CHEERING AND APPLAUSE
ERHU SQUEALS LIKE A WHINNYING HORSE
CHEERING AND APPLAUSE
APPLAUSE
APPLAUSE CONTINUES
APPLAUSE
Tops. That was a nice one. That was a better one.
This is Suher Pekinel.
And there, a piano's length away, is Guher.
Physically, they are uncannily alike.
Pianistically, you certainly can't distinguish them
at a single hearing.
Their appeal springs from that uncanny rapport
which belongs to identical twins.
But how does it work in practice?
You know, when you look to each other,
the eye takes away a lot of concentration.
And when we play like this, we don't have the eye contact,
so the concentration is even more on the ear
and I know how she will react and I feel it.
It's only a feeling. I can't say anything more about it.
So now, from Nashville, we welcome Bela Fleck and Abigail Washburn.
CHEERING AND APPLAUSE
THEY SING IN GERMAN
CHEERING AND APPLAUSE
Well, the next item Marisa Robles and I have played many time.
It's a piece Mozart wrote - in spite of him hating the flute.
He wrote it for a father and his daughter
but, although you notice my grey hair,
Marisa is not my daughter - she only looks like my daughter.
We're going to play for you the last movement
of Mozart's Concerto For Flute And Harp in C major.
APPLAUSE
CHEERING AND APPLAUSE
Would you mind if I get a little...?
LAUGHTER
Half of this is mine and half of this is...
LAUGHTER
You're not playing with your uncle here. I mean, this is...
OK.
LAUGHTER
LAUGHTER AND APPLAUSE
LAUGHTER
Leave me alone!
LAUGHTER AND APPLAUSE
My first solo guest tonight has been acclaimed
as the leading British baritone singing in opera today.
He is, of course, Thomas Allen,
who's going to join me now in a duet from Mozart's Magic Flute.
CHEERING AND APPLAUSE
APPLAUSE