All language subtitles for Now Hear This PBS Series 2 3of3 Becoming Mozart EN

♪♪

-I'm Scott Yoo.

Next on "Great Performances,"

the great Canadian pianist
Stewart Goodyear will join me

to try to do what
no living pianist has done.

♪♪

These are masterpieces.
-One after the other.

-He'll play one of Mozart's
most famous piano concertos...

You know the piano part.

How well do you know
the orchestra part?

...while conducting it...

and improvising the solos...

Each one of those today
is a full-time job.

...lust like Mozart
would have done.

This is not relaxed.
This
is.

This is not bone and skin.
It's spaghetti.

Late!

They need a conductor

to sit there and go, "Boom!"

As he trains and rehearses
for this incredible feat...

One of your jobs
is to become inspired.

-Every artist
has their own point of view.

-...we'll both gain
a deeper appreciation

for Mozart's genius.

♪♪

When you're playing great music,

it makes you
try to be more than you are.

♪♪

Coming up on "Now Hear This:
Becoming Mozart."

[ "The Marriage of Figaro"
overture plays ]

♪♪

♪♪

-If you've seen
this show before,

you may know me as a violinist.

But for more than 20 years,
my main job has been conducting.

♪♪

♪♪

♪♪

During the season, I conduct
the Mexico City Philharmonic.

But every summer I come
here,
to Festival Mozaic.

♪♪

♪♪

♪♪

We now play works
from all composers,

but the festival
began 50 years ago

to focus on the works of Mozart,

like this overture
from "The Marriage of Figaro,"

one of his 22 operas,

among 41 symphonies
and 500 other works.

♪♪

Good. Let's rehearse.

Can you make more fortepiano?

[ Vocalizing ]

Okay. Let's just hear
David and -- and Liz.

[ French horns
playing single note ]

Kate.

[ French horn joins ]

Thank you. Great.
Let's keep it there.

By the way, I hear --
[ Vocalizing ]

There's too many ornaments
on the tree.

Let's go from 236, please.

♪♪

♪♪

Mozart was inventive
and successful in all formats.

♪♪

But there was one
where he set the standard

for all who followed --
the piano concerto.

And whenever he premiered one,

the piano soloist
was Mozart himself.

♪♪

[ Finale plays ]

Great.

Tomorrow, Stewart Goodyear
will be coming here to play

Mozart's 20th piano concerto,

and he's going to try to do
what Mozart did.

He's going to play the concerto,

he's going to conduct
the concerto from the piano --

and he's never
conducted before --

and he's going to
improvise the cadenzas.

Think about how hard that is.

It's really, really difficult.

Anyway, be patient with him.
He's really a huge talent.

Okay? See you tomorrow.

♪♪

♪♪

Festival Mozaic happens
each year in San Luis Obispo,

on the central coast
of California,

a place famous for vineyards
and ocean views.

But what's less known

are its miles and miles
of rolling hills

which, after the rains,
feel more like Ireland.

On a nearby ranch,
a festival board member

lent us a place to rehearse.

♪♪

♪♪

♪♪

♪♪

Stewart's been performing
Mozart piano concertos

since he was 12 years old,

but never like
he'd try to do it here.

I'd have to teach him

enough about conducting
in just one week

to successfully lead
the orchestra.

♪♪

Oh, man.
-22.

-That's how old he was?
-22 years old, yeah.

-Yeah. That's incredible.
-Unbelievable.

-So, we're here
to talk about conducting.

-Yes, we are.

-Rule one --
you've got to know the score.

I mean,
not just
your
part, but --

-Every part.

-What you're buying
is credibility, okay?

So, if they know
that you know what they have

and you're kind of guiding them
in like air-traffic control,

"I got you, I got you"...
-They'll be able to trust me.

-...they trust you,
and then they'll go with you.

"Oh, you want that?
I'm going to go with you."

-Yeah.
-And then it becomes

a much more unified experience
on stage.

Now, obviously
you know the piano part.

-Yeah.
-Okay.

How well do you know
the orchestra part?

-I feel like I'm skimming the
surface every time I study it.

-So we've got to work on that,

'cause that's the most
paramount, important thing...

-Yeah.
-...I would say.

Um, this is how I learn.

I just play it.
-Okay.

-Can you play
the first violin part --

the viola part,
second-violin part,

and first-violin part
with your right hand?

And close the music
so you can't read it?

-Right. Yeah.

[ Piano playing ]

♪♪

-That's good. Okay.

I'll play the first-violin part,
second-violin part, and viola.

I'll sing the viola line.

And can you play the cello part
and the bass part

with your left hand,

and then,
when the horns have to come in,

I want you to sing that D.

[ Vocalizing ]

-Okay.
-Okay? Let's try it.

-All right.

-[ Vocalizing ]

♪♪

-Late! It's late.

The horns come in there.
You've got to sing that.

-The horns come in late?

-Look at the score.

They come in on the downbeat.
You didn't sing it.

-Right!
-Yes. Okay.

And that's super-important
because the horns,

they really need your help.

You know why
you're conducting, right?

It's because people
can't hear each other.

If you're sitting back there
where the horns are,

you can't hear anything.

[Muffled] It sounds like this.
-Yes.

-[Normal voice]
And it's impossible.

So they need a conductor
to sit there and go, "Boom,"

so that they know when to play.

Otherwise, it's just
terrifying for them.

-Right.
-So that's super-important.

Okay. You're never going to
make that mistake again, okay?

That's page one.

I don't know. There are
like 70 pages in the score?

You got to go through
page 2 like that,

page 3 like that, 4.

You've got to do
this
before you step on the podium.

-Okay.
-Okay?

♪♪

[ Birds chirping ]

♪♪

Stewart is known
for his interpretations

of Mozart and Beethoven
as a pianist,

but interpreting a work
for an orchestra

is a much larger challenge.

I took him for a hike above the
house to give him some pointers.

♪♪

♪♪

♪♪

So, one of your jobs
while you're here in California

is to, you know, walk around
and become inspired

and imbibe a piece
like Mozart's 20th

and figure out what you want.

-First time
I heard this concerto,

I was 4 years old,
and it scared me.

-Really?
-I had this notion in my head

that I was hearing
a musical depiction

of a storm coming through,

and you felt the thunder
before you heard it.

And then suddenly
there was this crack

that just alerted you.

-I mean, who knows
what inspired Mozart

to write this piece, you know?
-Yeah.

-But I think, since you're going
to be conducting this piece,

it's not so important
what inspired Mozart,

but what inspires
you.

I still remember
my first conducting lesson.

It was 26, 27 years ago.

And my teacher said to me,

"The most important thing
when you conduct..." --

And I was sort of waiting for it
and thinking,

"Oh, it's, you know,
your right hand has to do this,"

or, "Your left hand
has to do this."

And he said,
"The most important thing

is to have a really strong
point of view."

And your job as a conductor
is to get other people

to do it your way,
to play your idea.

And that's what I hear
from orchestra musicians.

The single biggest complaint
of any conductor is,

"We didn't know
what they wanted."

And that's what you have to --
-Convey.

-You have got to convey that.
Absolutely.

-Yeah.
-It's got to be specific.

Hone your interpretation
and make it more vivid,

more poignant,
more delicate, whatever.

-Yeah.
-But maybe you'll find

something new, you know,
that extra 10% you need

to make a really memorable
performance.

-Right.
-That's what we're all search--

-That's what
we're all striving for.

-That's what
we're all searching for.

[ Instruments warming up ]

♪♪

♪♪

Stewart, two really quick things
before we go on stage.

This festival orchestra

is unlike anything
you've ever played with.

I know you've played
with some of the greats,

but this one is like
the all-star team.

Each person
has been hand-picked,

and it's all the best people
from all the best orchestras.

And if they smell
even an ounce of fear from you,

or hesitation,
they'll just...tune you out.

-Then it's over.
-It's over.

You're a novice conductor,

but you are an
absolutely
experienced pianist.

And you have to go in
with that confidence.

The other thing is,
since you've never conducted,

I think it might be better
for you to start in the middle,

right when you come in.

Let them hear you play the piano
and say,

"Wow. This Stewart is wonderful.
I love the way he plays.

You know, and his conducting's
not so bad."

Rather than beginner conductor
who also plays the piano.

-Right.
-And that is a razor's edge.

And you want to be
on
this
side of that edge.

-Yes.
-Okay. Let's go.

-Right.

[ Thumping ]

Good morning.

Such a pleasure
working with all of you.

We're going to be starting
the Mozart,

bar 77
where the piano solo comes in.

♪♪

♪♪

♪♪

[ Orchestra joins ]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-When the soloist
also conducts the orchestra,

as Mozart did,
they have to concentrate

on delivering
a masterful performance

while listening to and leading
the other musicians.

It's phenomenally difficult.

♪♪

♪♪

♪♪

♪♪

Great, Stewart! Terrific!
Let's stop there.

You didn't really give them
a good cue,

so they were late and slow.

Remember. They can't hear you.

-Okay.
-Okay?

They have to be given something
very clear and affirmative.

-Okay.
-Okay?

-[ Page turns ]
-And even places like here,

your left hand is
not playing the piano here.

Your right hand is not
playing the piano here.

Think about if Mozart
were playing this concerto.

He is conducting
with his left hand

while his right hand is playing
and vice versa.

Use all of the weapons
in your disposal,

meaning your two hands,

to either be playing the piano
or the orchestra.

-Yes. Got it.
-Okay?

-Yeah.
So as I'm playing on the piano,

is it, like, a quarter-note --
a head tilt beforehand?

-Head tilt.
You can stick out your tongue.

-[ Chuckles ] Okay.
-You know, wiggle your ears.

But you got to do
something definite.

-Right. Okay.
-Okay. Let's do it.

-Right where we left off.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-In his concertos,

Mozart always improvised
the cadenzas, the piano solos,

then wrote them down later
for others to play.

But he didn't for the 20th.

So other composers,
like Beethoven, wrote their own.

♪♪

♪♪

Sue Cahill, from the orchestra,

is also a world-class
jazz bassist.

I asked her to give Stewart
some new ideas about harmony

for
his
improvisation.

♪♪

-Beautiful.

-I'm trying to find
my own point of view

for this performance coming up.

I've improvised before, but...

just how Beethoven
had his own voice

and his trademark genius,
I have absolutely no idea

whether or not
I have genius
or
trademark,

but I'm going to do my best

and try to find
my own way around it.

-Yeah.

What if we do some, um,

improvisatory work
in the second movement,

where there isn't a cadenza?
-Perfect.

-I think what
I'm going to ask you to do

is only play the right hand.
-Okay.

-I think let's
really
bring it down

to something smoky and dark.

Um...

[ Vocalizing ]

About there.
Two, ready, play.

♪♪

♪♪

♪♪

Yeah! I like that. That's cool.

-I was responding exactly
to your harmonies,

and you led me
to where I should go.

-Yeah, I mean, that's the best
thing about improvisation,

is, like...

It's such a great way
to communicate

with your fellow musicians
on stage.

-Exactly.
-Do you want to try maybe adding

some chords underneath this,
in this second movement?

-Sure.

-I think -- We would
have to agree on the chords,

so if you don't mind,

want to just show you
a quick thing here.

I think it'd be cool to add this
into what we were doing.

So, this is just basically
an outline of kind of the notes

I was playing underneath
what you were doing.

-Okay.
-So instead of the B flat,

which is the, you know...
[ Piano plays ]

...the opening
of the second movement,

we're going to switch it
to D flat.

Okay? I've added
this kind of weird tone there,

which, you know, you can do.

If it sounds good, go for it.
-Okay.

-And then the next
couple of beats, I...

[ Piano plays ]
...I added G flat.

Okay?
-Uh-huh.

-And then I went to E.

And then you can see I've added
a couple of more chords there.

Do you want to try that

and see if that works for us
to do together?

-Sure. Absolutely.
-Yeah. Okay.

-So, am I doing chords with you
or just the melody?

-Do the melody,
and then maybe you can just do

the bass line here if you want.

Um, give it a shot.

♪♪

-Oh, wow. Okay.
-[ Laughs ]

♪♪

♪♪

-Something like that?
-Something like that.

You know, a good rule of thumb

for just starting
an improv in jazz

is if you find yourself
on the wrong note,

like it sounds wrong to you,
just move one note over.

-Oh, okay.
-Yeah, one tiny note.

Like, a little bit, not a lot.
-All right.

-And then you'll usually
find your way.

-All right.
-Want to try it?

-Sure.
-Okay.

♪♪

♪♪

♪♪

-Putting different chords --
a different harmony --

under the exact same melody
yields such different results.

♪♪

♪♪

Stewart and I went back
to the ranch house

so I could teach him
to communicate through movement.

♪♪

♪♪

♪♪

It's good. It's good.

Stewart, just watch out.
Your hands are going like this.

I wanted to tell you this
at the rehearsal.

Your hands are going like this,

and so you're drawing all of
my attention to your fingers.

-Oh, okay.
-Yeah. And, um...

When you're conducting,
it's kind of a strange thing

to be moving your arms
and essentially

commanding people
instantaneously with your hands.

So in order to make
this kind of unnatural act

as natural as possible,
you want to keep all the parts

of your body
as natural as possible.

So, first step,
let's relax our hand.

This is not relaxed.
This
is.
Just shake it out.

Just give me the last two bars.

♪♪

So, I need to see some kind
of click or something so that

I know when to start playing,
'cause it's just so subtle.

-Oh, okay.
-Yeah. Try it again.

♪♪

When I'm conducting,
I try to think of my hands

as being not a part of my body,

but being suspended
by an invisible string.

And this is not bone and skin.
It's spaghetti, okay?

♪♪

-That was so terrible!
That was so terrible.

-What was wrong with that?
It was good.

♪♪

♪♪

That was really nice,
but what you did was you went...

[Inhales deeply]
But you also moved your body.

If your body is moving
and your hands are moving,

then what the orchestra
is seeing

is this really funny
moving target.

-So, when my feet are planted
like this, never move them?

-Yeah, exactly. That's --
-Okay.

-Your feet do not have a role
in conducting.

They do not conduct.
-Okay.

-They are a pedestal

for the rest of your body
to sit on them.

It's just like your piano's legs
do not move, either.

Look, when you're in front
of the orchestra,

there are going to be times
when you're thinking,

"My God, this is going so well,"

and there are going to be other
times when you're thinking,

"I'm in so far above my head."

That's what makes it great.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

You know, the reason
conducting is so hard

is because in order to try
harder you have to do less.

You've got to let go.

Let everything go.

And
then
the orchestra
will play.

♪♪

♪♪

♪♪

After the rehearsal, we took
a minute to marvel at the impact

Mozart's concertos had
on classical music after him.

You know, what's amazing to me
about these piano concertos,

it's not just that
he wrote 27 of them,

but that he wrote them

as a vehicle for himself
out of necessity.

He needed money.

This is, like,
born out of desperation,

and then he writes
something like this.

-He was the guy
that inspired future composers.

And the way that composers write
vehicles for solo instruments,

for violin to piano
and everything,

they really take after
the model of Mozart.

-Yeah, you've got to argue

that there's no Brahms piano
concerto number 1, number 2

without Mozart.

-Without Mozart.
Especially the Mozart D minor.

-Sure.
The five Beethoven concertos

don't happen without Mozart.

Rachmaninoff --
something so distant

and remote from Mozart --
does not happen without Mozart.

-Would not have happened
without Mozart.

No Mendelssohn violin concerto.

-Right!
-All of these masterpieces.

-Tchaikovsky's violin concerto.
-Yeah.

-They don't exist.

It's all because of this one man
having to sell himself,

organizing the hall,
copying the parts,

writing the music,
improvising, conducting.

-These vehicles out of necessity
changed the world.

-Incredible.
-Unbelievable.

♪♪

♪♪

♪♪

-To give Stewart more ideas
for his interpretation,

I took him to Serra Chapel,

which was built
by a local family

using European antiquities

left over from
the nearby Hearst Castle.

♪♪

After you.

This is an amazing place.

-My goodness.
-Well, if you need inspiration,

you're going to
certainly get it here.

I can safely say
there's nothing else like this

in the entire world.

So, apparently,
that ceiling is from Spain,

and it's from the 14th century.

This window here
is from Morocco,

and that's from
the 11th century.

Um, I think this crucifix

may be from
the 15th or 16th century.

I mean, this is a...
-That is incredible.

-...new ancient building.

♪♪

♪♪

You know,
being in a place like this,

you remember that the greats --

Vivaldi, Bach, Haydn, Mozart --

found inspiration
from spirituality and religion.

-Yeah.

-You told me
that you were a choir boy?

-Yes.
You know, it's interesting.

Coming here,
I'm reminded of the cathedral

that my chorus
used to go sing at every Sunday.

And we sang "Ave Verum Corpus"
and "Laudate Dominum,"

all of these incredible
choral works of Mozart.

I'm hearing these works
in my head, actually,

when I'm looking
at that incredible ceiling.

-Yeah.
-It's amazing.

-I come to this chapel every
summer for Festival Mozaic.

We often play
baroque music here,

and when you're playing
great music like that

in an incredible venue
like this,

it makes you really stretch

and -- and try
to be more than you are.

-That's beautiful.

[ Violin playing ]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[ Bells tolling, violin fades ]

So that Stewart could hear

how other artists before him
interpreted Mozart,

we went to the home
of a local collector

of vintage recordings
and audio gear.

-That's an original
Edison phonograph.

-Do you have Sousa here?
-Sousa?

There's probably
some Sousa in there

somewhere in
that collection, yes.

-I'm going to totally geek out.
This is incredible!

-This is how families
were entertained in 1905.

Now, everything in here
is mechanical,

so no electricity.

It runs on a spring
that you have to wind up.

[ Soft clicking ]

This amplifies the sound.

Put the needle down.

-"The Rose of Mexico Waltz,"

played by the Edison
Symphony Orchestra.

♪♪

♪♪

♪♪

[ Music stops ]

-This is like a dream come true
listening to this.

-If you had to
make a machine now

that plays music like this
without electricity,

you really would be hard-pressed
to do better than this.

This is amazing.

-You can do a little bit
better than this

with the 78 RPM gramophone.

And the principles of operation
are really very much the same.

It's all mechanical.
No electricity involved.

Wind that up for a bit.
[ Soft clicking ]

This is a lovely old oak horn.

Basically the same technology
is still alive today,

except vinyl records are
now amplified electronically.

-[ Chuckles ]

You have a lot of records,
George.

-Yeah, I have a few.

-I don't think I've ever seen
a larger collection than this.

This is --
How many have you got?

-It's probably about 4,000 here.

You find something you like,
Stewart?

-How many recordings of the 20th
do you have? Mozart's 20th.

-I have 13 versions of that,
and most of them are here on LP.

-My favorite's Alfred Brendel

with Neville Marriner
conducting,

which is why I have
the complete collection

of this piano concerti here.

The Brendel is
a very cerebral performance.

It's something that speaks to me

as if he has something
very important to say.

-Point of view.
-Want to go hear them?

-One second.
I'm still geeking out.

I want to hear them all.

-Okay. Let's grab them all.

Really, there's nothing
fundamentally different

going on here compared to
the two machines we saw earlier.

The sound is picked up
by a mechanical needle.

So, I thought that we would
start with a fortepiano version.

and it has that early music
orchestra feel to it.

So, let's listen
to the 3rd movement.

♪♪

-So, this is the fortepiano.

what Mozart would have played
at the premiere in 1785.

♪♪

-It's interesting
to hear how the orchestra

probably sounded
in Mozart's time --

smaller, more transparent,
gut strings.

♪♪

[ Click, music stops ]

♪♪

-It's interesting.
I know Katchen from his Brahms.

This is the first time
hearing his Mozart.

-I admire him. He has just
incredible control and just...

-It's a great combination
of fierceness and grace.

-Mm-hmm.
-It's interesting.

♪♪

Very romantic interpretation.
-Yeah. It sounds like Brahms.

♪♪

[ Click ]
-Next one is my favorite.

-Okay.
-The Brendel.

-It's Alfred Brendel.

Also one that I think
is really nicely recorded.

Good engineering on this.

♪♪

♪♪

-Great sense of urgency
in Brendel's playing.

-I'm not used to hearing
Brendel this excited.

-Same for the orchestra.
-I like it.

-Yeah.
-I like it.

-I love listening
to various recordings

because it just confirms to me

that every interpretation
is valuable,

and every artist has
their own point of view.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-How was that, Scott?
-It was okay.

Everyone, please take a break.

Let's go talk.
-Okay.

-I felt so comfortable

with the first and second
movements of the concerto,

and then
when it came to the third,

I felt like
I was back to square one.

-Well, the third movement
is one of the most

difficult things to conduct.

[ Vocalizing ]
It's very, very hard.

-I think that's all I was
thinking of, was cueing.

-So, where you
got in trouble was,

you started following
the orchestra,

and then you started panicking

because the orchestra
started slowing down.

-Yeah.
-And rather than think about it

from a technical angle that,

"Okay, what can I do
with my hands

to make them not slow down,
"what's much more important to me

is to present the orchestra
with an affirmative vision --

what is your point of view?

So if you had to
explain this concerto

to somebody
who didn't know music,

how would you explain
the character of this concerto?

-Like an individual in the dark
trying to find some light

for the whole half an hour.

-Okay.

-Terror.
-Okay.

Okay.
So we have darkness, terror.

-Longing. It's just --

-Okay. So, that's a lot --
-That is a lot.

-That's a lot of spokes
on the wheel.

It can't be, like,
five or six different things.

It's not -- That's too diffuse.

The orchestra won't
really grab onto that.

Actually, I'm really thinking
about one thing

that the piece is about.

Of course, music, you know,
ebbs and flows,

but that one central thing
that the piece means.

I think you need to find that.
-Right.

-Listen.

If you really feel it
in your bones that,

"Ah, this concerto
has to go like
this,"

then your body has no choice

but to communicate that
to the orchestra.

And you've got until tomorrow
to do this.

Figure out exactly
what that one idea is.

[ Jazz drums playing ]

♪♪

♪♪

To finish Stewart's
improv exercises,

I ask the great drummer
Clayton Cameron

to meet him and Sue backstage
that night

to expand his ideas
about rhythm.

♪♪

-Clayton, I feel like a square
for saying this, but bravo.

[ Laughter ]

That's the classical word
for "wow."

-Oh. Thank you.
-It was just incredible.

-Yeah, it was awesome.
-Thank you.

-Yeah, that is --
You know, I come from a world

where classical musicians
stopped improvising,

even though that was
one of the traditions

in Mozart and Beethoven's time.

We are always interpreting

exactly what's on the page
and nothing else.

-Right, right. Well, you know,

I remember hearing an interview
with Herbie Hancock

where he felt
he played a wrong chord,

and Miles Davis
just heard the chord

and then played this
beautiful melody over it,

so what was considered a mistake
by Herbie at the moment

was fine with Miles.

So it's like even the mistakes
can be used.

You know,
so it's not, like, taboo.

-That's another thing
that's foreign

to the classical players.

Like, "You made a mistake.
Don't do that again!"

-Yeah, cause sometimes guys say,

"Even my best stuff
is when I make my mistakes."

-I like that, so much.
-So it's a different philosophy.

[ Laughter ]
-That's excellent, yeah.

-Anyway, should we try it?
-Yeah, let's try it.

Let's give it a whirl.

-You can do it, Stewart.
-You can do it.

[ Laughter ]

[ Drums playing ]

♪♪

[ Piano and bass join ]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-Yeah!
-Yeah!

That went all kinds of places.

-[ Laughs ]
Stewart looks stunned.

[ Laughter ]

-Well, I was definitely keeping
in mind, "Mistakes are good."

[ Laughter ]

-Well, you know,
it's a language.

So, I'm counting the bars.

[ Scatting ]

♪ One, two, three

[ Scatting ]

♪♪

That's eight bars.
Now you develop...

[ Scatting ]

[ Bass playing ]

[ Scatting ]

♪♪

Now we're walking.

♪♪

♪♪

Then you bring it back home.

[ Scatting ]

Then we go out with...

[ Scatting ]

So you bring
us
back.

You dig?
-Let's try it.

So you go back to your theme.
-Let's try that.

-Yeah. Okay?
-Okay.

-Yeah.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

-Stewart is one of the few
classical concert pianists

who can improvise.

I hoped that exploring
a new style

would provide
some new inspiration...

...along with one last hike,

on the morning
of the dress rehearsal.

♪♪

♪♪

♪♪

♪♪

[ Waves crashing ]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

[ Birds crying ]

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

This is the cadenza
I hoped he'd deliver --

in the style of Mozart,
with a touch of the modern.

And I knew Stewart was ready for
his performance at the festival.

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

♪♪

I've known Mozart's music
my whole life,

but I've never seen anyone
do it like this --

playing, conducting,
and improvising.

And except for this,
you may never, either.

However,
a once-in-a-lifetime feat today

was
every
performance
for the genius that was Mozart.

I'm Scott Yoo, and I hope
you can Now Hear This.

♪♪

♪♪

♪♪

♪♪

-To find out more about this

and other
"Great Performances" programs,

visit PBS.org/greatperformances.

Find us on Facebook
and follow us on Twitter.

♪♪

♪♪

♪♪