Tuning in…
Tuning in…
Castaway
2 appearances
A pianist renowned for her piano duo with Cyril Smith, continuing to play two-piano works with three hands after his stroke.
On the island
Eight records
Suite No. 2 for Two Pianos, Op. 17: II. Romance
Cyril Smith and Phyllis Sellick
I wouldn't normally choose a record where I'd played myself, but as I'm playing with Cyril, and this is one of our favourite works, I hope you'll forgive me if I've choose that one.
Piano Concerto No. 2 in B-flat major, Op. 83
Clifford Curzon with the Vienna Philharmonic Orchestra, conducted by Hans Knappertsbusch
It's a very favourite work of mine, and one that Cyril played most beautifully.
I also played it to Ravel in Paris, which was a wonderful thing to remember.
Serenade to MusicFavourite
BBC Symphony Orchestra, conducted by Sir Henry Wood
I was at Sir Henry Wood's Jubilee concert. and Rachmananov played his second concerto. And in the second half there was the first performance of the serenade music, and Rachmaninoff went to sit in the box, and he was so moved by this serenade music that he had to leave the box. And I find it very, very touching. Every time I hear it, I have a little little weep.
Rhapsody on a Theme of Paganini, Op. 43: Variation XVIII
Cyril Smith with the Philharmonia Orchestra, conducted by Sir Malcolm Sargent
This is the eighteenth variation from the rhapsody on the theme of Pekanini by Rach Maninoff, and it's Cyril playing it.
Solomon with the Royal Liverpool Philharmonic Orchestra, conducted by Sir Adrian Boult
It's Solomon playing this. I think in the same year he had a stroke and lost the use of his right hand. Now that was much more serious because his speech was affected.
Etude in D-sharp minor, Op. 8, No. 12
The next record is um an etude played by Horowitz, who was a most fabulous pianist. A lot of academics quibble about some of his playing, which can be outrageous. He certainly takes lots of liberties, but it's so exciting. You can hear the hear the passion, and sometimes, if you wait, there's a bit of magic.
I thought I'd better have something to make me laugh. So I've chosen Noel Card singing Mad Dogs and Englishmen.
In conversation
Presenter asks
2:23How did Sir Henry Wood finally persuade you and Cyril to play together?
Well, he decided it by asking us to play at the first night of the Proms when they moved to the Albert Hall. First time in the Albert Hall ever. Yes. Yes. And we played the Carnival of Animals by Sansauce.
Presenter asks
6:10What was the first you knew that Cyril wasn't right [during the tour of Russia]?
Well, the Russians always gave us flowers everywhere, at the concerts, at the airports, and so on and Cyril said to me, If they give me any more flowers, I shall drop them. So during this flight from Kiev to Kharkov he had this cerebral thrombosis which paralysed his left arm.
Presenter asks
7:25How did you manage to get home from Russia with a semi-paralysed husband?
It wasn't easy. An expensive business, I presume. Yes, well, we were told by our agent, Emmy Tillick, that somebody had put up the money... to escort us home. And she said, I'm not allowed to tell you who it is. The embassy doctor came home with us. We had to go by train. And of course we had no money. At least we had money, we didn't have currency. And so the Embassy doctor would give cigarettes for a bowl of soap for Cyril or something like that. It was really a nightmare. But it wasn't till after his death that Emmy told us that it had been Sir Adrian Bolt.
The keepsakes
The luxury
If it could [have] a bit of magic and be tuned into Radio Four, that's what I'd like.
Presenter asks
13:33How did Maurice Ravel react when you played his Jeux d'eau to him in Paris?
Well, I think he thought it was all right... No, he he was very nice about it. But did you play anything else of his? his pavanta and he didn't like that so much. He said he thought it was sentimental.
Presenter asks
22:09Whose idea was it to play with three hands?
It was Cyril's idea in Russia. He said, If we can't play with four hands, we'll play with three.
Presenter asks
23:57What was the catalyst that got you back on the platform together?
Cyril was out in the garden, and the phone rang, and it was the the Birmingham Symphony Orchestra, asking us to play at their Prongs, the Mozart Giupiano Concerto. So I went out in the garden and I said, They've just asked us to play at the Birmingham Prongs, the the Mozart he said, say yes.
“If you're playing with a string player, it doesn't have to be spot on, but it does when it's in two pianos.”
“I think you have to have a very close relationship with your partner. It's a kind of telepathy”
“Suddenly to play them with three hands instead of four, it meant all the notes had to be redistributed. And this was a Tremendous mental exercise.”
“And his last words to me were We'll start on that tomorrow morning. And it's a happy thought for me that, because it meant he was still looking forward.”
“absolute center of my life. I can't imagine. Not having music. It has helped me through all my troubles. It really has.”