- 15 hours ago
Check out this episode from Amazonâs Golden Globe-nominated original series Mozart in the Jungle.
Category
🛠️
LifestyleTranscript
00:27Oedipus
00:30Everything
00:32I saw
00:35You
00:35You
00:36I see you
00:38What are you filming me with your phone?
00:40You know who I am?
00:42Who do you think you are? There are copyright laws
00:45You little fucking bitch
01:02Oh
01:03Oh
01:04Oh
01:04Oh
01:10Yeah
01:11Oh
01:11Oh
01:12Oh
01:22It's no
01:22Oh
01:42We needed a double espresso, eh? Not a single one.
01:46I mean, I know that this is a rehearsal.
01:48And, I mean, you guys are not used to give it everything you have before the performance,
01:53but I can assure you that this is the only way that this music is going to get into our
01:58bones.
02:12There's no you.
02:15No you.
02:17No me.
02:19We are different harmonic strains of the same vocal cord.
02:25Together.
02:26Together.
02:27Together, if we connect, that together we can communicate with them, with the people over there.
02:32Does he want it faster or slower?
02:35Indulge me a little bit.
02:36Indulge me and put your instruments down.
02:39Put them down.
02:40Just put them down.
02:48The music
02:50is not in the notes, but in the silence between them.
02:59Maestro?
03:01Yes?
03:02Time for a ten-minute break.
03:08Okay.
03:10I'll take ten.
03:15What are you doing this weekend?
03:17Rich bitch wedding gig out in Sag Harbor.
03:20It's the place, right?
03:21Yeah, he's tied it up.
03:23Open bar.
03:23Yeah.
03:24Hey, does anybody happen to know the Wi-Fi password?
03:27It's a costly capital P, capital M.
03:29I'm just saying, I don't open your spit belt, but I'll just fucking sit up.
03:33I'm not a quarter ounce and a couple of e-bars.
03:35Just ask, and you shall receive.
03:46You have to excuse me.
03:48I always prefer the girls' bathroom.
03:50It's just cleaner.
03:57Are you satisfied with us?
04:00No, no.
04:02No, but that's my responsibility.
04:03It's okay.
04:07I like your bracelet.
04:09I noticed it when you were conducting.
04:11I like your tattoo.
04:13My bass clap?
04:14I saw it when you were playing.
04:16I couldn't help it.
04:18You mean this one?
04:20It's a souvenir.
04:21Ah, souvenir.
04:37Another souvenir.
04:40When I leave, count to ten.
04:42And then go out, okay?
04:44Bye.
04:58There are a few things in life that a woman should never see, and a view of Oedipus' toga
05:04is definitely at the top of that list.
05:06Yeah, so the show.
05:07It's done.
05:08It's, like, closed for good?
05:10Yep.
05:10Haley Rutledge.
05:11Good luck, John.
05:15It's hard to believe that I spent so many years learning how to blow air through a tube.
05:20I think you're probably better off without it, your job being over.
05:23I mean, you know, it could really open you up to some new energies.
05:27Yeah, well, I hope that these new energies come with some kind of salary, because the only money I have
05:32coming in right now is from my one student,
05:35and then a tiny check from the New York Symphony dropping my fucking nob up.
05:38Oh, cue the violins.
05:41All I'm saying is, it's beautiful.
05:44You're day drinking with this sexy man.
05:47Oh, wow.
05:48And, you know, hey, if money's so kind of important to you, I can get us a paying job right
05:53now.
05:55Sounds, like, really, really suspicious.
06:00Hang on a minute.
06:11Yes, may I help you?
06:13Yes, I'm, uh, Bradford Sharp.
06:15I'm here for the profile piece.
06:18Oh, yes, of course.
06:19Come in, come in, come in, come in.
06:20How are you?
06:21Nice to see you.
06:22Nice to see you.
06:22Wonderful.
06:23Yes, yes.
06:23Good, good, good.
06:25So here, this is what I thought.
06:27We could put the cameras here because I get such a, by the way, did you see the BBC piece
06:33that I did for Panorama?
06:34Of course, it was a beautiful piece.
06:36Yes, thank you.
06:36It was excellent.
06:37Anyway, I put the camera here, get a nice soft light from this big window here because it tends to
06:42feature my good side.
06:45So, where are the cameras?
06:46Are they parking?
06:48There are no cameras.
06:49This is a podcast.
06:50I'm a one-man mobile interviewing machine.
06:53Got everything I need in my backpack.
06:57Really?
06:57Well, that's, uh, that's thrilling.
07:00Do come in.
07:01Let's, uh, maybe sit over here then.
07:04Great.
07:05Fantastic.
07:30It's pretty good, eh?
07:49It's pretty good, eh?
07:50Uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh.
07:55Oh, oh, oh, oh, oh, oh, oh.
08:02Auntie Mary had a canary up the leg of a drost.
08:05Is that about the level you'll...
08:07Yeah.
08:07Freude!
08:09Freude Schöner, guten Funken,
08:12doktor aus Elysium.
08:16That's... This is... This is a treat.
08:18I mean, looking behind you at this photo of you conducting Mahler's 5th in Vienna,
08:22to me, historic.
08:23In fact, I don't think it's ever been topped.
08:26I appreciate that.
08:28I really do, because I feel that that was probably the greatest performance I've ever
08:33given, and of course, the critics tended to agree.
08:36Paul, let's start.
08:38Should we begin?
08:39Oh, I thought we were.
08:40No.
08:40Good God.
08:41I will say that again.
08:44Let's see here.
08:45Okay.
08:49Welcome back.
08:50That was Xenakis with Analogique AB.
08:53You're listening to another edition of B Sharp, a musical podcast where classical music is
08:58our forte.
08:59I'm your host, Bradford Sharp.
09:01And speaking of sharp, I'm sitting across from the sharpest of the sharp, Thomas Pembridge,
09:07international conductor, scholar, and famed interpreter of the music of Chopin.
09:11In his new role as musical director emeritus, he's a very, very busy man.
09:15Maestro, thank you for making the time.
09:18It is beyond an honor.
09:19First question, and is classical music dead?
09:24That is sheer and utter nonsense.
09:29Classical music is as vibrant now as it's ever been.
09:35Rodrigo has been described as a shaman with a baton, a genius with a 20-inch waist.
09:41Well, he's definitely, I think, a little more than 20-inch waist.
09:47You know what?
09:48It's a 28.
09:49It's just the top part was really little.
09:51Let me just say one thing, and this may not be common knowledge, but, you know, I actually
10:00judged a youth conducting competition that he won when he was 12 years old.
10:05Now, listen, I'm not taking total credit for what happened, but all I'll say is that it
10:13was my decision to bring him here.
10:15Congratulations.
10:15Well, that said, what does it feel like, um, you know, to hear that he said, and I quote,
10:23the New York Symphony, uh, is a dead, irrelevant corpse?
10:27And the press, God bless them, are always taking things out of context.
10:33You see, that was the context.
10:34It was a single sentence statement.
10:36There is no context.
10:37Oh, I don't think so.
10:39Next.
10:41Okay, that's my showpin' list.
10:43Um, is it difficult to work with someone known for his controversial political associations,
10:50his public endorsement of hallucinogens and their benefits, not to mention his wildly tempestuous
10:56relationship with the performance artist and musician Ana Maria?
11:02Is this just going to be all about Rodrigo?
11:05My show, with all due respect, no, but, you know, we must admit that he has become the focal point
11:11of the narrative.
11:11Oh, listen, excuse me.
11:14Would you just hang on for one second?
11:17I just have to make one thing.
11:18Absolutely.
11:24I'm good.
11:25Excuse me.
11:25Excuse me!
11:27Prick.
11:30Hey, you.
11:31You.
11:32Are you an assistant of some kind?
11:34Maestro?
11:34All right, listen.
11:35Listen, do me a favor.
11:36Knock on my door in ten minutes and tell me my next appointment can't wait any longer.
11:42Understand?
11:42Ten minutes, got it.
11:43Yeah, good.
11:44What's your name?
11:45Uh, Sidney Baker Rose Jr.
11:48Yes.
11:50Oh, well.
11:51Five minutes.
11:52Five minutes, okay.
11:55It's too long.
11:56Now we begin our silent symphony.
12:23Now we begin our silent symphony.
12:50A man of superior talent will go to pieces.
12:54If he remains forever in the same place.
12:58Look it up.
12:59Wolfgang Amadeus Mozart.
13:01Oh.
13:01I've got a quote for you.
13:03The heartbeat of New York City's artistic culture relies on the new experiences which immigrants bring.
13:09Please.
13:10I think I told you I'm sick and tired of these banal Rodrigo-isms.
13:15No, no, Maestro.
13:17I'm quoting you from an interview you gave in 1988.
13:21Um, yes?
13:24Pardon me, Maestro.
13:25Uh, yes, Junior.
13:27Something, uh, urgent has come up?
13:30Don't you mean my next appointment can't wait any longer?
13:34No, Maestro.
13:35This is, uh, this is an emergency.
13:37Oh, uh, all right.
13:39Make the New York Times a pot of tea.
13:41This will have to be our last question.
13:43I'll be right there.
13:44Maestro, there's been an accident.
13:48Come on.
13:49You'll be back in no time.
13:51The Hungarian march would kill a 20-year-old trombonist.
13:55Well, we started on this together.
13:57It's only fitting that we play a diminuendo side by side.
14:01You're not going anywhere.
14:02No.
14:03Neither am I.
14:04Um, I'm tired of wearing this Fredo tuxedo.
14:09Sweetie, do you mind if I ask you a question?
14:11Anything.
14:12Would you take my place as chair of the orchestra committee?
14:17I'd be terrible negotiating with management.
14:22My dear, are you aware that this raspberry gel
14:25is not even on our current health plan?
14:28I'm serious.
14:30Neals are excluded.
14:31We really need your help.
14:35Well, then I'm honored.
14:38Oh.
14:40Speedy recovery, old friend.
14:43Hmm.
14:44Forgive me.
14:46For my passion.
14:49Maestro.
14:51Have you ever wanted something so badly
14:53that you just lose perspective of it?
14:58There may be casualties along the way.
15:02Stay the course.
15:04No life without death, Maestro.
15:08I am honored to say that you are my mentor.
15:12And hopefully one day I can say that you are my friend,
15:15if I may be so deserving.
15:25I was surprised by what you said in there.
15:28For a moment, I almost believed you were sincere.
15:31I meant it when I said it.
15:35Thomas.
15:48Are you wearing eyeliner?
15:52I have missed you.
15:54I've missed seeing you.
15:55Thomas.
15:56In rehearsal.
15:57Not here.
15:59Where, then?
16:00Your place.
16:02Oh, sure.
16:03Claire would just love that, wouldn't she?
16:05What do you want me to do?
16:07Tickle your ass with a feather?
16:08You're acting like a child.
16:09No, I'm not!
16:11God, please.
16:14Hmm.
16:14What's this?
16:15It's a bracelet.
16:16Hmm.
16:17Nice.
16:17Where'd you get it?
16:19Hmm.
16:20Hmm.
16:26Hmm.
16:30Hmm.
16:35Hmm.
16:47PIANO PLAYS
17:20Oh, I'm dreading this.
17:25No, no, no. You'll be great. You'll be great.
17:28You just got to go in there and say,
17:30I'm here for my money,
17:31and I don't give a shit when I even don't think about it.
17:33Yeah, but the thing is, I can't do.
17:35All right. Now, therein lies the rub.
17:38Hey, hey, hey.
17:40You'll be great.
17:44Oh.
17:46Oh.
17:48Oh, hey. Wait, wait, wait, wait.
17:50Wait, wait.
17:51Here. You're cut.
17:55Okay.
17:56Bye.
18:06He's married. That's what's going on.
18:09Okay, you know what? There's someone at my door.
18:10I'm going to call you back on this issue.
18:11You wanted to see me, Kathy?
18:13Yes, come in.
18:15Please, sit down.
18:25Dee Dee, I want to be Frank.
18:27Okay, but only if I get to be Sally.
18:30That's funny, but this is serious.
18:33I've been hearing some rumors,
18:35and I need to ask you point blank.
18:39Are you dealing drugs to members of the orchestra?
18:41Mm-mm, not true.
18:44Dee Dee?
18:47Okay, look, my brother's a doctor,
18:49and sometimes in the hospital, he gets me.
18:51I need some Percocet.
18:53Yes.
18:55How many would you like?
19:02I'm going to see you coming up in our system.
19:04How long was your employment?
19:05Three or four hours.
19:09Oh, wow.
19:12Let me try this.
19:17Ah, here you are.
19:20Coded under Rodrigo's discretionary account.
19:23I can't access that.
19:25I'll need to bring this up with his assistant.
19:27I'll be right back.
19:28Okay.
19:55Haley Rutledge, here you go.
19:58$89.35.
20:00Just sign here.
20:05And you still need to sign the back of the check
20:07to get the money.
20:09Thanks.
20:10Can I get one of his jacket pants?
20:13Forgot you on the piece of jacket.
20:15Oh, sure.
20:19Is that awkward?
20:19It was so awkward.
20:25I can't believe it.
20:27I saw you laughing at me.
20:28Ha-ha.
20:29I'm already embarrassed enough as it is.
20:31You don't need to rub it in my face.
20:33You know, I've worked really hard
20:35to even have half a percent chance
20:37of playing on that stage.
20:38And I did it.
20:39Even if it was just for one second.
20:41And I wish, I wish I could take this check
20:43and I could frame it.
20:44And I could hang it on my wall.
20:46But I can't.
20:47Because I need that $89.
20:50Do you know how many hours I've spent
20:52practicing the oboe?
20:53I'm 26.
20:55I've practiced five hours a day,
20:57seven days a week,
20:58since I can remember.
21:00Why don't you tap that into your computer
21:01and figure that shit out?
21:03Making reads,
21:04having no social life.
21:05I didn't know how to swim
21:06or ride a bike
21:07until well into middle school.
21:09How long have you been sitting
21:10at that desk
21:11practicing how to be a bitch
21:13and being fucking rude to people?
21:14Maybe you're just a natural at it.
21:17Can you hear the hair?
21:18Because I can't hear shit.
21:20All I can hear is an egomaniac
21:22with a fucking parrot.
21:26Oh, God.
21:44Maestro, will you ever forgive me?
21:48Do not do something so bold
21:49and then back away from it.
21:51Okay?
21:52Never, ever, ever.
21:54You know all that crazy anger
21:56that you just expressed?
21:58It should have come to me.
22:01As a man that people feel
22:03obligated to flatter,
22:03it's always nice when people, like,
22:05say the truth, you know?
22:06So thank you for that.
22:08I appreciate it.
22:11But talking about the truth...
22:15Go.
22:20I saw you.
22:22You have talent.
22:24You play with blood.
22:27I put you on that stage
22:30and you are not ready.
22:32You know that, right?
22:35You know that, right?
22:35You have talent.
22:37You have it.
22:39And who knows?
22:40You know, maybe in the future,
22:41something.
22:43But in the meantime,
22:46if you remain as truthful
22:47as you are with me right now,
22:50I think I can offer you a job.
22:52It's a very small salary.
22:54You can be close to the orchestra.
22:55You know, you can learn whatever there is
22:57to learn from me.
22:58You can practice your music.
23:00You can help me annotate
23:01the scores, you know,
23:03and the mate, for example.
23:04You can help me make it.
23:05I mean, it's quite easy.
23:06It's...
23:07You first put it in a 45 angle.
23:11I mean, I'll explain to you later, okay?
23:13It's like...
23:14It's very easy.
23:16What do you say?
23:19Yes, maestro.
23:21Truth?
23:22Yes, maestro.
23:23Yes.
23:24Okay.
23:25Okay.
23:26One more thing.
23:27Okay?
23:33Grab it.
23:38Okay.
23:41Cut the hair.
23:48With passion, Hailey.
24:02You are...