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♪♪
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{\an1}[ Indistinct conversation
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{\an1}[ Orchestra tuning ]
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[ Applause ]
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{\an1}[ Orchestra playing ]
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an1}Thomas: What a conductor
is doing is getting
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{\an1}100 or so people to agree where
"now" really is.
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{\an8}♪♪
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{\an1}The kind of pulse,
the kind of underlying breath
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{\an1}that animates the music.
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{\an8}♪♪
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{\an1}The conductor has had the luxury
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of seeing
the whole design in the score.
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{\an1}So he is in a position
to perceive the total design
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{\an1}of what is happening
in the performance.
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an1}[ Orchestra fades,
vehicles honking ]
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{\an1}[ Musicians rehearsing ]
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{\an1}[ Musicians tuning ]
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{\an8}♪♪
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{\an1}Man: The funny thing
is about conducting,
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{\an1}there's not that much
that you have to do in terms
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{\an1}of what you have to do
with your hands.
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{\an1}There have to learn to beat...
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{\an1}much, much more difficult
is learning
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{\an1}how to learn the music
in the first place,
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{\an1}learning how to sit down
with a piece of music
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{\an1}that's written out
for orchestra,
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{\an1}and learn it, learn the notes,
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and learn the way
they're distributed
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{\an1}amongst the instruments
and the way it should sound.
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{\an1}Then the process begins,
which, unfortunately,
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{\an1}no way has been developed
yet of avoiding,
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{\an1}and that is sitting down
at the piano
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and pounding out
every note in the piece.
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{\an1}And you go through it
again and again,
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{\an1}and you begin to think, now,
how does this piece really go?
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{\an1}What do I have to do
to make it work,
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to make it clear?
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[ Playing piano ]
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Ay!
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I knew that the biggest treasure
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was the dream
that the music contained.
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To be able to see
it and understand it
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{\an1}and then be able to share it,
to transmit it,
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{\an1}to wrestle it down
from the dream world
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{\an1}into the real world,
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{\an1}but still have it feel like
a dream.
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[ Playing notes ]
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And I think
that's the answer now.
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{\an8}Okay, fortissimo,
but light, right?
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{\an7}It has to sound really joyous,
like laughter...
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{\an7}[ Imitates laughter ]
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{\an8}[ Humming ]
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{\an8}Stir it up.
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an1}Good, I'll tell you what,
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{\an1}when the harmonies
get the most complicated,
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{\an1}let's everyone understand
that together,
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{\an1}maybe it's not possible
tonecessarily play so much louder,
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{\an1}but in the way you show it
to the audience...
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[ Humming ]
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Wow!
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{\an1}They should know that you feel
that so they can feel it, too.
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Then... [ Humming ]
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{\an1}Violas and cellos take the lead
like crazy before E.
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One, and...
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an1}Good, good, good, good, good.
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{\an1}That's so charming, what you...
That line...
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[ Humming ]
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{\an1}That's the kind of stuff
that we have to, like,
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{\an1}make it a life mission
to get out to the public.
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{\an1}You know, it's wonderful, right?
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{\an7}Akhmedyarova: All of us who go
to New World Symphony
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{\an7}meet Michael at our... kind of
a crucial period in our lives.
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{\an1}It's when you graduate
from school
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{\an1}and not yet having a real job.
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{\an1}The crossroads where,
which path you take,
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{\an1}and here comes in Michael,
in your life.
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{\an1}Thomas: Just float up there.
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[ Humming ]
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Good! Begging.
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{\an8}♪♪
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{\an1}Conferences, conferences,
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{\an1}43 new people... so,
I've learned all these names,
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that's why I have
that poster over there.
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So as I walk by,
I can test my knowledge.
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{\an1}Kyla, that's right...
Kyla, Kyla, Kyla.
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{\an1}This guy is very talented...
Nicholas.
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{\an1}Aaron... I just remember, there
was somebody here last year
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{\an1}called Aaron also.
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This is Jiali...
She just got a job as principal
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{\an1}in the Hong Kong Philharmonic.
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{\an1}A lot of new people.
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{\an1}The New World Symphony
is a place for people
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{\an1}to figure out what their purpose
in life really is.
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{\an1}Of course, they know
they want to be musicians,
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{\an1}but in what kind of way
do they want to be musicians?
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{\an1}Smith: The idea of creating
the New World Symphony
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{\an1}was to create a training academy
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{\an8}to give great opportunities,
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{\an7}artistic opportunities,
to the most talented musicians
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graduating from
the conservatories
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{\an1}across the country.
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{\an1}But it was also a bigger goal
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{\an1}to really kind of transform
our musical culture.
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{\an1}Izotov: You know, you'll be hard
pressed to find
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{\an7}a lot of great orchestras
these days
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{\an7}that do not have graduates
from New World Symphony.
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And New World
is such a place where
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you know
you're starting to be good,
128
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you come from a lot of training,
good schools and all that,
129
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{\an1}but then you're absolutely...
Not just green,
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{\an1}I mean, you're neon green.
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You have no idea
what you're doing.
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{\an1}And you're terrified because,
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{\an1}in spite of how good you are,
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{\an1}you know that there's just
so much talent in this business
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{\an1}and you see all these
talented people around you,
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{\an1}your friends and colleagues.
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Thomas:
Because it's so important
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{\an1}that they be with people
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{\an1}who are colleagues
that will inspire them,
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{\an1}that will get them...
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level... to continue to grow.
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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{\an8}♪♪
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Okay.
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Come on, pups.
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{\an1}At this time in my life,
I'm making a transition
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from being
so constantly on stage
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as a conductor,
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{\an1}to being more of a composer,
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{\an1}and somehow a way of doing
that seemed to me to go back
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{\an1}to these very early pieces
and write them out
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{\an1}and see what I would learn,
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{\an1}and also to reconnect,
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if I could,
with who I was way back then.
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{\an8}♪♪
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{\an1}An only child... this kid
in my parent's living room,
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{\an1}in the darkness with
the shimmering bands of light
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{\an1}from the Venetian blinds
streaming through.
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But, of course,
the piano... improvising.
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{\an1}And I relished the time
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{\an1}that I had sometimes to be
on my own with the piano
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because that was
the opportunity for me
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{\an1}to sort of use improvisation
as a way of finding myself.
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{\an1}And this piano piece
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came out of
those improvisations.
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{\an8}♪♪
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{\an1}"Sunset Soliloquy," also called
"Whitsett Avenue"...
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{\an1}Whitsett Avenue was the address
of my parents' house,
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{\an1}the house where I was born
and grew up.
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{\an8}♪♪
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It was in
the San Fernando Valley,
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{\an1}and initially it was country.
179
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{\an1}There was our house, then there
was a persimmon orchard.
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{\an1}And there were dirt roads.
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{\an1}It was the San Fernando Valley
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in its most
paradise-like period.
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{\an8}♪♪
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{\an8}♪♪
185
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{\an8}♪♪
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{\an1}Sounds beautiful, John!
Beautiful, beautiful.
187
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{\an1}I have, like, three and a half
thoughts for you.
188
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{\an1}At the very first one...
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Show me...
Show me the first one.
190
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{\an1}- Wilson: Of the right hand?
- Thomas: Of the right hand.
191
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[ Playing ]
192
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{\an1}Yeah, it's better to be
a tiny bit slower and more...
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[ Humming ]
194
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{\an1}Wilson: I see... intense.
195
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Thomas: Yeah.
196
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[ Playing ]
197
00:14:01,133 --> 00:14:06,766
{\an8}♪♪
198
00:14:06,800 --> 00:14:09,233
{\an1}A little bit like that.
[ Humming ]
199
00:14:09,266 --> 00:14:11,933
{\an1}Yeah, just let you enjoy,
you know, it's kind of like a...
200
00:14:11,966 --> 00:14:14,066
{\an1}[ Playing ]
201
00:14:14,100 --> 00:14:17,433
You know, that... [ Humming ]
202
00:14:17,466 --> 00:14:19,400
{\an1}Yeah, a little bit stretchy.
203
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{\an8}♪♪
204
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{\an8}♪♪
205
00:14:34,100 --> 00:14:41,400
{\an8}♪♪
206
00:14:41,433 --> 00:14:43,800
{\an1}You play this in a way
that I kind of
207
00:14:43,833 --> 00:14:45,966
{\an1}dreamt that I might ever
be able to play it.
208
00:14:46,000 --> 00:14:48,066
{\an1}It's just so wonderful.
209
00:14:51,900 --> 00:14:55,466
[ Playing piano ]
210
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{\an8}♪♪
211
00:15:05,500 --> 00:15:13,500
{\an8}♪♪
212
00:15:15,466 --> 00:15:23,466
{\an8}♪♪
213
00:15:25,400 --> 00:15:29,833
{\an1}My greatest teacher
and inspiration was my father.
214
00:15:29,866 --> 00:15:34,433
My father was
a visionary person.
215
00:15:34,466 --> 00:15:36,066
{\an1}He was an amazing musician...
216
00:15:36,100 --> 00:15:38,633
Played by ear,
improvised hours a day,
217
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{\an1}the most original,
extraordinary music.
218
00:15:41,166 --> 00:15:45,800
{\an8}♪♪
219
00:15:45,833 --> 00:15:49,000
{\an1}He was a bohemian kind of guy.
220
00:15:49,033 --> 00:15:50,833
{\an1}He was wandering around
the desert
221
00:15:50,866 --> 00:15:53,133
{\an1}and he was writing poetry
and painting pictures
222
00:15:53,166 --> 00:15:55,933
{\an1}and occasionally finishing
a screenplay.
223
00:15:55,966 --> 00:15:57,733
{\an1}My mother was the, kind of,
224
00:15:57,766 --> 00:16:03,466
{\an1}breadwinner, the teacher,
the homemaker,
225
00:16:03,500 --> 00:16:07,366
{\an1}and there they were, very much
in love with each other
226
00:16:07,400 --> 00:16:11,000
and very much
appreciating one another.
227
00:16:11,033 --> 00:16:13,833
{\an1}He had the sense of
the wondrous-ness of things,
228
00:16:13,866 --> 00:16:15,933
{\an1}of music and everything else,
229
00:16:15,966 --> 00:16:20,700
{\an1}even though his life was filled
with pain and conflict,
230
00:16:20,733 --> 00:16:24,466
{\an1}but he is the one who really
taught me to experience
231
00:16:24,500 --> 00:16:28,966
{\an1}the wonder in the music,
and to whatever else happened.,
232
00:16:29,000 --> 00:16:31,066
hold onto it.
233
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{\an8}♪♪
234
00:16:37,366 --> 00:16:43,600
{\an8}♪♪
235
00:16:43,633 --> 00:16:46,200
{\an1}From the time I was a teenager
going to music camp,
236
00:16:46,233 --> 00:16:48,633
{\an1}it was noticed by the counselors
237
00:16:48,666 --> 00:16:52,033
{\an1}that I really liked
dissonant music...
238
00:16:52,066 --> 00:16:55,466
{\an1}[ Playing discordant notes ]
And... and... and...
239
00:16:55,500 --> 00:17:00,366
{\an1}And I always tried to figure
outwhere that might have come from.
240
00:17:00,400 --> 00:17:03,566
{\an1}I think it may have come
from my dad
241
00:17:03,600 --> 00:17:07,133
{\an1}and from Tootles, and Tootles,
242
00:17:07,166 --> 00:17:10,300
well, uh, let me
introduce him to you.
243
00:17:10,333 --> 00:17:13,033
{\an1}He's right up here.
244
00:17:13,066 --> 00:17:15,566
This is Tootles,
245
00:17:15,600 --> 00:17:18,666
and Tootles has a song,
246
00:17:18,700 --> 00:17:22,066
{\an1}and his song goes...
247
00:17:22,100 --> 00:17:26,500
{\an1}♪ I love the Tootles song,
I love a Tootles song ♪
248
00:17:26,533 --> 00:17:32,633
{\an1}♪ I love my Tootles song,
I sing it all day long ♪
249
00:17:32,666 --> 00:17:34,066
{\an1}That was the Tootles song.
250
00:17:34,100 --> 00:17:36,700
I...
251
00:17:36,733 --> 00:17:39,400
{\an1}And my dad said, "Well..."
252
00:17:39,433 --> 00:17:43,066
{\an1}And Tootles himself can play
the song for you.
253
00:17:43,100 --> 00:17:46,500
{\an7}And here he's going to play
the song and here he goes.
254
00:17:46,533 --> 00:17:54,533
{\an8}♪♪
255
00:17:55,033 --> 00:17:59,600
{\an1}And so I'm convinced that from
that came my great love of...
256
00:17:59,633 --> 00:18:02,800
{\an1}[ Playing dissonant chords ]
257
00:18:02,833 --> 00:18:05,200
All these chords
that I later encountered
258
00:18:05,233 --> 00:18:07,033
{\an1}in Schoenberg and Berg and Ives,
259
00:18:07,066 --> 00:18:10,900
{\an1}and everywhere else,
because what to those composers
260
00:18:10,933 --> 00:18:14,566
{\an1}had represented psychological
distress and torment
261
00:18:14,600 --> 00:18:19,166
{\an1}to me represented gorgeous,
peaceful times,
262
00:18:19,200 --> 00:18:22,566
{\an1}you know, surrounded by my dad
and playing music together.
263
00:18:22,600 --> 00:18:25,166
{\an1}That was a pretty good
performance, don't you think?
264
00:18:25,200 --> 00:18:28,300
{\an1}But we haven't done this
for years, guys.
265
00:18:28,333 --> 00:18:32,166
{\an1}Thank you, Tootles. We haven't
done this for years and years.
266
00:18:32,200 --> 00:18:34,533
{\an1}From the time I was nine
or 10 years old, anyway,
267
00:18:34,566 --> 00:18:39,633
{\an1}there were a lot of teachers
who wanted to take charge of me
268
00:18:39,666 --> 00:18:43,233
{\an1}and put me on a very disciplined
schedule of practice
269
00:18:43,266 --> 00:18:46,666
and developmentalong
the kind of prodigy route.
270
00:18:46,700 --> 00:18:50,033
{\an1}My parents were absolutely
against that.
271
00:18:50,066 --> 00:18:52,733
{\an1}They wanted me to have as,
quote, normal,
272
00:18:52,766 --> 00:18:54,866
unquote,
a childhood as possible...
273
00:18:54,900 --> 00:18:58,066
{\an1}much better, in their minds,
had I been a scientist.
274
00:18:58,100 --> 00:19:01,000
{\an1}My grandmother's agenda
was different.
275
00:19:01,033 --> 00:19:05,500
{\an1}She saw me as the last
of the Thomashefskys.
276
00:19:05,533 --> 00:19:10,533
{\an7}[ Music and applause ]
277
00:19:10,566 --> 00:19:16,133
{\an8}♪♪
278
00:19:16,166 --> 00:19:18,566
{\an1}Ladies and gentlemen, welcome.
279
00:19:18,600 --> 00:19:21,066
{\an1}Tonight, we're here to tell you
a story,
280
00:19:21,100 --> 00:19:24,200
{\an1}it's the story of Boris
and Bessie Thomashefsky,
281
00:19:24,233 --> 00:19:27,700
{\an1}two kids from little shtetls
in the middle of a Ukrainian
282
00:19:27,733 --> 00:19:30,133
{\an1}nowhere who came to America
283
00:19:30,166 --> 00:19:34,933
{\an1}and became the founder pioneersof
the American Yiddish theater.
284
00:19:34,966 --> 00:19:37,433
{\an1}They also happened
to be my grandparents.
285
00:19:37,466 --> 00:19:40,433
{\an1}They were big stars
who lived out the fantasies
286
00:19:40,466 --> 00:19:42,300
{\an7}of their audience.
287
00:19:42,333 --> 00:19:44,200
{\an7}And they were stars
like Richard Burton,
288
00:19:44,233 --> 00:19:47,333
{\an7}Elizabeth Taylor kinds of stars.
289
00:19:47,366 --> 00:19:50,100
{\an8}♪♪
290
00:19:50,133 --> 00:19:54,066
{\an1}At the Yiddish theater was all
about its audience,
291
00:19:54,100 --> 00:19:57,400
{\an1}immigrant innocence,
fresh off the boat,
292
00:19:57,433 --> 00:19:59,466
and the mission
of the Yiddish theater
293
00:19:59,500 --> 00:20:04,400
{\an1}was to entertain, educate
and elevate this audience.
294
00:20:04,433 --> 00:20:08,266
{\an1}A hundred years ago,
my grandmother knocked 'em dead
295
00:20:08,300 --> 00:20:11,033
{\an1}season after season
with that show,
296
00:20:11,066 --> 00:20:13,800
{\an1}and 50 years later,
she had installed herself
297
00:20:13,833 --> 00:20:16,400
at a fashionable
Hollywood hotel.
298
00:20:16,433 --> 00:20:19,000
And every Friday,
she arrived at our house
299
00:20:19,033 --> 00:20:22,033
{\an1}to spend the weekend
looking after me.
300
00:20:22,066 --> 00:20:24,466
{\an1}Well, she was a special
kind of grandma.
301
00:20:24,500 --> 00:20:27,533
{\an1}She was in her 80s.
Her hair was flame red.
302
00:20:27,566 --> 00:20:30,366
{\an1}She had six or eight bracelets
up each arm,
303
00:20:30,400 --> 00:20:34,233
{\an1}a long cigarette holder,
wraparound sunglasses.
304
00:20:34,266 --> 00:20:36,800
{\an1}She'd settle herself on the
chaise lounge in the backyard
305
00:20:36,833 --> 00:20:40,200
{\an1}and she'd say, "I see you.
306
00:20:40,233 --> 00:20:41,966
{\an1}I see who you are.
307
00:20:42,000 --> 00:20:43,700
{\an1}You know, you're like me.
308
00:20:43,733 --> 00:20:45,209
{\an1}You're going to have
to live your life
309
00:20:45,233 --> 00:20:48,733
{\an1}as you have to live it,
whatever it costs.
310
00:20:48,766 --> 00:20:51,233
{\an1}That's what I did, your grandma.
311
00:20:51,266 --> 00:20:52,542
And you know what
they said about me?
312
00:20:52,566 --> 00:20:55,233
{\an1}Some said I was a femme fatale,
313
00:20:55,266 --> 00:20:56,800
a bohemian,
314
00:20:56,833 --> 00:20:58,833
{\an1}but no one ever said
315
00:20:58,866 --> 00:21:03,033
{\an1}I gave anything lessthan
an impassioned performance.
316
00:21:09,500 --> 00:21:14,900
{\an1}Robison: Michael and I met in
school orchestra in 1958.
317
00:21:14,933 --> 00:21:17,966
{\an1}I was 11, he was 12.
318
00:21:18,000 --> 00:21:22,033
{\an1}So this is the same room, yeah,
the same room.
319
00:21:22,066 --> 00:21:24,200
{\an1}I played the cello,
320
00:21:24,233 --> 00:21:28,300
{\an1}he played the oboe
and the piano.
321
00:21:28,333 --> 00:21:32,600
{\an1}Thomas: This is where I
conducted for the first time
322
00:21:32,633 --> 00:21:34,709
{\an1}I was getting ready to play
the oboe in the rehearsal,
323
00:21:34,733 --> 00:21:39,200
{\an1}and then they announced that
our teacher couldn't make it.
324
00:21:39,233 --> 00:21:43,466
{\an1}And they sent this wonderful
guy, Coach Caldwell,
325
00:21:43,500 --> 00:21:47,300
{\an1}our football coach, suddenly
appeared here and said,
326
00:21:47,333 --> 00:21:49,866
{\an1}"Well, I have no idea
about this,
327
00:21:49,900 --> 00:21:52,133
{\an1}so we could just have
study hall,
328
00:21:52,166 --> 00:21:55,433
{\an1}or anybody here know
how to do this?"
329
00:21:55,466 --> 00:21:57,200
{\an1}I said, "Uh, I can do it."
330
00:21:57,233 --> 00:22:00,766
{\an1}And I walked right up here...
331
00:22:03,700 --> 00:22:06,866
{\an1}And I, uh, grabbed the stick,
332
00:22:06,900 --> 00:22:08,509
{\an1}and I said, "Okay, here we go,"
and we think
333
00:22:08,533 --> 00:22:13,900
Sammartini,
"Symphony in D Major."
334
00:22:13,933 --> 00:22:17,633
{\an1}So, I would have been
about 13, 14.
335
00:22:17,666 --> 00:22:21,433
{\an8}♪♪
336
00:22:21,466 --> 00:22:23,666
[ Playing notes ]
337
00:22:23,700 --> 00:22:30,166
{\an8}♪♪
338
00:22:30,200 --> 00:22:36,666
{\an8}♪♪
339
00:22:36,700 --> 00:22:38,866
{\an1}Robison: But that's when I
really became aware of you,
340
00:22:38,900 --> 00:22:40,476
{\an1}because I... when you were
playing the oboe,
341
00:22:40,500 --> 00:22:41,742
and I was cello,
I wasn't really,
342
00:22:41,766 --> 00:22:45,266
{\an1}but then at breaks, like,
Michael would go over to
343
00:22:45,300 --> 00:22:47,233
{\an1}the piano and start playing,
344
00:22:47,266 --> 00:22:48,800
crowd around and listen to him.
345
00:22:48,833 --> 00:22:50,733
So it was like,
oh, he's something different.
346
00:22:50,766 --> 00:22:52,133
{\an1}He can really play.
347
00:22:52,166 --> 00:22:54,633
{\an1}In addition to playing the cello
and being involved in music,
348
00:22:54,666 --> 00:22:58,466
{\an1}I was very athletic and outdoors
and loved to dance
349
00:22:58,500 --> 00:23:00,366
{\an7}to all the popular music,
so, you know,
350
00:23:00,400 --> 00:23:04,266
{\an1}my scene was slightly
different than Michael's.
351
00:23:04,300 --> 00:23:06,000
Thomas:
I was playing in the band
352
00:23:06,033 --> 00:23:11,833
at some of those
athletic events, so...
353
00:23:11,866 --> 00:23:13,933
{\an1}I did have a secret crush
on Josh,
354
00:23:13,966 --> 00:23:15,366
{\an1}he didn't know that...
355
00:23:15,400 --> 00:23:19,300
{\an8}I was admiring him from afar.
356
00:23:19,333 --> 00:23:20,700
{\an7}Robison: I was just stunned,
357
00:23:20,733 --> 00:23:23,100
{\an7}and I remember just sitting
there watching this guy
358
00:23:23,133 --> 00:23:27,200
{\an7}who I kind of thought was kind
of an intellectual science kid,
359
00:23:27,233 --> 00:23:30,366
{\an8}but to see him
at that kind of amazing command
360
00:23:30,400 --> 00:23:33,966
{\an1}already at that age
was really striking.
361
00:23:34,000 --> 00:23:38,066
{\an8}♪♪
362
00:23:38,100 --> 00:23:40,900
Thomas:
Along the way, I studied at USC
363
00:23:40,933 --> 00:23:45,466
{\an1}with an extraordinary woman
named Alice Ehlers,
364
00:23:45,500 --> 00:23:48,000
{\an1}and she was a wonderfully
brilliant, eccentric lady who,
365
00:23:48,033 --> 00:23:50,200
[ German accent ]
She was talking with an accent
366
00:23:50,233 --> 00:23:53,666
like this... I'm not going to do
the whole shtick for you.
367
00:23:53,700 --> 00:23:57,433
[ Normal voice ]
And she, at a lesson one day,
368
00:23:57,466 --> 00:23:59,000
{\an1}as we were struggling,
369
00:23:59,033 --> 00:24:01,600
{\an1}struggling through
a piece of Bach,
370
00:24:01,633 --> 00:24:06,233
{\an1}me 13, she 80 something.
371
00:24:06,266 --> 00:24:10,466
{\an1}She pulled my hand
372
00:24:10,500 --> 00:24:12,533
{\an1}off of the keyboard
373
00:24:12,566 --> 00:24:14,500
{\an1}and she said, "Dear, dear,
374
00:24:14,533 --> 00:24:19,466
{\an1}why do you always do
such stupid things?"
375
00:24:19,500 --> 00:24:22,133
Like...
"But... but, madame,
376
00:24:22,166 --> 00:24:25,533
last week you told me to do this
right at this place!"
377
00:24:25,566 --> 00:24:27,533
{\an1}She said, "I tell you
to do something?
378
00:24:27,566 --> 00:24:30,033
{\an1}Nonsense... I would never tell
you to do anything.
379
00:24:30,066 --> 00:24:32,500
{\an1}It doesn't interest me
in any way what you do
380
00:24:32,533 --> 00:24:34,166
or you do not do.
381
00:24:34,200 --> 00:24:37,300
{\an1}I only point out to you
that in the music
382
00:24:37,333 --> 00:24:40,533
{\an1}there are designs and structures
383
00:24:40,566 --> 00:24:45,500
{\an1}and concerning these things
you must make decisions,
384
00:24:45,533 --> 00:24:51,033
{\an1}and there are consequences
for your decisions."
385
00:24:51,066 --> 00:24:55,966
{\an1}That was a major moment
in my life,
386
00:24:56,000 --> 00:24:59,766
{\an1}just as it was a few years later
when Ingolf Dahl,
387
00:24:59,800 --> 00:25:03,733
{\an1}who was becoming my composition
and musicianship
388
00:25:03,766 --> 00:25:07,466
{\an1}and conducting teacher, took me
to a chamber music concert.
389
00:25:07,500 --> 00:25:10,333
{\an1}And we listened to
the first movement of the piece
390
00:25:10,366 --> 00:25:13,666
and he said,
"Did you enjoy that?"
391
00:25:13,700 --> 00:25:16,133
{\an1}I said, "Oh, yes, very much."
392
00:25:16,166 --> 00:25:18,633
He said,
"What form was it in?"
393
00:25:18,666 --> 00:25:21,566
{\an1}And I said, "Well, I wasn't
listening to analyze it,
394
00:25:21,600 --> 00:25:23,866
{\an1}I was listening to enjoy it."
395
00:25:23,900 --> 00:25:26,333
And he said,
"In classical music,
396
00:25:26,366 --> 00:25:29,900
{\an1}analysis is inseparable
from enjoyment."
397
00:25:29,933 --> 00:25:34,833
{\an8}♪♪
398
00:25:34,866 --> 00:25:37,533
{\an7}He was a composer, conductor,
399
00:25:37,566 --> 00:25:39,033
{\an8}pianist, musician's musician,
400
00:25:39,066 --> 00:25:43,800
{\an8}he was phenomenal
in the way he studied music,
401
00:25:43,833 --> 00:25:47,166
{\an1}the way he sat with me
in lessons.
402
00:25:47,200 --> 00:25:49,766
{\an1}[ Dahl vocalizing ]
403
00:25:56,166 --> 00:25:58,166
{\an8}Dahl:
He comes in dissonance...
404
00:25:58,200 --> 00:26:00,733
{\an8}[ Playing ]
405
00:26:05,533 --> 00:26:08,366
{\an8}Thomas: And that was another big
turning point in my mind,
406
00:26:08,400 --> 00:26:12,366
{\an1}that the great thing
about classical music
407
00:26:12,400 --> 00:26:16,233
{\an1}was that, like the human mind,
408
00:26:16,266 --> 00:26:23,133
it was emotion
and it was intelligence.
409
00:26:23,166 --> 00:26:25,133
It was instinct
and intelligence,
410
00:26:25,166 --> 00:26:26,500
{\an1}it was all of the feeling,
411
00:26:26,533 --> 00:26:30,000
{\an1}all of the gushing reactions
to things.
412
00:26:30,033 --> 00:26:34,366
{\an1}But it was also the larger
understanding of the order
413
00:26:34,400 --> 00:26:36,333
{\an1}and the priorities of things,
414
00:26:36,366 --> 00:26:39,233
{\an1}these two gorgeous things
that our minds do.
415
00:26:39,266 --> 00:26:45,333
{\an1}And how could the music be
understood in that way,
416
00:26:45,366 --> 00:26:52,433
{\an1}and how could a listener
come to understand that better
417
00:26:52,466 --> 00:26:55,633
{\an1}through hearing a performance...
That became my goal,
418
00:26:55,666 --> 00:27:00,633
{\an1}what effect will the music
have on the listener?
419
00:27:00,666 --> 00:27:04,600
{\an8}♪♪
420
00:27:04,633 --> 00:27:10,366
{\an1}Los Angeles was a city
of emigres in those years
421
00:27:10,400 --> 00:27:13,133
{\an1}and everybody had come
from somewhere else
422
00:27:13,166 --> 00:27:15,066
{\an1}and been a pretty big deal
somewhere else,
423
00:27:15,100 --> 00:27:18,533
{\an1}whether that was in
St. Petersburg or Vienna
424
00:27:18,566 --> 00:27:23,000
{\an1}or Berlin or Paris.
425
00:27:23,033 --> 00:27:27,900
{\an1}They were always hoping
for the really big movie deal.
426
00:27:27,933 --> 00:27:30,966
{\an1}This restaurant was kind of
like a magical clubhouse
427
00:27:31,000 --> 00:27:33,400
{\an1}in my eyes from the time
I was a very young kid,
428
00:27:33,433 --> 00:27:36,900
{\an1}because when I first came here,
I came here with my father,
429
00:27:36,933 --> 00:27:40,466
who was working
at Universal and MGM.
430
00:27:40,500 --> 00:27:44,466
And then later I would come here
when I was driving
431
00:27:44,500 --> 00:27:46,566
around L.A.
in my own car,
432
00:27:46,600 --> 00:27:52,066
{\an1}which, typical Angeleno,
I was by age 17 or so.
433
00:27:52,100 --> 00:27:56,933
{\an1}There I am driving around town.
I'm listening to XERB Radio
434
00:27:56,966 --> 00:28:01,766
{\an1}and suddenly I hear this music
and it's so powerful
435
00:28:01,800 --> 00:28:06,633
{\an1}that I have to pull to the side
of the road and listen to it.
436
00:28:06,666 --> 00:28:10,600
{\an1}And it's "Cold Sweat"...
James Brown.
437
00:28:10,633 --> 00:28:12,566
It's the way
he got things together.
438
00:28:12,600 --> 00:28:16,933
{\an1}His concept of time,
his understanding of
439
00:28:16,966 --> 00:28:19,666
{\an1}the situation of music...
His words,
440
00:28:19,700 --> 00:28:21,366
{\an1}"the situation of music,"
441
00:28:21,400 --> 00:28:23,000
{\an1}and just before he died,
442
00:28:23,033 --> 00:28:27,066
I was able to do
a long interview with him.
443
00:28:27,100 --> 00:28:31,333
{\an1}It was so together,
it was so exact,
444
00:28:31,366 --> 00:28:33,166
so... [ Brown laughing ]
445
00:28:33,200 --> 00:28:35,966
{\an1}Brown: Everything has to be
right on the money with me.
446
00:28:36,000 --> 00:28:37,176
{\an1}Thomas: Well, you know,
I say this to
447
00:28:37,200 --> 00:28:38,700
{\an1}my young conductors I work with.
448
00:28:38,733 --> 00:28:41,066
{\an1}I say, you know, being
a conductor means you're trying
449
00:28:41,100 --> 00:28:43,800
{\an1}to get a lot of people
to agree where "now" is.
450
00:28:43,833 --> 00:28:45,433
{\an1}Brown: Now is right!
451
00:28:45,466 --> 00:28:48,066
{\an1}I know, because I always
say if you...
452
00:28:48,100 --> 00:28:50,666
If I say "now,"
I just missed it,
453
00:28:50,700 --> 00:28:53,733
{\an1}because when I said now,
it was now.
454
00:28:53,766 --> 00:28:54,866
Yeah, yeah.
455
00:28:54,900 --> 00:28:56,109
Thomas:
And I use that, you know,
456
00:28:56,133 --> 00:28:58,900
if I'm rehearsing
a piece by Stravinsky,
457
00:28:58,933 --> 00:29:02,666
I'll say to the winds and brass,
how together do I want this?
458
00:29:02,700 --> 00:29:04,566
{\an8}♪ I break out,
bop, bop, bop ♪
459
00:29:04,600 --> 00:29:08,966
{\an7}♪ In a cold sweat, bop, bop,
bop, bop, bop, bop, bang! ♪
460
00:29:09,000 --> 00:29:10,966
{\an7}That's how together I want it.
461
00:29:11,000 --> 00:29:16,200
{\an8}♪♪
462
00:29:16,233 --> 00:29:21,400
{\an8}♪♪
463
00:29:21,433 --> 00:29:22,700
{\an1}Grierson: USC in the '60s,
464
00:29:22,733 --> 00:29:24,633
they were
magical years for both of us
465
00:29:24,666 --> 00:29:30,833
{\an1}in that Heifetz and Piatigorsky
and Ingolf Dahl and John Crown
466
00:29:30,866 --> 00:29:32,933
{\an1}and all these people
were teaching there.
467
00:29:35,000 --> 00:29:38,766
{\an1}Thomas: My major at USC
was initially piano.
468
00:29:38,800 --> 00:29:42,266
It then shifted
to include conducting.
469
00:29:42,300 --> 00:29:45,633
{\an1}And into dealing with music
470
00:29:45,666 --> 00:29:47,966
{\an1}that was then called
avant garde music.
471
00:29:48,000 --> 00:29:49,633
{\an7}Grierson: Here we were,
college kids
472
00:29:49,666 --> 00:29:52,566
{\an7}who suddenly found ourselves,
473
00:29:52,600 --> 00:29:56,066
{\an7}you know, not only involved in a
lot of university music making,
474
00:29:56,100 --> 00:29:59,000
{\an1}but out in the community
with Monday evening concerts
475
00:29:59,033 --> 00:30:01,100
and playing a lot
of contemporary music.
476
00:30:01,133 --> 00:30:04,633
{\an1}It was kind of a renaissance
golden age for new music,
477
00:30:04,666 --> 00:30:06,600
at least for us.
478
00:30:06,633 --> 00:30:08,109
{\an1}Thomas: Monday Evening Concerts
was perhaps
479
00:30:08,133 --> 00:30:11,066
{\an1}the most adventurous concert
series in the United States.
480
00:30:11,100 --> 00:30:15,500
{\an1}It was a reflection
of the omnivorous curiosity
481
00:30:15,533 --> 00:30:18,466
{\an1}of both Stravinsky
and Schoenberg.
482
00:30:18,500 --> 00:30:23,466
{\an1}It presented medieval music,
renaissance music,
483
00:30:23,500 --> 00:30:25,900
{\an1}contemporary music
of every possible description,
484
00:30:25,933 --> 00:30:28,300
{\an1}so-called avant garde music.
485
00:30:28,333 --> 00:30:35,433
{\an8}♪♪
486
00:30:35,466 --> 00:30:42,533
{\an8}♪♪
487
00:30:42,566 --> 00:30:44,700
{\an1}And very often I became kind of,
488
00:30:44,733 --> 00:30:46,933
{\an1}"Oh, yeah, that kid in
Los Angeles
489
00:30:46,966 --> 00:30:48,700
{\an1}who knows how to do that piece."
490
00:30:48,733 --> 00:30:54,733
{\an8}♪♪
491
00:30:54,766 --> 00:30:56,766
{\an1}So it was quite an amazing
environment
492
00:30:56,800 --> 00:30:58,066
{\an1}in which to grow up.
493
00:30:58,100 --> 00:30:59,800
{\an1}Meeting Aaron Copland
494
00:30:59,833 --> 00:31:02,766
{\an1}and playing for Stravinsky
and getting a real sense
495
00:31:02,800 --> 00:31:06,766
{\an1}from his own singing how he
wanted his music to be played.
496
00:31:09,766 --> 00:31:11,842
{\an1}It's like a steam bath in here,
shall I turn off this...
497
00:31:11,866 --> 00:31:13,200
{\an1}I knew I wanted to be
a musician,
498
00:31:13,233 --> 00:31:15,866
{\an1}a performer, since I was 13,
499
00:31:15,900 --> 00:31:18,200
{\an1}but I still had that bargain
with my parents...
500
00:31:18,233 --> 00:31:21,133
{\an1}keep studying the science stuff;
501
00:31:21,166 --> 00:31:24,866
{\an1}when you're 20 years old,
you'll make a decision.
502
00:31:24,900 --> 00:31:26,933
{\an1}On my 20th birthday,
503
00:31:26,966 --> 00:31:28,933
{\an1}I got a phone call
from Gregor Piatigorsky,
504
00:31:28,966 --> 00:31:34,133
{\an1}who said, "You've been selected
to be the new conductor
505
00:31:34,166 --> 00:31:38,033
{\an1}of the Young Musicians
Foundation debut orchestra."
506
00:31:38,066 --> 00:31:40,633
{\an1}So that seemed to be a sign
507
00:31:40,666 --> 00:31:43,500
{\an1}that we were going in
the direction of music
508
00:31:43,533 --> 00:31:47,300
and, of course, show business.
509
00:31:47,333 --> 00:31:50,433
{\an1}The creation of the sort
of "MTT" persona,
510
00:31:50,466 --> 00:31:53,933
{\an1}which I began working on
as an adolescent,
511
00:31:53,966 --> 00:31:56,900
was in some ways
a conscious thing to realize,
512
00:31:56,933 --> 00:32:01,233
{\an1}if I wanted the dreams
to become real,
513
00:32:01,266 --> 00:32:03,500
{\an1}I was going to have
to find a way
514
00:32:03,533 --> 00:32:09,000
to come out of my only child,
515
00:32:09,033 --> 00:32:15,100
{\an1}magical and enchanted
San Fernando Valley world
516
00:32:15,133 --> 00:32:19,066
{\an1}and learn how to actually
517
00:32:19,100 --> 00:32:20,900
{\an1}include and work with people.
518
00:32:20,933 --> 00:32:26,133
{\an8}♪♪
519
00:32:26,166 --> 00:32:31,333
{\an8}♪♪
520
00:32:31,366 --> 00:32:34,166
{\an1}Suddenly, I was mostly
a conductor,
521
00:32:34,200 --> 00:32:36,366
{\an1}and of course, where do young
conductors go?
522
00:32:36,400 --> 00:32:40,766
Tanglewood.
523
00:32:40,800 --> 00:32:43,000
{\an1}In the years that I was
a fellow at Tanglewood
524
00:32:43,033 --> 00:32:45,766
{\an1}at the end of the summer,
a prize could be given
525
00:32:45,800 --> 00:32:51,233
{\an1}to someone who it was felt was
an outstanding enough conductor
526
00:32:51,266 --> 00:32:55,066
{\an1}to be given an award named
after Serge Koussevitzky,
527
00:32:55,100 --> 00:32:57,566
{\an1}the eminent maestro
of the Boston Symphony
528
00:32:57,600 --> 00:32:59,000
{\an1}and creator of Tanglewood.
529
00:32:59,033 --> 00:33:01,833
{\an7}And the summer I was there,
I won that prize.
530
00:33:01,866 --> 00:33:09,400
{\an8}♪♪
531
00:33:09,433 --> 00:33:16,966
{\an8}♪♪
532
00:33:17,000 --> 00:33:24,566
{\an8}♪♪
533
00:33:24,600 --> 00:33:32,133
{\an8}♪♪
534
00:33:32,166 --> 00:33:39,700
{\an8}♪♪
535
00:33:39,733 --> 00:33:47,266
{\an8}♪♪
536
00:33:47,300 --> 00:33:54,866
{\an8}♪♪
537
00:33:54,900 --> 00:34:02,500
{\an8}♪♪
538
00:34:02,533 --> 00:34:10,066
{\an8}♪♪
539
00:34:10,100 --> 00:34:17,633
{\an8}♪♪
540
00:34:17,666 --> 00:34:25,233
{\an8}♪♪
541
00:34:25,266 --> 00:34:32,800
{\an8}♪♪
542
00:34:32,833 --> 00:34:40,366
{\an8}♪♪
543
00:34:40,400 --> 00:34:43,233
{\an1}Immediately after that summer,
544
00:34:43,266 --> 00:34:45,300
when I won
the Koussevitzky Prize,
545
00:34:45,333 --> 00:34:47,666
I was in New York for a few days
546
00:34:47,700 --> 00:34:52,633
{\an1}and I was introduced
to Leonard Bernstein,
547
00:34:52,666 --> 00:34:57,866
{\an1}and we had this wonderful
exchange of ideas
548
00:34:57,900 --> 00:35:02,466
{\an1}which quickly turnedto
one liners from the show biz,
549
00:35:02,500 --> 00:35:04,433
{\an1}Yiddish theater world,
550
00:35:04,466 --> 00:35:05,833
and Stravinsky,
551
00:35:05,866 --> 00:35:09,933
and old stories
about Piatigorsky,
552
00:35:09,966 --> 00:35:12,500
{\an1}who had been a lot
with Bernstein
553
00:35:12,533 --> 00:35:15,500
{\an1}when Bernstein was himself
a fellow at Tanglewood.
554
00:35:15,533 --> 00:35:20,233
{\an1}So suddenly we began to see
thatthere were many areas in common.
555
00:35:20,266 --> 00:35:22,633
{\an1}We had the opportunity
often to get together
556
00:35:22,666 --> 00:35:25,333
{\an1}and look through scores,
557
00:35:25,366 --> 00:35:30,066
{\an1}just kind of the design of them,
the shape of them.
558
00:35:30,100 --> 00:35:32,466
{\an1}He came to a performance
of Mahler's Fifth
559
00:35:32,500 --> 00:35:34,066
{\an1}in the early days that I did,
560
00:35:34,100 --> 00:35:37,100
{\an1}and afterwards everyone
cleared out and I finally said,
561
00:35:37,133 --> 00:35:41,166
{\an1}"So what did you think
of my performance?"
562
00:35:41,200 --> 00:35:45,300
And he said,
"What did I think of it?
563
00:35:45,333 --> 00:35:48,566
{\an1}I think that when you really
have made up your mind
564
00:35:48,600 --> 00:35:50,566
{\an1}what it means to you,
565
00:35:50,600 --> 00:35:53,333
{\an1}and what you intend to
do about it,
566
00:35:53,366 --> 00:35:57,166
{\an1}it won't matter to you whatl
think or anybody else thinks."
567
00:35:57,200 --> 00:36:05,200
{\an8}♪♪
568
00:36:06,500 --> 00:36:14,500
{\an8}♪♪
569
00:36:15,700 --> 00:36:23,700
{\an8}♪♪
570
00:36:24,933 --> 00:36:32,933
{\an8}♪♪
571
00:36:34,166 --> 00:36:37,966
{\an1}That's really pretty,
beautifully played.
572
00:36:38,000 --> 00:36:40,666
{\an1}Take ownership of it.
573
00:36:40,700 --> 00:36:42,033
{\an1}It's your story now.
574
00:36:42,066 --> 00:36:44,566
{\an1}It was Bach's story
how many hundred years ago
575
00:36:44,600 --> 00:36:46,400
was that now?
576
00:36:46,433 --> 00:36:48,300
300 or whatever!
577
00:36:48,333 --> 00:36:50,166
[ Laughs ]
578
00:36:50,200 --> 00:36:52,733
{\an1}Here are some ideas.
579
00:36:52,766 --> 00:36:54,566
So this section,
580
00:36:54,600 --> 00:36:56,309
{\an1}this is about, there are a lot
of little notes
581
00:36:56,333 --> 00:36:58,833
{\an1}littering the landscape,
582
00:36:58,866 --> 00:37:02,366
{\an1}which are chromatically altered.
583
00:37:02,400 --> 00:37:08,800
{\an8}♪♪
584
00:37:08,833 --> 00:37:15,266
{\an8}♪♪
585
00:37:15,300 --> 00:37:17,366
{\an1}You feel that, you know that;
586
00:37:17,400 --> 00:37:20,300
{\an1}don't assume that the audience
necessarily feels it
587
00:37:20,333 --> 00:37:23,333
{\an1}or knows it as much as you do.
588
00:37:23,366 --> 00:37:26,833
{\an1}Tell them that it's special.
589
00:37:26,866 --> 00:37:34,833
{\an8}♪♪
590
00:37:34,866 --> 00:37:42,800
{\an8}♪♪
591
00:37:42,833 --> 00:37:50,800
{\an8}♪♪
592
00:37:50,833 --> 00:37:53,466
{\an1}Great, Brendon, try this one
thing for me once, would you:
593
00:37:53,500 --> 00:37:54,800
try this...
594
00:37:54,833 --> 00:37:56,400
[ Playing piano ]
595
00:37:56,433 --> 00:38:02,666
{\an8}♪♪
596
00:38:02,700 --> 00:38:04,700
{\an1}Just do that once,
see what it feels like.
597
00:38:04,733 --> 00:38:12,733
{\an8}♪♪
598
00:38:13,666 --> 00:38:18,333
{\an1}Just really... just to hold
on to it and let your spirit
599
00:38:18,366 --> 00:38:22,166
{\an1}investigate what that space
feels... really feels like.
600
00:38:22,200 --> 00:38:26,466
{\an8}♪♪
601
00:38:26,500 --> 00:38:31,033
{\an1}Okay, where exactly is that
and where is it going?
602
00:38:32,233 --> 00:38:35,433
{\an1}Just feel that space
someplace in here.
603
00:38:35,466 --> 00:38:36,566
Man: Okay.
604
00:38:36,600 --> 00:38:38,600
Thomas: Or maybe
a mixture of here and here.
605
00:38:41,400 --> 00:38:46,400
{\an8}♪♪
606
00:38:46,433 --> 00:38:51,433
{\an8}♪♪
607
00:38:51,466 --> 00:38:53,366
Okay, now that
you understand that,
608
00:38:53,400 --> 00:38:55,633
{\an1}there's more freedom
there than you think.
609
00:38:55,666 --> 00:38:56,900
Man: Okay.
610
00:38:56,933 --> 00:39:00,533
{\an1}I've been doing a lot ofpractice
with a metronome, so...
611
00:39:00,566 --> 00:39:01,709
{\an1}This is good to...
- Thomas: Yeah, put that away.
612
00:39:01,733 --> 00:39:03,400
Man:
to think about it this way.
613
00:39:03,433 --> 00:39:06,366
{\an1}Thomas: That's... you did that,
that's good. Okay?
614
00:39:06,400 --> 00:39:10,333
{\an1}This is the miracle
of music that...
615
00:39:10,366 --> 00:39:13,600
{\an1}I have a terrible toothache,
I'm getting over a cold,
616
00:39:13,633 --> 00:39:18,266
{\an1}I've my arm and bursitis
and all that's going on,
617
00:39:18,300 --> 00:39:21,500
{\an1}been chasing my tail
all over the world
618
00:39:21,533 --> 00:39:24,700
{\an1}and thinking, "Oh, okay,
I made this appointment
619
00:39:24,733 --> 00:39:27,566
{\an1}to hear this young man
play this Bach piece.
620
00:39:27,600 --> 00:39:29,266
I am so tired.
621
00:39:29,300 --> 00:39:31,466
How am I going
to get through this?"
622
00:39:31,500 --> 00:39:34,366
{\an1}But that kind of talent,
that kind of music,
623
00:39:34,400 --> 00:39:38,033
{\an1}it's just like, I'm ready to go
all over again!
624
00:39:38,066 --> 00:39:40,666
You know?
What shoulder?
625
00:39:40,700 --> 00:39:42,000
What sinus?
626
00:39:42,033 --> 00:39:44,033
What weltschmerz, what anything?
627
00:39:44,066 --> 00:39:46,306
It's the music. It's just there.
It's just amazing to me.
628
00:39:46,333 --> 00:39:47,900
{\an1}I just feel great.
629
00:39:47,933 --> 00:39:49,966
{\an8}♪♪
630
00:39:50,000 --> 00:39:55,600
{\an1}In the autumn of 1969,
I arrived in Boston as pianist
631
00:39:55,633 --> 00:39:57,333
{\an1}and assistant conductor
632
00:39:57,366 --> 00:39:59,366
{\an1}of the Boston Symphony
Orchestra.
633
00:39:59,400 --> 00:40:01,100
{\an7}Ohanian: March of 1970,
634
00:40:01,133 --> 00:40:03,400
{\an7}I was asked to join
the Boston Symphony
635
00:40:03,433 --> 00:40:04,933
{\an7}in French horn section.
636
00:40:04,966 --> 00:40:09,966
{\an1}So we basically joined BSOat
the same time, Michael and I.
637
00:40:10,000 --> 00:40:13,666
{\an1}He was on a meteoric rise
at the time
638
00:40:13,700 --> 00:40:15,633
from being
a West Coast phenomenon
639
00:40:15,666 --> 00:40:20,133
{\an1}to becoming assistant conductor
in a major orchestra.
640
00:40:21,633 --> 00:40:23,666
{\an1}Thomas: And I was working
with Steinberg,
641
00:40:23,700 --> 00:40:26,033
{\an1}accompanying all of his
rehearsals with soloists,
642
00:40:26,066 --> 00:40:29,133
{\an1}and would play something for him
in his room and he would say,
643
00:40:29,166 --> 00:40:32,366
{\an1}"Yes, um, very lovely,
very charming.
644
00:40:32,400 --> 00:40:36,400
{\an1}Now, next, we will see one
another on the field,
645
00:40:36,433 --> 00:40:39,666
{\an1}and let us hope it will be
the playing field
646
00:40:39,700 --> 00:40:42,300
{\an1}and not the battlefield."
647
00:40:44,466 --> 00:40:45,966
{\an1}Then the fourth week
of the season,
648
00:40:46,000 --> 00:40:48,866
{\an1}I believe, we were going on tour
to New York
649
00:40:48,900 --> 00:40:52,766
{\an1}with Steinberg's programs
towhat was then Philharmonic Hall.
650
00:40:56,233 --> 00:41:00,633
{\an1}I was hanging out backstage,
Steinberg walked off the stage
651
00:41:00,666 --> 00:41:05,366
{\an1}and said, "You, young man,
put on your suit,
652
00:41:05,400 --> 00:41:06,833
{\an1}you're going to conduct."
653
00:41:06,866 --> 00:41:09,300
I was frozen.
654
00:41:09,333 --> 00:41:11,666
{\an1}He said, "Didn't you hear me?
Put your suit on!
655
00:41:11,700 --> 00:41:13,066
{\an1}You're conducting."
656
00:41:13,100 --> 00:41:15,100
{\an1}He went on, took a bow,
657
00:41:15,133 --> 00:41:19,433
came back
and went off to a hospital.
658
00:41:19,466 --> 00:41:23,466
{\an1}And I went on and conducted
the second half of the program.
659
00:41:30,566 --> 00:41:37,800
{\an8}♪♪
660
00:41:37,833 --> 00:41:45,066
{\an8}♪♪
661
00:41:45,100 --> 00:41:48,766
{\an7}Raeburn: Let's move on now to
the rest of the season...
662
00:41:48,800 --> 00:41:52,100
{\an7}you, in fact, will now
unexpectedly be conducting
663
00:41:52,133 --> 00:41:54,900
{\an8}almost all
the Boston Symphony concerts
664
00:41:54,933 --> 00:41:56,900
between now
and the end of April.
665
00:41:56,933 --> 00:41:58,733
- Thomas: Yes.
- Raeburn: This must come
666
00:41:58,766 --> 00:42:03,033
{\an1}as a shock, perhaps...
Pleasurable shock in many ways,
667
00:42:03,066 --> 00:42:05,166
{\an1}but also there must be
great responsibility,
668
00:42:05,200 --> 00:42:08,366
{\an1}which you've never
had to face before.
669
00:42:08,400 --> 00:42:12,266
{\an1}Thomas: It's an enormous
responsibility and I feel,
670
00:42:12,300 --> 00:42:17,233
{\an1}I must say, terribly humble
and terribly...
671
00:42:17,266 --> 00:42:19,633
terribly grateful
at the same time,
672
00:42:19,666 --> 00:42:21,566
{\an1}I mean, I'm sort of in awe of
the responsibility
673
00:42:21,600 --> 00:42:26,566
{\an1}I've been given, and terribly
pleased about the confidence
674
00:42:26,600 --> 00:42:28,966
{\an1}that Mr. Steinberg
and management
675
00:42:29,000 --> 00:42:31,400
{\an1}the orchestra have had in me.
676
00:42:31,433 --> 00:42:35,500
{\an1}One thing that's a comfort
as I stay up late nights
677
00:42:35,533 --> 00:42:36,809
worrying about
some other problem
678
00:42:36,833 --> 00:42:38,500
and some piece
that's happening next week,
679
00:42:38,533 --> 00:42:40,509
{\an1}while meanwhile worrying about
how tonight's performance
680
00:42:40,533 --> 00:42:42,400
{\an1}or next night's performance
will go...
681
00:42:42,433 --> 00:42:46,266
{\an1}when all of this happened,
682
00:42:46,300 --> 00:42:49,233
{\an1}Colin Davis was here at the time
as a guest conductor,
683
00:42:49,266 --> 00:42:51,066
{\an1}and he said, "Oh, yes,
when I was a young man,
684
00:42:51,100 --> 00:42:52,276
{\an1}very similar thing
happened to me...
685
00:42:52,300 --> 00:42:53,676
{\an1}conductor got sick
and I suddenly had
686
00:42:53,700 --> 00:42:55,233
to conduct
six weeks of concerts."
687
00:42:55,266 --> 00:42:56,809
{\an1}He said, "It was absolutely
a hell of a time
688
00:42:56,833 --> 00:42:58,142
because I had to
just keep working
689
00:42:58,166 --> 00:42:59,833
{\an1}and working and staying up.
690
00:42:59,866 --> 00:43:01,733
But don't worry,
you'll get through it."
691
00:43:01,766 --> 00:43:04,300
{\an7}And Mr. Bernstein,
692
00:43:04,333 --> 00:43:06,442
{\an7}Leonard Bernstein said
very much the same thing to me.
693
00:43:06,466 --> 00:43:09,433
{\an7}So that was a little bit
of encouragement.
694
00:43:09,466 --> 00:43:11,666
{\an7}I wasn't the first person
to have gone
695
00:43:11,700 --> 00:43:13,600
{\an7}through this ordeal by fire.
696
00:43:13,633 --> 00:43:18,566
{\an8}♪♪
697
00:43:18,600 --> 00:43:21,133
{\an7}And I did some 40 more concerts
698
00:43:21,166 --> 00:43:24,766
{\an7}that first season,
and big variety of repertoire,
699
00:43:24,800 --> 00:43:28,000
{\an1}nearly all of which
I had never conducted before.
700
00:43:28,033 --> 00:43:36,033
{\an8}♪♪
701
00:43:37,666 --> 00:43:45,666
{\an8}♪♪
702
00:43:47,300 --> 00:43:54,866
{\an8}♪♪
703
00:43:56,933 --> 00:43:59,933
{\an1}I had the idea of starting
a new kind of concert series,
704
00:43:59,966 --> 00:44:03,466
{\an1}which would be attractive
to young audiences,
705
00:44:03,500 --> 00:44:05,466
{\an1}particularly in Cambridge,
706
00:44:05,500 --> 00:44:10,733
{\an1}and that the concertswould
have thematic connections.
707
00:44:10,766 --> 00:44:12,566
I was introducing
a lot of new repertoire,
708
00:44:12,600 --> 00:44:14,833
{\an1}the kinds of things
I had played back
709
00:44:14,866 --> 00:44:16,200
{\an1}at Monday Evening Concerts.
710
00:44:16,233 --> 00:44:17,933
{\an1}Ohanian: One of the differences,
I think,
711
00:44:17,966 --> 00:44:20,033
that Michael had
from the conductors
712
00:44:20,066 --> 00:44:22,533
{\an1}that normally would
pass through Boston
713
00:44:22,566 --> 00:44:25,600
was that he was
very spontaneous,
714
00:44:25,633 --> 00:44:29,333
{\an1}and maybe that was
a bit of a fault with him
715
00:44:29,366 --> 00:44:31,366
{\an1}because he knew a lot,
716
00:44:31,400 --> 00:44:33,800
{\an1}and he understood a lot about
the music
717
00:44:33,833 --> 00:44:36,366
{\an1}that he was conducting.
718
00:44:36,400 --> 00:44:38,233
{\an1}And so he would try to teach.
719
00:44:38,266 --> 00:44:41,266
{\an7}Volpe: Back then...
How to say this delicately...
720
00:44:41,300 --> 00:44:43,400
{\an7}I mean, the core was still
721
00:44:43,433 --> 00:44:45,833
{\an7}Beethoven, Brahms,
Mozart, Haydn.
722
00:44:45,866 --> 00:44:49,433
{\an1}Ohanian: It took a while
for the orchestra
723
00:44:49,466 --> 00:44:53,100
{\an1}and for the audience
to warm up to Michael's style
724
00:44:53,133 --> 00:44:55,166
because he was
bringing new ideas
725
00:44:55,200 --> 00:44:58,366
{\an1}to a very traditional setting.
726
00:44:58,400 --> 00:44:59,742
{\an1}Thomas: Part of the new music
I was doing
727
00:44:59,766 --> 00:45:02,566
{\an8}was a series
called Spectrum Series,
728
00:45:02,600 --> 00:45:05,166
{\an7}which was really a kind of blow
up of what
729
00:45:05,200 --> 00:45:08,500
{\an7}Monday Evening Concerts
programming had been.
730
00:45:08,533 --> 00:45:10,766
{\an1}The programs stretched
very commonly
731
00:45:10,800 --> 00:45:14,033
{\an1}from the Middle Ages
till last week.
732
00:45:14,066 --> 00:45:15,709
{\an1}Ohanian: And it was a hard sell
for Michael
733
00:45:15,733 --> 00:45:17,766
{\an1}to get that concept across.
734
00:45:17,800 --> 00:45:19,966
{\an1}I thought it was marvelous
because, I mean,
735
00:45:20,000 --> 00:45:21,500
{\an1}I learned so much.
736
00:45:21,533 --> 00:45:23,133
I knew the music,
but I didn't know
737
00:45:23,166 --> 00:45:24,866
{\an1}the story behind the music
oftentimes.
738
00:45:24,900 --> 00:45:26,233
{\an1}Arzewski: It was hard.
739
00:45:26,266 --> 00:45:29,400
{\an7}It was really, really difficult
on the older members.
740
00:45:29,433 --> 00:45:31,466
{\an7}And to tell you the truth,
I was...
741
00:45:31,500 --> 00:45:32,600
{\an8}I loved it.
742
00:45:32,633 --> 00:45:34,833
I looked forward
to his Spectrum concerts.
743
00:45:34,866 --> 00:45:40,200
I couldn't wait because I always
knew I would learn something.
744
00:45:40,233 --> 00:45:43,800
{\an1}But I never would admit it
to the older players
745
00:45:43,833 --> 00:45:45,366
that I liked it.
746
00:45:45,400 --> 00:45:47,300
{\an1}I was afraid... I was young,
747
00:45:47,333 --> 00:45:50,766
I was a woman,
I was a new member.
748
00:45:50,800 --> 00:45:52,833
{\an1}I didn't want to rock the boat.
749
00:45:52,866 --> 00:45:54,666
Thomas:
I began talking to the audience
750
00:45:54,700 --> 00:45:56,066
{\an1}and explaining the context
751
00:45:56,100 --> 00:45:57,509
of the music
they were going to hear.
752
00:45:57,533 --> 00:46:02,866
{\an1}And one very venerable member
of the Boston Symphony board
753
00:46:02,900 --> 00:46:06,000
{\an1}who was not aware of the fact
that I was doing this,
754
00:46:06,033 --> 00:46:08,466
{\an1}that the whole idea
of the concert was to do that,
755
00:46:08,500 --> 00:46:12,633
{\an1}as I was speaking, said,
"Oh, why don't you shut up?!"
756
00:46:12,666 --> 00:46:14,666
{\an1}Stravinsky said there is
some music
757
00:46:14,700 --> 00:46:18,800
{\an1}that is meant not to be enjoyed,
but to be admired,
758
00:46:18,833 --> 00:46:22,733
{\an1}and perhaps some of this music
was in that area.
759
00:46:22,766 --> 00:46:24,666
{\an1}Then by accident at a party
760
00:46:24,700 --> 00:46:27,166
{\an1}I heard a piece of
Steve Reich's,
761
00:46:27,200 --> 00:46:30,900
{\an1}which was filled with melody
and harmony.
762
00:46:30,933 --> 00:46:34,000
{\an8}Reich: In 1970,
the phone rang,
763
00:46:34,033 --> 00:46:37,533
{\an8}and there was
Michael Tilson Thomas.
764
00:46:37,566 --> 00:46:40,200
{\an1}And he says, "I'm calling you,
I'm at the BSO,
765
00:46:40,233 --> 00:46:43,100
{\an1}and we'd like to do a piece of
yours... what do you suggest?"
766
00:46:43,133 --> 00:46:46,233
{\an1}I said, "Well, I've got a piece
called 'Four Organs'."
767
00:46:46,266 --> 00:46:49,700
{\an1}There was an immediate meeting
of the minds and sensibilities.
768
00:46:49,733 --> 00:46:52,833
{\an1}I's a very odd piece,
and he got it right away.
769
00:46:52,866 --> 00:46:54,300
And I'd say
the audience reaction
770
00:46:54,333 --> 00:46:57,633
{\an1}was a sort of polite boos,
polite bravos and polite...
771
00:46:57,666 --> 00:46:58,933
{\an1}because we were in Boston.
772
00:46:58,966 --> 00:47:00,342
{\an1}Thomas: The reaction in
Carnegie Hall
773
00:47:00,366 --> 00:47:02,733
{\an1}was entirely different.
774
00:47:02,766 --> 00:47:10,766
{\an8}♪♪
775
00:47:12,533 --> 00:47:14,700
Reich: The piece
"Four Organs" took place,
776
00:47:14,733 --> 00:47:16,433
{\an1}and basically it's
about augmentation,
777
00:47:16,466 --> 00:47:18,866
{\an1}short chord gets long...
Very long indeed,
778
00:47:18,900 --> 00:47:20,466
and the duration of 20 minutes
779
00:47:20,500 --> 00:47:23,966
{\an1}is probably one of the most
abrasive pieces I ever wrote.
780
00:47:24,000 --> 00:47:29,966
{\an8}♪♪
781
00:47:30,000 --> 00:47:32,000
{\an8}Thomas: We did this in a program
782
00:47:32,033 --> 00:47:34,333
{\an1}at the Boston Symphony
Orchestra.
783
00:47:34,366 --> 00:47:38,266
{\an1}And we got about, I'd say,
a third of the way
784
00:47:38,300 --> 00:47:41,833
into the piece
when protests began to erupt.
785
00:47:41,866 --> 00:47:43,309
{\an1}The audience became wilder
and wilder.
786
00:47:43,333 --> 00:47:44,809
{\an1}The ushers were moving about
not knowing
787
00:47:44,833 --> 00:47:46,109
{\an1}whether they should call
the police
788
00:47:46,133 --> 00:47:47,709
{\an1}because certain people
were getting a bit violent.
789
00:47:47,733 --> 00:47:50,266
{\an1}And little by little,
the noise became so great
790
00:47:50,300 --> 00:47:52,600
{\an1}that even on stage with
these amplified instruments,
791
00:47:52,633 --> 00:47:54,700
{\an1}we could not hear one another.
792
00:47:54,733 --> 00:47:56,276
{\an1}And we were trying
to get through the cycle,
793
00:47:56,300 --> 00:47:58,400
{\an1}the complicated rhythmic cycle
of this piece.
794
00:47:58,433 --> 00:47:59,509
{\an1}The only way we could do it
795
00:47:59,533 --> 00:48:01,633
{\an1}was that we were looking
at one another
796
00:48:01,666 --> 00:48:03,200
{\an1}and I was going...
Steve, together,
797
00:48:03,233 --> 00:48:04,842
{\an1}we were going like...
"One, two, three, four,
798
00:48:04,866 --> 00:48:07,176
{\an1}five, six, seven, eight, nine,
one, two, three, four, five,
799
00:48:07,200 --> 00:48:09,566
six, seven"... mouthing numbers.
800
00:48:09,600 --> 00:48:11,133
{\an1}Reich: So by the time
the piece ended,
801
00:48:11,166 --> 00:48:14,266
{\an1}there were a few bravos
and overwhelming boos.
802
00:48:14,300 --> 00:48:18,033
{\an1}And people say there was a woman
banging on the stage
803
00:48:18,066 --> 00:48:20,933
{\an1}with her umbrella,
her hand, saying,
804
00:48:20,966 --> 00:48:23,133
{\an1}"I'll confess, I confess."
805
00:48:23,166 --> 00:48:24,400
{\an1}And I turned white as a sheet
806
00:48:24,433 --> 00:48:26,633
{\an1}because I wanted people
to love what I do.
807
00:48:26,666 --> 00:48:31,033
{\an1}Michael looked at me and said,
"This is history!"
808
00:48:31,066 --> 00:48:32,409
Thomas: I said,
"Steve, this is it!
809
00:48:32,433 --> 00:48:33,966
{\an1}This is fantastic!
810
00:48:34,000 --> 00:48:35,333
{\an1}Do you realize what you've done?
811
00:48:35,366 --> 00:48:36,833
{\an1}You've gotten under their skin."
812
00:48:36,866 --> 00:48:39,233
♪♪
813
00:48:39,266 --> 00:48:41,366
{\an1}Reich: When Steinberg left,
I was pretty sure
814
00:48:41,400 --> 00:48:44,666
{\an1}that Michael wouldn't
be offered that position.
815
00:48:44,700 --> 00:48:47,533
{\an1}Volpe: William Steinberg was
a very, very traditional,
816
00:48:47,566 --> 00:48:50,200
old-school European conductor,
817
00:48:50,233 --> 00:48:53,500
and then you have
this incredible burst of energy
818
00:48:53,533 --> 00:48:55,766
{\an1}and a tad bit of brashness.
819
00:48:55,800 --> 00:48:57,633
{\an1}And Michael Tilson Thomas,
I won't say,
820
00:48:57,666 --> 00:48:59,600
is the antithesis
of William Steinberg,
821
00:48:59,633 --> 00:49:02,600
{\an1}but it's so different.
822
00:49:02,633 --> 00:49:05,000
{\an1}I don't know if there was
pushback, per se,
823
00:49:05,033 --> 00:49:07,366
{\an1}but certainly early on there
had to be skepticism.
824
00:49:07,400 --> 00:49:09,100
{\an1}And I've been told that,
825
00:49:09,133 --> 00:49:12,133
{\an1}I mean that, you know, how can
someone so young, I mean,
826
00:49:12,166 --> 00:49:14,533
{\an1}what are you going to tell us
about Beethoven
827
00:49:14,566 --> 00:49:16,900
{\an1}that we haven't heard
almost from the source?
828
00:49:16,933 --> 00:49:18,866
{\an1}Ohanian: He was too young to be
a music director
829
00:49:18,900 --> 00:49:20,433
{\an1}of the Boston Symphony.
830
00:49:20,466 --> 00:49:22,209
{\an1}So I was pretty sure that
he would not be offered that.
831
00:49:22,233 --> 00:49:23,666
And so was he.
832
00:49:23,700 --> 00:49:26,933
{\an1}Thomas: You could imagine doing
40 subscription concerts
833
00:49:26,966 --> 00:49:28,400
{\an1}with the Boston Symphony,
834
00:49:28,433 --> 00:49:31,566
{\an1}mostly with repertoire
thatyou're doing for the first time,
835
00:49:31,600 --> 00:49:33,833
{\an1}and then developing
all these new series
836
00:49:33,866 --> 00:49:35,700
{\an1}and new directions of things.
837
00:49:35,733 --> 00:49:39,500
{\an1}This was all happening
under enormous scrutiny.
838
00:49:41,900 --> 00:49:45,000
{\an1}So all of that was involved
in the possibility
839
00:49:45,033 --> 00:49:47,666
{\an1}that came up of my becoming
the conductor,
840
00:49:47,700 --> 00:49:50,300
{\an1}the music director
of the Buffalo Philharmonic.
841
00:49:52,600 --> 00:49:54,766
{\an1}So I gratefully accepted
the position
842
00:49:54,800 --> 00:49:57,800
{\an1}of music director there,
843
00:49:57,833 --> 00:49:59,933
{\an1}where I did indeed do many,
844
00:49:59,966 --> 00:50:04,500
many pieces
for the very first time,
845
00:50:04,533 --> 00:50:09,033
{\an1}Beethoven and Berlioz
and Brahms,
846
00:50:09,066 --> 00:50:13,900
{\an1}and I was having the chance to
really think about it,
847
00:50:13,933 --> 00:50:19,566
and to really
try out different solutions,
848
00:50:19,600 --> 00:50:21,766
{\an1}because the attitude
of the orchestra wasn't
849
00:50:21,800 --> 00:50:23,633
so much as it was
in some of the orchestras,
850
00:50:23,666 --> 00:50:25,700
{\an1}"this is the way we do this,"
851
00:50:25,733 --> 00:50:27,076
{\an1}it was like, "Okay, well,
you know,
852
00:50:27,100 --> 00:50:28,300
{\an1}how are we going to do it?"
853
00:50:28,333 --> 00:50:30,666
{\an1}There are a lot of
different ways it could go.
854
00:50:30,700 --> 00:50:33,266
{\an1}Let's explore that.
855
00:50:33,300 --> 00:50:39,166
{\an8}♪♪
856
00:50:39,200 --> 00:50:41,700
{\an1}This is a period of my life
when I still had
857
00:50:41,733 --> 00:50:43,900
{\an1}no personal relationships,
858
00:50:43,933 --> 00:50:46,033
{\an1}I still had not come out,
859
00:50:46,066 --> 00:50:49,000
{\an1}and I needed to figure out
a lot of things
860
00:50:49,033 --> 00:50:54,033
{\an1}about what it meant
just to be alive.
861
00:50:54,066 --> 00:50:59,933
{\an1}And having a lot of time
just to dream again.
862
00:50:59,966 --> 00:51:01,733
{\an1}There were a number of pianos
in that house
863
00:51:01,766 --> 00:51:04,033
{\an1}on different floors.
864
00:51:04,066 --> 00:51:07,866
{\an1}I spent hours and hours
and hours exploring music.
865
00:51:10,133 --> 00:51:14,000
{\an1}This was like returning
to my father's world.
866
00:51:14,033 --> 00:51:17,966
{\an1}It was something in the genetic
code of the Thomashefskys
867
00:51:18,000 --> 00:51:23,833
{\an1}to spend hours improvising
and exploring through the notes
868
00:51:23,866 --> 00:51:28,766
what was really
spiritual territory.
869
00:51:28,800 --> 00:51:31,333
{\an1}I began to write songs
870
00:51:31,366 --> 00:51:33,733
which were for
somebody's birthday
871
00:51:33,766 --> 00:51:38,000
{\an1}or about some inner heartache
that I myself had
872
00:51:38,033 --> 00:51:41,933
{\an1}but didn't speak about.
873
00:51:41,966 --> 00:51:44,233
{\an7}Robison: One day I was sitting
in my West Side apartment
874
00:51:44,266 --> 00:51:47,400
{\an8}in October 1971,
875
00:51:47,433 --> 00:51:49,700
{\an7}and there was Michael
on the cover
876
00:51:49,733 --> 00:51:51,633
{\an7}of The New York Times Magazine.
877
00:51:51,666 --> 00:51:54,466
{\an1}So I said, "Oh, so that's
what happened to Michael."
878
00:51:54,500 --> 00:51:57,800
{\an1}Didn't know about his sudden
rise to stardom.
879
00:51:57,833 --> 00:52:01,000
{\an1}A couple of years later,
my sister Paula,
880
00:52:01,033 --> 00:52:03,300
who is a flutist
among the founding members
881
00:52:03,333 --> 00:52:05,866
{\an1}of the Chamber Music Society
of Lincoln Center,
882
00:52:05,900 --> 00:52:07,709
{\an1}called me up and she said,
"Hey, I'm doing a concert
883
00:52:07,733 --> 00:52:10,866
{\an1}with your old friend, you should
come, he's really good."
884
00:52:10,900 --> 00:52:14,000
{\an1}So I went, and then I saw
Michael on stage
885
00:52:14,033 --> 00:52:16,166
{\an1}and saw him backstage,
and he wasn't that kind of
886
00:52:16,200 --> 00:52:19,166
brainy kid with a sinus problem.
887
00:52:19,200 --> 00:52:20,566
I remember
from junior high school,
888
00:52:20,600 --> 00:52:22,100
{\an1}but he was a star.
889
00:52:22,133 --> 00:52:25,566
{\an1}Thomas: And I walked in
and I just...
890
00:52:25,600 --> 00:52:29,166
{\an1}saw him, and I knew something.
891
00:52:29,200 --> 00:52:32,300
{\an1}When Josh and I met up again
in New York
892
00:52:32,333 --> 00:52:34,166
in our later 20s,
893
00:52:34,200 --> 00:52:36,233
{\an1}and it's, "Well, let's have
dinner some night."
894
00:52:36,266 --> 00:52:39,366
{\an1}So we went out to have sushi
or something.
895
00:52:39,400 --> 00:52:41,533
{\an1}And... but before that,
896
00:52:41,566 --> 00:52:43,833
{\an1}I said, let's stop
by Philharmonic Hall.
897
00:52:43,866 --> 00:52:47,666
{\an1}And there was a rehearsal room
that was empty.
898
00:52:47,700 --> 00:52:51,633
{\an1}I said, "Well, let me play you
some of my music."
899
00:52:51,666 --> 00:52:53,376
{\an1}Robison: First of all, I was
really impressed
900
00:52:53,400 --> 00:52:55,476
{\an1}because we walked in and all
the people at the stage door
901
00:52:55,500 --> 00:52:57,042
{\an1}knew Michael and they said,
"Oh, Michael, come in."
902
00:52:57,066 --> 00:52:58,476
{\an1}You know, "You need a piano?
Here you go."
903
00:52:58,500 --> 00:53:02,266
{\an1}So that was all, you know,
very star struck and fun for me.
904
00:53:02,300 --> 00:53:03,842
{\an1}And then we went into this room
and Michael
905
00:53:03,866 --> 00:53:05,500
{\an1}just started playing his music
906
00:53:05,533 --> 00:53:08,766
{\an1}and I was just staggered
to hear it,
907
00:53:08,800 --> 00:53:12,400
{\an1}just the freshness
and the virtuosity of it.
908
00:53:12,433 --> 00:53:15,566
{\an1}Thomas: I think at one point
he climbed up on the piano.
909
00:53:15,600 --> 00:53:20,233
{\an1}So he was kind of sitting up
here kind of looking at me,
910
00:53:20,266 --> 00:53:21,500
and...
911
00:53:21,533 --> 00:53:26,333
{\an8}♪♪
912
00:53:26,366 --> 00:53:28,133
{\an1}Robison: But what also
immediately came out
913
00:53:28,166 --> 00:53:33,166
from that night, from my
getting to know Michael,
914
00:53:33,200 --> 00:53:36,633
was his incredible tenderness,
915
00:53:36,666 --> 00:53:39,466
and his warmth,
916
00:53:39,500 --> 00:53:43,066
and his sense
of fun and adventure.
917
00:53:45,200 --> 00:53:48,933
{\an1}And then he called me...
June 1976,
918
00:53:48,966 --> 00:53:50,666
{\an1}and I got a call from Berlin
919
00:53:50,700 --> 00:53:53,300
{\an1}that was Michael, which was at
that time very exotic
920
00:53:53,333 --> 00:53:56,000
{\an1}to get a call like that,
and he said...
921
00:53:56,033 --> 00:53:57,742
{\an1}Thomas: I'm going to be back in
town, whatever you're doing
922
00:53:57,766 --> 00:54:01,933
{\an1}next weekend, cancel it,
923
00:54:01,966 --> 00:54:03,966
{\an1}because I'd like to see you.
924
00:54:04,000 --> 00:54:08,133
And...
925
00:54:08,166 --> 00:54:10,600
{\an1}That turned out to be
an iconic weekend
926
00:54:10,633 --> 00:54:16,066
{\an1}as far as beginning to reimagine
the shape of our lives.
927
00:54:16,100 --> 00:54:18,766
{\an8}♪♪
928
00:54:18,800 --> 00:54:20,900
{\an8}Robison: That's our basic story.
[ Laughs ]
929
00:54:20,933 --> 00:54:23,700
And then I moved
back to Buffalo.
930
00:54:23,733 --> 00:54:27,566
{\an1}Thomas: I learned a tremendous
amount of music in Buffalo,
931
00:54:27,600 --> 00:54:30,400
{\an1}but I realized it was time
to move on,
932
00:54:30,433 --> 00:54:33,766
{\an1}it was time to take a lot of
the repertoire
933
00:54:33,800 --> 00:54:35,900
{\an1}I had now learned in Buffalo
934
00:54:35,933 --> 00:54:38,700
and take that
into the mainstream of national
935
00:54:38,733 --> 00:54:40,566
{\an1}and international orchestras.
936
00:54:40,600 --> 00:54:43,933
{\an1}Robison: Michael decided that it
was time to leave Buffalo.
937
00:54:43,966 --> 00:54:45,909
{\an1}It was a bit of a daring move
for him at the moment
938
00:54:45,933 --> 00:54:47,833
{\an1}because he didn't have
an immediate appointment.
939
00:54:47,866 --> 00:54:49,066
{\an1}What we did have at that point
940
00:54:49,100 --> 00:54:50,933
was a very good
recording contract
941
00:54:50,966 --> 00:54:53,633
{\an1}because we were making three
or four recordings a year
942
00:54:53,666 --> 00:54:54,833
{\an1}with CBS Masterworks.
943
00:54:54,866 --> 00:54:56,466
{\an1}So at that point we could say,
944
00:54:56,500 --> 00:54:57,940
{\an1}Okay, we want to make
certain records
945
00:54:57,966 --> 00:55:01,000
{\an1}with the Philharmonia Orchestra
in London, or the LSO,
946
00:55:01,033 --> 00:55:03,000
{\an1}or with orchestras
in Berlin or Los Angeles.
947
00:55:03,033 --> 00:55:06,466
{\an1}So it was a ticket to work
in these various places.
948
00:55:06,500 --> 00:55:09,533
{\an1}Thomas: The situation for Josh
and me was a special one.
949
00:55:09,566 --> 00:55:12,133
{\an1}We were not only living together
for the first time,
950
00:55:12,166 --> 00:55:16,766
{\an1}we were working together, we
had become a production team.
951
00:55:16,800 --> 00:55:19,966
{\an7}Bousfield: Professionally,
Joshua is this kind of
952
00:55:20,000 --> 00:55:22,633
{\an7}invisible ring of steel
around Michael.
953
00:55:22,666 --> 00:55:24,700
{\an7}He's the one that protects him.
954
00:55:24,733 --> 00:55:27,666
{\an1}He's the one that looks out
for him the whole time
955
00:55:27,700 --> 00:55:30,433
{\an1}and just allows Michael
just to be able to focus
956
00:55:30,466 --> 00:55:31,733
{\an1}on what he needs to.
957
00:55:31,766 --> 00:55:33,633
{\an1}And what makes what Joshua does
958
00:55:33,666 --> 00:55:36,033
{\an1}so brilliant is you would
never know that.
959
00:55:36,066 --> 00:55:37,900
He's invisible.
960
00:55:37,933 --> 00:55:45,933
{\an8}♪♪
961
00:55:47,633 --> 00:55:51,533
{\an1}Burton: Michael first came onto
my radar
962
00:55:51,566 --> 00:55:53,866
{\an1}with the magic name
George Gershwin.
963
00:55:53,900 --> 00:55:57,333
{\an8}♪♪
964
00:55:57,366 --> 00:55:59,600
{\an7}Because Michael made
the most wonderful recordings
965
00:55:59,633 --> 00:56:00,966
{\an7}of Gershwin's music,
966
00:56:01,000 --> 00:56:04,833
{\an7}and I felt immediately
that he was in touch somehow
967
00:56:04,866 --> 00:56:09,100
{\an1}with something that
other conductors didn't have.
968
00:56:09,133 --> 00:56:11,333
{\an1}Thomas: As you listen to
the "Rhapsody,"
969
00:56:11,366 --> 00:56:13,733
{\an1}you can still hear the echoes of
old Jewish songs...
970
00:56:13,766 --> 00:56:18,266
{\an8}♪♪
971
00:56:18,300 --> 00:56:21,033
{\an1}Burton: I, as a television
producer working in the BBC,
972
00:56:21,066 --> 00:56:23,233
was looking for
that kind of talent.
973
00:56:23,266 --> 00:56:31,266
{\an8}♪♪
974
00:56:31,466 --> 00:56:33,000
{\an1}Thomas: Of black music.
975
00:56:33,033 --> 00:56:40,033
{\an8}♪♪
976
00:56:40,066 --> 00:56:41,500
Of Debussy.
977
00:56:41,533 --> 00:56:48,133
{\an8}♪♪
978
00:56:48,166 --> 00:56:50,033
{\an1}Burton: We were looking for
people who would,
979
00:56:50,066 --> 00:56:52,333
{\an1}when talking about music,
give it a vitality which would
980
00:56:52,366 --> 00:56:54,133
{\an1}attract the general public,
981
00:56:54,166 --> 00:56:58,533
{\an1}and Michael had that in spades,
I could see that straight away.
982
00:56:58,566 --> 00:57:02,300
{\an1}Thomas: But somehow George's
genius forged them all into
983
00:57:02,333 --> 00:57:06,266
{\an1}a language that gives witness
to the ambiguous and ambivalent
984
00:57:06,300 --> 00:57:11,100
{\an1}ache that we all feel in this
mad whirl of a 20th century.
985
00:57:13,700 --> 00:57:15,009
Burton:
One felt as one watched that,
986
00:57:15,033 --> 00:57:16,342
that the spirit
of George Gershwin
987
00:57:16,366 --> 00:57:18,366
{\an1}had somehow flown down
from Valhalla
988
00:57:18,400 --> 00:57:21,100
{\an1}and was entering into
Michael Tilson Thomas's body,
989
00:57:21,133 --> 00:57:22,276
{\an1}he sat there and he was playing
990
00:57:22,300 --> 00:57:23,800
{\an1}as if it was Gershwin
at the keyboard.
991
00:57:23,833 --> 00:57:31,833
{\an8}♪♪
992
00:57:33,233 --> 00:57:41,233
{\an8}♪♪
993
00:57:42,600 --> 00:57:50,600
{\an8}♪♪
994
00:57:52,000 --> 00:58:00,000
{\an8}♪♪
995
00:58:01,433 --> 00:58:09,433
{\an8}♪♪
996
00:58:10,833 --> 00:58:16,166
{\an1}Thomas: Those years were
an adventure in many ways.
997
00:58:16,200 --> 00:58:18,233
{\an8}♪♪
998
00:58:18,266 --> 00:58:19,900
Josh and I were
on the road together
999
00:58:19,933 --> 00:58:21,566
{\an1}and living in a lot
of different hotels
1000
00:58:21,600 --> 00:58:25,600
and exploring
a lot of different cities.
1001
00:58:25,633 --> 00:58:27,233
Robison:
And there was some years
1002
00:58:27,266 --> 00:58:28,400
{\an1}in which we would go into
1003
00:58:28,433 --> 00:58:30,000
{\an1}14, 15 different orchestras.
1004
00:58:30,033 --> 00:58:37,433
{\an8}♪♪
1005
00:58:37,466 --> 00:58:40,333
{\an1}But he was always hungering
for his own orchestra too,
1006
00:58:40,366 --> 00:58:43,900
{\an1}and we kept that, looking
what was going on.
1007
00:58:43,933 --> 00:58:50,200
{\an8}♪♪
1008
00:58:50,233 --> 00:58:52,266
Gillonson:
For his debut with the LSO,
1009
00:58:52,300 --> 00:58:54,233
{\an8}Michael came in
as this unbelievable
1010
00:58:54,266 --> 00:58:55,533
{\an7}young whiz kid conductor.
1011
00:58:55,566 --> 00:58:57,233
{\an8}♪♪
1012
00:58:57,266 --> 00:58:59,700
I was blown away
by his intensity,
1013
00:58:59,733 --> 00:59:02,400
his enthusiasm,
his passion for the music.
1014
00:59:02,433 --> 00:59:05,966
{\an1}Incredible energy and
anextraordinary intellect as well.
1015
00:59:06,000 --> 00:59:11,066
{\an1}And in 1987, I appointed him
as our principal conductor.
1016
00:59:12,433 --> 00:59:16,266
[ Laughing ]
1017
00:59:16,300 --> 00:59:20,400
{\an1}Thomas: Unbelievable.
1018
00:59:20,433 --> 00:59:23,166
{\an1}Gonna really have to work hard
to deserve, aren't I?
1019
00:59:23,200 --> 00:59:25,233
Well...
1020
00:59:25,266 --> 00:59:32,566
{\an7}Marriner: Michael arrived with
amazing new ideas
1021
00:59:32,600 --> 00:59:37,233
{\an8}of how to satisfy
a London audience,
1022
00:59:37,266 --> 00:59:39,800
{\an1}which is often quite fickle,
actually.
1023
00:59:39,833 --> 00:59:41,209
Thomas:
So when this barking dog thing,
1024
00:59:41,233 --> 00:59:43,633
{\an1}try all down bows, do all downs.
1025
00:59:43,666 --> 00:59:45,209
Marriner:
So you need really interesting,
1026
00:59:45,233 --> 00:59:46,733
{\an1}adventurous programing.
1027
00:59:46,766 --> 00:59:51,266
{\an1}And that's what Michael
brought immediately to the LSO.
1028
00:59:51,300 --> 00:59:52,533
{\an1}Thomas: Terrifically well.
1029
00:59:52,566 --> 00:59:54,466
The ratchet...
Can I hear that ratchet,
1030
00:59:54,500 --> 00:59:55,800
by the way?
[ Ratcheting ]
1031
00:59:55,833 --> 00:59:58,200
{\an1}Marriner: A well as
a very different approach
1032
00:59:58,233 --> 01:00:02,433
{\an1}to orchestral politics, really.
1033
01:00:02,466 --> 01:00:03,866
{\an1}Thomas: Figure nine!
1034
01:00:03,900 --> 01:00:07,033
{\an8}♪♪
1035
01:00:07,066 --> 01:00:08,900
{\an8}Robison: At the exact same time,
1036
01:00:08,933 --> 01:00:10,766
{\an1}we actually started
the New World Symphony...
1037
01:00:10,800 --> 01:00:13,733
{\an1}the same year that Michael
started the LSO in 1987
1038
01:00:13,766 --> 01:00:15,576
{\an1}was the same year we started
the New World Symphony.
1039
01:00:15,600 --> 01:00:17,733
{\an1}So that became our real...
1040
01:00:17,766 --> 01:00:21,100
{\an1}our real axis between London
and Miami.
1041
01:00:21,133 --> 01:00:23,633
{\an1}And they were two very,
very different scenes.
1042
01:00:23,666 --> 01:00:27,766
{\an8}♪♪
1043
01:00:27,800 --> 01:00:29,466
{\an1}Thomas: For years, I had been
1044
01:00:29,500 --> 01:00:31,100
{\an1}mentioning that I thought
it was a pity
1045
01:00:31,133 --> 01:00:34,866
that there was no
national resource
1046
01:00:34,900 --> 01:00:36,200
{\an1}for young musicians,
1047
01:00:36,233 --> 01:00:39,933
{\an1}and suddenly I hear that
Ted Arison wants to talk to me.
1048
01:00:39,966 --> 01:00:41,266
{\an1}And he said, "Well, I've been
1049
01:00:41,300 --> 01:00:42,666
{\an8}hearing something
about your idea
1050
01:00:42,700 --> 01:00:47,600
{\an7}and I want you to make
this happen in Miami."
1051
01:00:47,633 --> 01:00:49,800
And that was it.
1052
01:00:49,833 --> 01:00:51,666
Robison:
Those were pretty wild days
1053
01:00:51,700 --> 01:00:54,766
{\an1}when we first got to Miami.
1054
01:00:54,800 --> 01:00:58,966
{\an1}Thomas: We were rehearsing
various places on the beach.
1055
01:00:59,000 --> 01:01:02,000
{\an1}Members of the orchestra
were living in one hotel
1056
01:01:02,033 --> 01:01:05,200
{\an1}or another surrounded
by snowbirds.
1057
01:01:05,233 --> 01:01:08,266
{\an1}We realized we had to havesome
kind of more permanent home
1058
01:01:08,300 --> 01:01:10,066
{\an1}where we could have
real practice rooms.
1059
01:01:10,100 --> 01:01:12,400
Then Ted spotted
the Lincoln Theatre...
1060
01:01:12,433 --> 01:01:15,900
{\an1}old movie house, it had
become a porno theater,
1061
01:01:15,933 --> 01:01:18,633
{\an1}and now it had been shut down
for who knows how long.
1062
01:01:18,666 --> 01:01:22,133
{\an1}And he said, well, maybe
we could make music in there.
1063
01:01:22,166 --> 01:01:23,533
{\an1}The whole thing was renovated,
1064
01:01:23,566 --> 01:01:26,900
{\an1}and that became the beginning
of the real solid identity
1065
01:01:26,933 --> 01:01:29,900
of the orchestra
having our own theater.
1066
01:01:29,933 --> 01:01:31,633
{\an8}Smith:
When I first got to New World,
1067
01:01:31,666 --> 01:01:34,000
{\an7}it was that this really
interesting juncture,
1068
01:01:34,033 --> 01:01:35,900
{\an7}right... there was
this amazing music
1069
01:01:35,933 --> 01:01:40,133
{\an7}happening in this old
deco theater on the Mall,
1070
01:01:40,166 --> 01:01:41,666
on Lincoln Road.
1071
01:01:41,700 --> 01:01:44,266
{\an1}You walked into the lobby space
and you couldn't quite believe
1072
01:01:44,300 --> 01:01:46,233
that you're going
to hear Mahler.
1073
01:01:46,266 --> 01:01:47,700
{\an1}I used to love that.
1074
01:01:47,733 --> 01:01:49,366
{\an1}And it was it was a laboratory.
1075
01:01:49,400 --> 01:01:50,733
{\an1}In this beautiful place,
1076
01:01:50,766 --> 01:01:53,533
{\an1}which was also just a really fun
place to kind of live
1077
01:01:53,566 --> 01:01:55,433
{\an1}and be young and working.
1078
01:01:55,466 --> 01:02:03,466
{\an8}♪♪
1079
01:02:08,766 --> 01:02:11,300
Thomas:
When I was eight years old,
1080
01:02:11,333 --> 01:02:13,366
{\an1}Frank Gehry was my babysitter.
1081
01:02:13,400 --> 01:02:19,566
{\an1}Gehry: It was clear that Michael
was headed on a meteoric path,
1082
01:02:19,600 --> 01:02:21,033
{\an1}you just didn't know where...
1083
01:02:21,066 --> 01:02:23,700
{\an1}he could have become a...
1084
01:02:23,733 --> 01:02:27,566
{\an1}a serial killer even.
1085
01:02:27,600 --> 01:02:28,876
{\an1}Thomas: Well, part of
the experience
1086
01:02:28,900 --> 01:02:30,200
{\an1}of doing this building
with Frank
1087
01:02:30,233 --> 01:02:33,933
{\an1}did feel like going back
to being eight years old again
1088
01:02:33,966 --> 01:02:35,500
in a certain way,
1089
01:02:35,533 --> 01:02:38,733
because he lives
in such an imaginative space.
1090
01:02:38,766 --> 01:02:39,842
{\an1}I kind of felt like both of us
1091
01:02:39,866 --> 01:02:42,066
{\an1}were eight years old
some of the time.
1092
01:02:42,100 --> 01:02:44,566
{\an1}Gehry: You know, I let
the client take the lead.
1093
01:02:44,600 --> 01:02:47,933
{\an1}I get more fun out of that
because then I'm working and,
1094
01:02:47,966 --> 01:02:51,600
{\an1}you know, I'm playing off them
so I don't repeat myself.
1095
01:02:51,633 --> 01:02:54,566
{\an1}Thomas: We began to get this
idea of the exterior
1096
01:02:54,600 --> 01:02:57,600
of the building
being very minimalist
1097
01:02:57,633 --> 01:03:01,700
and the interior of the building
being very elaborate.
1098
01:03:01,733 --> 01:03:03,133
{\an1}Gehry: So we decided that
1099
01:03:03,166 --> 01:03:05,466
{\an1}the building should be
a box, period...
1100
01:03:05,500 --> 01:03:07,566
{\an1}just make an overall box.
1101
01:03:07,600 --> 01:03:11,666
{\an1}So it's like a very sculptural
landscape inside.
1102
01:03:11,700 --> 01:03:14,600
{\an1}And from the outside,
you see that.
1103
01:03:14,633 --> 01:03:15,809
{\an1}So I think people are going
to say
1104
01:03:15,833 --> 01:03:18,200
{\an1}it's not a Frank Gehry building,
1105
01:03:18,233 --> 01:03:19,633
whatever that is.
1106
01:03:19,666 --> 01:03:22,000
{\an1}It doesn't look like...
"Whoosh, whoosh, whoosh."
1107
01:03:27,600 --> 01:03:31,233
{\an1}[ Players tuning ]
1108
01:03:31,266 --> 01:03:35,333
Bousfield:
I first met Michael in 1987.
1109
01:03:35,366 --> 01:03:38,900
{\an7}They were the happiest days
of my life in orchestras.
1110
01:03:38,933 --> 01:03:40,333
Thomas: One!
1111
01:03:40,366 --> 01:03:48,366
[ Playing
"Happy Birthday to You" ]
1112
01:03:48,633 --> 01:03:55,133
{\an8}♪♪
1113
01:03:55,166 --> 01:03:57,509
{\an1}Bousfield: There were a lot of
young players in the orchestra
1114
01:03:57,533 --> 01:04:01,466
{\an1}and he played a bit
like a rock band.
1115
01:04:01,500 --> 01:04:04,966
{\an1}You know, we had fun.
We had so much fun.
1116
01:04:05,000 --> 01:04:07,700
{\an8}♪♪
1117
01:04:07,733 --> 01:04:10,100
{\an1}Michael runs a happy ship.
1118
01:04:12,433 --> 01:04:15,000
{\an1}Thomas: This piece,
this Bartok piece,
1119
01:04:15,033 --> 01:04:17,300
{\an1}the piece was commissioned
by Koussevitzky.
1120
01:04:17,333 --> 01:04:19,500
What Koussevitzky
wanted from Bartok
1121
01:04:19,533 --> 01:04:21,733
{\an1}was a very entertaining piece
1122
01:04:21,766 --> 01:04:25,966
{\an1}to show off the talents of
the Boston Symphony Orchestra.
1123
01:04:26,000 --> 01:04:29,500
{\an1}Meanwhile, Bartok was
in the last days of his life,
1124
01:04:29,533 --> 01:04:33,100
{\an1}basically, and wanted to write
this big memorial piece.
1125
01:04:33,133 --> 01:04:34,833
{\an1}So there's a certain
conflict here.
1126
01:04:34,866 --> 01:04:36,400
{\an1}What I think we need to do
1127
01:04:36,433 --> 01:04:40,833
{\an1}is be as kind of entertaining
and bravura as possible.
1128
01:04:42,633 --> 01:04:48,000
{\an8}♪♪
1129
01:04:48,033 --> 01:04:53,433
{\an8}♪♪
1130
01:04:53,466 --> 01:04:57,533
{\an1}Bousfield: Michael was 50 years
ahead of his time,
1131
01:04:57,566 --> 01:05:00,000
you know, in that
he really had this insight
1132
01:05:00,033 --> 01:05:03,000
{\an1}into the meaning of phrases
that he could pass on.
1133
01:05:03,033 --> 01:05:05,266
{\an1}Thomas: Good, okay, great,
great, great, great.
1134
01:05:05,300 --> 01:05:06,966
{\an1}Let's just start here at 95.
1135
01:05:07,000 --> 01:05:08,933
{\an1}Let this be more singing.
1136
01:05:08,966 --> 01:05:12,100
{\an1}And as I said, more kind of
exuberance across the phrases
1137
01:05:12,133 --> 01:05:13,433
[ Vocalizing ]
1138
01:05:13,466 --> 01:05:16,100
{\an1}Connected it up, one impulse.
One, and...
1139
01:05:16,133 --> 01:05:23,666
{\an8}♪♪
1140
01:05:23,700 --> 01:05:26,266
{\an1}Burton: He had that ability
to stretch time,
1141
01:05:26,300 --> 01:05:28,933
{\an7}he could stop and analyze
it in his mind
1142
01:05:28,966 --> 01:05:30,266
{\an7}and know what he wanted
1143
01:05:30,300 --> 01:05:32,533
{\an7}and know the sound he was
looking for.
1144
01:05:32,566 --> 01:05:34,466
{\an1}Thomas: That's it.
1145
01:05:34,500 --> 01:05:41,233
{\an8}♪♪
1146
01:05:41,266 --> 01:05:43,166
{\an1}Bousfield: I once...
I was playing
1147
01:05:43,200 --> 01:05:44,666
a little bit
of devil's advocate,
1148
01:05:44,700 --> 01:05:48,200
{\an7}and I said, "Come on, Michael,
when you're conducting, you...
1149
01:05:48,233 --> 01:05:50,333
{\an7}you don't really have
to show the audience
1150
01:05:50,366 --> 01:05:52,900
{\an8}the structure
of the piece, do you?"
1151
01:05:52,933 --> 01:05:55,233
{\an7}And he said, "No, you don't.
1152
01:05:55,266 --> 01:05:59,966
{\an7}You have to show them
the emotion of the structure.
1153
01:06:00,000 --> 01:06:01,200
{\an1}Thomas: Still dancing.
1154
01:06:01,233 --> 01:06:08,666
{\an8}♪♪
1155
01:06:08,700 --> 01:06:16,133
{\an8}♪♪
1156
01:06:16,166 --> 01:06:23,600
{\an8}♪♪
1157
01:06:23,633 --> 01:06:26,266
{\an1}Thomas: Relationship with
the London Symphony
1158
01:06:26,300 --> 01:06:27,433
of having the...
1159
01:06:27,466 --> 01:06:30,933
{\an1}direct contact with
the musicians themselves,
1160
01:06:30,966 --> 01:06:32,566
{\an1}people who really were
making the music
1161
01:06:32,600 --> 01:06:37,033
{\an1}that we were making together
was inspiring for me
1162
01:06:37,066 --> 01:06:42,200
{\an1}and taught me many lessons
1163
01:06:42,233 --> 01:06:46,766
{\an1}about working with people
and sustaining a dream.
1164
01:06:46,800 --> 01:06:54,800
{\an8}♪♪
1165
01:06:56,433 --> 01:07:04,433
{\an8}♪♪
1166
01:07:06,133 --> 01:07:09,066
{\an1}Burton: I thought that Michael
galvanized the orchestra,
1167
01:07:09,100 --> 01:07:12,800
{\an1}he gave it a signature,
gave it a style.
1168
01:07:15,233 --> 01:07:16,933
He did it through
his conducting.
1169
01:07:16,966 --> 01:07:18,633
{\an1}He was the most brilliant
conductor,
1170
01:07:18,666 --> 01:07:22,733
{\an1}you know, his gestures,
his hands, his eyes,
1171
01:07:22,766 --> 01:07:25,000
{\an1}everything about Michael
was alert.
1172
01:07:25,033 --> 01:07:27,200
{\an1}Quicksilver is the word
I use most often.
1173
01:07:27,233 --> 01:07:35,233
{\an8}♪♪
1174
01:07:35,600 --> 01:07:43,600
{\an8}♪♪
1175
01:07:44,000 --> 01:07:52,000
{\an8}♪♪
1176
01:07:52,366 --> 01:07:54,633
{\an1}Thomas: So all that work was
thrilling and exciting,
1177
01:07:54,666 --> 01:07:57,300
{\an1}but at the same time,
1178
01:07:57,333 --> 01:07:59,266
{\an1}Josh and I expressed
to one of our managers,
1179
01:07:59,300 --> 01:08:02,166
{\an1}you know, it's great, but...
1180
01:08:02,200 --> 01:08:03,742
{\an1}we'd like to come back
to the United States
1181
01:08:03,766 --> 01:08:05,733
{\an1}and have a fireplace and a dog.
1182
01:08:05,766 --> 01:08:08,100
Reporter:
Young, dynamic, exciting,
1183
01:08:08,133 --> 01:08:10,333
{\an1}may be the man to propel
the San Francisco Symphony
1184
01:08:10,366 --> 01:08:12,833
{\an1}into the very front ranks
of the world's orchestras.
1185
01:08:12,866 --> 01:08:14,766
{\an1}Definitely the man
to make the symphony
1186
01:08:14,800 --> 01:08:18,433
{\an1}a hot ticket this season.
1187
01:08:18,466 --> 01:08:22,466
{\an1}Kosman: The decision to hire
Michael in 1993
1188
01:08:22,500 --> 01:08:24,766
was a really bold
and interesting
1189
01:08:24,800 --> 01:08:26,333
and daring move.
1190
01:08:26,366 --> 01:08:27,676
{\an1}- Woman: Good evening, Maestro.
- Thomas: Good evening.
1191
01:08:27,700 --> 01:08:29,433
Kosman: We can
lose sight of it now
1192
01:08:29,466 --> 01:08:32,633
{\an1}because his tenure here
has been so successful
1193
01:08:32,666 --> 01:08:34,633
{\an1}and with such longevity.
1194
01:08:34,666 --> 01:08:38,533
{\an1}But that was not at all clear
when he was first announced.
1195
01:08:38,566 --> 01:08:42,466
{\an1}He was a well-known conductor,
but hadn't really proven himself
1196
01:08:42,500 --> 01:08:44,366
{\an1}in a major American orchestra.
1197
01:08:44,400 --> 01:08:46,000
{\an1}He had the London history
1198
01:08:46,033 --> 01:08:48,500
{\an1}and that was understood
to be a success.
1199
01:08:48,533 --> 01:08:50,233
{\an1}And he'd had the Buffalo thing.
1200
01:08:50,266 --> 01:08:54,066
{\an1}But he still had a reputation
as being kind of brash
1201
01:08:54,100 --> 01:08:58,066
and ungovernable
and a little bit unpredictable.
1202
01:09:00,600 --> 01:09:03,200
[ Applause ]
1203
01:09:09,000 --> 01:09:10,200
His first season,
1204
01:09:10,233 --> 01:09:13,766
{\an7}he did this marvelous thing
where he he said,
1205
01:09:13,800 --> 01:09:17,866
{\an7}"Every program I conduct
with the orchestra
1206
01:09:17,900 --> 01:09:21,766
{\an1}is going to have one piece of
music by an American composer.
1207
01:09:21,800 --> 01:09:23,009
And at the end
of his fifth year,
1208
01:09:23,033 --> 01:09:27,566
{\an7}he did this festival
called American Mavericks.
1209
01:09:27,600 --> 01:09:35,600
{\an8}♪♪
1210
01:09:36,166 --> 01:09:44,166
{\an8}♪♪
1211
01:09:44,700 --> 01:09:52,700
{\an8}♪♪
1212
01:09:53,266 --> 01:09:55,066
{\an1}And people flocked to it.
1213
01:09:55,100 --> 01:09:56,900
{\an1}It was a wonderful thing,
1214
01:09:56,933 --> 01:10:00,500
it was a kind of
a citywide celebration almost.
1215
01:10:04,033 --> 01:10:05,476
{\an1}I think I've said this
in one of my reviews,
1216
01:10:05,500 --> 01:10:07,366
{\an1}that there were blue hairs
of both varieties,
1217
01:10:07,400 --> 01:10:09,109
{\an1}you know, the old ladies
with the blue hairs
1218
01:10:09,133 --> 01:10:11,100
{\an1}and the young punks
with the blue hair
1219
01:10:11,133 --> 01:10:14,300
{\an1}rubbing elbows together
in this wonderful free for all.
1220
01:10:18,933 --> 01:10:22,066
{\an1}Thomas: Mahler's been essential
to my relationship to music
1221
01:10:22,100 --> 01:10:25,900
{\an1}and my relationship with
the San Francisco Symphony.
1222
01:10:25,933 --> 01:10:30,433
Oh, yeah, here's
the very first one.
1223
01:10:30,466 --> 01:10:33,300
{\an1}The orchestra has become
a great ensemble
1224
01:10:33,333 --> 01:10:36,933
{\an1}because of the work
we've done together.
1225
01:10:36,966 --> 01:10:41,800
{\an1}And a lot of that work has been
on these Mahler symphonies.
1226
01:10:41,833 --> 01:10:44,800
{\an1}A lot of my ambitions
for the San Francisco Symphony
1227
01:10:44,833 --> 01:10:50,866
{\an1}were part of this larger ideal
I have that
1228
01:10:50,900 --> 01:10:54,466
{\an1}orchestral performance should be
much like solo performance
1229
01:10:54,500 --> 01:10:55,766
{\an1}or chamber performance,
1230
01:10:55,800 --> 01:10:58,766
{\an1}that all the imagination
of sound
1231
01:10:58,800 --> 01:11:01,700
{\an1}and phrasing and nuance
that I had heard
1232
01:11:01,733 --> 01:11:05,000
{\an1}and the Heifetz/Piatigorsky
master classes,
1233
01:11:05,033 --> 01:11:09,033
{\an1}this is just what we should
be doing in an orchestra
1234
01:11:09,066 --> 01:11:14,033
{\an1}that, simply because
it involves 90, 100 people,
1235
01:11:14,066 --> 01:11:18,200
{\an1}we shouldn't be checking
all of our solo
1236
01:11:18,233 --> 01:11:21,933
{\an1}or chamber music ideals
at the door.
1237
01:11:21,966 --> 01:11:23,766
Upbeat to two,
all the strings, please.
1238
01:11:27,466 --> 01:11:32,800
{\an8}♪♪
1239
01:11:32,833 --> 01:11:38,200
{\an8}♪♪
1240
01:11:38,233 --> 01:11:41,066
{\an1}The thing I always loved
the most about Mahler's music
1241
01:11:41,100 --> 01:11:45,500
{\an1}was not the shattering climaxes,
1242
01:11:45,533 --> 01:11:48,566
{\an1}but rather the lyrical moments
in it,
1243
01:11:48,600 --> 01:11:50,933
{\an1}in the songful elements in it,
1244
01:11:50,966 --> 01:11:52,233
the quiet moments
1245
01:11:52,266 --> 01:11:54,500
{\an1}when you're establishing
a kind of atmosphere
1246
01:11:54,533 --> 01:11:59,333
{\an1}which seems to flow
along ideally
1247
01:11:59,366 --> 01:12:02,733
{\an1}as if it's all by itself.
1248
01:12:02,766 --> 01:12:04,366
Great, great.
1249
01:12:04,400 --> 01:12:09,633
{\an1}So can we sort of move
on a little bit more,
1250
01:12:09,666 --> 01:12:12,366
{\an1}but just take the tiniest
bit of time
1251
01:12:12,400 --> 01:12:15,666
{\an1}to set up the four schlags
each time they happen?
1252
01:12:16,900 --> 01:12:20,266
[ Vocalizing ]
Shazam!
1253
01:12:20,300 --> 01:12:22,566
[ Vocalizing ]
1254
01:12:25,366 --> 01:12:27,900
{\an1}Generally a little more
forward motion,
1255
01:12:27,933 --> 01:12:29,966
but setting up
the four schlags...
1256
01:12:30,000 --> 01:12:31,120
{\an1}okay, last time, figure two.
1257
01:12:33,433 --> 01:12:37,200
{\an1}Never less than forte
in the melody.
1258
01:12:37,233 --> 01:12:39,900
Let's do it.
1259
01:12:39,933 --> 01:12:45,100
{\an8}♪♪
1260
01:12:45,133 --> 01:12:47,566
{\an7}Barantschik: The conductor
and the orchestra,
1261
01:12:47,600 --> 01:12:48,833
{\an7}conductor and musician,
1262
01:12:48,866 --> 01:12:51,700
{\an7}its collective working,
1263
01:12:51,733 --> 01:12:55,633
{\an1}and he gives us freedom
to express ourselves.
1264
01:12:55,666 --> 01:13:00,266
{\an8}♪♪
1265
01:13:00,300 --> 01:13:05,366
{\an1}We know what he wants,
but it's a two-way road.
1266
01:13:05,400 --> 01:13:08,300
It's always
a work of colleagues.
1267
01:13:08,333 --> 01:13:15,900
{\an8}♪♪
1268
01:13:15,933 --> 01:13:17,966
Thomas:
Very gentle sforzandi.
1269
01:13:20,833 --> 01:13:22,833
{\an8}Izotov: At the end of today's rehearsal,
1270
01:13:22,866 --> 01:13:27,333
{\an8}when we played our... it was our
dress rehearsal of Mahler Five,
1271
01:13:27,366 --> 01:13:28,700
{\an8}we were about to leave the stage
1272
01:13:28,733 --> 01:13:33,900
{\an1}and we're about to reenter
the real world.
1273
01:13:33,933 --> 01:13:37,066
{\an1}And he just said, "Excuse me,
just one more thing to say."
1274
01:13:37,100 --> 01:13:41,233
And then he said,
"I would ask you to
1275
01:13:41,266 --> 01:13:44,133
{\an1}play tonight's concert
1276
01:13:44,166 --> 01:13:46,566
{\an1}and preserve in it
1277
01:13:46,600 --> 01:13:49,333
{\an1}the delicacy, the tenderness,
1278
01:13:49,366 --> 01:13:53,133
{\an1}the sweetness and the beautiful
qualities of life
1279
01:13:53,166 --> 01:13:56,266
{\an1}that Mahler so very much
intended in his music,
1280
01:13:56,300 --> 01:13:58,533
{\an1}most of these qualities,
1281
01:13:58,566 --> 01:14:01,266
a lot of us
don't get to experience
1282
01:14:01,300 --> 01:14:04,566
{\an1}in today's world anymore."
1283
01:14:04,600 --> 01:14:12,233
{\an8}♪♪
1284
01:14:12,266 --> 01:14:19,933
{\an8}♪♪
1285
01:14:19,966 --> 01:14:27,600
{\an8}♪♪
1286
01:14:27,633 --> 01:14:30,433
{\an1}Kosman: You say the Mahler Five
is not the same tonight
1287
01:14:30,466 --> 01:14:32,000
{\an1}as it was 10 years ago.
1288
01:14:32,033 --> 01:14:33,666
{\an1}Listen, my friend,
the Mahler Five
1289
01:14:33,700 --> 01:14:35,933
{\an1}is not the same tonight
as it was last night,
1290
01:14:35,966 --> 01:14:38,633
{\an1}and it's not the same
as it will be tomorrow night.
1291
01:14:38,666 --> 01:14:42,100
{\an1}That's how much fluidity
and spontaneity
1292
01:14:42,133 --> 01:14:44,800
{\an1}and the improvisation
goes into that.
1293
01:14:47,400 --> 01:14:50,033
{\an1}And one of the things
that's happened very noticeably
1294
01:14:50,066 --> 01:14:52,833
{\an1}over the last 20-some-odd years
that Michael's been here is
1295
01:14:52,866 --> 01:14:57,666
{\an1}that he has brought in musicians
and retained musicians
1296
01:14:57,700 --> 01:15:01,366
who share that
kind of commitment with him.
1297
01:15:05,233 --> 01:15:07,900
{\an1}Most of the musicians
who are in the orchestra now
1298
01:15:07,933 --> 01:15:11,000
{\an1}have been shaped by 25 years of
working with him
1299
01:15:11,033 --> 01:15:17,533
{\an1}to have that kind of spontaneous
and improvisatory esthetic
1300
01:15:17,566 --> 01:15:20,266
{\an1}that's so important to him...
I mean, he has instilled that
1301
01:15:20,300 --> 01:15:22,366
in the orchestra
and in the ensemble,
1302
01:15:22,400 --> 01:15:24,700
{\an8}in these things,
they last, you know,
1303
01:15:24,733 --> 01:15:26,600
{\an8}there's a kind of
an institutional memory
1304
01:15:26,633 --> 01:15:29,066
{\an7}so that even when he's gone,
1305
01:15:29,100 --> 01:15:32,366
{\an7}that kind of... those kind
of esthetic priorities
1306
01:15:32,400 --> 01:15:34,533
{\an7}are going to linger
for a very long time.
1307
01:15:34,566 --> 01:15:42,566
{\an8}♪♪
1308
01:15:43,933 --> 01:15:51,933
{\an8}♪♪
1309
01:15:53,333 --> 01:16:01,333
{\an8}♪♪
1310
01:16:02,766 --> 01:16:10,766
{\an8}♪♪
1311
01:16:12,166 --> 01:16:20,166
{\an8}♪♪
1312
01:16:21,533 --> 01:16:27,266
{\an8}♪♪
1313
01:16:27,300 --> 01:16:30,966
{\an1}[ Cheering and applause ]
1314
01:16:40,300 --> 01:16:43,633
{\an1}[ Indistinct chatter ]
1315
01:16:43,666 --> 01:16:44,709
Thomas:
Good evening, everybody.
1316
01:16:44,733 --> 01:16:47,166
{\an1}I'm Michael Tilson Thomas,
"MTT."
1317
01:16:47,200 --> 01:16:50,333
I'm so happy
to be welcoming you tonight
1318
01:16:50,366 --> 01:16:52,266
{\an1}to this WALLCAST Concert,
1319
01:16:52,300 --> 01:16:54,833
{\an1}which is the start of
the New World Symphony's
1320
01:16:54,866 --> 01:16:57,766
31st season.
1321
01:16:57,800 --> 01:17:01,800
{\an1}When we started in the Lincoln,
we always had loudspeakers
1322
01:17:01,833 --> 01:17:05,133
{\an1}and a small television screen
outside
1323
01:17:05,166 --> 01:17:08,166
{\an1}so that anyone passing by
would be able to hear the music
1324
01:17:08,200 --> 01:17:09,966
and see what was
going on inside.
1325
01:17:10,000 --> 01:17:13,766
{\an1}This idea was very much part
of the new building
1326
01:17:13,800 --> 01:17:17,000
{\an1}to include a large wall
of the building,
1327
01:17:17,033 --> 01:17:20,266
which would be
a projection surface.
1328
01:17:20,300 --> 01:17:22,700
{\an1}Morning, everybody.
Okay, we're back to Britten.
1329
01:17:22,733 --> 01:17:25,533
{\an1}So almost unprecedented thing.
1330
01:17:25,566 --> 01:17:29,500
{\an1}Let's start in the fugue
at letter J.
1331
01:17:29,533 --> 01:17:30,842
And this is such
an unusual moment
1332
01:17:30,866 --> 01:17:33,200
{\an1}because it is a moment
during which the winds
1333
01:17:33,233 --> 01:17:36,066
and strings
are going to have to wait
1334
01:17:36,100 --> 01:17:39,566
{\an1}and listen while the brass
rehearse something,
1335
01:17:39,600 --> 01:17:41,266
as opposed to
the other way around,
1336
01:17:41,300 --> 01:17:43,533
{\an1}which is nearly the way
it always is.
1337
01:17:43,566 --> 01:17:45,833
So... [ Humming ]
1338
01:17:45,866 --> 01:17:50,966
{\an8}♪♪
1339
01:17:51,000 --> 01:17:56,066
{\an8}♪♪
1340
01:17:56,100 --> 01:17:59,166
{\an1}That's nice, that's nice...
So the more that charm detail
1341
01:17:59,200 --> 01:18:01,433
is there, you know, the better.
1342
01:18:01,466 --> 01:18:04,233
{\an1}Let's take the trumpets now.
Your entrance, please.
1343
01:18:04,266 --> 01:18:12,266
{\an8}♪♪
1344
01:18:13,733 --> 01:18:17,800
{\an1}Great, can more of it be
at the same volume level?
1345
01:18:17,833 --> 01:18:19,666
{\an1}I think you're doing
a little too much...
1346
01:18:19,700 --> 01:18:26,233
[ Vocalizing ]
1347
01:18:26,266 --> 01:18:28,566
{\an1}So it's all at the kind
of fanfare-y chord thing,
1348
01:18:28,600 --> 01:18:31,900
{\an1}all the same, but pretty.
1349
01:18:31,933 --> 01:18:39,933
{\an8}♪♪
1350
01:18:41,533 --> 01:18:43,709
{\an1}That's that's really good,
the first part of that, guys.
1351
01:18:43,733 --> 01:18:46,600
{\an1}Trombones and tuba,
here we are... one and...
1352
01:18:46,633 --> 01:18:53,333
{\an8}♪♪
1353
01:18:53,366 --> 01:18:55,533
{\an1}Very nice, very nice.
1354
01:18:55,566 --> 01:18:59,200
{\an1}All right, the whole
brass section.
1355
01:18:59,233 --> 01:19:06,433
{\an8}♪♪
1356
01:19:06,466 --> 01:19:13,633
{\an8}♪♪
1357
01:19:13,666 --> 01:19:20,800
{\an8}♪♪
1358
01:19:20,833 --> 01:19:23,600
That... now!
1359
01:19:23,633 --> 01:19:25,766
That's what they call polyphony.
1360
01:19:25,800 --> 01:19:27,366
Okay!
1361
01:19:27,400 --> 01:19:35,400
{\an8}♪♪
1362
01:19:36,600 --> 01:19:44,600
{\an8}♪♪
1363
01:19:45,766 --> 01:19:53,766
{\an8}♪♪
1364
01:19:54,966 --> 01:19:56,766
{\an1}Man: Get ready for...
1365
01:20:01,700 --> 01:20:06,000
{\an8}[ Applause ]
1366
01:20:09,700 --> 01:20:12,333
{\an1}Thomas: You know, for manyyears,
the New World Symphony...
1367
01:20:12,366 --> 01:20:15,066
{\an1}Being here with the New World
Symphony in Florida
1368
01:20:15,100 --> 01:20:20,666
{\an1}over the last 30 years
now has been
1369
01:20:20,700 --> 01:20:24,133
{\an1}perhaps the most important
thing I've done in my life.
1370
01:20:27,033 --> 01:20:32,366
{\an8}♪♪
1371
01:20:32,400 --> 01:20:37,766
{\an8}♪♪
1372
01:20:37,800 --> 01:20:40,400
{\an1}I'm lucky enough to be
in a situation
1373
01:20:40,433 --> 01:20:42,000
{\an1}with all these young people
1374
01:20:42,033 --> 01:20:45,566
that I can expand
a lot of the music world
1375
01:20:45,600 --> 01:20:48,566
and expand a lot
of their understanding
1376
01:20:48,600 --> 01:20:54,366
{\an1}in a way that my wonderful
teachers did for me.
1377
01:20:54,400 --> 01:20:57,066
{\an1}Volpe: What Michael's doing
is perpetuating an art form,
1378
01:20:57,100 --> 01:20:59,133
{\an1}perpetuating institutions.
1379
01:20:59,166 --> 01:21:01,633
{\an1}I mean, every American orchestra
of consequence
1380
01:21:01,666 --> 01:21:04,666
{\an1}has people he's trained
in the New World Symphony.
1381
01:21:04,700 --> 01:21:08,533
{\an1}He wanted there to be a future
for classical music.
1382
01:21:08,566 --> 01:21:14,433
{\an8}♪♪
1383
01:21:14,466 --> 01:21:20,333
{\an8}♪♪
1384
01:21:20,366 --> 01:21:26,233
{\an8}♪♪
1385
01:21:26,266 --> 01:21:32,100
{\an8}♪♪
1386
01:21:32,133 --> 01:21:38,000
{\an8}♪♪
1387
01:21:38,033 --> 01:21:43,900
{\an8}♪♪
1388
01:21:43,933 --> 01:21:49,800
{\an8}♪♪
1389
01:21:49,833 --> 01:21:55,700
{\an8}♪♪
1390
01:21:55,733 --> 01:22:01,666
{\an8}♪♪
1391
01:22:01,700 --> 01:22:07,533
{\an8}♪♪
1392
01:22:07,566 --> 01:22:13,433
{\an8}♪♪
1393
01:22:13,466 --> 01:22:19,333
{\an8}♪♪
1394
01:22:19,366 --> 01:22:25,233
{\an8}♪♪
1395
01:22:25,266 --> 01:22:29,400
{\an1}[ Cheering and applause ]
1396
01:22:43,566 --> 01:22:44,733
{\an7}Man: "Come by the fire.
1397
01:22:44,766 --> 01:22:46,666
{\an7}Let your salty tears"...
1398
01:22:46,700 --> 01:22:50,466
{\an7}What's your line in that song?
1399
01:22:50,500 --> 01:22:54,366
{\an8}Thomas:
Oh, it's, "Never you mind
1400
01:22:54,400 --> 01:22:59,833
{\an7}if your sunny morning
starts turning gray.
1401
01:22:59,866 --> 01:23:03,400
{\an7}It's much too early
to be singing a sorry tune.
1402
01:23:03,433 --> 01:23:08,633
{\an8}A hazy afternoon
can make a wonderful day.
1403
01:23:08,666 --> 01:23:11,166
{\an8}Come by the fire.
1404
01:23:11,200 --> 01:23:13,966
{\an7}Let my loving take the sting
from your tears,
1405
01:23:14,000 --> 01:23:16,766
{\an7}and don't be thinking that
your life is a one-way door.
1406
01:23:16,800 --> 01:23:19,366
{\an7}Good things are still in store.
1407
01:23:19,400 --> 01:23:22,500
{\an7}No matter what you might fear."
1408
01:23:22,533 --> 01:23:30,233
{\an7}♪
Let my loving take the sting
from your tears
♪
1409
01:23:30,266 --> 01:23:32,833
{\an7}♪
And don't go thinkin'
that your life was...
♪
1410
01:23:32,866 --> 01:23:35,366
♪♪
112901
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