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(low, indistinct chattering)
(indistinct chatter grows louder)
TÁR: You ready?
No, just... Yeah, just-just ignore the microphone.
Yeah, just-just act as if it's not there.
Sing as if it's not there.
Yeah, uh... (stammers speaking foreign language)
Okay?
(woman speaking foreign language)
(woman singing in foreign language)
(singing continues)
♪ ♪
(singing ends, woman sighs)
(sniffs)
(exhales)
(audience chattering)
(exhales)
(inhales deeply)
(exhales slowly)
(exhales sharply)
(audience continues chattering)
(sniffs)
-Ready for them? -Yes.
Let's go.
(applause)
(applause quiets)
ADAM GOPNIK: 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 Tár 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, Tár 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 10 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 Gudnadóttir.
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 Tár 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)
GOPNIK: 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 Tár as its principal conductor,
in succession to Andris Davis,
and she's remained there ever since.
Like her mentor, Leonard Bernstein,
Tár 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, Tár on Tár,
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, today.
Thank you, Adam. Thank you.
-(applause) -Thank you.
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-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, you know, it's often frowned upon.
Every artist gets typecast.
Oh, yes. Aggressively so.
Well, do you think there'll be a moment, though,
when the classical music community,
uh, decides not to use sexual distinctions
to differentiate artists?
I'm probably the wrong person to ask
since I don't, uh, read reviews.
-Never, really? -No.
But it is odd, I-I think, that anyone ever felt compelled
to substitute "maestro" with "maestra."
I mean, we don't call women astronauts "astronettes."
-GOPNIK: Mm-hmm. Right. -(audience chuckling)
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 and Nathalie Stutzmann.
I mean, there's so many incredible women
who came before us.
You know, women who did the-the real lifting.
That-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 nonglamorous status
of a "guest conductor"
and essentially treated as a dog act.
A dog... Uh, 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, at, I mean, at that time it was...
it was all gender spectacle.
But fortunately, times change,
and-and the Pauline conversion is...
-(chuckling): "Pauline..." -... if not complete,
then it's-it's evolving nicely.
N-No less, um, having fallen off its horse.
Um, Lydia, could we talk a little bit
-about, uh, translation? -Mm-hmm.
'Cause I think there's still people
who think of the conductor as a kind of human metronome.
Well, yeah, that's-that's partly true.
-Yeah, but it's... -But keeping time,
it's-it's no small thing.
But I suspect there's a lot more to it than that.
Yeah, well, I-I would hope so, yes.
-But time is the thing. -Uh-huh.
Time is-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 stops,
which means that time stops.
Now, the illusion is that, like you,
I'm responding to the orchestra in real time...
-Right, right. -... 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? That's... -... 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?
Kavvanah.
Yeah, it's-it's the Hebrew word
for attention to meaning or-or intent.
You know, what are the composer's priorities,
and what are yours, and how do they complement one another?
Right, kavvanah. I think that's a word that will have
a slightly different meaning for many in our audience.
-Well, yes, 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-I think I read someplace that it actually was
the first violin, for a long time, who was responsible.
Yes, the first violinist, whether they had any interest
or-or skill in it or not.
Wh-When did that change, and-and who changed it?
With the French composer, Jean-Baptiste Lully,
who reportedly, uh, used a, uh, 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, uh, that technique ended during a performance
when Lully accidentally
stabbed himself in the foot with the thing and died.
-(audience laughter) -Yeah, of-of-of gangrene.
But anyway...
-(applause) -Yeah.
Anyway, but the conductor
really becomes essential as the ensembles get bigger.
And once again, we go back to Beethoven.
♪ Buh, buh, buh, bum, buh, buh, buh, bum. ♪
Now, that doesn't start with the eighth note.
The downbeat-- ♪ Buh, buh, buh ♪--
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-or performed any of that music.
So he-he would do radical things,
like, uh, disregarding the tempo primo
or-or ending this phrase molto ritardando,
even though it had no such marking.
Was he over-egging it?
Oh, no, no, no. Not at all.
He, he, 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? -Mm.
With this one, it really is about
trying to read the tea leaves of-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 Rückert
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-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 that 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 icaro, or song,
if the singer is there, right?
On the same side of the-the spirit that-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 teshuvah.
The Talmudic power to reach back into time
and-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. -(agreeing murmur)
And, you know, if you listen to a recording of it,
you will no doubt feel the tragedy and-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 murmuring) -Right, but precisely how long?
(quietly): Well...
seven minutes.
(laughter)
WOMAN: 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?
-TÁR: Yes. -(sighs)
Yes, that does happen.
There's an... an expectation-reward cycle
with some works and the spots in them
that I find so incredible, that when I'm conducting,
it's not that I'm rushing exactly,
but, oh, I just can't wait to get to that spot,
and, yeah, it does it. It does it every time.
(laughs softly)
So it's physical as well as emotional.
-Hmm. Hmm. -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.
(Tár chuckles)
(sighs)
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.
TÁR: 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.
(quietly): Sorry. Your lunch with Mr. Kaplan.
His driver is waiting.
All right.
I-I'm sorry, I've forgotten your name.
-Whitney. Whitney Reese. -Whitney.
Whitney, of course.
I'm, I'm so sorry,
and unfortunately I've left things a bit late
-and there's something I can't get out of. -Oh.
I understand.
Can I text you?
It's perfect, Aldo.
Oh. I was hoping we could celebrate.
No. So 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.
M-Maybe it's something we revisit
-down the line. -Sure.
Now, 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, uh, I was sorry you weren't able to make it
to my Mahler Three 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?
(scoffs) 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.
-(Eliot chuckles) -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.
Oh, 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 leaving 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.
(Tár chuckles)
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.
Oh, 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 Turing machine trot out Chopin One.
Ol' 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, uh, fetishes.
Fetishes? Like what?
Nostalgia for prewar Kalmus miniature scores,
dead-stock pencils he's seen
von Karajan hold in photographs.
You know, that sort of thing.
(scoffs) 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.
Languid, peaceful, deeply felt.
-Come on. -Trust me.
You do not want to go to school
on someone else's red and blue pencil.
Least of all, mine.
Oh, but I do.
(sighs) 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
out of the weeds...
... the sound's ferocious.
Oh.
There's no glory for a robot, Eliot.
Do your own thing.
Hmm.
(piano plays deep chord)
(playing "Ró" by Anna Thorvaldsdóttir)
-(hollow thump) -(soft knock)
-(hollow thump)
-All right, um... -(playing stops)
Let's... stop here.
-Thank you, Max. Very good. -Thanks.
Um, just for my own edification...
why did you come to Juilliard?
(Max clicks tongue)
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. -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.
Hmm. 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.
-(scattered laughter) -Now...
this piece is very au courant.
I mean, here, the composer tells us
to begin with "back-and-forth tremolo strokes
with wire brush and slowly sliding crotales over skin."
Sounds like René Redzepi's recipe for reindeer.
(sighs heavily)
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.
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.
-(claps hands) -Max.
Come on, what do you think?
When... Anna Thorvaldsdóttir 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, uh, describing those actual sounds.
Very Punkt Kontra Punkt.
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 4'33",
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 B minor.
(chuckles nervously)
I'm not really into Bach.
-You're not into Bach? -Mm-hmm.
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, in a pith helmet.
I mean, have you...
have you ever played or-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... what do... 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... I'm unclear
as to what his prodigious skills in the marital bed
have to do with B minor.
Sure.
All right, whatever. That's-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, churchgoing white guys exalt us,
individually as-as well as collectively,
and who, may I ask, gets to decide that?
(sighs) You know, what about Beethoven?
You into him?
Because for me, as a U-Haul lesbian,
I'm... 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.
(inhales deeply)
(playing Bach's Präludium und Fuge C-Dur. BWV 846)
Sit.
Now, this is all filigree, right?
I mean, it could be a first-year piano student.
♪ Or Schroeder playing for Lucy. ♪
Or Glenn Gould, for that matter.
Now, it's not until it changes...
... when 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 is:
(growling): What do you think, Max?
(exhales)
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 Varèse is okay.
I mean, I like "Arcana," anyway.
Oh, well, then you must be aware that Varèse
once famously stated that jazz
was "a Negro product exploited by the Jews."
Didn't stop Jerry Goldsmith from ripping him off
for his 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 Thorvaldsdóttir.
Now, can we agree on two pieces of observation?
One, that Anna was born in Iceland.
And two, that she is, in a, I don't know,
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.
(lid slams shut)
Oh, where are you going?
You're a fucking bitch.
(Tár grunts)
And you are a robot.
I mean, unfortunately, the architect of your soul
appears to be social media.
You want to 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.
(sighs): All right.
ALEC BALDWIN (over computer): 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.
TÁR: Well, that-that was a...
it's a democratically made decision by the players.
And though I-I wish I could claim the idea was mine,
it really did spring from the heart of Sharon Goodnow.
BALDWIN: Sharon is your partner.
You have a child together,
and she's also the concertmaster for Berlin.
-Does that ever... -Yes, that's right.
... complicate things for you?
Your work getting into your home or the other way ar...?
(indistinct chatter)
FRANCESCA: Jake said he was certain
you'd be happy with the drape of the seat.
I will be... (sighs)
... if I can keep the fat off until next month.
(laughs): You never gain weight.
(laughs softly)
Your... your mother texted me.
She knows you're busy but is hoping to drop by.
(clears throat nervously)
Next trip.
What are you thinking for dinner?
Uh, no.
No, I'm-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?
Not-not at all.
But don't worry, I'll call Houston.
They'll be flexible.
(sighs) You must have some New Haven friends
you want to see tonight?
(chuckles): No. Not really.
(Tár sighs, sniffs)
Should I stop by later for notes?
No, that won't be necessary.
-(playing dramatic melody) -(quietly): Okay.
Oh, I, I-I almost forgot, but...
this was left for you at the front desk.
By who?
They didn't say.
Wh-What, no card?
No.
Okay, just, just leave it over there.
Thanks.
♪ ♪
Good night.
Night.
♪ ♪
JESSICA HANSEN (over radio): You're listening to
All Things Considered from NPR News.
All Things Considered is brought to you
by the Corporation for Public Broadcasting...
TÁR (mimics): Public Broadcasting.
HANSEN: ... and I Eat Ears,
-feeding the discerning listener since 2008. -2008.
-I Eat Ears, -I Eat Ears,
-and you should, too. -and you should, too.
HANSEN: And now, more from NPR.
Over the next few weeks,
we'll be hearing poems from four finalists
for the National Youth Poet Laureate Award.
TÁR: 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 a.m. 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?
-(Tár sighs) -No movement there yet.
Have you looked at the email I drafted for you?
-Sent it last night. -Mm-hmm.
-Well, just forward me their response. -Mm-hmm.
What's your take on The New Yorker talk?
It went well, I thought.
Oh. You're hedging.
(Francesca chuckles softly)
I was garrulous.
-No. -(chuckles)
No, not at all. You, 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...
You could've made less of the relationship with...
-Lenny? -No.
I-I was thinking about Mahler and Alma's.
-Oh. Huh. -You implied that she betrayed him.
I'm not, 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.
#RulesOfTheGame.
If a woman has the right to mount the scaffold,
she must equally have the right to mount the podium.
(blows raspberry) Okay.
(Francesca sighs)
How was your evening?
Yeah, was uneventful.
Are there any of Sharon's pills left?
No, but Dr. Korovin called these in.
Ah, thanks.
(exhales heavily)
I received another weird email from Krista.
-Mm-hmm. -How should I reply?
Don't.
Well, this one felt especially desperate.
(speaking German)
Hope dies last.
(plane engine humming quietly)
(sighs)
(inhales deeply)
(sighs heavily)
(paper rustling)
(sighs)
(pencil scratching on paper)
(muffled mumbling)
(suitcase clattering)
(keys jingle)
(sighs)
TÁR: Do you have some kind of profit-sharing deal
with the utility company that I am unaware of?
(Sharon gasping)
The flutter's back.
It's... It's racing.
I can't find my Metoprolol anywhere.
(breath trembling)
(whispers): Oh, fuck.
(opens pill bottle)
(pills rattling)
(Sharon breathing shakily)
(opens lid)
(runs water, stops)
(closes lid)
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.
(chuckles): You want it?
No.
Suits you.
(sets glass on table)
Let's slow this down to 60 beats a minute.
(switch clicks)
("Li'l Darlin'" by Count Basie & His Orchestra playing)
(Sharon sniffs)
(Sharon breaths deeply, sighs)
♪ ♪
Actually, it's 64 beats.
(Tár chuckles softly)
Tried calling you on your mobile last night.
TÁR: Hmm.
And again at the hotel.
Must've been asleep.
You never sleep that deeply.
No, no, don't be a scold.
(quietly): ♪ Feelin' a feelin' ♪
♪ For somethin' there ain't too much of... ♪
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 Biodeutsche thing.
Hmm, 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.
(Sharon laughs softly)
Yeah.
That might be good.
How's your heart?
Better now.
(song continues playing)
(Symphony No. 5 in D Minor, Op. 47: IV. Finale over radio)
(sighs): 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 ANNOUNCER: Michael Tilson Thomas... (speaks German)
(toothbrush buzzing)
Hello, Petra.
Why are you lurking? Hmm?
Tell me and I'll help.
-TÁR: Sharon? -Hmm?
Uh, I'm taking Petra to school.
Oh, okay.
-Come on. -Tschüss.
TÁR: Who'll bear the pall?
"We," said the wren,
-"both the cock and the hen." -The hen.
"I'll..." (sputters)
BOTH: "We'll bear the pall."
And who'll sing a psalm?
"I," said the thrush as she sat on a bush.
"I'll sing a song."
"Who'll toll 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!
(children chattering)
TÁR: It's gonna be okay.
All right. Okay, which one is she?
The red one.
-Bye. -Go on.
(children continue chattering)
TÁR: Hallo, Johanna.
I'm Petra's father.
She's told me a lot about you.
I know what you're doing to her.
And if you ever do it again, do you know what I'll do?
I'll get you.
And if you tell any grown-up what I just said...
... they won't believe you.
Because I'm a grown-up.
But you need to believe me,
I will get you.
Remember this Johanna,
God watches us all.
TÁR: Hello. Hi.
They're all in the chamber hall?
Yes.
No.
(Tár sighs)
(latch clicks)
(urinating)
(sniffs) Good morning.
Oh, I'm sorry, Maestro.
We weren't sure you were coming.
We were told there might be, um, a scheduling conflict.
-Would you like me to take notes? -(clicking pen)
No, thank you, Sebastian.
-That won't be necessary. -(clicking stops)
Do we all have our rating sheets?
-We narrowed it down to three. -Mm-hmm.
So, unless anyone has other business to discuss,
let's bring in number one.
(cello playing Tannhäuser und der Sängerkrieg auf Wartburg)
(cello playing Verdi Messa da Requiem (Offertorio))
(cello playing Pathétique (Allegro con graza))
(playing stops)
(footsteps)
(low chattering)
Goossens stands, sounds his A.
And of course, uh, Léon was rather famous
-for his, um, rather wide vibrato, huh? -Hmm.
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.
No.
Makes it sound like a physical act.
Like, how's the shitting going?
(laughing)
Okay.
How's the thinking going?
Yeah, not so well.
I keep hearing something and getting excited
only to catch myself in pastiche.
Hmm.
Uh, it's all pastiche.
We all have the same musical grammar.
Uh, 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.
Mm, th-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-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,
uh, 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.
Ah, yeah, 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. -(chuckles)
I've had to bolt-hole at my old place in town
to get any writing done.
Schopenhauer measured a man's intelligence
against his sensitivity to noise.
(chuckles)
Didn't he once also throw a woman down a flight of stairs
who later sued him?
(chuckles): Yes.
Although, it's unclear
this private and personal failing
is at all relevant to his work.
(both chuckling)
(tires squeal)
You're late.
(driver speaking German)
Here, give me your stick.
-Thank you. -I've got it.
(distant siren wailing)
(meditative breaths)
♪ ♪
(exhaling)
-(inhales deeply) -♪ ♪
(bell chiming in distance)
(chiming continues)
(Tár mimicking chiming)
(plays two notes matching bell chime)
(Tár mimics chiming)
(exhales)
(shrill scream in distance)
(woman continues screaming)
(siren wailing)
(screaming continues)
(Sharon breathing rhythmically)
(bell chiming in distance)
(sighs)
(plays two notes matching bell chime)
(playing gentle melody)
(orchestra playing Mahler Symphony No. 5 Trauermarsch)
(tempo slows)
Okay. Uh...
Gut, gut.
(speaking German)
... Christian... (continues speaking German)
Okay?
Uh, but it's also...
It's like we're hearing it
from a very, very great distance.
So it's... (vocalizing)
Ju... Uh...
Sorry. Ist Harald da?
(Harald speaks German)
(speaks German)
Harald? I was just wondering if you might, um,
uh, quickly rig something up for us?
(trumpet solo playing)
♪ ♪
(playing louder)
(cymbals crash, orchestra ends with flourish)
Gut, gut, gut. (speaks German)
-Harald? -(Harald speaks German)
Uh, we'll want the same backstage setup
for the live recording.
(quietly): One, two, one.
(orchestra playing jaunty classical music)
-(speaks indistinctly) -(playing stops)
(speaking German)
Okay? Looks great, but... (clears throat)
... we need to hear it.
Okay? It's not... (vocalizing)
(vocalizing intensifies)
Hey.
-(speaking low) -(snaps fingers)
(speaking German)
Ja? (whooshes)
Okay? (puffing)
(speaks German)
♪ ♪
No. (speaks German)
Bah! (exhales)
It's-it's much too slow.
(speaking German)
(plays sharp chords)
Mm-hmm.
Okay.
Okay, tutti.
Uh...
(speaking German)
How are things feeling up here?
Fine, yeah.
Yeah, actually great, but, uh,
it's a shame we don't record this one direct-to-disk.
(groans): Oh. 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.
Uh, what about video?
Yes, yes. Uh, stage left A camera.
-Okay. -All right. Thanks, guys.
Okay. Uh, bye. You're quite welcome.
(speaking German)
-SHARON: There? -TÁR: Yeah.
You want us to come, to come in stronger there?
-FRANCESCA: Okay, then yeah. -TÁR: Yeah.
Here, 'cause the reigning dynamic is forte,
-which is not good. -(Sebastian clears throat)
-FRANCESCA: Hmm. -TÁR: Yeah?
(whispering): Yeah. Um, just one small thing, Maestro.
During the scherzo, um,
th-th-the clarinet solo's still a bit too loud.
It should really be an accompanying figure
-to the first violins. -TÁR: Hmm.
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.
TÁR: Mm-hmm.
Something a bit more playful.
Mm-hmm.
Oh, and here's something Tanya and I did with Gustavo.
I think it's very powerful.
Yes, it's-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?
Hmm?
I'm not sure how you would want to light it.
Have Harald dim the houselights to half.
Houselights down half, please.
KARL: I mean, we could make it work,
but we'd have to bring in some lights.
TANYA: Mm-hmm.
KARL: If we want to do something like this,
uh, we'll have to bring the hot lights
next week, Tanya-- forget about the strobes.
-TANYA: Hmm. -(departing footsteps)
TÁR: Thank you for waiting.
Of course, Maestro.
How are we feeling about today's rehearsal?
Well, Sebastian thinks your solo in the scherzo
is, uh, a bit loud.
It's possible.
Hmm. I don't agree.
Your dynamic marking is higher than that of the first violin.
Yes, that's true.
(sighs heavily) Look.
Sebastian's getting old, Knut.
I'm rotating him out.
You're the first to know.
Well...
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.
But the appointment of the assistant conductor
is entirely my decision.
(Knut inhales deeply)
Yes.
So, I can count on your support with the others?
(chuckles softly)
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.
Ach!
Soon, Knut, I promise.
KNUT: Okay. Danke.
(panting)
(short whistle)
Oh.
-I... -It's okay.
Danke.
(playing simple melody)
(light knocking)
♪ Changing major to minor. ♪
(Francesca clears her throat)
Uh, 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.
Uh, it wasn't just the keys.
I-I need someone to hold me.
This isn't the place, Francesca.
You're... (stammers) That's not about...
(sniffles)
I just...
I just got this from someone over at Accordion.
(breath trembling)
Oh, no.
(Francesca's breath trembles)
(sighs): 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)
(crying)
Now, now.
Come on. There's nothing we could have done to stop her.
She wasn't one of us.
(crying continues)
(sniffles)
I can't stop thinking about our trip up the Ucayali.
TÁR: Hmm.
-The three of us were so close. -Yes.
But that was before she started making demands.
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. -No.
I know you're working.
-Oh. -(sniffles)
Your... (sniffles)
Your keys are on the kitchen table.
(inhales sharply)
(gentle melody plays)
SHARON: She went straight to sleep.
(liquid pouring)
Didn't even have to hold her foot.
And she came home in a much better mood.
Oh, attagirl.
♪ ♪
(Sharon sighs)
Met the new cellist today.
Oh, what was that like?
Olga Metkina.
Russian.
Strong player.
Good.
Her facial posture is a bit much.
(chuckles): How so?
Her legato.
Looks like she's on the verge of climaxing.
(both laughing)
She is young.
Ah, so you've met her.
No, no.
Uh, Francesca mentioned something.
I think she's arranging a welcome lunch.
You may want to 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.
(distant, rhythmic ticking)
(ticking grows louder)
(ticking continues to grow louder)
(ticking loudly)
How was Johanna yesterday?
She stays away now.
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.
TÁR: That's right.
(quiet rattling)
(rattling continues)
(sighs)
(orchestra playing classical music)
S...
-It's not so simple. -(music stops)
It's got... it's got to be messier.
(speaking German)
Okay?
(continues speaking German)
A lot of pressure. Okay?
(speaking German)
-Okay? -(musicians chuckling)
S-So familiar to everyone here.
It really doesn't help you to know this piece so well. Okay.
Same place.
(classical music resumes)
(speaking German)
Please.
-Please, please, please. -(music stops)
You must watch.
(speaking German)
Okay?
It's got to be like, uh,
just one person singing their heart out.
And...
(speaking German)
Okay.
(continues speaking German)
(sighs): Okay.
SEBASTIAN: (grunts) Maestro.
What a surprise.
-I was just having a spot of lunch. -Hmm.
C-Can I offer you anything?
-Uh, no, thank you. -(pen clicking)
-Mm, well, some tea, perhaps? -No, thank you, Sebastian.
You know, I forget sometimes just how impressive
your collection is here.
Is that Kalinnikov?
-Yes. (chuckles) -Ah.
Isn't he marvelous?
(laughs) He belongs in a museum.
I rescued him for a hundred rubles
-from a Kyiv street fair back in '90. -Huh.
Right after the Wall came down.
(sighs) That must really have been something.
-Oh, incredible to have lived through it. -Hmm.
I'd only just arrived here with Andris,
and suddenly the impossible was possible.
Yeah.
I'd like to talk about that.
-The reunification? -Uh, 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.
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. Mm?
It's not something we need to decide now.
It's the girl, isn't it?
I'm sorry, what girl?
Y-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, but... (scoffs)
... 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-I'm-I'm sorry, Maestro.
I don't, 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.
(sighs) 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 Spiegel
when you and I came out together.
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.
Hmm?
Maybe wait to decide.
Where are we at with DG?
-Uh, I spoke to an assistant in Boyd Muir's office... -Hmm.
... who said they weren't sure why they decided
on a digital-only set, what the criteria were.
-(sighs) -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)
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 I.T.
Just here-- let me borrow yours.
Thank you.
Where's the matcha?
(door closes)
(Tár exhales softly)
(grunting)
Ah, I wasn't sure where you were.
Was working out a kink.
The-the matcha's cold. I-I'll get another.
It's all right. I don't need it.
Let's just keep working.
(Tár clears throat)
Francesca, you did as I asked
and deleted any and all correspondence with Krista,
correct?
Um, I'm not sure.
Uh, I'm-I'm... I'm not sure.
I-I'll double-check.
You know, Sebastian's leaving us,
and I wondered if you might, uh,
compile a list of suitable replacements.
Uh, of course, feel free to add your own name.
-Thank you. -(cell phone vibrates)
Oh, your-your lunch with the new cellist.
Oh.
Meant to have you reschedule that
'til after the orchestra votes.
I'll text her now.
No, wait. (scoffs)
Might as well see what she's made of.
(Tár sniffles)
(dishes clinking quietly)
This food. (chuckles)
The cucumber salad's, uh, very good.
It's kind of the only real option in this place
if you're vegetarian.
Uh, do you eat fish?
Not really.
You know, we can go somewhere else.
L-Like the Store Kitchen.
I mean, it's... uh, 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, uh, 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.
(Olga chuckles)
-Are you ready, Maestro? -(pen clicks)
-Yes, uh... -Yes, first shashlik, then veal.
-For you? -Cucumber salad.
-Thank you. -Good choice.
Some more bread?
Hmm.
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 Wicker I visit
-until I know decision of orchestra. -Hmm.
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, uh, 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.
(ensemble playing Elgar's Cello Concerto in E minor, Op. 85)
♪ ♪
(knocking on door)
-(pounding on door) -(music stops)
My mother's newspaper delivery...
... it's missing. Do you have it?
No.
Are you sure?
No, I'm sorry.
(quiet high-pitched tone in distance)
(high-pitched tone continues)
(high-pitched tone stops)
(panting)
(orchestra playing classical music)
(final note fades slowly)
Beautiful.
(speaking German)
Now, um, 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.
(quiet murmuring)
(bows tapping)
(speaks German)
Oh, and, uh, given what we've all been through,
what we're still going through,
and we're finally back together as a family, I-I...
... I feel that maybe the soloist
should come from within our own ranks.
-(excited chatter) -MAN: Yeah.
(bows tapping)
TÁR: Good. Okay, good.
Just... Sorry. (chuckles) One more question.
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-I wondered if you'd be at all bothered
if we were to hold auditions?
(chuckling): 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, no. That's a good point.
I mean, it is gonna have to be a... (laughs)
It's gonna have to be a sprint.
Um...
How about Monday?
All right.
TÁR: Okay, good.
Knut, would you assemble a quorum for Monday?
(speaks quietly)
And remember,
All section members are invited.
(quiet murmuring)
WOMAN: Let me see what she says.
Okay, I got, I gotta go.
Britta, hi.
Lydia.
-Just caught the end. -Ah!
What'd you think? How's it, uh, how's it sounding?
Oh, it's fantastic.
I can't wait until the live recording.
-Yes, well. -(kissing)
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.
H-He needs to b...
needs to believe he hasn't been forgotten, Britta.
Uh, 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, 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-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.
(sighs heavily)
(sniffs)
I'm sorry about the hour. It's Lydia Tár calling.
I need to speak to Mr. Singer immediately.
Yes.
Yes, it's urgent.
(low, quiet conversations)
Tired?
Sleep's elusive.
I was the same before a recording date.
Lydia...
are-are you absolutely certain about Sebastian?
TÁR: Mm-hmm.
Who will you replace him with?
Possibly Andrew Crust.
He's been assisting Otto Tausk at the VSO.
Not the girl?
(Tár 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, no, no, of course not. -Because 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-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 Furtwängler.
A bit with Karajan, too.
Who was the better conductor?
I never played under Furtwängler.
Yeah, when I first arrived here, the older members
had, uh, hmm, hushed opinions.
At the same time, they wanted to leave that era behind.
What, the war?
-No, postwar. -Ah.
Denazification.
Someone pointed a finger at you,
process started all over again.
Furtwängler never joined the Party.
Refused to give the salute
or to conduct the "Horst-Wessel-Lied."
Or to sign his letters, "Heil, Hitler."
Even those he wrote to Hitler.
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.
TÁR: Aren't we being a bit formal, Francesca?
From what I understand, there's only one player, right?
FRANCESCA: No, Maestro, there are two.
(cello and piano playing dramatic classical music)
(cello playing Elgar's Cello Concerto in E minor, Op. 85)
(cello holding final note)
SHARON: Well, it's unanimous.
-Number two. -TÁR: 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.
KNUT: I believe the criteria of the audition
was all section members?
-(grunts) 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.
Shit! (laughing)
(whooping loudly)
Yeah! (continues laughing and whooping)
I'll confirm solo rehearsal dates with her.
Thank you.
Have a seat.
(sighs): I have made a decision
regarding Sebastian's replacement.
And I want you to know it wasn't an easy one.
Uh, 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.
(quiet high-pitched tone)
(tone stops)
(playing simple melody)
(bell chiming in distance)
-(knocking on door) -(plays note)
Oh, leave me alone.
I don't have your paper.
I've told you before, I...
Oh, I'm sorry. Please come in.
(sighs)
(playing gentle melody)
Good. Good.
I-I think the contrast is, it's much better now.
-Don't you think? -Hmm.
(sighs) How do you take your coffee?
Black. Strong.
Is all right if I play?
Hmm? Oh, yes, of course, of course.
(playing gentle melody)
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)
TÁR: Sharon?
Hello.
Sharon is out with her sister.
From the way they were whispering
I'd say that they're up to no good.
The child is in its room.
Petra.
(Petra humming rhythmically)
(rhythmic humming continues)
(humming)
What are you doing in here?
(whispering): 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.
TÁR: All of them?
They can't all conduct, honey.
(chuckles): It's not a, it's not a democracy.
♪ ♪
(orchestra joins)
♪ ♪
(Tár sighs)
(speaking German)
Okay, uh...
(speaking German)
(speaks German)
-Hey, that's good. -Yeah. Good.
-You happy? -(laughs softly)
(Tár speaking quietly)
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. -Hmm.
-Thank you for your time, Maestro. -Not at all.
-This recording will exist on a protected server... -Mm-hmm.
... 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.
(man and woman speaking German)
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 'til after the live Five date.
Yes, I'm ready. Let's go.
I know how much you depended on her.
TÁR: Two-faced little bitch.
Imagine her hurt, Tár.
-Don't you dare try to defend her. -God, slow down!
She'll come galumphing back.
-I mean, I've got a dumb phone like every robot. -Tár, s...
-How hard can it be to text all day? -(horn blaring)
-(screams) Slow down! -(tires screech, horn honks)
Or let me out!
(seat belt unfastens)
(child chattering)
-Francesca! -(pounds on door)
-WOMAN: Fräulein? -(keys jingling)
You're trespassing.
(keys jingling)
(low, indistinct whispering)
(indistinct whispering continues)
(insects trilling)
-(banging on door) -(gasps)
(bell chiming in distance)
(frantically speaking German)
Quickly!
Come.
(chiming continues)
(woman whimpering quietly)
(chiming continues)
(woman continues whimpering)
We must transfer her.
... it's going to be alright, Fräulein.
Not the hand!
Use the strap!
(woman whimpering)
(chiming continues)
(Tár grunts)
(shushing)
(Tár grunts)
(chiming continues)
(speaking German)
(shushing)
(chiming stops)
(door closes)
(gasping)
(water running)
(knocking on door)
(turns off water)
(knocking continues)
(sighs)
(door opens)
OLGA: Sorry I'm late again.
TÁR: Oh.
(door closes)
D-Do you live here?
Not normally, no.
Uh, make yourself at home.
I'm just gonna put something on.
Do you have a towel?
-(quietly): Yes. -Thank you.
I got caught in the rain.
(both chuckling)
There is small concert with musician friends.
You should come.
TÁR: Thanks, but I-I... really must get home. (sighs)
-You have child, yes? -Mm-hmm.
I will not do that.
Pets are better for some people.
-Oh. (laughs) -(laughs)
What... Oh.
-Sorry. -Bye.
-(laughs) -Oh, yes. Goodbye. Yes.
-Goodbye. -Okay.
-Oh. -(chuckles) Okay.
Oh, Olga!
Olga!
Olga?
(woman singing in foreign language in distance)
Olga?
Hello?
(water dripping)
Olga?
(door closes in distance)
Olga?
(light footsteps running)
Olga?
(light footsteps running)
(growling)
(panting softly)
(panting)
-(gasps) -(sharp thud)
(Sharon 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.
(sighs)
Was someone mean to you?
Ja.
You're the most beautiful person I know.
(sighs)
PETRA (in distance): Lydia!
(gasps)
(breathing heavily)
What is it?
Hold my foot.
Is that better?
Yes.
(Petra whimpering)
(instruments warming up)
-(instruments stop) -(quiet murmuring)
Give me some eyes.
Okay.
Let's, uh, shoo the elephant from the room.
"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?"
(quiet chuckling)
No.
I was, uh, I was attacked.
Thank you.
I'm fine. Really.
-Should've seen the other guy. -(quiet laughter)
All right.
(speaking German)
(coughs)
(exhales sharply)
(orchestra begins playing light classical music)
-(grunts) -(orchestra plays deep note)
(grunts fiercely)
(orchestra playing dramatic music)
(gasps) Don't.
It burns.
You must see the doctor.
He's booked 'til next week.
(scoffs) I'll call them again
and tell them how much pain you're in.
No, no, let's just, let's just finish up here.
Okay?
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.
TÁR: We're absolutely rock-solid there,
but I am going to try to hold them back here.
Uh, they're just getting caught up in the power
of your, uh, glissando in there, trying to match it.
Um, probably...
Where were you attacked, Maestro?
Oh, doesn't matter.
(chuckles) 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 kind of burns, like I fell asleep by the pool.
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 "S."
-Well, how do we treat it? -You don't.
Eventually, it goes away.
An adjustment might help. You're somewhat crooked.
(chuckles)
(piano playing gentle melody)
(music stops)
(phone chimes)
TÁR (over video): 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's... th-that was very good.
Now, you could masturbate,
but what are you actually doing to me?
(phone chiming)
-Britta. -BRITTA: Hi, hi.
-Have you seen it? -Yes, yes. I've just seen it.
... gathering this afternoon.
-This afternoon? -Is that a problem?
No, just... 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.
I mean, 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.
(reading quietly)
"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.
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 I... Look, I probably, I probably should have.
I... I felt sorry for her.
Is this something you shared with Sharon?
No. I didn't want to burden her with it.
-Don't you think you should have? -Yes. Yes.
Well, what-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. -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.
Enjoy your weekend.
Starving.
Finished my thing today.
SHARON: Congratulations. We should go out and celebrate.
I can't. I gotta pack.
-Hi! -PETRA: Hi, Lydia.
TÁR: Sharon?
SHARON: Yeah?
TÁR: You seen my performance score?
SHARON: No. Why? Isn't it with the other ones?
TÁR: 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.
(whispering): Lydia?
(Tár sighs)
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. Uh, we're waiting on one more.
WOMAN: 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."
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?
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)
(crowd chanting faintly)
(chanting continues)
(car horn blaring outside)
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."
(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 clamoring)
(phone chiming)
(phone continues chiming)
(chiming stops)
(phone chiming)
TÁR: 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?
Uh, don't worry. I'll just come down.
(elevator bell dings)
OLGA: Lobby, please.
(gasps) Oh, Jesus.
(Tár panting)
(shudders)
(sighs) 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.
TÁR: 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.
(scoffs) 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? Hmm? Knut?
(sighs): Jesus fucking...
SHARON: There are many things I accept about you.
-(Tár scoffs) -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?
(sighs)
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.
(sighs)
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.
(electronic beeping)
(quiet chatter)
(chatter stops)
(woman laughs in distance)
(panting)
(meditative breaths)
(gasps)
(exhales sharply)
(grunting)
(train rumbling)
(kids chattering playfully)
TÁR: Petra!
Come here, darling.
-It was good. -Was it?
-Yeah. -You want to go to the park?
Don't do this. Please don't do this.
Please don't.
(panting softly)
(inhales deeply, whispers indistinctly)
-(loud knock on door) -(gasps)
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 Neukölln.
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. (sniffles)
MAN: 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.
(laughs): Oh, no.
No.
(laughing)
No, we wouldn't want that.
(laughing)
(rummaging)
(accordion playing discordant music)
(loudly, off-key): ♪ Apartment for sale ♪
(laughs): ♪ Apartment for sale ♪
♪ Your mother's buried deep ♪
♪ And now you're gonna keep ♪
♪ Her apartment for sale ♪
♪ Your sister's in jail ♪
♪ You put your sister in jail ♪
♪ You're all going to hell ♪
♪ Your apartment's for sale! ♪
(indistinct chatter)
-(indistinct chatter) -(instruments warming up)
(quiet chatter)
-(indistinct chatter) -(instruments warming up)
(applause)
(applause continues in distance)
(applause fades)
(Tár breathes sharply)
(playing slow classical fanfare)
(orchestra joins in)
(grunting)
(yells)
-(crowd gasps) -(music stops)
(Tár panting)
Okay.
(speaking German)
Give me some eyes.
(crowd murmuring)
-Come on, give me some eyes! -(clapping)
ELIOT: Lydia.
This is my score.
-Lydia, you're confused. -(grunts)
-It's my score! -(crowd gasping, murmuring)
-You fucking little nothing! -(grunts)
(Eliot grunts)
(panting)
TÁR: I'm fine.
(crowd continues murmuring)
(Tár panting)
DRIVER: You sign CAMI voucher.
(driver speaking into phone in Tamil)
(pile driver rattling and thumping)
(phone rings in distance)
MAN: Good afternoon. CAMI.
Hold on.
CORY: Normally, I'd think Lisa Rich
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, you want to, you want to show Lydia
what you've prepared for her?
Well...
right now it's a reset.
What we're after is less, not more.
We want to be selective
and rebuild this from the ground up.
That means we need a new story.
TÁR: Just here.
Here. Thank you.
(clears throat) Make it 40.
Thank you.
(sighs)
(piano plays note)
(piano playing discordant notes)
(music stops)
(sighs)
(orchestra playing lively classical music over TV)
(music ends)
(over TV): Didn't you feel triumphant?
(applause over TV)
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't always name
-the things we feel. -(sobs softly)
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.
-(crying) -And that movement can tell us
more about the way we feel than a million words can.
And here we're going to play you a...
-(VCR clicks) -(whimpers)
(door opens in distance)
(exhales sharply, sniffles)
Tony.
Oh.
Hi, Linda.
Sorry.
Lydia.
Ma said you'd be over.
You must be hiding out.
Why would I be hiding out?
Beats the hell out of me.
None of my business anyhow.
Lot of loose ends, you got to 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.
(woman speaking Thai over P.A.)
(water runs, stops)
(traffic passing)
(rooster crowing)
(car horn honking)
May I come inside?
Thank you.
(conversing in Tagalog)
Um, I'm so sorry.
Uh, we just wanted to confirm that the composer was in fact
not flying in from Osaka to attend the concert.
Oh.
I-I must tell you that I-I looked in the music libraries,
uh, for her score, but I-I couldn't find anything.
-This just arrived. -Ah.
That's great. Thank you.
Shirley and Cirio will be most happy to show you
-the sights of our beautiful country. -Oh. Thank you.
Thank you so much.
Oh, goodness.
Thank-thank you.
(man howls)
(motor rattling quietly)
Maybe we could stop somewhere and take a swim.
Yeah, at the waterfall.
But, mm, not in the river.
Why? Is there something wrong with the water?
N-No. There are crocodiles.
Oh.
I didn't think they'd be this far inland.
They escaped from Marlon Brando movie.
Wow.
That was a long time ago.
They survive.
(playful screaming, laughter)
(Shirley whoops)
(Shirley and Cirio laughing)
(men speaking Tagalog, kissing)
-Lady. Lady. -(chatter continues) -(kissing)
Here is prescription.
-Ten dollars. -Oh. Thank you.
(pills rattle)
Uh, is there somewhere around here-- thank you--
where I could get a massage?
Was hoping it might help me with this jet lag.
(sighs)
Hmm.
Yes.
There is the very nice place I know.
Thank you.
(relaxing music playing over speakers)
Thank you.
Please step over to the fishbowl.
The... the fishbowl?
Yes, over there.
Um, I'm sorry, I'm confused.
H-How does this... how does it work?
You just pick a number here.
I pick a number?
Yes.
(chuckles)
RECEPTIONIST: Number five?
(gasps)
(gagging)
(retching)
(groans)
(panting)
(music playing quietly over TV)
(woman speaking Tagalog)
Good morning.
MUSICIANS: Good morning.
Now, before we begin, let's-let's talk a bit about
the composer's intent with this piece.
And what she might be after.
(busy chatter)
(pop music playing over speakers)
-(sighs) -MAN: Five minutes.
(instruments warming up in distance)
(panting softly)
(gasps)
(exhales sharply)
(applause)
(applause swells)
-Thank you. -(applause fades)
(mechanical whirring)
(whirring stops)
(fabric rustling over speakers)
(orchestra playing gentle music)
ANNOUNCER: Sisters and brothers of the Fifth 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.
(music building)
If any of you have lost your nerve,
then step away now and let no one judge you.
(music fades)
♪ ♪
(music ends)