WEBVTT

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[Frog noise]

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[music]

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Playing this music in Tokyo
made us feel how American it is.

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[music]

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Most music is a hybrid.

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In that sense,

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by the time we take
this music that we\'re doing to Tokyo,

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it almost feels we\'re just a filter
or a stop along the way.

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That we\'re catching things
at a certain point

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and we mix them up a little bit
and then we send them on their way.

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[music]

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Just witnessed
where this music comes from.

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Scandinavia, Scotland, Ireland,

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across the great gypsy fiddlers
that influenced us

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from Eastern Europe, and Russia.

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All that music handed down early
throughout the generations

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is a world language.

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[cello music]

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[applause]

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Banana.

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I would like
grapefruit juice and orange juice.

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How many dollars is a thousand yen?

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$10. Don\'t even think about it.

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-Okay, just-- [mumbles]
[laughter]

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I\'ll get a $10 Hawaiian papaya [laughs]

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and I\'ll try a mango too.

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Yes, and orange juice.

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Wow.

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[music]

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Wow.

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[?]

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Actually, I\'d hoped for a whole banana.

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-It is a whole banana. [laughs]
-A whole banana. Yes.

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Man cut up. [laughs]

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Count the pieces man, I bet it adds up.

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[laughs]

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[laughs]

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Picky, picky.

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[music]

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Sarah, another thing that will come up,

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Yo-Yo originally had talked about,
each of us saying a short bit in Japanese.

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Maybe we can set somebody to work on that.

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Okay, we need to figure it out
a very short sentence.

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Mark wrote this, because it\'s hard.

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[laughter]

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-We\'ll figure that out when we get there.
-Okay.

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[music]

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[doorbell rings]

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They may let us in.

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-Hey.
-Hello.

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Mark O\'Connor and Edgar Meyer.
We\'re here for--

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A moment please. Just a moment.

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Pretty a stretch, huh?

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[?] [laughs]

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[?]

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This is Mark, and you?

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[?]

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Great to be here. Thanks.

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Oh, thank you.

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[music]

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Hello.

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Hi, Richard.

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Hello.

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Guys, I\'m sorry [?]
but I\'m so desperate.

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[laughter]

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I\'m really desperate.
How are you? Did you sleep okay?

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Mark arrived the day before from Seattle,
right?

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He\'d just got married.

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Then we had this mother of all days
for rehearsing

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and we hadn\'t really played

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-For a year.
-for a year.

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Two hours of new music,
there\'s nothing you can say about that.

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That takes an awful lot of work

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and we\'re trying to find
the rehearsal time.

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You add enough of those things
plus lack of sleep on all of our parts,

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that\'s pretty tough.

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Oh jeez, Mark,
you write stuff that\'s so hard.

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[laughter]

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[music]

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-Do you play all the notes?
-Much too plain.

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-[laughs]
[music]

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Do you play all the notes?

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When I figured it out I could do it,
[laughs]

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-but ever since then--
-It seems you actually have gone

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-one, two, three, one, two, three,
[strums cello]

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in all the notes.

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His speed\'s pretty high. It\'s really fast.

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[music]

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When we take a Texas fiddle tune
like College Hornpipe,

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Edgar and I arrange it
into something that\'s new

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and then maybe it can speak

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to more people
outside of the Texas fiddle tradition.

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Those ears will pick up on it
maybe quicker

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and then will learn to like
where it came from.

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I can tell you that College Hornpipe,
it\'s so difficult to play.

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It\'s higher
than any étude I\'ve ever learned.

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It\'s so hard.

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In fact,
I keep a copy of it in my cello case,

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I usually take out and practice it

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because it\'s just
such a challenge to try and play it well.

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[music]

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[applause]

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You guys focus on what
we need to be rehearsing

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I\'ll let you guys decide
and then I\'ll [crosstalk]

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I think when you look at FDR
that\'s a 51 to get started on.

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We need to make sure that we\'re solid.

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I know we have to do
all the pieces that I don\'t do well.

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I\'ll practice all of them.

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We all have our--

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That\'s my choice.

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[music]

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No prob.

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It\'s good
we know we can get to the first song.

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Definitely.

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It\'s fast as hell.

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Was that fast?

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Not for Mark.

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[laughter]
-Slow it down.

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I can do that.

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One thing that still bothers me

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is near the front

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it sounds like we\'re not playing
the same genre or something.

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Sometimes when I do that bow,
[plays violin]

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I do some little detachment to make the--
[plays violin]

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[?]

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[music]

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Play a little bit and I\'ll catch you.

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[music]

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-That was valid.
-That was a dream.

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-It was everything.
-It just went like that.

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Got it.

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The vote of confidence from Yo-Yo

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to have us in Tokyo
on such a big series like this

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with only having performed in public
two times

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is a real tribute.

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I\'m very thankful that he thinks that much

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of what we can offer
in the setting with him.

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Well, I applied for the job,
and you put me on probation.

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We had a nationwide search for cellos.

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I sent him my resume and--

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Well,
then we had the preliminary auditions.

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[laughter]

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I was saved
by the behind the screen touch.

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I\'d say you were saved
when you got out from behind the screen.

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It was so cute.

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[laughter]

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There was a heavy Japanese, thanks.

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[Japanese language]

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I had them all written out,
to give this to you.

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[Japanese language]

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This is [Japanese language]

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[Japanese language]

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You\'re a terrible audience.

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[laughter]

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Why don\'t you clap more?

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[laughter]

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Say Domo Arigato.

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Domo Arigato.

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Arigato.

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Domo Arigato.

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Yes.

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[chuckles] Oh, no.

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[Japanese language]

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[Japanese language]

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[Japanese language]

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[Japanese language]

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[Japanese language]

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[applause]

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[music]

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[applause]

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[music]

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I want to say before--

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Good morning. Good to see you.

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Go ahead.

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Thank you.

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Hi.

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-Hi.
-Hi,

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You all right?

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[background conversations]

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[clapping]

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They don\'t do many halls like that.

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The first time when I came over
when I was 17 to Japan,

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the person that had asked me over,
he said,

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\"Mark, it\'s always tough for me
to play well in Japan.

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I don\'t know what it is.
I love it here. I love the people.

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I love the food and the hospitality,
but it\'s always hard for me to play.\"

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I found myself being affected by that.

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I was thinking about that last night
even though that was years ago.

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I was hoping,

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I hope I can overcome
those original thoughts

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that were planted into me
by this gentleman

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way back then when I was a teenager.

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I don\'t know what he was talking about.

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As I\'ve been wondering that today,
I hope I have a good night.

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[music]

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It seems you have everything,
but do you feel you are lacking something?

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I\'m lacking lots of things.

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-For example?
-I feel very lucky about lots of things.

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For example, sleep.

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[chuckles] Oh, I understand.

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I would love to sleep for two weeks
though.

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You always feel you\'re lacking something.

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You never reach perfection,

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but you\'re always looking at it
and thinking about it.

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What is ideal?
What\'s real? What is illusion?

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Those are the types of things.

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If it\'s okay with you,

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would you play some notes for us right now
with your cello?

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-Sure.
-Oh, really?

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We\'re about to play [plays cello]

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Do you like it? Do you want to play?

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-No. Can I touch it?
-Sure, go ahead. Play it.

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-Go ahead.
-Oh, can it do this? [plays cello]

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Just like that. [plays cello]

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Simple, right?

00:28:56.718 --> 00:28:59.568
-Of course it\'s simple.
-Yes, it\'s simple, but it\'s magic.

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-I think it\'s your magic.
-No [laughs].

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There\'s a tape recording in there.

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-[laughs]
-Thank you. I\'ll never forget this moment.

00:29:08.393 --> 00:29:09.393
Well, thank you.

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-Thank you very much.
-It\'s really great. Very nice to meet you.

00:29:12.879 --> 00:29:13.879
Thank you very much.

00:29:14.155 --> 00:29:16.005
What would somebody like to rehearse?

00:29:17.740 --> 00:29:19.790
It might be worth looking at old country.

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I\'m too young to die. Okay, let\'s go.

00:29:22.820 --> 00:29:24.355
[music]

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-Where are we going to take it?
-Can we go from--

00:29:27.091 --> 00:29:34.091
[music]

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Oh, forget it. Forget it.

00:30:18.371 --> 00:30:21.071
-Didn\'t line up too good anybody.
-I messed up I think.

00:30:21.239 --> 00:30:23.772
I\'m actually having trouble playing.
This is why we can\'t go too fast.

00:30:23.940 --> 00:30:26.420
You know one of the things is,
he\'s playing a very wide swing

00:30:26.588 --> 00:30:28.040
and actually
that\'s why I started getting fucked up.

00:30:28.208 --> 00:30:30.108
I actually couldn\'t play it that wide.

00:30:30.957 --> 00:30:33.407
In fact,
try your backup without such a big swing.

00:30:33.575 --> 00:30:34.575
[music]

00:30:34.743 --> 00:30:37.443
If you pick from me,
would you mind doing that tonight?

00:30:37.611 --> 00:30:38.611
Over the two,

00:30:38.779 --> 00:30:41.318
I\'ll get a bigger swing going
but I just couldn\'t do it.

00:30:41.486 --> 00:30:42.533
It was so wide, I couldn\'t--

00:30:42.701 --> 00:30:45.719
It\'s funny,
because I couldn\'t put that into words.

00:30:45.887 --> 00:30:46.887
I actually--

00:30:47.055 --> 00:30:49.155
It\'s beautiful,
but it\'s really hard to do.

00:30:49.323 --> 00:30:50.499
-Once you get--
-Try it once wide

00:30:50.667 --> 00:30:52.023
and let\'s see whether we can follow you,
okay?

00:30:52.199 --> 00:30:53.766
That\'s pretty damn hard.
I\'ve always [crosstalk]

00:30:53.934 --> 00:31:00.934
-Let\'s try.
[music]

00:31:26.080 --> 00:31:28.030
It\'s really uncomfortable for me to do.

00:31:28.198 --> 00:31:30.148
That was really good though, wasn\'t it?

00:31:30.536 --> 00:31:33.986
We were doing the best we could,
or I was doing the best that I could.

00:31:34.154 --> 00:31:35.154
How did you feel?

00:31:35.322 --> 00:31:36.322
I was dying.

00:31:36.949 --> 00:31:38.249
I won\'t try to imitate it.

00:31:38.417 --> 00:31:40.089
I just got to play it
a little not so swingly.

00:31:40.257 --> 00:31:42.071
-Okay.
-What\'s interesting for me

00:31:42.239 --> 00:31:45.539
is that when you actually
identify what he\'s doing, [snaps fingers]

00:31:45.995 --> 00:31:47.595
I could suddenly block into it.

00:31:48.589 --> 00:31:52.080
-Before I just thought--
-What are you doing?

00:31:53.135 --> 00:32:00.135
[music]

00:32:07.113 --> 00:32:08.996
I\'m just getting a good [?]

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I\'m glad it can do that for you.

00:32:14.247 --> 00:32:21.247
[music]

00:32:35.714 --> 00:32:37.737
We have a lot of music to play.

00:32:41.956 --> 00:32:43.329
What\'s funny is that,

00:32:43.846 --> 00:32:45.746
when you do a lot of different styles,

00:32:46.028 --> 00:32:50.584
you have to just
really be able to somehow focus in

00:32:50.752 --> 00:32:53.820
and get into this specific world.

00:32:54.247 --> 00:32:59.019
I think Mark and Edgar have
such incredible ears and such precise ears

00:32:59.599 --> 00:33:01.980
in a different way than my ears work.

00:33:02.676 --> 00:33:07.573
Their sense of time
and of listening to balance

00:33:07.741 --> 00:33:10.462
is slightly different
from what I\'m used to.

00:33:12.000 --> 00:33:17.052
It\'s a question
of my getting into that mode

00:33:17.660 --> 00:33:18.860
as quickly as possible,

00:33:19.028 --> 00:33:20.028
but I\'m so tired.

00:33:20.203 --> 00:33:21.553
It\'s hard to actually focus

00:33:21.721 --> 00:33:24.648
so I actually go in and out of focus
during rehearsals.

00:33:25.346 --> 00:33:27.151
That\'s what I\'m struggling with.

00:33:27.573 --> 00:33:32.754
[Japanese language]

00:33:33.404 --> 00:33:35.361
[crosstalk]

00:33:50.387 --> 00:33:52.187
I\'ll actually speak before you will.

00:33:53.683 --> 00:33:55.352
Domo Arigato.

00:33:57.608 --> 00:33:59.458
I don\'t know how you say it, Richard.

00:33:59.626 --> 00:34:01.352
-Domo.
-Domo.

00:34:01.742 --> 00:34:03.026
-Arigato.
-Arigato.

00:34:03.858 --> 00:34:05.194
[Japanese language]

00:34:06.763 --> 00:34:07.763
What does it say?

00:34:07.931 --> 00:34:08.931
[Japanese language]

00:34:09.099 --> 00:34:11.891
[Japanese language]

00:34:13.064 --> 00:34:16.202
[Japanese language]

00:34:16.402 --> 00:34:19.174
-Cut with the songs.
-It\'s not only one O?

00:34:24.459 --> 00:34:31.459
[music]

00:43:46.016 --> 00:43:51.097
[Japanese language]

00:44:02.677 --> 00:44:03.677
Perfect.

00:44:03.845 --> 00:44:04.845
[laughter]

00:44:05.204 --> 00:44:11.409
[crosstalk]

00:44:12.354 --> 00:44:18.997
He\'s one of the most flexible musicians
that I\'ve ever seen.

00:44:20.074 --> 00:44:21.924
Not only played with, but ever seen.

00:44:22.321 --> 00:44:24.981
I don\'t know of another classical artist

00:44:25.343 --> 00:44:30.438
that I could collaborate this closely with
and both him and I get so much out of.

00:44:31.371 --> 00:44:32.971
-Thank you very much.
-Thank you.

00:44:33.139 --> 00:44:36.451
Sorry for bothering your time.
Thank you very much.

00:44:36.627 --> 00:44:38.027
Thanks very much. Thank you.

00:44:38.314 --> 00:44:40.487
[Japanese language]

00:44:43.319 --> 00:44:45.087
Domo Arigato.

00:44:46.281 --> 00:44:50.928
[applause]

00:44:52.220 --> 00:44:58.989
[Japanese language]

00:44:59.944 --> 00:45:04.597
[applause]

00:45:11.258 --> 00:45:12.258
Hello.

00:45:12.426 --> 00:45:14.487
[laughter]

00:45:18.302 --> 00:45:22.492
Edgar Meyer, myself, Mark O\'Connor,
would like to thank Yo-Yo Ma

00:45:22.660 --> 00:45:25.854
for inviting us to play with him in Japan
for you.

00:45:26.074 --> 00:45:27.074
Thanks a lot.

00:45:27.241 --> 00:45:32.597
[applause]

00:45:33.507 --> 00:45:35.771
[Japanese language]

00:45:36.786 --> 00:45:42.925
[Japanese language]

00:45:44.418 --> 00:45:47.972
[Japanese language]

00:45:48.228 --> 00:45:49.867
[laughter]

00:45:50.035 --> 00:45:55.699
[applause]

00:45:56.566 --> 00:46:03.566
[music]

00:46:49.958 --> 00:46:55.856
[applause]

00:46:56.201 --> 00:46:58.301
Oh my God. How many pieces are we playing?

00:46:58.469 --> 00:47:00.051
[?]

00:47:00.415 --> 00:47:01.565
What? Really?

00:47:01.940 --> 00:47:05.454
I think there\'s real high intensity
with a lot of breaks.

00:47:05.819 --> 00:47:09.996
[music]

00:47:10.187 --> 00:47:11.779
Not so fast buddy.

00:47:12.226 --> 00:47:15.041
[music]

00:47:15.209 --> 00:47:16.209
[?]

00:47:16.377 --> 00:47:23.377
[music]

00:48:32.530 --> 00:48:39.530
[music]

00:50:14.603 --> 00:50:21.603
[music]

00:50:36.659 --> 00:50:42.750
[clapping]

00:50:48.132 --> 00:50:49.132
[laughs]

00:50:49.300 --> 00:50:51.750
Otherwise you\'d sit on the stage with us.
[laughs]

00:50:51.949 --> 00:50:53.911
-Enjoy it.
-Okay. See you later. Bye.

00:50:56.695 --> 00:50:59.195
This was a more physical day
than I wanted to have,

00:50:59.363 --> 00:51:01.463
so I\'m worried about how my body holds up.

00:51:01.638 --> 00:51:05.390
The arms, the hands,
lot more than I wanted to put out,

00:51:06.049 --> 00:51:07.949
but I think we needed to so we did it.

00:51:08.117 --> 00:51:09.888
I guess
we haven\'t spent enough time together

00:51:10.056 --> 00:51:11.556
so we needed to spend the day.

00:51:12.132 --> 00:51:16.470
Doing such a big, incredible show
in Tokyo so quick

00:51:16.638 --> 00:51:18.877
was pressure on us.

00:51:19.163 --> 00:51:21.705
For me, Yo-Yo,

00:51:24.006 --> 00:51:25.456
if this show didn\'t work out,

00:51:26.369 --> 00:51:28.719
I\'m sure that Japanese audience
would have liked

00:51:28.887 --> 00:51:30.925
the last show he had put on,

00:51:31.093 --> 00:51:32.993
which was the night before [chuckles].

00:51:33.438 --> 00:51:35.988
For me, it was like,
\"What if they don\'t like it?\"

00:51:36.653 --> 00:51:41.935
Then I\'ve got such a personal stamp
with my input in the music,

00:51:42.103 --> 00:51:43.753
then they probably don\'t like me,

00:51:43.921 --> 00:51:45.575
and it was a lot of pressure.

00:51:45.743 --> 00:51:48.230
I was hoping that we would go over well.

00:51:48.450 --> 00:51:55.450
[music]

00:51:55.618 --> 00:52:02.096
-Mark, please forgive me if I royally--
-Came off.

00:52:04.128 --> 00:52:07.569
I will do my best.
I will try and focus and concentrate.

00:52:07.996 --> 00:52:11.304
I can\'t promise, but I\'ll do my best.

00:52:11.495 --> 00:52:12.895
I\'ll try to really listen

00:52:13.063 --> 00:52:17.015
-and be there for you guys.
-We\'ll just have a good time.

00:52:17.183 --> 00:52:18.183
Have a fun time.

00:52:19.090 --> 00:52:20.090
We\'ll just blast it.

00:52:20.258 --> 00:52:22.358
This is your last concert in Tokyo, right?

00:52:22.526 --> 00:52:23.876
Yes. I\'m never coming back.

00:52:24.044 --> 00:52:25.044
[laughter]

00:52:25.463 --> 00:52:30.063
I\'ve told them already.
This is the last concert I\'m ever playing.

00:52:30.231 --> 00:52:31.231
[laughter]

00:52:31.399 --> 00:52:35.315
[?]

00:52:36.045 --> 00:52:38.257
Exactly. You look like her.

00:52:38.425 --> 00:52:40.025
It\'ll be a little disappointing.

00:52:42.852 --> 00:52:49.852
[applause]
[music]

00:55:25.527 --> 00:55:32.527
[applause]

00:55:49.306 --> 00:55:56.306
[music]