No, please. 1, 2, 3! That is ok. Mr. Alexandre.
Be careful, please! Trumpeter: I’m sorry but I need 29,
and I didn’t understand any of that. What does that mean...
just count! Trumpeter: ...I couldn’t count since 29! Come on, what are you talking about...
you must be joking! Martha: I will start from... Seriously... he didn't understand?! Yes, I’d like it to be more rhythmic,
these parts - they enter like that. We can’t take the liberty of changing
anything at all in this coda. For example, the piano is a quaver after us, right? We want to play with her but we shouldn’t. Will you bring back the tempo? You want me to bring back the tempo? That would be nice. But do everything. We’ve played this concerto everywhere on the planet, but this concerto is never played the same way twice. Sometimes I even wonder why we are rehearsing
because it’s never like in rehearsal. But it’s like that, we need to practice,
the orchestra needs to hear, to pull Martha slightly in our direction, but you never know what will happen,
especially with Martha. It depends on a lot of things... what happened during the day, the blood pressure,
the weather, the mood, etc. So you always have to be alert - and that is what
makes the music so lively and beautiful. Wait, where do you start? At the beginning! There, 35... Yes, E. Let’s go (Musician: It rushes a lot...) Keep going... inspire us. Well, I guess it's alright...
We will do it again later if we have time... No, no, it’s the percussion that is late (others echo him),
it’s behind because the percussion is a little late. Yes, you are a little bit ahead of the beat somewhere.
I will tell you exactly where but one shouldn’t accuse others. There, you are a little ahead. So try to understand it, because,
you know, it’s not that complicated. Mister... tell me, the bassoon -
I would like to know your tempo. In what? No... play for me the tempo
at which you are comfortable. It’s not comfortable?
The 3rd movement? Will you shut up! :P Because, you know, when we played this a long time ago,
the bassoonist was Mr. Castellon. When we played this finale, he stood up and then said :
“Miss, is this going to be your tempo?” She said she had no idea. And he said, "Because if it goes this fast you will find yourself
another bassoonist because I can’t play it!” Bassoonist: I won’t do this. It’s not easy...
I didn’t know that was the tempo. Yes, that’s it, precisely. When it is slower, it's more difficult. That’s why I asked him!
Here we go! You see, that's why we are divorced!
That's what I've been telling you! Solo! That was a good tempo! What? What does it mean... “good”? It means that it’s not too fast, it’s just nice
and we hear everything - that’s great! I don’t know, but I think it’s because it’s only morning... and I haven’t practiced yet. You play well,
even though you haven’t practiced. Yes, I know...
Yet, it’s not really... The last movement -
it’s not really stable for them, no? The problem is with the orchestra but let's not mention that.
Is there something that you would like to do again? No... But you should let them take the initiative as well. For example, the trumpet, it could be a little
more present at times in the last movement. Don’t tell him, though! I really need to practice the piano somewhere,
and I can only practice... Stay here, then! If you want to come to Gland (Swiss town) to work,
there are 3 pianos. I would gladly invite you to Morges (another Swiss town) but... ...you have no piano. And you live in Morges. Yeah, it’s a little nearer than Gland.
“I live in Gland” (imitates the swiss accent) Don’t you find it sad to be here in Lausanne? What? Don’t you find it sad to be here and
everyone we know is now dead - that’s awful! - Who is dead? Jean Dujardin? (he's not dead)
- Everyone! - I am dead!
- And I knew some of them! Oh, you know what, I read the story of the soldier
the day before yesterday. I am dead among the living! No! The people who died of... What? - Oh, nothing! Oh dear...
- I know! Listen, stop it... It’s very sad! But, my sweet... What are you doing after this?
Are you staying in Europe? I’ll go to Los Angeles. So listen, before we leave each other,
because we will leave each other abruptly, I would like to thank you
for these good rehearsals. I hope that we will have a beautiful concert,
and of course, it is a great pleasure to be here again. The orchestra members are different
from the last time we were here with Martha. But at the end of the day,
it still is the same orchestra, so we are very happy to celebrate this anniversary with you,
and thank you for your hard work. - Can you hear me?
- Yes. You can hear me. Great. It’s true, we can never pretend
to have reached the finish line, right? It’s the privilege of being a musician and
working on an art that lives in continuous renewal. It’s not like a finished painting,
which you can see with your eyes. You are allowed your own interpretation,
but the painting is permanent, the sculpture is permanent. But music needs to be conveyed through human beings,
through musicians to be heard, so it’s clear that in this system there can be
many variations and much progress to be made. Nobody can say that he knows this work completely. You need to work anew each time
and with cumulative time and experience, all of this play a great role in the work and its development.
This is how we progress. It’s nice that they bring us flowers. Thank you, my dear. But you are not ticklish? Are you ticklish? You are not ticklish. - I am ticklish!
- Yes! You are ticklish! I am happy it went well. You’re happy? - What about you?
- Me too. You are always happy. You know that I'm always happy. Excuse me. See you later :)
