Thank you.
THE AUDITION
Thank you!
Please wait outside.
Hello. What's your name?
Alexander Paraskevas.
Louder, please.
Alexander Paraskevas.
What number is he, 28?
15. The order got mixed up.
What did you prepare?
The prelude to Bach's Partita in E major,
Lalo's Symphonie espagnole
and Schubert's Sonatina in D major.
It's a popular piece today.
- What do you want to start with? - Maybe Lalo.
Good.
Again.
Thanks!
Could you please wait outside?
Push!
Not exactly sensational.
If he were he wouldn't need tuition.
He didn't really come out of his shell.
Yes, he's very introverted.
He was nervous.
He's also not brilliant technically.
And he keeps raising one shoulder.
It's a posture issue that needs work. I think he has his own sound.
That's no use if he doesn't master technique.
And he's not fast enough, his fingers stick to the strings.
It's up to us to teach him technique.
I think we have to set the bar a bit higher.
Nays?
Yeas?
- You think he'll pass the six month trial? - Yes.
Hilde, do you want some chocolate cake?
- Hilde? - Yes?
- A little chocolate cake? - No. No.
- Apple pie? - Yes.
- It's good. - It is.
- Here. - Thanks.
Is that your second serving, Aunt Hilde?
It's almost embarrassing.
No. Why? If it tastes good. Does it?
- It does. - It does?
Happy birthday.
Thanks.
Tea or coffee, Hilde?
- Nothing now. - Okay.
Play us something, Jonas.
- What do you want? - Tea, or what's in the pot.
Tea.
- What kind of tea? - Black tea.
- No. - You'd prefer green?
Then I won't sleep.
- Black tea with milk, then. - If you want green tea...
No thanks. Jonas, play us something.
You don't have to play if you don't want to.
Then I'll see you on Tuesday at 3 pm.
- Hello. - Paraskevas.
A pleasure. Hello. Shall we go in?
It'd be better if you wait outside.
- How am I supposed to follow his progress? - It's too early for that.
Bye.
You can take out your instrument.
What have you been doing to practise technique?
Scales and ĂŠtudes.
- Would you like to play? - Triads?
Yes.
- Which ĂŠtudes? - I've done Kreutzer 1 to 14.
Good. So play.
Why are you playing so fast?
What were you concentrating on?
- When? - Just now, while you were playing.
- Nothing in particular. - That's bad.
What counts is hearing the notes before you play them.
That's what makes the sound. Everything else is noise.
Have you played this before?
It's Bach, right?
It looks familiar.
What strikes you?
Semiquavers everywhere.
What else?
It's all very regular.
Many passages in Bach demand fine motoric skills.
- What's the signature? - 3/8.
- And the tempo? - Presto.
- Which means? - Very fast, I think.
Very fast. You like that, huh?
- You want to try? - Yes.
Again.
Anna, do you have the score for the school orchestra?
Yes.
Yes, in the cabinet.
So, did you think about it?
- About what? - The rehearsals.
Don't you want to play anymore?
Okay, see you.
They're nice and warm.
Shall we sit here?
Let's go sit over there.
Yes.
- Should we sit somewhere else? - No.
What will it be?
- Go on. - No, you.
For me, the steak with potatoes and a beer, please.
I'll have apple fizz. Or maybe white wine...
- You like white wine? - Yes.
Take the apple fizz.
Okay.
I'll have...
spaghetti with gorgonzola sauce.
- Can you recommend it? - Can I?
- Nobody has complained yet. - No, then I'll have...
tagliatelle with bolognese.
In your place, I'd have pasta with gorgonzola or squid.
No fish. Then pasta with gorgonzola.
Excuse me...
I changed my mind, do you have vegetarian options?
Gorgonzola is vegetarian.
Spaghetti with vegetables?
- Spaghetti with tomatoes? - Yes.
Make a decision. I'm not moving places with my plate.
Apple fizz.
Thank you.
Over there?
Let's go.
- How about this? Sure? - Yes, sorry.
- We're not moving? - No, it's fine.
I have a new student.
- Yes? - He's very good.
Lacks confidence but I'll help him.
Great.
- What? - I didn't say a thing. Not a thing.
- I'm just very hungry, that's all. - He's here.
Thank you.
- You want my plate? - No!
- It's no problem. - No, I'm fine.
- Okay. - It's fine.
It'll be easier. Enjoy.
- I smell. - No you don't.
I do, can't you smell it?
- Ah, yes. - What, really?
Let's say I could find you with my eyes closed.
- It's no big deal. - It is.
How was school today?
This place needs airing.
Close it, I'm cold.
Sorry.
- You're late. - I missed the bus.
A concert audience won't wait.
- I'm not that far advanced. - It's the attitude that counts.
- We'll start with the presto. - Yes.
Lower your shoulder.
The bow flat.
It's B-flat, not B.
Good. Not bad at all.
But it's not a real goal. Why does one practise?
To be good at a piece?
Yes... practice is for letting a piece enter your body.
It has to be part of you.
Give me the violin.
Take a relaxed stance.
Pull yourself up here while remaining relaxed like a puppet.
Upright but relaxed. Shake your arms.
Give yourself a good shake.
Now take the violin.
Carry on.
- What are you doing here? - Picking you up.
- Why? - I thought it was a good idea.
Here, try it.
You'll ruin your hands with that.
Sorry.
No, wait. I'll go up with you. I'm almost done.
I suggested to Anna that she try rehearsing with us.
That's good.
Bye!
- So? - So what?
Will you do it?
- You don't think I can? - That's not the point.
It is. You don't think I can succeed.
Jonas, use the whole bow. Or you might just as well use a toothbrush.
Maybe you start with a down-bow here.
It'd be easier, right?
Look...
Down-bow... down-bow.
There.
- Anna, can I talk to you for a moment? - Yes.
- How's it going with the new boy? - Well. He's doing well.
Anna, you can't just change the bowing in Jonas's scores.
He had trouble with it, I wanted to help.
I'd rather you left that to me in the future.
Hello, Emma. Come in.
That's all.
Go ahead and warm up.
I completely forgot.
Sorry.
Want to try?
- Is it a problem if Anna plays with us? - A problem? No.
You can come right in.
- Would you like to put down your things? - Yes.
- You can wait here. - Thank you.
- Would you like a drink? - No thanks.
Good you made it.
- Good evening. - Good evening.
Great you could make it.
Go ahead. Good?
- Yes. - You know the piece?
Yes. But it's a while since I played it.
That's fine.
- So, shall we tune up? - Yes.
Let's give it a go.
- Sounds good! - Is there enough cello?
- It may be a little heavy. - Do you mean we are?
Maybe the four of us could try without the cello
- so you find your way. - Okay.
- So? - Right?
- At the upper end. - Okay.
We do that. And here up-bow...
- in Bar 11, I think. - No, 8.
In the second line?
Yes, that's it.
- Is the sound otherwise okay? - It's fantastic.
- So again. But with you. - Okay.
So, it was good.
- Same time next week? - Come as often as you want.
- Thanks, it was great. - My pleasure.
- I need the loo. - We're stopping in a moment.
Dad?
Listen, it has a pretty, resonant sound.
Moisten the wood. Moisten it.
More here.
There we have it.
Look closely. What do you say?
- The rings are tight, huh? - Yes. See the dark stripes?
That's winter.
The soft wood between them is from the summer.
What do you make of this wood?
- Not bad for a viola. - I may have something else.
Hey, look.
- It was a year with a lot of rain. - Meaning?
It's no use to us. It grew too fast.
Look at how it goes all the way up.
Give me the blanket, please.
Thanks. Go over to the garden.
- You can put the good ones in here. - I will.
Good...
Won't you eat something? You can't leave without supper.
I don't want you to treat my son like that. I don't want that.
Enough of that, the boy's learning.
I'll get the light.
Do you know how much I love you?
You never give me compliments.
What's that?
I've always said I'm full of affection and warmth for you.
You can feel affection and warmth for a dog.
You gave me a different impression when we met.
What do you mean?
You were so proud, so unapproachable.
What am I supposed to reply?
I can't spend all my days having feelings.
You told me once you were the same.
Good morning, Anna.
What's up?
You let us down on Saturday.
What do you mean? I didn't think that you were interested.
- What makes you say that? - The first violinist was pretty clear.
She said nothing.
- Sure, our playing is pretty different. - I disagree.
Not at all.
- But if you don't want to play with us... - No, it's not that.
But it'd be funny if I didn't say this now.
I don't quite follow.
Perhaps I expressed myself in too complicated a manner.
Tune up to the piano.
Your nails are too long.
More tempo.
Lean your head back.
You okay?
It's okay.
Come along, sit down.
We'll stop.
I want a dog.
Mama, I want to have a dog.
You already have one.
Your violin is your dog.
- What is that? - Meat.
- What kind of meat? - Beef.
Doesn't it hurt the cow when it's slaughtered?
It's stunned beforehand.
It's stunned so that it can be slaughtered?
So that you can eat your meatballs.
Can I please continue to practise?
Very good.
Jonas, come over here.
Want to accompany Alexander? Fetch Pleyel's duets.
- You must know them. - I think...
I think I do.
This one?
And...
Jonas, concentrate. Come on, again.
This is really difficult, Jonas. Start over.
- What now? - That's it.
- Stop. Take your violin and play. - No, I'm not playing anymore.
- Take the violin! - I won't!
Jonas, stop.
Leave me be! I'm not playing anymore!
How dare you!
Fine. We'll move on to the presto.
Jonas, eat.
Why do you bring him here?
I have to rehearse with him for the audition.
That's what the school's for.
What was I to do? He was at the door.
Jonas, come on.
Let's go downstairs.
I'll play you a recording of Menuhin.
I'm sure you know it.
He was your age.
A little older.
Turn it.
Go on.
Further. Further.
- So? - A little more.
That's it. Take the plane.
Go on.
In one stroke. One stroke. There. And again.
That's it.
Bye.
Yes?
Hello, it's Anna.
- Are you hungry? - No.
I can't stay.
Can you help me?
Yes.
Can you hold it open?
Will you sew it up?
I wasn't going to. But we could.
Shall I?
- How long does it take? - About an hour.
- You're cooking a chicken for yourself? - Yes.
Why not?
Want something to drink?
It's what my mother used to cook when I was sick.
Did you have a happy childhood?
At first, yes.
Then she died.
How old were you?
Twelve.
She was a German teacher. Like my father.
She loved to play the piano, gave small concerts.
She'd promise to bring me something from her travels but usually forgot.
I sometimes still find myself expecting a present from her.
Can you imagine us trying it again?
We don't have much time left. The concert is next week.
And you were our best candidate.
What are you doing?
Well, what?
Anna, show some restraint. You don't see what you're doing to Jonas.
It's important for me. I want him to succeed.
That's the problem. You can't force him.
- He doesn't work enough. - He has an excellent teacher.
- Be glad... - I know.
- No. Let me finish... - You want to say...
- I should be happy... - Enough! You've no idea what I think.
Be glad he plays at all.
Can you only accept him if he's achieving?
The violin is a tiny part of life.
Life is barely long enough to get good at one thing.
Leave it to him to decide what he wants to get good at.
What a great theory. It worked so well for you.
It did.
I'm not deceiving myself.
- Anna, are you coming? - Yes.
Just a moment.
Okay.
- Again? - Again...
It was very good.
I'm getting a drink.
This is the exit, not the entrance! The exit!
- Why didn't you look? - I didn't see it.
- I could see that! - Stop shouting at me!
We need a new approach.
How many days till the audition?
Ten.
Ten days...
It's not long.
We're almost done. Go warm up next door.
- How many hours do you practise a day? - Two.
Then do four. Two before school and two in the afternoon.
But you said intensity is what counts, not quantity.
I did say that.
But sometimes quantity creates intensity.
Oops, a flying bow!
Anna...
I'm sorry about the concert. I really am.
Come.
That's why I left the orchestra.
It started with a tremor in my right hand.
And at the end I couldn't even tune my violin.
Whenever I play I'm thinking of how I'll fail.
And beta blockers?
I tried them.
I saw several doctors. It's no use, all I get is a rash.
"The pilot writes a report at the airline's request."
Determine the accusative and genitive objects.
And what is an accusative object?
The teacher said you have to ask whom or what to determine it.
Whom or what what?
Jonas!
Go to your mother.
- Yes? - What's all this?
- What? - The fish!
I saved them. So they didn't get barbequed.
You know what you're going to do with them?
- No, why? - Take them back!
This is boring, mechanical repetition.
You must know what you want to express. Then the notes follow.
Have some faith, you know the piece and can play it. Go on, do it.
Try to do what I told you.
Show me your hand.
Have a seat.
Show me.
Steady.
Don't move.
Okay, good.
Can I help?
No.
Excuse me.
I called you five times, Anna.
Five.
Forte.
This is where the trouble is. Start from the D.
It's altogether too slow. Try it in this tempo.
Then we should have it.
There.
Again.
You're muddying the notes. They have to be clean. Again. To the beat.
Again.
That's better. Again.
We'll try something else.
Clap out the beat with your hands.
Faster.
Look at me.
- What is the time signature? - 3/8.
Fine, then play it.
Again.
Raise your arm.
No.
Again.
No.
Again.
No.
Again.
No.
Again.
No.
No!
No.
Why must you raise your shoulder? Well?
Carry on.
Take off your belt.
- Go on! - No, I don't want to.
Let go.
There.
Relax your arm.
Are you hungry?
Good morning.
I'm sorry it's all so complicated right now.
I don't care.
Hello, this is the voicemail of...
Alexander Paraskevas.
Excuse me!
- Evening. - Evening.
Is Alexander all right, is he ill?
- Why do you ask? - He didn't come to his lesson today.
- That's news to me. - The audition is in two days, and...
if he doesn't practise he won't improve.
You think he practises too little? He plays four hours a day now.
We'll see if it was enough.
Dad?
Is everything okay?
It would be if I could pee.
Can you help me?
No, wait.
I have to go back.
Are you going to stand there and watch?
- Don't put too much. That's enough. - It's enough.
There, you see. You can do it.
I heard about your concert.
You were so meticulous back then.
Your mother always viewed her illness as a lack of discipline.
I only have one more today. It doesn't want to...
- It's good? - Yes.
Now it's good, yes.
Anna, get the salami from the cellar.
This dry stuff is inedible.
It's not dry!
- Dry as a bone. - It's cheese!
- Dry cheese. - No!
- Look, it's all shrivelled. - That's its normal shape.
It's in nice, fine slices.
- And dry as a bone. - My!
What?
How could it be dry as a bone?
Because it is like us... It's dry as a bone.
- No. - No!
We're not dry as a bone.
Want something to eat?
- How about a sandwich? - I don't want one.
You don't have to play the violin if you don't want to.
Tell me what you think.
- It sounds good. - It's the same instrument.
- But different. - Yes. It's aged.
Listen to this.
Who is it?
You.
Sounds a bit immature.
That's the pretty thing.
Hello. A black coffee, please.
- Here. That'll be 1.60. - Thank you. Keep the change.
- Thanks. - Bye.
Would you care to join me for a moment?
Of course.
We still have a moment.
I didn't want Jonas as a student. I was afraid of you.
- Of me? - Yes, of your aspirations.
My student isn't attending lessons and my son can't stand me.
My son can't stand me, either.
I'm very grateful to you.
Without you, Jonas wouldn't play anymore.
He is very gifted.
Not average at all.
No, he's far too complicated for that.
Good morning.
AUDITION
Alexander Paraskevas?
- Is he here? - No.
Okay, then... Paula Jentsch, please.
Would you touch my breast?
The other one, too.
Thank you.
Anna!
What's happened?
Alexander fell and broke his neck.
He's still unconscious.
How did he fall?
I don't know.
I wanted to congratulate him.
He rushed down the stairs and fell.
He must have tripped.
And Jonas? Where is Jonas?
- I don't know. - What? He was there with you.
I'm telling you I don't know.
I don't know where he was.
- Where were you? - Playing hockey.
Come on.
Eat.
Excuse me, can I have a word?
- Of course. - Thanks for calling.
I'm so sorry for what happened.
We'll know in a few weeks if he'll recover his mobility.
You helped him so much.
You encouraged him.
- He should practise as soon as possible. - Yes.
I'll tell him.
Please give him my regards.
I'll visit him soon.
Goodbye.
Subtitles: Thomas Cooper