All language subtitles for 9876543210

[faint chattering]

-[child shouts]

[person] You ready?

No, just--
Yeah, just ignore the microphone.

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

Yeah, uh...

[speaking Mandarin]

Okay?

[person 2 speaking Panoan]

[singing in Panoan]

[singing continues]

[children chattering in distance]

[singing continues]

[singer exhales]

[crowd chattering]

[sniffling]

[exhales deeply]

[exhales sharply]

[exhales sharply]

-[host] Ready for them?
-Yes.

Let's go.

[audience applauding]

[host] If you ’re here,
then you already know Who she is.

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

Lydia Tér is many things.

A piano performance graduate
at the Curtis Institute,

Phi Beta Kappa from Harvard.

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

specializing in the indigenous music

of the Ucayali valley in eastern Peru,

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

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

one of the so-called "Big Five."

A string of important posts followed,

including the Philadelphia Orchestra,

the Chicago Symphony Orchestra,

the Boston Symphony Orchestra,

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

With the latter,

she organized the Highway Ten
refugee concerts in Zaatari,

which were attended by over 75,000 people.

She’s become particularly well known
for commissioning contemporary work

from, among others,
Jennifer Higdon, Caroline Shaw,

Julia Wolfe and Hildur Guénadéttir.

And she's made a point
of programming their works

alongside composers of the canon.

She’s been quoted as saying,

"These composers
are having a conversation.

And it may not always be so polite."

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

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

meaning those who have won
all four major entertainment awards:

an Emmy, a Grammy,

an Oscar and a Tony.

it is, as you can imagine,
an extremely short and shimmering list

that includes Richard Rodgers,
Audrey Hepburn, Andrew Lloyd Webber

and, of course, Mel Brooks.

[audience laughing]

[host] In 2010,
with the support of Eliot Kaplan,

she founded
the Accordion Conducting Fellowship,

which fosters entrepreneurship
and performance opportunities

for female conductors,

allowing them residencies
with major orchestras around the world.

In 2013, Berlin elected Tér
as its principal conductor,

in succession to Andris Davis.

And she's remained there ever since.

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

whose nine symphonies she recorded
during her Big Five stints.

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

with a single orchestra until now.

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

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

Due to the pandemic, that performance,

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

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

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

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

As if that's not enough,
her new book, 7347? on MR,

will be published
by Nan Talese‘s imprint at Doubleday,

just in time for Christmas,
a perfect stocking stuffer,

especially if you have
a very large stocking.

[audience laughing]

All of us at The New Yorker
welcome you.

Thank you for joining us, Maestro.

Thank you, Adam. Thank you.

[audience applauding]

Lydia, I couldn't--

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

Was it because I forgot
some other amazing achievement?

Or do you have
a slight self-consciousness

about the incredibly varied things
that you've accomplished?

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

I mean, our era is one of specialists.

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

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

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

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

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

-Never, really?
-No.

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

to substitute "maestro“ with "maestra."

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

-[Adam] Right.
-[audience chuckles]

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

I really have nothing to complain about.

Nor, for that matter, should Marin Alsop,
JoAnn Falletta, uh,

Laurence Equilbey, Nathalie Stutzmann.

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

You know, women who did the real lifting.

[Adam] That's fascinating.
Can you-- Who, for instance?

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

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

Uh, the sad one would be Antonia Brico,

who by all accounts
was an incredible conductor,

but was ghettoized
into the non-glamorous status

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

A dog, um-- She never got the chance
to lead a major orchestra?

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

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

but, again, only as a guest conductor.

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

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

if not complete,
then it's evolving nicely.

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

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

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

as a kind of human metronome.

Well, yeah, that's partly true.

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

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

-But time is the thing.
-Ah.

Time is the essential piece
of, uh, interpretation.

You cannot start without me.

See, I start the clock.

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

marks time and moves it forward.

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

[inhales sharply] ...stops.

Which means that time stops.

Now, the illusion is that, like you,

I'm responding to the orchestra
in real time,

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

or throw time out the window altogether.

The reality is that
right from the very beginning,

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

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

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

It's never, never in performance.

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

that Bernstein gave you, what would it be?

Kavanah.

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

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

and how do they complement one another?

fight, kavanah.

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

for many in our audience.

-Well, yes, I imagine so.
-[audience murmuring]

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

uh, an onstage presence
in classical music?

No, that's right.

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

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

When did that change,
and who changed it?

With the French composer,
Jean-Baptiste Lully,

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

to pound the tempi into the floor.

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

Uh, anyway, that technique ended
during a performance

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

-[audience laughing]
-Yeah, of gangrene.

But anyway...

-[Lydia laughing]
-[audience applauding]

Anyway, but the conductor

really becomes essential
as the ensembles get bigger.

And once again, we go back to Beethoven.

[hums Beethoven's Symphony No. 5]

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

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

So someone had to start that clock.

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

and say, "Follow me," you know?

And when that someone was Lenny,

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

'Cause he knew the music,
Mahler especially,

as well or better than anyone.

And he would often play with the form.

'Cause he wanted an orchestra
to feel that they had never seen,

let alone heard or performed,
any of that music.

So he would do radical things,

like disregarding the tempo primo
or ending this phrase mo/z‘o r/fardando,

even though it had no such marking.

Was he over-egging it?

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

He celebrated the joy of his discovery.

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

When will that process
begin again for you?

We start on Monday.

-Immediately?
-Mmm.

With this one, it really is about

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

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

You know, he was so inspired
by the poetry of RUckert,

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

But all of this changes with the Five.

The Five is a mystery.

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

Yes, the dedication to his new wife, Alma.

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

the first thing you must do
is try to understand

that very complex marriage.

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

than Bernstein did?

You mentioned my ethnographic fieldwork
in the Amazon.

Well, Adam, the Shipibo-Konibo
only receive an foam, or song,

if the singer is there, right?

On the same side of the spirit
that created it.

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

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

That definition of fidelity
makes sense to me.

But Lenny, he believed in feshuvah.

The Talmudic power to reach back into time

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

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

it ran for 12 minutes.

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

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

you will no doubt feel the tragedy
and the pathos.

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

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

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

And this piece was not born
into aching tragedy.

It was born into young love.

And so you chose...

-Love.
-[audience] Aw.

Right, but precisely how long?

Seven minutes.

[audience laughing]

[fan] I was so taken
by what you said to Adam

about, um, interpretation
and specifically about feelings.

And that you chose love.

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

do you ever find yourself
overwhelmed by emotion

-when you're up there at the podium?
-[Lydia] Yes.

Yes, that does happen.

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

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

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

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

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

[sighs]

-So it's physical as well as emotional.
-[Lydia] Mmm.

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

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

And sleep, it's impossible.

It's like my freshman year at Smith.

[Lydia chuckles]

Which piece does that to you?

Oh, I saw you!

I saw you conduct, uh, The Rite of Spring
at the Met last year.

It was so powerful.

[Lydia] Thank you. Thank you.

It's-- It's the 11 pistol shots--
it's a prime number--

that strike you as both victim
and perpetrator.

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

we're all capable of murder.

That is a fantastic handbag, by the way.

Thank you. I'm glad you like it.

Oh, I do. I do.

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

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

-Whitney. Whitney Reese.
-Whitney.

Whitney, of course.

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

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

It's perfect, Aldo.

Oh. I was hoping we could celebrate.

No. 80 was I.

I've got a class at Juilliard.

Oh, good.

I promised Ben.

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

We should open up the fellowship.

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

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

We've made our point.

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

Except one.

Oh, well.

She had issues.

So I've heard.

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

I'm sorry about that.

It's fine.

It's nothing I can't handle.

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

We'd likely lose donors.

Yeah, I suppose that's true.

Maybe it's something
we revisit down the line.

Sure.

Bryant Park's locked for the 25th.

Nan asked me to help fill the place,

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

And claqueurs.

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

Relax. It'll be great.

And it almost falls on your birthday.

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

Me too.

Uh, Petra had a school thing.

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

Of course.

I was just hoping for your honest opinion.

My player rating sheets
were off the charts.

Those are confidential, Eliot.

Well, the principal oboist is a big fan.

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

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

in the last movement.

I mean, how did you get them there?

Was it the hall? Was it the players?

The players weren't very obliging.

The principal violinist came up to me
after the first rehearsal

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

It seemed to him unusual,
if not suspicious,

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

-[Kaplan laughs]
-Felt like Max Bruch.

Well, big Jew that I am,

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

-for a klezmer commission.
-Mm-hmm.

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

Well, they'd be lucky to have you.

Oh, please. I know my place.

Money can't always buy you everything.

You don't really believe that.

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

She sent me packing.

Good girl.

That gentleman sitting over there
with the gnome

is urgently focused on our table.

At first, I thought he was looking at me,

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

Please try and ignore him.

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

And I would never forgive you.

The last thing I need
is to be buttonholed in here

by someone exactly like me.

Uh, what time are you Ieavin' tomorrow?

Francesca's looking into flights.

Well, call her off. Leave when you like.

You don't have to do that.

My motives are not entirely altruistic.

Just one peek.
One peek at your performing score.

[laughs]

Fine.

-Would 5:15 be okay?
-Sure.

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

We're filling a vacant position.

Please tell me it's Sebastian.

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

He has baton.

A month ago, I dropped into Bunkamura

to watch the touring machine
trot out Chopin 1.

OI' Sebastian really is Mr. Tempo Rubato.

Robot-o is more like it.

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

Exactly. You inherited that decision.

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

They have different labor contracts
over there.

He's a-- He's a strange guy.

-Who? Andris?
-No, Sebastian.

He has, um, fetishes.

Fetishes? Like what?

Nostalgia for pre-war
Kalmus miniature scores,

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

You know, that sort of thing.

[chuckles] That's just sad.

Yeah, but you're not wrong.

I am gonna have to rotate him
at some point.

For who?

What Love Teaches Me.
That string notation.

Mahler gives it to you himself.

[in German]

Come on.

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

Least of all, mine.

Oh, but I do.

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

Free bowing.

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

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

the sound's ferocious.

Oh.

There's no glory for a robot, Eliot.

Do your own thing.

Mmm.

[instruments playing low tone]

All right, um,

let's stop here.

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

Um, just for my own edification,

why did you come to Juilliard?

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

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

I mean, Juilliard's a brand, right?

So, did you come to study with a brand?

-No, right.

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

who, you know, conjured something
in your imagination.

Someone you aspire to be yourself.

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

Sarah Chang.

-So you're a violinist?
-Yeah.

All right, okay.

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

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

that behave as if they're tuning.

Now, this piece is very au couram‘.

And here, the composer tells us
to begin with

"back-and-forth tremolo strokes
with wire brush

and slowly sliding crotales over skin.“

Sounds like Rene Redzepi's
recipe for reindeer.

[sighs] It's exciting
to play new music, isn't it?

-Yeah.
-Yeah.

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

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

but how many of you
are also studying composition?

Right, what's your name?

Olive Kerr.

[Lydia] All right, Olive, uh,

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

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

I agree about the tension part.

Now, you can intellectually contemplate,
or masturbate,

about the felicity
of the so-called “atonal,”

but the important question here
is what are you conducting?

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

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

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

Max.

Come on, what do you think?

When Anna Thorvaldsdéttir
gave her master class,

she said she was often influenced
by the form

and structure of landscapes
and nature she grew up within.

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

Vew Punkt Kontrapunkt.

Yes.

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

So, if her intent is vague,

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

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

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

and pretend that there are
these invisible structures.

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

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

Because now, my friends, now is the time

to conduct music that actually
requires something of you.

You know, music that everybody knows
but will hear differently

when you interpret it for them.

For instance, Max, why not a Kyrie?

You know, like, uh, something like
Bach's Mass in 5 minor.

[chuckles] I'm not really into Bach.

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

Oh, Max.

Have you read the Schweitzer book?

No.

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

Now, Antonia Brico thought so.

So much so, that she shipped herself
to Equatorial Africa

and canoed up the Congo River
to track Schweitzer down

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

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

I mean, have you--

Have you ever played
or conducted Bach?

Honestly, as a BIPOC, pangender person,

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

to take his music seriously.

Come on.

What do you mean by that?

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

Yes, that's documented.

Along with a considerable amount of music.

But I'm sorry,

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

have to do with 5 minor.

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

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

But remember,
the flip side of that selection

closes the valves of one's attention.

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

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

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

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

Can classical music

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

exalt us,
individually as well as collectively,

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

You know, what about Beethoven?

You into him?

Because for me, as a U-Haul lesbian,

I'm not too sure about old Ludwig.

But then, I face him.

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

and inevitability.

Come on, Max. Indulge me.

Let's allow Bach a similar gaze.

[playing piano]

Sit.

Now, this is all filigree, right?

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

♪ Or Schroeder playing for Lucy P

Or Glenn Gould, for that matter.

[playing notes precisely]

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

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

It's a question.

And an answer.

Which begs another question.

There's a humility in Bach.

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

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

It's never the answer, right?

Now, the big question for you...

[growling]
...is what do you think, Max?

[groans] You play really well.

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

Don't be so eager to be offended.

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

I guess Edgard Varése is okay.

I mean, I like Arcana, anyway.

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

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

Didn't stop Jerry Goldsmith
from ripping him off

for Ms Planet of the Apes score.

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

But you see,

the problem with enrolling yourself
as an ultrasonic epistemic dissident

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

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

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

and you guest conduct
for a major or minor orchestra,

you may notice that the players

have more than light bulbs and music
on their stands.

They will also have been handed
rating sheets,

the purpose of which is to rate you.

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

Your score reading and stick technique,
or something else?

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

In this case, Anna Thorvaldsdéttir.

Now, can we agree on two pieces
of observation?

One, that Anna was born in Iceland.

And two, that she is, in a Waldorf teacher
kinda way, a superhot young woman!

Show of hands.

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

and see if we can square
how any of those things

possibly relate to the person
we see seated before us.

Where are you going?

You're a fucking bitch.

And you are a robot.

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

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

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

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

and obliterate yourself.

All right.

[interviewer] During the lockdown,
you did something I thought remarkable.

You made music for free.

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

[Lydia] Well, that was a democratically
made decision by the players.

And though I wish
I could claim the idea was mine,

it really did spring
from the heart of Sharon Goodnow.

Sharon is your partner.
You have a child together.

And she's also the concert master
for Berlin.

-Does that ever complicate things for you?
-[Lydia] Yes, that’s right.

Your work getting into your home
or the other way--

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

I Will be

if I can keep the fat off
until next month.

[Francesca] You never gain weight.

Your mother texted me.

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

Next trip.

What are you thinking for dinner?

Uh, no.

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

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

Doesn't it sound
like warmed-over Charles Ives to you?

[Francesca] Not at all.

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

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

No. Not really.

Should I stop by later for notes?

No, that won't be necessary.

-[Lydia playing piano]
-Okay.

Oh, I-- I almost forgot, but...

this was left for you at the front desk.

By who?

They didn't say.

What, no card?

No.

Okay, just leave it over there.
Thanks.

[piano continues]

Good night.

Night.

[radio host] You are listening
to All Things Considered from NPR news.

All Things Considered is brought to you

by the Corporation
for Public Broadcasting.

[Lydia] Public broadcasting.

[radio host] leaz‘ ears. Feeding
the discerning listener since 2008.

[Lydia] 2008. I eat ears.
And you should too...

[radio host] And now more from NPR.

Over the next few weeks,

you'll be hearing poems
from four finalists

for the National Youth
Poet Laureate award.

[Lydia] When were you informed of this?

[Francesca] Just this morning.

Mr. Kaplan was very apologetic.

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

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

Where are things with DG?

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

of honest-to-God LPs for this release?

No movement there yet.

Have you looked at the email
I drafted for you?

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

What's your take on The New Yorkertalk?

It went well, I thought.

Oh. You're hedging.

I was garrulous.

[chuckles] No.

No, not at all. You were fabulous.

[laughs] Francesca!

If you have any real interest
in conducting,

you need to be able to speak your mind.

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

Lenny?

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

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

Oh, really?

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

He said there was only room for...

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

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

#RulesOfl'heGame.

[in French]

[blows raspberry] Okay?

[breathes deeply]

How was your evening?

Yeah, was uneventful.

Are there any of Sharon's pills left?

No, but Dr. Korovin called these in.

Ah. Thanks.

I received another weird email
from Krista.

Mmm?

How should I reply?

Don't.

This one felt especially desperate.

[in German]

[sighs]

[exhales deeply]

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

that I'm unaware of?

The flutter's back.

It's... It's racing.

I can't find my metoprolol anywhere.

[quietly] Fuck.

[breathing shakily]

[pills rattling]

[water runs]

Uh, I found this lying loose
in the drawer.

Is this the right one?

Yeah.

Thank you.

Is that a new bag?

Oh, it's just a gift from Eliot.

-You want it?
-No.

Suits you.

[Lydia] Let's...

slow this down to 60 beats a minute.

[clicks]

[quiet jazz playing]

[both exhale deeply]

Actually, it's 64 beats.

[chuckles]

Tried calling you
on your mobile last night.

Mmm.

And again at the hotel.

Must've been asleep.

You never sleep that deeply.

Don't be a scold.

J” Fee/in’a fee/in’J’

♪ Somethin' there ain’t too much of D

I'm worried about Petra.

She's starting to disappear into herself.

Be specific.

She keeps coming home
with bruises on her shins.

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

I mean, I hope
it's just playground football

and not some Biodeuz‘sche thing.

We talked about this.

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

Last year was really hard

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

She's old enough to learn piano.

I'll teach her.

Yeah.

That might be good.

How's your heart?

Better now.

[classical music playing]

Knock, knock. Who's there?

Lenny?

Walter?

Oh, it's you, MTT.

Why do you insist
on holding things up like that?

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

[radio host]
. -. Michael 77/30/7 Thomas. -.

[toothbrush buzzing]

Hello, Petra.

Why are you lurking, hmm?

Tell me and I'll help.

-[Lydia] Sharon?
-Mmm?

Uh, I'm taking Petra to school.

Oh, okay.

-[Lydia] Come on.
-[Sharon] Tschiiss.

[Lydia] "Who'll bear the pall?"

"We," said the Wren.

-"Both the cock and the hen."
-[Lydia] “The hen."

"I'll.. [blows raspberry]

[both] "We'll bear the pall.“

"And who'll sing a psalm?“

[Petra] "I' said the thrush
as she sat on a bush.

'I'll Sing a song.”

[Lydia] "Who'll to” the bell?"

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

I'll toll the bell.”

[both] "All the birds of the air
fell a-sighing and a-sobbing

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

[Lydia] It's gonna be okay.

All right. Okay, which one is she?

The red one.

-Bye.
-Goodbye.

[Lydia] Hal/0, Johanna.

[in German]

[bell tolling]

[Lydia] Hello. Hi.

They're all in the chamber hall?

Yes.

No.

[lock clicks]

[urinating]

Good morning.

[Sebastian] Oh, I'm sorry, Maestro.

We weren't sure you were coming.

We were told there might be
a scheduling conflict.

-Would you like me to take notes?
-[pen clicking]

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

Do we all have our rating sheets?

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

[Lydia] So unless anyone has
other business to discuss,

let's bring in number one.

[cello playing]

[cello continues]

[cello continues]

[cello stops]

[footsteps]

[footsteps continue]

[pencil erasing]

Goossens stands, sounds his A.

And, of course, uh, Léon was rather famous

for his rather wide vibrato, huh?

Beecham looks up and says,
"Gentlemen, take your pick.“

[both chuckling]

How's the writing going?

Ah, I never know how
to answer that question.

Makes it sound like a physical act.

Like, how's the shitting going?

[both laugh]

Okay. How's the thinking going?

Yeah, not so well.

I keep hearing something
and getting excited

only to catch myself in pastiche.

It's all pastiche.

We all have the same musical grammar.

Just look at Beethoven Five.

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

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

That could've been a coincidence.

No. Not in this case.

If you examine the sketchbooks he used,

29 bars of Mozart's finale appear,

copied out by Beethoven.

Oh, my God.
I find that extremely depressing.

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

One for the ages.

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

Oh, yes, you're right.

The entire first printing
will always be available.

Too modest, as usual.

Thank you, Andris.

I'll cherish this.

You may use it.

A blurb for the covers.

Oh, thank you.

I'll send it to the publisher.

Hopefully there's still time.

I'm proud to call you my pupil,

even though there was really
nothing I could teach you.

Now, that's not true.

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

Then you'd be in London, New York.

They're not Berlin.

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

She's so close with her family.

Yes. The Goodnow sisters.

I remember the elder one
being an absolute ball-breaker

while she still held sway at DG.

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

And that voice.

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

[laughs]

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

[chuckles]

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

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

Yes.

Although it's unclear that
this private and personal failing

is at all relevant to his work.

[both chuckling]

You're late.

[driver speaking German]

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

I've got it.

[shushing]

[piano playing]

[piano playing]

[water bubbling]

[bell chiming]

[chiming continues]

[Lydia imitating chiming]

[piano plays imitating bell chiming]

[person screaming in distance]

[siren wailing]

[screaming continues]

[screaming continues]

[bell chiming]

[piano plays imitating bell chiming]

[playing melody]

[orchestra playing]

[speaking German]

But it's also...

It's like we're hearing it from
a very, very great distance. 80 it's...

[imitating melody]

S-- Uh-- Sorry.

-[speaks German]
-[Harald speaks German]

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

[trumpet playing fanfare]

[trumpet intensifying]

[orchestra blares]

-[orchestra subdues, stops]
-[Lydia speaking German]

-Harald.
-[Harald speaks German]

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

One, two, one. [inhales]

[orchestra playing]

-[orchestra stops]
-[speaks German]

Looks great... [clears throat]
...but we need to hear it.

Okay? It's not...

[imitating melody softly, then loudly]

Hey.

-[players chattering]
-[Lydia speaking German]

[imitates gust]

[imitates gunshots]

[orchestra playing]

-[orchestra stops]
-[speaking German]

[imitates bang, gust]

It's-- It's much too slow.

[speaking German]

Mm-hmm. Okay.

[speaking German]

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

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

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

Will you shoot me the MP3s?

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

No, just think what people
will actually be streaming.

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

-Okay.
-All right. Thanks, guys.

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

[both speaking German]

-[Sharon] There.
-[Lydia] Yeah.

[Sharon] You want us
to come in stronger there?

[Lydia] Here, 'cause
the reigning dynamic is forte...

-[Sebastian clears throat]
-...which is not good.

[Lydia] Yeah?

Just one small thing, Maestro.

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

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

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

Thank you, Sebastian.

Thank you. [clears throat]

Accurate assessment?

I don't think so.

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

Sebastian likes to sit
in the stalls.

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

[Lydia] Mm-hmm.

Something a bit more playful.

Mm-hmm.

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

It's very powerful.

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

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

Something simple like this? Mmm?

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

Have Harald
dim the house lights to half.

House lights down half, please.

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

Mm-hmm.

[Karl]
If we wanna do something like this,

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

Forget about the strobes.

[Lydia] Thank you for waiting.

Of course, Maestro.

How are we feeling
about today's rehearsal?

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

[chuckles] It's possible.

I don't agree.

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

Yes, that's true.

[sighs] Look.
Sebastian's getting old, Knut.

I'm rotating him out.

You're the first to know.

Well... [exhales]

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

No. No, you won't.

A vote must be taken.

I am familiar
with the electoral conclave. [chuckles]

But the appointment
of the assistant conductor

is entirely my decision.

[inhales] Yes. [exhales]

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

[chuckles] Yes.

Good.

Who will you replace him with?

Oh, I'm considering a few names,

but the main thing is we proceed
with this immediately.

[Knut] I understand.

Maestro, uh, the other players
would like to know

if you have chosen
the companion piece.

Ah!

[in German]

[Knut speaks German]

[rain pattering]

[whistles]

Oh. I--

It's okay.

[speaks German]

[piano playing]

P Changing major to minor P

[clears throat]

Ah, I'm sorry, I knocked.

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

Yes, thanks.

-Did you use the company card?
-Yeah.

We can use it for your, um...
[clears throat] ...your taxi home.

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

[exhales] It wasn't just the keys.

I need someone to hold me.

This isn't the place, Francesca.

You're-- That's not about... [sniffles]

I just...

I just got this from someone
over at Accordion.

[breathes shakily]

Oh, no.

[exhales]

When did this happen?

Day before yesterday.

That email she sent you,
it felt like she was already--

Delete it. And the rest.

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

[sniffles]

Now, now.

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

She wasn't one of us.

[crying]

[sniffles]

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

[Lydia] Mmm.

The three of us were so close.

Yes, but that was before
she started making demands.

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

She had so much promise.

She did.

Yes.

Almost as much as you.

Now, we have to forget about her.

You understand?

-Right?
-[sniffles]

-I'm sorry.

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

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

[water pattering]

[jazz playing on radio]

[Sharon] She went straight to sleep.

[wine pouring]

Didn't even have to hold her foot.

And she came home
in a much better mood.

Oh, attagirl.

[exhales]

Met the new cellist today.

Oh? What was that like?

Olga Metkina. Russian.

Strong player.

Good.

Her facial posture is a bit much.

How so? [chuckles]

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

[both chuckle]

She's young.

Ah, so you've met her.

No, no.

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

You may wanna hold off on that.

Her invitation is conditional.

You have reservations?

No.

Not really.

We need to see if she fits in.

Did you take your pill?

No.

Thank you for reminding me.

[exhales]

[metronome ticking]

[ticking continues]

[Lydia] How was Johanna yesterday?

She stays away now.

Good. You let me know if that changes.

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

No, Lydia.

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

I know.

That's right.

[vent rattling]

[exhales]

[orchestra starts]

It's...

It's not so simple. It's got... [exhales]
It's gotta be messier.

It's, uh--

[speaking German]

A lot of pressure. Okay.

[speaks German]

[all chuckle]

[Lydia] So familiar to everyone here.

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

Same place.

[orchestra playing]

[speaks German]

-Please, please, please, please.
-[orchestra stops]

You must watch.

[speaks German]

Okay?

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

[speaking German]

Okay.

[Sebastian] Mmm. Maestro!

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

-[chuckles]
-C-- Can I offer you anything?

Uh, no, thank you.

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

[pen clicking]

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

-[Sebastian chuckles]
-Is that Kalinnikov?

-Yes.
-Ah!

[Sebastian] Isn't he marvelous?

He belongs in a museum.

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

-Ah!
-Right after the Wall came down.

Ah, that must really
have been something.

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

I'd only just arrived here with Andris,

and suddenly the impossible was possible.

Yeah.

I'd like to talk about that.

The reunification?

[chuckles]
No, no. But please, sit down.

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

[chuckles] But I already do.

Yes, but not as Kapellmeister.

[inhales, exhales]

If not now, then when, Sebastian?

You mean leave Berlin?

Well, rotate somewhere, yes.

But this is my home.

Our only home is the podium.

We all live out of a suitcase.

You know that as well as anyone.

Just think about it.

Take your time.

It's not something
we need to decide now.

It's the girl, isn't it?

I'm sorry, what girl?

You're not asking.

You're telling.

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

Andris told me not to worry...
[chuckles] ...but I knew.

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

Oh, please.

Just because nobody dares breathe it.

We know the things you do.

The little favors you grant.

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

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

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

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

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

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

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

[exhales] For what?

Your obsequiousness,
your hypocrisy, your misogamy?

I'm not a misogynist!

Misogamy.
It's a hatred of marriage.

Andris is still very much married.

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

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

It could lead to more
than Chinese whispers.

I know.

We barely survived Der Sp/ege/
when you and I came out together.

-[sighs]
-But with Francesca,

no one could point their finger.

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

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

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

He's probably already run
to Andris. [scoffs]

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

There are others equal
to the task.

Mmm.

Maybe wait to decide.

[footsteps approach]

Where are we at with DG?

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

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

what the criteria were.

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

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

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

Maybe he needs to be reminded

of his Annenberg Inclusion Initiative.
[chuckles]

[chuckles]

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

I'll send it to you right now.

[groans]
My machine's misbehaving again.

I've already spoken to IT.

Just-- Here, let me borrow yours.

Thank you.

Where's the matcha?

[door closes]

[grunting]

Ah, I wasn't sure where you were.

Was working out a kink.

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

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

[clears throat]

Francesca, you did as I asked

and deleted any and all
correspondence with Krista.

Correct?

Um...

I'm not sure.

I-- I-- I'm-- I'm not sure.
I'll double-check.

You know, Sebastian's leaving us.

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

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

Thank you.

[phone vibrates]

Oh, your lunch with the new cellist.

[clicks tongue] Oh!

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

I'll text her now.

No, wait. [exhales]

[chuckles]
Might as well see what she's made of.

[sniffles]

[cutlery clinking in distance]

This food.

The cucumber salad's, uh, very good.

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

Do you eat fish?

Not really.

You know, we can go somewhere else.

Like the Store Kitchen.

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

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

I mean, at some point, everyone from--
from Napoleon to Beethoven

tucked in for a meal
at one of these tables.

Yes, and Clara Zetkin.

I wonder which one.

Who's that? It's a musician?

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

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

Clara Zetkin?

Yes.

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

Her birthday?

No, International Women's Day.

[chuckles]

[server] Are you ready, Maestro?

-Yes, uh--
-[Olga] Yes, first shashlik, then veal.

[server] For you?

-Cucumber salad. Thank you.
-Good choice.

[server] Some more bread?

Mmm. [chuckles]

It's good. Would you like a bite?

Oh, no. No. Thank you.

Have you lived in Berlin long?

No, not at all.

I have friends in Neukblln I visit
until I know decision of orchestra.

Simonov will hold your place?

Yes, I think so. He is my uncle.

Oh.

But my dream has always been
to play with Berlin.

Oh, me too.

There's nowhere like it.

I imagine Rostropovich is a hero of yours?

Well, of course, he was great.

We study him at Moscow Conservatory,

but growing up,
my favorite is Jacqueline du Pré.

She made me want to play cello.

Which record was it?

Not record. YouTube.

Elgar Concerto.

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

I don't know who was conducting.

But she did something to me.

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

Quite a challenge.
How old were you?

Thirteen.

Wow.

I'd love to hear it.

They make video. I will text to you.

[playing Elgar's Concerto]

[cello crescendoing]

[knock on door]

[knock on door]

[banging on door]

[in German]

[sustained tone hums faintly]

[hum continues]

[hum stops]

[panting]

[orchestra playing]

[instruments fading]

[orchestra stops]

Beautiful.

[speaking German]

[German continues]

Now, just before we break,

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

and I have been thinking
quite a bit about it

and was wondering
if we could just take an informal poll

about possibly pairing the Five

with Elgar's Cello Concerto?

[musicians murmuring]

[bows tapping]

[speaking German]

Oh, and--

Given what we've all been through,

what we're still going through,

and we're finally
back together as a family,

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

[musician] Yeah.

-[bows tapping]
-[Lydia] Good.

Good, good. Good start. [chuckles]

-One more question.
-[musician] Gos.

[Lydia] And this really
is just for you, Gosia.

I mean... [sighs]
...as a practical matter,

I mean, this would normally fall to you.

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

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

Well, that's a bit unorthodox.

But, in theory, I have no objection.

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

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

No, no. That's a good point.

I mean, it is gonna have to be--
[chuckles]

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

How about Monday?

All right.

[Lydia] Okay, good.

Knut, would you assemble
a quorum for Monday?

[Lydia, in German]

[person] Let me see what she says.

Okay, I got-- I gotta go.

Britta, hi.

[Britta] Lydia! Just caught the end.

Ah! What'd you think?
How's it, uh-- How's it sounding?

Oh, it's fantastic.
[chuckles]

I can't wait until the live recording.

Yes, well...

[chuckles]
...I'll be happy when it's over.

It's always that way.

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

but...

Andris Davis called.

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

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

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

so she can prepare a press release.

Yeah, of course.

Uh, so, what did he want?

To complain about the punctuality

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

Do you know anything about this?

Yes.

No, it's just--
it's just something I pay for.

Then why does he believe it's the board?

Because he needs to believe that.

He needs to b--

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

The academy
has Von Karajan's name on it,

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

But the name of Davis,

it's essentially nowhere to be seen.

All right.

Then perhaps Francesca
could have a word with the driver?

Of course.

One other thing.

It's unpleasant.

Oh, is it? Operational shortfall?

Must I take Mrs. Sewing
out to drinks again?

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

Do you remember
an Accordion Academy fellow

named Krista Taylor?

Yes. Why?

Apparently, she committed suicide.

Oh, God. Poor thing.

Her parents mu--

Wait, sorry, I'm. ..

I'm confused, Britta.

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

Why didn't Accordion
contact me directly?

It's delicate, Lydia.

Mr. Kaplan thought it might be best

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

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

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

Apparently,
some accusations have been made.

Accusations?
What kind of accusations?

He didn't say.

But they were brought
to Accordion's counsel.

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

but one can't be too careful.

[exhales]

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

I need to speak to Mr. Singer immediately.

Yes. Yes, it's urgent.

[patrons chattering]

[sighs]

Tired?

[clicks tongue] Sleep's elusive.

I was the same before a recording date.

Lydia,

are you absolutely certain
about Sebastian?

Mm-hmm.

Who will you replace him with?

Possibly Andrew Crust.

He's been assisting Otto Tausk
at the V80.

Not the girl?

[sighs]

Andris...

have you ever had an issue
with a-- a student or colleague,

where that person may have
misinterpreted your intention?

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

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

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

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

Or hunted like Charles Dutoit.

I take it you're asking for a reason.

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

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

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

A bit with Karajan too.

Who was the better conductor?

I never played under Furtwéngler.

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

hushed opinions. [chuckles]

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

-What? The war?
-No, postwar.

-Mmm.
-Denazification.

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

Furtwéngler never joined the Party.

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

Or to sign his letters, "He/l Hit/en"

Even those he wrote to Hitler. [chuckles]

But he was obliged to be denazified.

Until then, he was semiretired,
playing corpses.

Playing corpses?

Secretly performing in a graveyard.

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

Either way, you had to be ready.

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

How many are auditioning
on Monday?

No one.

No one?

Maybe Martin.

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

Well...

he's still gonna have to audition.

Of course.

Have to follow the rules.

Aren't we being a bit formal,
Francesca? [exhales]

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

[Francesca] No, Maestro, there are two.

[cello, piano playing]

[cello 2 playing]

Well, it's unanimous.

Number two. Mm-hmm.

And we have a problem.

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

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

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

-Then her audition gets thrown out.
-[Sharon] No.

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

Wait. Gosia, let's talk.

[gasps] Shit! [laughs]

Whoo! [screaming, laughing]

I'll confirm solo rehearsal dates
with her.

Thank you.

Have a seat.

[exhales] I have made a decision

regarding Sebastian's replacement.

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

This position brings with it
enormous responsibility

-and, my personal affection for you aside...
-[scoffs]

...I will have to go with someone
more-- more experienced.

[sustained tone hums]

[hum stops]

[inhales, exhales]

[plays notes]

[bell chiming in distance]

[knock on door]

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

I've told you before, I--

Oh, I'm sorry. Please come in.

[chuckles]

[exhales]

Good! Good!

I think the contrast is...

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

[exhales]
How do you take your coffee?

Black. Strong.

Is all right if I play?

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

That's as far as I've gotten.

But it's good.

Um, this part here...

Maybe change A to B-flat?

That's better. I like that sound.

Come on. Take a break.

Okay [chuckles]

[door closes]

Sharon?

[keys jingle]

Hello.

[in German]

[Lydia] Petra.

[Petra singing]

[exhales] What are you doing in here?

[whispers] I'm hiding from her.

[whispers] Why?

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

I can see that.

Come on.

They're all waiting for you.

[Petra] I'm going to give
everyone a pencil.

[Lydia] All of them?
They can't all conduct, honey.

It's not a-- [chuckles]
It's not a democracy.

[cello playing]

[Lydia exhales]

-[players cheering]
-[bows tapping]

[speaks German]

[speaking German]

Hey, that's good.

-You happy?
-[chuckles]

I think the glissando's
working really well there.

How long were you acquainted
with Miss Taylor?

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

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

Mmm.

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

This recording will exist
on a protected server

under attorney-client privilege
with Mr. Singer.

Great.

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

Deposition?

Yes. I assumed you were aware.

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

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

The only communication
we've received from Francesca

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

tendering her immediate resignation,

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

What kind of details?

A new address, I suppose.

In the meantime,
we've been trying all morning

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

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

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

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

I know how much you depended on her.

Two-faced little bitch.

Imagine her hurt, Tér.

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

She'll come galumphing back.

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

-How hard can it be to text all day?
-[car horn honks]

-[screams]
-[tires screech]

Slow down! Or let me out!

[seat belt clicks]

[door opens]

[child chattering]

Francesca!

-[Iand|ord speaking German]
-[keys jingle]

[siren wailing faintly]

[people whispering]

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

[whispering continues]

-[insects chirping]
-[water trickling]

[banging on door]

[exhales]

[bell chiming in distance]

[banging on door]

[panting] Come. Come in. Come.

[chiming continues]

[in German]

[chiming continues]

[resident whimpering]

[in German]

[in German]

[whimpering]

[both grunting]

[breathing heavily]

[speaks German]

[shoos]

-[door closes]
-[breathing heavily]

[water running]

[knock on door]

[knock on door]

[exhales]

-[door opens]
-[Olga] Sorry I'm late again.

[Lydia] Oh.

[door closes]

Do you live here?

Not normally, no.

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

Do you have a towel?

-[Lydia] Yes.
-Thank you.

I got caught in the rain.

[both chuckle]

There is small concert
with musician friends.

You should come.

Thanks, but I...

really must get home.

You have child, yes?

Mm-hmm.

I will not do that.

Pets are better for some people.

[both laugh]

[door closes]

Wh-- Oh. Sorry. [chuckles]

-Bye. [laughs]
-Oh, yes! Goodbye, yes. Goodbye.

-Oh.
-[Olga laughs] Okay.

Oh, Olga!

Olga!

Olga?

[Olga singing]

Olga?

[singing continues]

Hello?

[switch clicks]

[water dripping]

Olga?

[door closes]

Olga?

[footsteps approach, stop]

-Olga?
-[footsteps approach, stop]

[footsteps approach]

[growling]

[panting]

-[gaSpS]
-[face thuds]

[gasps]

Why didn't you go to the police?

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

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

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

[exhales]

[in German]

[exhales]

[exhales]

[rain pattering]

[Petra] Lydia!

-Lydia!
-[gaSPS]

What is it?

Hold my foot.

Is that better?

Yes.

[Petra whimpers]

[orchestra tuning up]

[musicians stop]

[Lydia in German]

Okay. [sighs]

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

[exhales]
"What the hell happened to her face?"

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

and bail before the surgeon
finished the other half?"

[musicians chuckling]

No, I was, uh-- I was attacked.

Thank you.

I'm fine. Really.

Shoulda seen the other guy.

-[musicians chuckle]
-All right.

[speaking German]

[clears throat]

[inhales, exhales]

-[inhales]
-[trumpet starts]

[faint drum rumbling]

-[grunts]
-[orchestra starts, stops]

-[grunts]
-[orchestra plays, stops]

[orchestra plays, stops]

Ah! Don't! It burns.

Oh, you must see the doctor.

He's booked till next week.

I'll call them again
and tell them how much pain you're in--

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

Overall, the balance feels right.

Other than a quick brushup,
we should concentrate on the Elgar.

You're certain of that?

I think so. Yes.

[Lydia] We ’re absolute/y rock-solid there,

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

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

and they're trying to match it.

Um... Probably it's--

Where were you attacked, Maestro?

Oh-- [chuckles] Doesn't matter.

Here.

[chuckles] Thank you.

There you are.

When did this fall happen?

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

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

Like I fell asleep by the pool.

[exhales] Okay,
you can put your shirt back on.

You've damaged some nerves.

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

Nostalgia?

Notalgia. No 8.

Well, how do we treat it?

You don't. Eventually it goes away.

An adjustment might help.
You're somewhat crooked.

[scoffs]

[piano playing]

[piano stops]

-[phone chimes]
-[sighs]

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

Now let’s turn our gaze
back to the piano bench up there,

to a superhot young woman!

That's-- That was very good.

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

[phone ringing]

-Britta.
-H/; hi. Have you seen it?

Yes, yes. I've just seen it.

It's gathering this afternoon.

-This afternoon?
-/5 that a problem?

No, no, it's no problem.

[sighs]

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

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

to create linguistic traps
to completely redefine my words.

Look at the reverse shots
on the students.

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

I'm sure that's true, Lydia.

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

Unfortunately, it's linked to
an article in the New York Post

regarding Krista Taylor's suicide,

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

Laura, can you tell us
about your conversations?

We haven't had any.

Obviously, we gave no response

as we first wanted to meet
to discuss strategy.

Mm-hmm.

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

"Enticed and groomed multiple young women

to engage in sex acts
for professional favors.

Blocked opportunities
to those who didn't comply."

This is total fiction.

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

No serious person reads it.
[chuckles]

And so far as Krista Taylor goes,

she was disturbed.

I mean, she fixated on me.

In what way?

She sent me weird gifts.
She trolled me online.

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

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

I mean, that's easily checked, right?

And did you ever report this
or file a complaint?

No.

No. And, look,
I probably should have.

I-- I felt sorry for her.

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

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

Well, what do you advise?

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

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

-So I say, let's see what happens.
-[Lydia] Mm-hmm.

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

before this Friday's donor meeting.

Well, unfortunately,
I won't be there.

Well, I very much advise that you are.

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

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

[Lydia] Enjoy your weekend.

Starving!

Finished my thing today.

Congratulations!
We should go out and celebrate!

I can't. I gotta pack.

-Hi!
-[Petra] Hi, Lydia.

Sharon?

[Sharon] Yeah?

You seen my performance score?

[Sharon] No. Why?
Isn't it with the other ones?

No. No, it's not.

Are you sure it's not in my office?

Yeah, what about the orchestra library?

Yeah, can you check again, please?

I don't know! Yes, exactly.

[whispers] Lydia.

[exhales]

Yes.

When will you be back?

The day after tomorrow.

Will you promise?

Yes, I promise.

-Good night.
-Good night.

Thanks. Do you have any bottles?

Of course.

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

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

[lawyer] To all my questions
pertaining to your communications

with Krista Taylor and others,

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

or “I don't remember."

[chuckles]

Is there anything I could ShOW you
that might help refresh your recollection?

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

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

[receptionist in distance]
Eliot Kaplan's office.

He'll have to return...

I guess you heard by now.

Bryant Park bumped you to 53rd Street.

This is the Kaplan Fund's
prepared statement.

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

Well, now I can buy my own plane tickets.

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

[car horns honking]

[protesters chanting]

[horn blowing]

Is there a back entrance?

"Indeed, the common metaphors
used to explain music

are based on the idea
that music is a language,

albeit a secret one.

And in this way, holy and unknowable.

These joyful noises we make

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

yet something born
by the mere act of moving air.

No different than birdsong."

[elevator bell dings]

So, meet downstairs
in half an hour for dinner?

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

Yeah, me too. I'll...

probably do the same.

[crowd shouting]

[phone ringing]

[phone ringing]

[ringing stops]

[pills rattle]

[fridge door opens, closes]

[phone rings]

Yes, hello.

Yes, there's no water in my room.

Yes, I've checked the minibar.

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

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

[elevator bell dings]

Lobby, please.

[door closes]

[gasps] Oh, Jesus!

[pants, chuckles]

[exhales] It was Britta.

Right?

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

I couldn't care less
about the Juilliard thing.

Too much time on her hands.

She's fringe. The worst kind.

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

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

like Samantha Hankey.

God, a nobody
who has nothing better to do

than drop my name at lunch
and imply things.

I feel sorry for you.

Oh, save it.

I tried calling you last night.

Did you have fun with her?

My back is killing me.

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

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

[whispers] Jesus fucking...

There are many things
I accept about you.

[exhales]

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

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

These accusations from the parents
of the girl who suicided?

You honestly believe
what they're saying?

They're lies.

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

and to see everybody
whispering about me?

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

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

And what good would that have done?

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

[exhales]

Because I deserve that.

Those are the rules.

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

The way you did
when you first arrived here

as a guest conductor looking
for a permanent position.

You asked me what were the politics,

what were the moves,
how could we swing it.

[sighs]

Of course,

these conversations
took place in another bed.

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

Old sorrow blows in.

How cruel of you to define
our relationship as transactional.

[exhales]

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

And she is sleeping
in the room next door.

Apparently, this hasn't even
crossed your mind.

[car beeps]

[people chattering]

[chattering stops]

[musicians chattering, laughing]

[pants]

[shushing]

[shushes, blows]

[gasps]

[exhales]

[grunting]

[train approaching]

[children chattering]

Petra!

Come here, darling!

-[Petra] It was good.
-Was it?

-[Petra] Yeah.
-You wanna go to the park?

[Lydia] Don't do this.
Please, don't do this.

Please don't.

[breathing heavily]

[knock on door]

Hello. I am Anna Franzen.

This is my late mother's apartment.

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

Thank you.

How's your sister doing?

Eleanor lives now
in a facility in Neukélln.

I'm sorry to trouble you,

but my husband and I are selling the place

and couldn't help hearing the music.

Oh.

I'm glad you enjoyed it.

[husband] We were wondering
if there are specific hours you rehearse,

so we can schedule showings around them.

We don't want to scare
potential buyers off

with all the noise.

[laughing] No, no, no.

No.

No, we wouldn't want that.

-[instrument thuds]
-[bag unzips]

[accordion playing atonally]

P Apartment for sale D

[laughs] J” Apartment for sale J”

P Your mother's buried deep D

♪ And now you're gonna keep
Her apartment for sale P

5“ Your sister’s in jail P

D You put your sister in jail P

5“ You're all going to hell P

P Your apartment’s for sale P

[chattering]

[musicians chattering, practicing]

[practicing, tuning up]

[audience applauding]

[applauding continues faintly]

[exhales, inhales, exhales]

[playing fanfare]

[orchestra playing]

[grunts, screams]

[all gasp]

Okay. [speaks German]

Gimme some eyes.

[all murmuring]

Come on. Gimme some eyes!
[clapping]

[breathing heavily]

[murmuring continues]

[Eliot] Lydia.

This is my score.

Lydia, you're confused.

-[grunts] It's my score!
-[all gasping]

-You fucking little nothing!
-[blows landing]

[grunts]

[Lydia] I'm fine.

[murmuring, chattering continue]

[driver] You sign CAMI voucher.

[speaking Tamil]

[horn honks]

[pile driver rattling, thumping]

-[phone rings]
-[receptionist] Good afternoon. CAMI.

Hold on.

[consultant] Normal/y, I’d think Lisa Ric/7
in our booking department

would be a great fit for you,

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

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

Jake, do you wanna Show Lydia
what you've prepared for her?

Well,

right now, it's a reset.

What we're after is less, not more.

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

That means we need a new story.

Just here.

Here, thank you.

Uh, make it 40. Thank you.

[lock clicks]

-[switch clicks]
-[sighs]

[piano playing]

[playing off-key]

[piano stops]

[switch clicks]

[inhales, exhales]

[exhales]

[orchestra playing]

Didn't you feel triumphant?

[audience applauding]

Now we can really understand
What the meaning of music is.

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

Finally, we’ve taken that last giant step.

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

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

and all that business
in order to understand music,

if it tells us something.

And the most wonderful thing of all
is that there's no limit

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

And some of those feelings
are so special and so deep

that they can’t even
be described in words.

You see, we can 7 always name
the things we feel.

Sometimes we can.

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

Love, hate.

But every once in a while,

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

And that's where music is so marvelous.

Because music names them for us,

only in notes instead of in words.

It’s all in the way music moves.

You must never forget
that music is movement,

always going somewhere,

shifting and changing and flowing
from one note to another.

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

-And here we ’re going to p/e y you a--
-[tape clicks]

[whimpers]

[door closes]

Oh. [sniffles]

Tony.

Oh. Hi, Linda.

Sorry. Lydia.

Ma said you'd be over.

You must be hidin' out.

Why would I be hiding out?

Beats the hell out of me.

None of my business, anyhow.

Lotta loose ends,
you gotta admit.

What do you mean?

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

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

[announcer speaking Thai on PA]

[water runs, stops]

[rooster crows]

[car horn honks in distance]

May I come inside?

Thank you.

Thank you.

[all speaking Tagalog]

I'm so sorry.

We just wanted to confirm

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

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

but I-- I couldn't find anything.

This just arrived.

Oh! That's great. Thank you.

Shirley and Cirio will be most happy

to show you the sights
of our beautiful country.

Thank you! Thank you so much.

Oh, goodness.

Thank you.

[resident howls]

[insects chirping]

[motor rattling]

Maybe we could stop somewhere
and take a swim.

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

Why? Is there something
wrong with the water?

No. There are crocodiles.

Oh.

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

They escaped
from a Marlon Brando movie.

Wow.

That was a long time ago.

They survive.

[Shirley, Cirio laughing]

[people chattering]

LadylLady!

Here is prescription. Ten dollars.

Thank you.

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

...where I could get a massage?

Was hoping it might help me
with this jet lag.

Yes. There is the very nice place I know.

Thank you.

[tranquil music playing]

Thank you.

Please step over to the fishbowl.

The-- The fishbowl?

Yes, over there.

Urn, I'm sorry. I'm confused.
How does this-- How does it work?

You just pick a number here.

I pick a number?

Yes.

[chuckles]

Number five?

[exhales]

[cloth snaps]

[pop music plays on TV]

[vacuum whirring]

[speaking Tagalog]

Good morning.

[all] Good morning.

Now, before we begin,

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

and what she might be after.

[people chattering]

[pop music playing]

-[sighs]
-Five minutes.

[musicians tuning up in distance]

[breathing heavily]

[gasps]

[exhales]

[audience applauding]

[applause swells]

-Thank you.
-[applause fades]

[screens whirring]

[fabric rustling]

[orchestra playing somber music]

[narrator over speakers]
Sisters and brothers of the Fifi/7 Fleet,

it’s time.

I'll keep my farewell brief.

Never was much with words.

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

The next ground your feet touch

will be that of the New World.

If any of you have lost your nerve,

then step away now
and let no one judge you.

[orchestra crescendos, fades]