. I will text to you.

1099. Beautiful.

1100. Now, just before we break,

1101. I know many of you are wondering what the companion piece will be,

1102. and I have been thinking quite a bit about it

1103. and was wondering if we could just take an informal poll

1104. about possibly pairing the Five

1105. with Elgar's Cello Concerto?

1106. Oh, and—

1107. Given what we've all been through,

1108. what we're still going through,

1109. and we're finally back together as a family,

1110. I feel that maybe the soloist should come from within our own ranks.

1111. Yeah.

1112. Good.

1113. Good, good. Good start.

1114. - One more question. Gos.

1115. And this really is just for you, Gosia.

1116. I mean... as a practical matter,

1117. I mean, this would normally fall to you.

1118. But given how much is gonna be asked of you with the Mahler,

1119. I wondered if you'd be at all bothered if we were to hold auditions?

1120. Well, that's a bit unorthodox.

1121. But, in theory, I have no objection.

1122. My only hesitation will depend on when these auditions might take place.

1123. I wouldn't want them in any way to interfere with our sectionals.

1124. No, no. That's a good point.

1125. I mean, it is gonna have to be—

1126. It's gonna have to be a sprint. Um...

1127. How about Monday?

1128. All right.

1129. Okay, good.

1130. Knut, would you assemble a quorum for Monday?

1131. Let me see what she says.

1132. Okay, I got— I gotta go.

1133. Britta, hi.

1134. Lydia! Just caught the end.

1135. Ah! What'd you think? How's it, uh— How's it sounding?

1136. Oh, it's fantastic.

1137. I can't wait until the live recording.

1138. Yes, well...

1139. I'll be happy when it's over.

1140. It's always that way.

1141. I know you're busy, and I don't want to add to your load,

1142. but...

1143. Andris Davis called.

1144. Look, he's upset I'm rotating Sebastian.

1145. No, no, no, no, no. Something else.

1146. But you will please let Laura know as soon as you have chosen his replacement

1147. so she can prepare a press release.

1148. Yeah, of course.

1149. Uh, so, what did he want?

1150. To complain about the punctuality

1151. of a driver he seems to believe the board supplies him with.

1152. Do you know anything about this?

1153. Yes.

1154. No, it's just— it's just something I pay for.

1155. Then why does he believe it's the board?

1156. Because he needs to believe that.

1157. He needs to b—

1158. He needs to believe he hasn't been forgotten, Britta.

1159. The academy has Von Karajan's name on it,

1160. and there are love shrines to Abbado all over this place.

1161. But the name of Davis,

1162. it's essentially nowhere to be seen.

1163. All right.

1164. Then perhaps Francesca could have a word with the driver?

1165. Of course.

1166. One other thing.

1167. It's unpleasant.

1168. Oh, is it? Operational shortfall?

1169. Must I take Mrs. Sewing out to drinks again?

1170. No, no, no. Nothing to do with the orchestra.

1171. Do you remember an Accordion Academy fellow

1172. named Krista Taylor?

1173. Yes. Why?

1174. Apparently, she committed suicide.

1175. Oh, God. Poor thing.

1176. Her parents mu—

1177. Wait, sorry, I'm...

1178. I'm confused, Britta.

1179. Why were you put in the position to deliver this terrible news?

1180. Why didn't Accordion contact me directly?

1181. It's delicate, Lydia.

1182. Mr. Kaplan thought it might be best

1183. if you contacted a lawyer before speaking with anyone at Accordion.

1184. Well, presumably, that "anyone" includes Eliot himself.

1185. I'm— I'm sorry. Why would I need to do that?

1186. Apparently, some accusations have been made.

1187. Accusations? What kind of accusations?

1188. He didn't say.

1189. But they were brought to Accordion's counsel.

1190. Mr. Kaplan said he's certain nothing will come of it,

1191. but one can't be too careful.

1192. I'm sorry about the hour. It's Lydia Tar calling.

1193. I need to speak to Mr. Singer immediately.

1194. Yes. Yes, it's urgent.

1195. Tired?

1196. Sleep's elusive.

1197. I was the same before a recording date.

1198. Lydia,

1199. are you absolutely certain about Sebastian?

1200. Mm-hmm.

1201. Who will you replace him with?

1202. Possibly Andrew Crust.

1203. He's been assisting Otto Tausk at the VSO.

1204. Not the girl?

1205. Andris...

1206. have you ever had an issue with a— a student or colleague,

1207. where that person may have misinterpreted your intention?

1208. - Has someone been complaining about me? - No, of course not.

1209. "Cause at this point, they've missed their chance.

1210. - I'm out of the game. - Yes, yes, I know, I know. Course you are.

1211. Thank God I was never pulled from the podium like Jimmy Levine.

1212. Or hunted like Charles Dutoit.

1213. I take it you're asking for a reason.

1214. Well, there's just been so much of this sort of thing in the news lately.

1215. Well, nowadays, to be accused is the same as being guilty.

1216. But I suppose that was also the case all those years ago with Furtwangler.

1217. A bit with Karajan too.

1218. Who was the better conductor?

1219. I never played under Furtwangler.

1220. Yeah, when I first arrived here, the older members had...

1221. hushed opinions.

1222. At the same time, they wanted to leave that era behind.

1223. - What? The war? - No, postwar.

1224. - Mmm. - Denazification.

1225. Someone pointed a finger at you, process started all over again.

1226. Furtwangler never joined the Party.

1227. Refused to give the salute or to conduct the "Horst Wessel Lied."

1228. Or to sign his letters, " Heil Hitler."

1229. Even those he wrote to Hitler.

1230. But he was obliged to be denazified.

1231. Until then, he was semiretired, playing corpses.

1232. Playing corpses?

1233. Secretly performing in a graveyard.

1234. You're not equating sexual impropriety with being an accused Nazi?

1235. Either way, you had to be ready.

1236. For years, I made sure all the hangers in my closet were facing the same direction.

1237. How many are auditioning on Monday?

1238. No one.

1239. No one?

1240. Maybe Martin.

1241. He's never gotten along with Gosia. He would love to sit downstage for once.

1242. Well...

1243. he's still gonna have to audition.

1244. Of course.

1245. Have to follow the rules.

1246. Aren't we being a bit formal, Francesca?

1247. From what I understand, there's only one player, right?

1248. No, Maestro, there are two.

1249. Well, it's unanimous.

1250. Number two. Mm-hmm.

1251. And we have a problem.

1252. She's not officially been invited to become a member of the orchestra.

1253. Well, she wouldn't need to be to solo for us.

1254. I believe the criteria of the audition was all section members?

1255. - Then her audition gets thrown out. No.

1256. Francesca, please ask Martin to come back in so we can give him the news.

1257. Wait. Gosia, let's talk.

1258. Whoo!

1259. I'll confirm solo rehearsal dates with her.

1260. Thank you.

1261. Have a seat.

1262. I have made a decision

1263. regarding Sebastian's replacement.

1264. And I want you to know it wasn't an easy one.

1265. This position brings with it enormous responsibility

1266. - and, my personal affection for you aside...

1267. will have to go with someone more— more experienced.

1268. Oh, leave me alone. I don't have your paper!

1269. I've told you before, I—

1270. Oh, I'm sorry. Please come in.

1271. Good! Good!

1272. I think the contrast is...

1273. - it's much better now, don't you think? - Mmm.

1274. How do you take your coffee?

1275. Black. Strong.

1276. Is all right if I play?

1277. Mmm. Oh, yes, of course, of course.

1278. That's as far as I've gotten.

1279. But it's good.

1280. Um, this part here...

1281. Maybe change A to B-flat?

1282. That's better. I like that sound.

1283. Come on. Take a break.

1284. Okay

1285. Sharon?

1286. Hello.

1287. Petra.

1288. What are you doing in here?

1289. I'm hiding from her.

1290. Why?

1291. Because she told me to put my things in order, but they already are.

1292. I can see that.

1293. Come on.

1294. They're all waiting for you.

1295. I'm going to give everyone a pencil.

1296. All of them? They can't all conduct, honey.

1297. It's not a— It's not a democracy.

1298. Hey, that's good.

1299. - You happy?

1300. I think the glissando's working really well there.

1301. How long were you acquainted with Miss Taylor?

1302. Oh, I'd have to double-check with my assistant,

1303. but cumulatively speaking, I'd say not more than a few months.

1304. Mmm.

1305. - Thank you for your time, Maestro. - Not at all.

1306. This recording will exist on a protected server

1307. under attorney-client privilege with Mr. Singer.

1308. Great.

1309. He will follow up with you to help prepare for the deposition.

1310. Deposition?

1311. Yes. I assumed you were aware.

1312. Mr. Singer's office said they'd been coordinating with your assistant.

1313. Francesca, you'd better get your pretty little ass to work right now.

1314. The only communication we've received from Francesca

1315. was an email to my assistant in the middle of the night

1316. tendering her immediate resignation,

1317. stating she would be in contact when she had more details to provide.

1318. What kind of details?

1319. A new address, I suppose.

1320. In the meantime, we've been trying all morning

1321. to find someone suitable to assist you on a temporary basis.

1322. For now, perhaps your new assistant conductor would be the right fit.

1323. No. No. He's not available till after the live Five date.

1324. Yes, I'm ready. Let's go.

1325. I know how much you depended on her.

1326. Two-faced little bitch.

1327. Imagine her hurt, Tar.

1328. - Don't you dare try to defend her. - God, slow down!

1329. She'll come galumphing back.

1330. - I've got a dumb phone like every robot. - Tar!

1331. - How hard can it be to text all day?

1332. Slow down! Or let me out!

1333. Francesca!

1334. - She scares me. - You can't trust her.

1335. Come. Come in. Come.

1336. Sorry I'm late again.

1337. Oh.

1338. Do you live here?

1339. Not normally, no.

1340. Uh, make yourself at home. I'm just gonna put something on.

1341. Do you have a towel?

1342. Yes. - Thank you.

1343. I got caught in the rain.

1344. There is small concert with musician friends.

1345. You should come.

1346. Thanks, but I...

1347. really must get home.

1348. You have child, yes?

1349. Mm-hmm.

1350. I will not do that.

1351. Pets are better for some people.

1352. Wh— Oh. Sorry.

1353. - Bye. - Oh, yes! Goodbye, yes. Goodbye.

1354. - Oh. Okay.

1355. Oh, Olga!

1356. Olga!

1357. Olga?

1358. Olga?

1359. Hello?

1360. Olga?

1361. Olga?

1362. - Olga?

1363. Why didn't you go to the police?

1364. I fought, he ran. What's to tell?

1365. Oh, God. I'm gonna get you something for the pain.

1366. - No, I don't need anything. - No, I'm gonna get you something.

1367. Lydia!

1368. - Lydia!

1369. What is it?

1370. Hold my foot.

1371. Is that better?

1372. Yes.

1373. Okay.

1374. Let's, uh, shoo the elephant from the room.

1375. "What the hell happened to her face?"

1376. "Did she, uh, schedule a nose and eye job

1377. and bail before the surgeon finished the other half?"

1378. No, I was, uh— I was attacked.

1379. Thank you.

1380. I'm fine. Really.

1381. Should a seen the other guy.

1382. - All right.

1383. Ah! Don't! It burns.

1384. Oh, you must see the doctor.

1385. He's booked till next week.

1386. I'll call them again and tell them how much pain you're in—

1387. No, no, let's just finish up here.

1388. Overall, the balance feels right.

1389. Other than a quick brush up, we should concentrate on the Elgar.

1390. You're certain of that?

1391. I think so. Yes.

1392. We're absolutely rock-solid there,

1393. but I am going to try to hold 'em back here.

1394. They're just getting caught up in the power of your glissando,

1395. and they're trying to match it.

1396. Um... Probably it's—

1397. Where were you attacked, Maestro?

1398. Oh— Doesn't matter.

1399. Here.

1400. Thank you.

1401. There you are.

1402. When did this fall happen?

1403. Uh, it's all a blur. Three, four days ago.

1404. It's just my shoulder. Yeah. It kinda burns.

1405. Like I fell asleep by the pool.

1406. Okay, you can put your shirt back on.

1407. You've damaged some nerves.

1408. The burning sensation you're feeling is called notalgia paresthetica.

1409. Nostalgia?

1410. Notalgia. No S.

1411. Well, how do we treat it?

1412. You don't. Eventually it goes away.

1413. An adjustment might help. You're somewhat crooked.

1414. Oh, well. Then you must be a Negro product exploited by the Jews.

1415. Now let's turn our gaze back to the piano bench up there,

1416. to a super hot young woman!

1417. That's— That was very good.

1418. Now, you could masturbate, but what are you actually doing to me?

1419. - Britta. - Hi, hi. Have you seen it?

1420. Yes, yes. I've just seen it.

1421. It's gathering this afternoon.

1422. - This afternoon? - Is that a problem?

1423. No, no, it's no problem.

1424. First of all, that class was conducted in a tech-free zone.

1425. And second, whoever violated that rule edited what we've all seen

1426. to create linguistic traps to completely redefine my words.

1427. Look at the reverse shots on the students.

1428. There's no way that was done in real time. It's a hatchet job.

1429. I'm sure that's true, Lydia.

1430. And were it just this video, we would not be sitting here.

1431. Unfortunately, it's linked to an article in the Mew York Post

1432. regarding Krista Taylor's suicide,

1433. which alludes to other Accordion fellows they claim to have interviewed.

1434. Laura, can you tell us about your conversations?

1435. We haven't had any.

1436. Obviously, we gave no response

1437. as we first wanted to meet to discuss strategy.

1438. Mm-hmm.

1439. - Here's the article. - Thank you, Laura.

1440. "Enticed and groomed multiple young women

1441. to engage in sex acts for professional favors.

1442. Blocked opportunities to those who didn't comply."

1443. This is total fiction.

1444. And the Post is a how-de-do scandal rag.

1445. No serious person reads it.

1446. And so far as Krista Taylor goes,

1447. she was disturbed.

1448. I mean, she fixated on me.

1449. In what way?

1450. She sent me weird gifts. She trolled me online.

1451. - She tried to send me signals. - Well, what kind of signals?

1452. She vandalized my Wikipedia page to say she was my muse.

1453. I mean, that's easily checked, right?

1454. And did you ever report this or file a complaint?

1455. No.

1456. No. And, look, I probably should have.

1457. I— I felt sorry for her.

1458. - Is this something you shared with Sharon? - No. I didn't wanna burden her with it.

1459. - Don't you think you should have? - Yes! Yes.

1460. Well, what do you advise?

1461. Well, for now, it hasn't gotten all that much traction.

1462. None of the trades have linked to it or called for comment.

1463. - So I say, let's see what happens. Mm-hmm.

1464. We wanted to give you as much warning as possible, Lydia,

1465. before this Friday's donor meeting.

1466. Well, unfortunately, I won't be there.

1467. Well, I very much advise that you are.

1468. I have the book launch in New York and, apparently, a deposition.

1469. Well, we'll fill you in upon your return then.

1470. Enjoy your weekend.

1471. Starving!

1472. Finished my thing today.

1473. Congratulations! We should go out and celebrate!

1474. I can't. I gotta pack.

1475. - Hi! Hi, Lydia.

1476. Sharon?

1477. Yeah?

1478. You seen my performance score?

1479. No. Why? Isn't it with the other ones?

1480. No. No, it's not.

1481. Are you sure it's not in my office?

1482. Yeah, what about the orchestra library?

1483. Yeah, can you check again, please?

1484. I don't know! Yes, exactly.

1485. Lydia.

1486. Yes.

1487. When will you be back?

1488. The day after tomorrow.

1489. Will you promise?

1490. Yes, I promise.

1491. - Good night. - Good night.

1492. Thanks. Do you have any bottles?

1493. Of course.

1494. Do you need anything else before I close the cabin door?

1495. Uh, yes. We're waiting on one more.

1496. To all my questions pertaining to your communications

1497. with Krista Taylor and others,

1498. your answers have always been, "I don't know"

1499. or "I don't remember."

1500. Is there anything I could show you that might help refresh your recollection?

1501. Any documents, such as emails from you or your personal assistant, Miss Lentini,

1502. that might help you recall what you did and didn't say?

1503. Eliot Kaplan's office.

1504. He'll have to return...

1505. I guess you heard by now.

1506. Bryant Park bumped you to 53rd Street.

1507. This is the Kaplan Fund's prepared statement.

1508. I'm sorry to say this is likely the last time we'll see each other.

1509. Well, now I can buy my own plane tickets.

1510. And you can bother someone else to try and teach you to crawl to the podium.

1511. Is there a back entrance?

1512. "Indeed, the common metaphors used to explain music

1513. are based on the idea that music is a language,

1514. albeit a secret one.

1515. And in this way, holy and unknowable.

1516. These joyful noises we make

1517. being the closest thing any of us might ever experience to the divine,

1518. yet something born by the mere act of moving air.

1519. No different than birdsong."

1520. So, meet downstairs in half an hour for dinner?

1521. Thank you, but I am jet-lagged. I go to sleep now.

1522. Yeah, me too. I'll...

1523. probably do the same.

1524. Yes, hello.

1525. Yes, there's no water in my room.

1526. Yes, I've checked the minibar.

1527. How long would it take to get a bottle of water?

1528. Oh, don't worry. I'll just come down.

1529. Lobby, please.

1530. Oh, Jesus!

1531. It was Britta.

1532. Right?

1533. I mean, that is how you heard about these millennial robots trading in lies.

1534. I couldn't care less about the Juilliard thing.

1535. Too much time on her hands.

1536. She's fringe. The worst kind.

1537. Every time I walk out of this house, she's in your ear with intrigue.

1538. Or she's asking me about some other piece of fringe,

1539. like Samantha Hankey.

1540. God, a nobody who has nothing better to do

1541. than drop my name at lunch and imply things.

1542. I feel sorry for you.

1543. Oh, save it.

1544. I tried calling you last night.

1545. Did you have fun with her?

1546. My back is killing me.

1547. Francesca left, and I simply needed someone to carry my bags.

1548. I mean, who was I supposed to ask to go with me? Mmm, Knut?

1549. Jesus fucking...

1550. There are many things I accept about you.

1551. And in the end, I'm sure I could get over something like this.

1552. But that's not what we're talking about, is it?

1553. These accusations from the parents of the girl who suicided?

1554. You honestly believe what they're saying?

1555. They're lies.

1556. Do you understand what it was like to walk into my sectional yesterday

1557. and to see everybody whispering about me?

1558. It's got nothing to do with what they're accusing you of.

1559. It's a simple matter of not warning me that our family is in danger.

1560. And what good would that have done?

1561. I mean, what could you possibly do to make things better?

1562. Because I deserve that.

1563. Those are the rules.

1564. You are to ask for my fucking counsel the way you always have.

1565. The way you did when you first arrived here

1566. as a guest conductor looking for a permanent position.

1567. You asked me what were the politics,

1568. what were the moves, how could we swing it.

1569. Of course,

1570. these conversations took place in another bed.

1571. Or rather, the couch of that horrible place you still can't let go of.

1572. Old sorrow blows in.

1573. How cruel of you to define our relationship as transactional.

1574. There's only one relationship you've ever had that wasn't.

1575. And she is sleeping in the room next door.

1576. Apparently, this hasn't even crossed your mind.

1577. Petra!

1578. Come here, darling!

1579. It was good. - Was it?

1580. Yeah. - You wanna go to the park?

1581. Don't do this. Please, don't do this.

1582. Please don't.

1583. Hello. I am Anna Franzen.

1584. This is my late mother's apartment.

1585. Oh, yeah, I'm so sorry about your mother.

1586. Thank you.

1587. How's your sister doing?

1588. Eleanor lives now in a facility in Neuk®dlin.

1589. I'm sorry to trouble you,

1590. but my husband and I are selling the place

1591. and couldn't help hearing the music.

1592. Oh.

1593. I'm glad you enjoyed it.

1594. We were wondering if there are specific hours you rehearse,

1595. so we can schedule showings around them.

1596. We don't want to scare potential buyers off

1597. with all the noise.

1598. No, no, no.

1599. No.

1600. No, we wouldn't want that.

1601. > Apartment for sale

1602. » Apartment for sale »

1603. > Your mother's buried deep »

1604. > And now you're gonna keep Her apartment for sale »

1605. > Your sister's in jar >

1606. > You put your sister in jail »

1607. > You're all going to hell »

1608. > Your apartments for sale »

1609. Okay.

1610. Gimme some eyes.

1611. Come on. Gimme some eyes!

1612. Lydia.

1613. This is my score.

1614. Lydia, you're confused.

1615. - You fucking little nothing!

1616. I'm fine.

1617. You sign CAMI voucher.

1618. Good afternoon. CAMI.

1619. Hold on.

1620. Normally, 1'd think Lisa Rich in our booking department

1621. would be a great fit for you,

1622. but she's just got too much on her plate.

1623. So, I'd like to team you with Jake here.

1624. Jake, do you wanna show Lydia what you've prepared for her?

1625. Well,

1626. right now, it's a reset.

1627. What we're after is less, not more.

1628. We wanna be selective and rebuild this from the ground up.

1629. That means we need a new story.

1630. Just here.

1631. Here, thank you.

1632. Uh, make it 40. Thank you.

1633. Didn't you feel triumphant?

1634. Now we can really understand what the meaning of music is.

1635. It's the way it makes you feel when you hear it.

1636. Finally, we've taken that last giant step.

1637. And we're there. We know what music means now.

1638. And we don't have to know a lot of stuff about "sharps" and "flats” and "chords”

1639. and all that business in order to understand music,

1640. if it tells us something.

1641. And the most wonderful thing of all Is that there's no limit

1642. to the different kinds of feelings music can make you have.

1643. And some of those feelings are so special and so deep

1644. that they can't even be described in words.

1645. You see, we can't always name the things we feel.

1646. Sometimes we can.

1647. We can say we feel joy, pleasure, peacefulness, whatever.

1648. Love, hate.

1649. But every once in a while,

1650. we have feelings that are so deep and so special that we have no words for them.

1651. And that's where music is so marvelous.

1652. Because music names them for us,

1653. only in notes instead of in words.

1654. Its all in the way music moves.

1655. You must never forget that music is movement,

1656. always going somewhere,

1657. shifting and changing and flowing from one note to another.

1658. And that movement can tell us more about the way we feel than a million words can.

1659. - And here we're going to play you a—

1660. Oh.

1661. Tony.

1662. Oh. Hi, Linda.

1663. Sorry. Lydia.

1664. Ma said you'd be over.

1665. You must be hidin' out.

1666. Why would I be hiding out?

1667. Beats the hell out of me.

1668. None of my business, anyhow.

1669. Lotta loose ends, you gotta admit.

1670. What do you mean?

1671. Well, like I said, it ain't my business.

1672. But you don't seem to know where the hell you came from or where you're going.

1673. May I come inside?

1674. Thank you.

1675. Thank you.

1676. I'm so sorry.

1677. We just wanted to confirm

1678. that the composer was, in fact, not flying in from Osaka to attend the concert.

1679. I must tell you that I looked in the music libraries, uh, for her score,

1680. but I— I couldn't find anything.

1681. This just arrived.

1682. Oh! That's great. Thank you.

1683. Shirley and Cirio will be most happy

1684. to show you the sights of our beautiful country.

1685. Thank you! Thank you so much.

1686. Oh, goodness.

1687. Thank you.

1688. Maybe we could stop somewhere and take a swim.

1689. Yeah, at the waterfall. But not in the river.

1690. Why? Is there something wrong with the water?

1691. No. There are crocodiles.

1692. Oh.

1693. I didn't think they'd be this far inland.

1694. They escaped from a Marlon Brando movie.

1695. Wow.

1696. That was a long time ago.

1697. They survive.

1698. Lady! Lady!

1699. Here is prescription. Ten dollars.

1700. Thank you.

1701. Uh, is there somewhere around here... Thank you.

1702. where I could get a massage?

1703. Was hoping it might help me with this jet lag.

1704. Yes. There is the very nice place I know.

1705. Thank you.

1706. Thank you.

1707. Please step over to the fishbowl.

1708. The— The fishbowl?

1709. Yes, over there.

1710. Um, I'm sorry. I'm confused. How does this— How does it work?

1711. You just pick a number here.

1712. I pick a number?

1713. Yes.

1714. Number five?

1715. Good morning.

1716. Good morning.

1717. Now, before we begin,

1718. let's talk a bit about the composer's intent with this piece

1719. and what she might be after.

1720. - Five minutes.

1721. - Thank you.

1722. Sisters and brothers of the Fifth Fleet,

1723. it's time.

1724. I'll keep my farewell brief.

1725. Never was much with words.

1726. Once you board this ship, there's no turning back.

1727. The next ground your feet touch

1728. will be that of the New World.

1729. If any of you have lost your nerve,

1730. then step away now and let no one judge you.