BACK BY POPULAR DEMAND | Vincent van Gogh: A New Way of Seeing

Hello everyone, including new followers of EXHIBITION ON SCREEN in Korea, Japan, Azerbaijan and Uzbekistan….

I have just been to a screening of VINCENT VAN GOGH: A NEW WAY OF SEEING.  It was in a gorgeous cinema with fantastic sound. The screen was huge, there were 300 people attending, the seats were great, the audio perfect, even the coffee was tasty. How fortunate we are indeed that cinemas have become so wonderful and that, of course, the scheduling of films is so much more varied that EXHIBITION ON SCREEN is now being seen in 61 countries.   But not only art, there is wonderful theatre, opera and ballet too. This simply didn’t exist like this ten years ago.

VINCENT VAN GOGH: A NEW WAY OF SEEING was first released in 2016 and has become one of our most popular films.  We have had so many requests to repeat it that it is coming out afresh in just over one week (from 20th March).  It is one of two special encores in the current season. (The other is I,CLAUDE MONET – being re-released in May). As I watched it, I have to admit to feeling enormous pride. These films are of course a team effort but, above all, I wish to express my continued admiration for the film’s extraordinary director David Bickerstaff.  Maybe it is somewhat boastful to express this but it is a staggeringly good film.  I try to watch any and every art film made by anyone and anywhere and David’s film is as good as any I have seen.   To pull out just one detail: how on earth did he know that the actor (usually beardless) Jamie de Courcey would not only look so astoundingly like Van Gogh but also be such a brilliant actor. 

EOS Vincent van Gogh © Seventh Art Productions & Annelies van der Vegt

The starting point for this film was us being informed that the Van Gogh museum in Amsterdam was going to re-hang its entire collection.  That doesn’t happen often in any gallery and hadn’t happened at the VGM for many years. For us, it seemed an ideal moment to look afresh at the character of Vincent van Gogh.  There have been no shortage of books and films about “the world’s favourite artist” but, let’s be honest, they do frequently concentrate a little too much on the extremes of his character – and seem to leave one with a sense that they drank too much, visited too many brothels and so on. They offer up a troubled, almost lunatic mind that painted as he did almost by accident.  Well, I don’t believe any artist paints in any way at all by accident. We wanted our film to explore where this artist actually came from and how he learnt his craft.

Luckily for us, we were helped in this quest by a superlative ‘cast list’ from the Van Gogh museum itself.  How impressive are the Van Gogh curators!  And bear in mind they are almost all speaking a second language. We always love to tap into extensive knowledge but when it is allied with real enthusiasm and articulacy you can’t go wrong.

EOS Vincent van Gogh © Seventh Art Productions & Annelies van der Vegt

As I sat in my comfy cinema chair I admit to being proud of many other aspects too: I thought the score by our long-term collaborator Asa Bennett was 100% spot on – and getting the emotional tone of a musical score just right is very hard. I thought the cinematography was superb, the editing faultless, the post-production work (by Storm in London) really great. I also knew about all the behind-the-scenes efforts – clearing the rights to use paintings, finding the sets and costumes, making sure every single caption was correct, researching and researching again the life story, overseeing the finances, so on and so forth. I know it’s wrong to boast but we always set out to make films that have long term, legacy value – and in the crowded arena of Van Gogh films I think we did just that.  You’ll have to decide for yourself but, for my part, now that we have made 19 EOS films, I have a sneaking suspicion that perhaps this is the best one so far.  

One final thought: We will be announcing the lineup for our next season of EOS very soon - keep updated with our newsletter and social media for the big reveal.  I already look forward to sitting in a cinema somewhere and enjoying it with you, my fellow art-lovers. 

#EOSSeasonSix #ComingSoon

12th May 2014

One of those days that seems a long way in the future – and then it arrives…   

Today I had the pleasure of hearing the letters of Matisse read by one of the acting world’s greats, Simon Russell Beale.  What a honour to meet him and hear him bring the words of Henri to life.  Simon even had a Matisse-style beard – obviously he had fully immersed himself into today’s role….  (Or was it for the King Lear that he’s filling in his spare time with??).   We had a good ol’ chat about classical music too. Hopefully all you folks saw his Sacred Music series about 5 or 6 years ago.  I’ll need to cook something up for Simon and I to do in the future…  After Simon had finished, I moved on to the narrative of the Matisse film. For this important role, we’d chosen Rupert Young.  My younger viewers will know him from Merlin. He is, as my daughter explains, the knight that never dies.  Very nice guy and I liked his approach to the reading – nothing pompopus or arty – just good strong storytelling. That’s exactly what we’re trying to do….  I love the so-called business-end of production – it feels like every decision is a creative one.   All a bit scary now…only 3 weeks till air-date.   At least tickets are selling well. Click here to find a screening near you.

15 April 2013

Two marathons completed in a few days!….The first was Manet. After around 15 months of work, the film was shown in cinemas around the world on Thursday 11^th April.  30 countries, 1000 screens. Fantastic.  The reviews have been supportive and included full pages in the Times, Wall Street Journal, New York Times, Toronto Star, and more.   One or two sniffed that it’s better to go to the exhibition to which I reply: OF COURSE!  We encourage everyone to go to the gallery or any gallery in fact.  But 99.9% of the world’s population couldn’t get to the Royal Academy. It’s a strangely arrogant criticism really, especially from a London-based critic or blogger.  I was at a screening in Brighton and the audience loved the film – and some expressed that they simply could not, for reasons of time, cost and mobility, get to the show.  We don’t yet know the worldwide attendance or reaction but it will take time to build the ‘brand’ and we’re already deep into the next two films – on Munch and Vermeer.  The first of these marathons is over though and we just have to shower ourselves down and crack on with the next.    Actually I took that very literally on Sunday (three days after the Manet screening) when I completed my first ever marathon. I’d trained quite well up until February but March was much less consistent with so much travel and work. Overall, I’d done a lot of 5-10 mile runs but I'd only run 17 miles and 20 miles once each before so this was entering the world of the unknown... It took me Friday and Saturday to prepare my stuff – gels, music, right running gear, etc.  I had to ‘load up on carbs’ which just meant stuffing my face (easily done!) and by 9am on Sunday morning, I was one of 9000+ runners in Brighton’s Preston Park. I wasn’t afraid of the distance but you never know how your body is going to feel.  Anyway, at the gun, it was so packed everything was very slow and crowded but after two or three miles, I got into a nice rhythm. The sun didn’t exactly shine (and the wind certainly blew) but it was lovely running in my lovely city.  I kept to a noticeably slower pace than I run half-marathons and found it OK, indeed fun, for the first 18 miles but then it started to get harder.  With me, it was my calves (which I’d hurt two weeks previously running without a warm-up or proper sleep & nutrition).  From 18 to 22 miles, I could feel they were getting tired. By 22 miles, I was having to grit my teeth and keep my head down. People were cramping up all around me and stopping and I just didn’t want that to happen to me. Luckily I managed to keep running and just beat my target of cracking 4 hours by doing it in 3 hours 58'. It was - as everyone had told me - super fun with all the crowds of Brighton out on the streets, kids handing out jellybabies alongside musical bands and groups of drummers, etc. For me the most genuinely moving thing was the messages of support from friends and acquaintances - as well as the super donations we've had for Mir’s teacher (we're a third of the way towards our target at justgiving/PhilGrabsky).

I genuinely felt I was running for and with friends.  I had to sprint to the finish line to ensure I beat 4 hours and did feel a bit teary as I crossed it.  Physically, I felt pretty good after the race but then jumped in a car to dash to Wembley to see the FA Cup semi-final. I don’t think 90 minutes in a car is recommended as a post-run recovery. We arrived at the stadium 4 minutes before kick-off and despite my son's protestations I thought we should jog to our seat...doh! Running up the many steps, I hurt my knee!  The game though was wonderful and I spent the next 90 minutes jumping up and down and dancing quite a few jigs….  What a special day that was.  And, as you can imagine, today I’m paying for it.  Ouch.  But two ‘marathons’ in a week – thank you to everyone who has helped. If I can do it, you can! 

 

29 MARCH 2013

Well, that was a blur…San Francisco, Reno, Sydney, Melbourne, Tokyo and now en route to France for a few days off.  It’s been busy but all has gone well. The screening just north of San Fran was busy and thus the Box Office will help recoup some of the costs of the trip. Reno was a blast – I thoroughly recommend it. Give the casinos a miss though – I checked the one out in the basement of my hotel and it was truly awful. The noise, madam, the noise.   Really delightful people in Reno and truly interested in the Mozart & Beethoven films we screened.  I even managed a few holes of golf and I have to say the can of Boddingtons on their signature 15^th hole (where you have to drive 230 yards down onto an island in a lake) was a moment of sheer bliss.  Sydney and Melbourne were great: I really do love Australia. The galleries I visited were welcoming and keen to progress with EXHIBITION. No offence to my friends in America but The sun shone and people all looked so fit… what a difference. Then an overnight flight to the crazy world of Tokyo, a long bus ride, another airport (and its hotel), then 90’ in a taxi to cover twenty miles. It’s an absolute warren of cement highways – quite extraordinary. Good, productive meetings all day and rounded off with a dinner of delicious sushi. Interviews with UK, Canadian and American press – don’t ask what time zone I’m in – I have no idea….

Wednesday 13th of March

Hello everyone. Greetings from 35,000 feet above Kansas, USA.  I’m on my way from Washington DC to Santa Fe for a few screenings of various films. My main pre-occupation right now is that I am absolutely starving and I’m in the last row – I may expire before the stone-age trolley reaches me.  I knew I should have bought a snack in the airport but I always have this problem that there are so many food outlets that I can’t bear to enter any of them. Silly really. I’m only two days in to this latest mini-tour and one does have to remember to look after oneself.  My last few hours have been pretty typical: rushing around New York to meetings and press interviews, then a dash to Brooklyn followed by another dash to Long Island for a screening (sold out which was great). Then – and this is frankly a bit unusual – a 3am train from NYC to Washington DC. Pretty comfortable actually if you don’t mind body-swerving the dazed and confused in Penn Station. A 7am arrival at Washington’s magnificent Union Station is a great start to any day – a glorious sunrise over the Capitol.  A 8.30 breakfast meeting at the NationalGallery of Art was interesting, fun and productive and then the long & expensive taxi ride to Dulles ($65!) to the inevitable ‘sorry, sir, your plane is delayed. We can reroute you through Denver instead of Dallas and it will only add three hours to your journey….’ . Fast-forward to hunger pains in Seat 37F.

Extraordinary country outside: one minute I’m looking down snowy plains, and then the next it’s sunny farmland  People who think the USA is just NY or LA really have no idea what they are missing: it’s not surprising there are ‘weather events’ every day in the USA.  Indeed the day I arrived in NY there was an almighty downpour and immediate minor flooding.  Still, it was better than the chaos I’d left behind. One inch of snow had caused the most almighty disruption in southern England. One friend spent almost 12 hours getting home a couple of dozen miles in his car. Total madness.  I had to catch a late train to London and stay in a hotel at the airport or I’d have never caught the plane.  And watch out for the Hilton that claims to be Terminal 5 – it’s a twenty minute bus rise away which you have to pay for!  Anyways…you don’t want to read about my moans. I would hope you were a bit more interested in our super-duper projects.  So….the big news is that EXHIBITION: GREAT ART ON SCREEN has launched and launched well. It has been an extraordinary effort over the past six months necessitating the dodging of all sorts of slings and arrows with only a few flesh wounds…  On the one hand has been the need to make a great film about the Manet exhibition from the Royal Academy.  In all the contractual haggling and publicity seeking, one must never lose sight of the fact that ‘the film’s the thing’.  The film is what you have to sit in an audience with in ten years time and still feel proud. The film is what needs to be the best film of its type ever made about Manet. We have certainly given it all we’ve got – a long, complicated, expensive edit has followed the shoot in January but I am delighted with how it has turned up.  Many, many lessons were learnt from LEONARDO LIVE. Some stuff I didn’t like because of the ‘live’ nature of the show and some I just felt we could have done better had there been less interference from TV-types who think, wrongly, that our audience has the attention span of a hyperactive child.  This time we have held shots of the paintings much longer, edited interviews to get the best material, made longer & better biographical film inserts, kept the speed of presentation down, etc.  We actually had a press review yesterday where the journalist wrote the film is actually better than going to the exhibition. I don’t want to promote that idea because I want people to go to the galleries and see these wonderful paintings face-to-face but I certainly believe we have made the next best thing.  And of course for those folk in Santa Fe that I am about to see tonight, 99.9% of them would have no liklihood of getting to see the exhibition so this is certainly bringing them into a gallery they would never ordinarily visit.   That leads on to the other area that has been gulping up my time – press & publicity.   We’ve had the idea and we’ve made the film.   All well and good but it might still play in empty cinemas.  That, for us, would be terrible.  (We still haven’t found a sponsor if anyone out there works for a big organisation and would like to help!!)  Thus we worked hard on the press launch recently - which did go very well indeed.  Plus getting the posters out there, the flyers, the social media, and all that.  We had nice pieces in the UK’s Daily Mail and Telegraph and an AssociatedPress report popped up in papers around the world. The Toronto Star and Wall Street Journal have done reports and word is spreading. Ticket sales in the UK are steady and we’ve still 4 weeks to go…..but until I see sold-out cinemas, I remain a ball of nerves.     Every morning and night in my hotels on this trip I find myself checking sales, answering enquiries, and firing off emails…endless, endless emails.

Of course I need to get to my hotel first….and here we are (LATER THAT DAY) …so, back to the joy of American internal flights.  OK, I’ve written before about the lottery of actually getting where you want to go and on time. Today was special: I arrive at Denver airport (half way on my trip) and turn up at the Great Lakes desk to get my boarding pass for the onward Denver to Santa Fe flight only to be told ‘there’s a small problem but we’ll sort it right out’.  American Airlines had issued me a revised ticket ok, all the way through to Santa Fe but hadn’t correctly confirmed to Great Lakes that they would be paying. So my seat is on the screen, I have a ticket in my hand but Great Lakes won’t issue a boarding pass until they receive confirmation from American. ‘No problem, Sir, take a seat and we’ll sort it right out’. Jump forward three hours and the gate is shut, the plane is ready to leave (the last of the day) and I still have no boarding pass. I won’t bore you with my efforts and arguments but suffice to say that in the end there were 5 Great Lakes staff all battling computer codes to issue me a ticket that I was forced to pay $438 for!  Chaotic, and sadly rather typical….  American airlines these days (for sound economic reasons) increasingly use their hubs – and flights get routed between them even if that means flying in the wroing direction for hours.  Worse though is that tickets are issued which involve making connections that are virtually impossible, especially if you care about your luggage or you’re not an Olympic sprinter.  Where possible, drive or take a train.  Where not possible, study the flight schedules very, very carefully.  It’s worth it.    But anyway, here I am for the first time in Santa Fe and has been worth every minute of today’s stress. It is stunningly beautiful and the cinema is packed with people who have come to watch a double-feature of In Search of Mozart and In Search of Beethoven.  And those are two films I am always happy to watch with a few hundred new friends….

 Image from www.thescreensf.com

Monday 28th January

Sorry it has been a few weeks since the last blog post but it has been extremely busy chez Seventh Art Productions/PhilGrabskyFilms.com

Last night at midnight we finished filming the Manet Exhibition at the super Royal Academy of Arts in London. Editing is proceeding frantically and as you can see from the attached press release, we’ll be in UK (indeed worldwide) cinemas on the 11th April. It has been a Herculean task but last night I stood all alone staring at Manet’s The Railway and felt doubly sure that this is the right thing to do: to bring these works and these exhibitions to people around the world – we know we’ll be seen in France, Chile, New Zealand, USA, Canada and many, many more. There is no way that 99% of those people – you – could get to the exhibition so this is the next best thing. And to have Munch from Norway and then Vermeer from the National Gallery London on the way too – plus others lining up. Wonderful. And very scary financially but hey, no pain, no gain.

The filming has been pretty intense; an awful lot to get through in terms of filming the paintings and filming tracking shots. Also of course there were many pieces-to-camera with Tim (our presenter) and various expert guests. What is not in doubt is that the film is full of interest for anyone interested in Manet, art, exhibitions and Paris in the 19th century. The exhibition had its official opening on Tuesday and we launched the brand EXHIBITION at the same time. Remarkably the RA attracted 500+ journalists and at least half of them took our press release from the press desk. From the response we’ve had subsequently, the press are interested and covering us. Lots of long days keeping on top of it all but it’s been terrible snowy weather so might as well work! When the golf courses re-open, well that will be a different story!

PRESS RELEASE BELOW:

 

 

Coming Soon:

The world’s greatest art exhibitions at a cinema near you

 

Unless it is a blockbuster on the scale of last year’s Leonardo da Vinci: Painter at the Court of Milan exhibition at the National Gallery, London art exhibitions are, predominantly, seen by those who live locally. That was, until now.

Award-winning arts documentary maker, Phil Grabsky, has launched a ground-breaking project to connect major exhibitions from across the world with over 200,000 people in cinemas spread across some 30 countries. This global first aims to allow art lovers, old and new, to enjoy, marvel and delight at the works of some of history’s greatest ever painters.

Grabsky’s eponymous PhilGrabskyfilms.com, in association with Seventh Art Productions and BY Experience, has created a series of ground-breaking art events for cinema: EXHIBITION.

Featuring forthcoming major exhibitions of works from artists such as Manet, Munch and Vermeer, each film will capture and explore these important shows and bring a wealth of masterpieces to audiences via high-tech digital cinema technology. The films won’t just cover the exhibitions’ paintings: important questions will also be addressed. What lies behind the exhibition creatively and technically? What does this particular collection of paintings and objects reveal about the artist, or the particular historical period? What do we learn about the presenting institution? Answering them, and many more besides, will be world-renowned art historian and broadcaster, Tim Mar low. Acting as the presenter and guide through each exhibition, Tim is the ideal expert to explain these extraordinary exhibitions and deliver first-rate biographies of the artists. The films combine his in-depth knowledge of each subject with sensitively shot material about the artist and period and are filmed both at the exhibitions and on location.

Grabsky says “I have been driven by the desire to share the thrill of great exhibitions with everyone from Kansas City to Adelaide, Osaka to Naples, and Glasgow to Cape Town. To be launching with three stunning shows from three top-notch venues is an absolute thrill. If you can't get to the RA you have to see the film. And if you are lucky enough to get a ticket to the RA, then you'll want to see the film even more!”

Echoing Grabsky’s comments, Tim Marlow adds “I think that standing face to face with some of the greatest works of art ever made is one of the most powerful experiences in life. ‘Exhibition' gives us the opportunity to convey something of this power in a cinematic format which brings the viewer as close to the real thing as possible. Sometimes, the camera reveals even more than the naked eye ...”

Charles Saumarez Smith, Secretary and Chief Executive of the Royal Academy of Arts, said, “We are very excited to be working with Phil Grabsky and Tim Marlow to produce the film Manet: Portraying Life at the Royal Academy of Arts. The RA’s exhibition will be the first major show of Manet’s portraits, bringing together works from international collections and private lenders to UK audiences for the first time. With thanks to Seventh Art Productions and BY Experience, the film will be screened in cinemas in over 30 countries and in over 5 languages, giving audiences worldwide the chance to see this remarkable exhibition.”

EXHIBITION launches with a trio of films for spring, summer and autumn 2013:

MANET - from the Royal Academy of Arts, London, MUNCH - from the National Museum & Munch museum, Oslo and VERMEER - from the National Gallery, London.

And this is just the beginning. EXHIBITION is already in pre production for major exhibitions in 2014.

All information will be available on participating cinemas worldwide at the official website, www.ExhibitionOnScreen.com

Edouard Manet, The Railway, 1873
National Gallery of Art Washington 

EXHIBITION: Manet: Portraying Life

Manet: Portraying Life will be presented on cinema screens around the world on Thursday 11 April 2013.

This eagerly awaited exhibition at the Royal Academy of Arts will be the first ever retrospective devoted to the portraiture of Edouard Manet. Spanning this enigmatic and, at times, controversial artist’s entire career Manet: Portraying Life will bring together works from across Europe, Asia and the USA.

Manet’s portraiture has never been explored in exhibition form, despite it forming around half of his artistic output. He painted his family, friends and the literary, political and artistic figures of the day, giving life not only to his subjects but also to Parisian society. The exhibition consists of more than 50 works; including portraits of his most frequent sitter, his wife Suzanne Leenhoff, luminaries of the period; Antonin Proust, Émile Zola and Stéphane Mallarmé, along with scenes from everyday life revealing Manet’s forward-thinking, modern approach to portraiture. More at www.royalacademy.org.uk  

The film also reveals exclusive behind-the-scenes moments of the exhibition’s preparation, which normally go unseen by the public, and interweaves a detailed, superbly crafted biography of Manet and 19th century Paris. Host Tim Marlow and special guests will look at the craft of one of the all-time great artists.

Manet: Portraying Life at the Royal Academy of Arts is sponsored by BNY Mellon, Partner of the Royal Academy

EXHIBITION: Munch 150



Edvard Munch, The Scream, 1893
(c) National Museum, Oslo, Norway 2013

 Thursday 27 June 2013. In 2013, Norway will celebrate the 150th anniversary of the birth of Edvard Munch (1863–1944), a towering figure in modern art. Already hailed as a “once-in-a-lifetime show” global interest is understandably huge, especially after one of his four The Scream paintings recently sold for a record $120 million.

Munch 150 will be co-hosted by Norway’s National Museum and Munch Museum, both in Oslo. This exhibition marks the most ambitious presentation of his art ever. With 220 paintings on show, it brings together the greatest number of Munch’s key works in one place. More at www.nasjonalmuseet.no/en and www.munch.museum.no

The corresponding film will go behind-the-scenes to show some of the process of putting the exhibition together – as well as touring Norway to provide an in-depth biography of a man who lived from the mid 19th century right through to the German occupation during the Second World War. Norwegian and international experts will offer their insights and knowledge to host Tim Marlow.

EXHIBITION: Vermeer and Music: The Art of Love and Leisure

Johannes Vermeer,
A Young Woman Standing at a Virginal, c.1670
National Gallery, London

Thursday 10 October 2013. The National Gallery, London, is offering a major retrospective on one of the most startling and fascinating artists of all – Johannes Vermeer, painter of the famous Girl with a Pearl Earring. The National Gallery has chosen to focus on Vermeer’s relationship with music. It was one of the most popular themes of Dutch painting and revealed an enormous amount about the sitter and the society they lived in. New research, revealed for the first time at this exhibition, shows how his technique and materials affected his works. More at www.nationalgallery.org.uk  

Tim Marlow goes beyond the exhibition to tell the entire story of Vermeer’s life – and, in doing so, shows in fabulous HD detail, many other of the artist’s captivating works. For those inspired by the 2003 film, Girl with a Pearl Earring, starring Colin Firth and Scarlett Johansson, this new, cinematic exploration will take their enjoyment and fascination of Vermeer’s life and work to a new level.



Tuesday 24th July - France

There simply are not enough hours in the day. Who decided to only have 24?! (Actually wasn't it the ancient Egyptians who divided the day into 12 hours day and 12 hours night on the basis of how long a soldier can stand watch? Hmm, I wonder). 


Anyway, I, for one, simply can't get everything done in a day - especially when the Spanish are playing the beautiful game in the Euros, Bradley Wiggens is becoming an absolute hero and poor old Alan Scott crumbles on the last four holes of the Open. To make matters worse, my wife gave me the DVD set of Homeland - which is not-put-downable.... (trailer for series 1 below) 

Somewhere, outside of the wee hours of the night, I've been reading about the Papacy in the 15th century, the life of Chopin and the history of the piano.... And, just for fun, the terrible, awful history of the Battle of the Atlantic in World War Two. Some, not all, of the above is for work and that remains the same as ever. Choose subjects you are interested in and then just crack on.


The world of broadcasting becomes harder and harder. Deals are broken, invoices unpaid. One European broadcaster has yet to pay us for THE BOY MIR two years after delivery. It's not a lot of money but it's the principle - or lack of - that irks me. But what to do? It's a game of three-dimensional chess and from time to time you have to sacrifice a pawn to stay in the game. But it's a tough world now - it's not about public service any more, it's about commerce. Look at SKY: one moment on top of the world, the next BT come along and almost steal the rights to premier league football. BT apparently had a purse of £2billion to bid for those games. They didn't get what they wanted but they got some and the price per game has, I believe, risen from a staggering £4m/game to over £6m/game. Yep, you read that right! £6 million quid. Per game.  Of football.   Now, as a Man City fan, I know and love football and know all about the impact of money but £6m/game is way off the scale.  Along comes little ol' me talking public service and culture and asking for £50,000 a show or whatever and you can see why I have battles....  As I said, three-dimensional chess.


On the other hand, when and if we can bring more EXHIBITION shows to the cinema, or IN SEARCH OF CHOPIN or PIANO NOTES - THE UTTERLY PARTIAL HISTORY OF THE PIANO WITH RONALD BRAUTIGAM we'll have done something really worthwhile. It's not in the same league as winning the Tour or a Major in golf but, to us, crossing the finish line is always a victory.