Bernstein always knew how important it was to pass one’s knowledge on to younger generations. As a young man in Tanglewood in 1940, he made an unforgettable experience: a summer spent in an atmosphere of relaxed creativity with a charismatic teacher (Serge Koussevitzky) and a great orchestra (the Boston Symphony). Later, when he returned to Tanglewood as a teacher, he gave his best to the students of the Berkshire Music Center. And it is his experiences there which stimulated him to create something similar in Europe. The venue was the Schleswig-Holstein Music Festival. In 1987 120 young musicians from all over the world were invited to Salzau Palace to form the Festival Orchestra, which rehearsed and performed under the direction of Leonard Bernstein. At the same time, Bernstein worked with young conductors in master classes. From 1987 to 1989, Bernstein devoted himself with astonishing energy to his work with the festival students. And each summer, Unitel was there to document this for posterity. In 1989, his final summer in Salzau, Bernstein chose Berlioz’s vocal symphony Roméo et Juliette. Written in 1839, it illustrates a series of episodes from Shakespeare’s play and involves chorus, soloists and a large orchestra. Seeking new ways of capturing on film the unique combination of creative exchange and festival atmosphere, Unitel director Horant Hohlfeld turned to a new technique of underlaying the final concert with scenes from the rehearsals.
Chopin, Sonata No.2 in B flat minor, op.35
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Chopin, Prélude No.21 in B flat major, op.28
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Chopin, Polonaise in F sharp minor, op.44
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Prokofiev, Romeo and Juliet’s Adieu, No. 10 from “Romeo and Juliet” Suite, op. 75
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Beethoven, Sonata No.27 in E minor, op.90
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Beethoven, Sonata No. 32 in C minor, op.111
Ivo Pogorelich is perhaps the only great pianist who became an instant celebrity for the prize he didn’t win. It was in 1980, when he was eliminated in the third round of the Warsaw Chopin Competition. An argument ensued among the jurors, and Martha Argerich, a member of the jury, resigned in protest, claiming “Pogorelich is a genius!” The scandal provoked by Argerich’s reaction made him famous overnight. The eyes of the musical world were soon upon young Ivo Pogorelich, and they have yet to be disappointed. Ivo Pogorelich was born in Belgrade in 1958 and began playing the piano at the age of seven. After his classical training at the Moscow Conservatory, he took master classes from Aliza Kezeradze, who passed on to him the tradition of the Liszt-Siloti school. In an interview with the German weekly newspaper “Die Zeit”, Pogorelich once listed the four most important things he learned from Kezeradze: “First, technical perfection as something natural. Second, an insight into the development of the piano sound, as perfected by the pianist-composers of the late 19th and early 20th centuries, composers who understood the piano both as a human voice … and as an orchestra with which they could produce a variety of colors. Third, the need to learn how to use every aspect of our new instruments, which are richer in sound. Fourth, the importance of differentiation.” Pogorelich won the Casagrande Competition in 1978 and the first prize of the International Music Competition in Montreal in 1980. Since the Warsaw scandal, Pogorelich has been pursuing a brilliant international career. His debuts in London, Paris, New York, Madrid, Brussels, Amsterdam, Rome, Milan and Tel Aviv were triumphs. He has performed with practically all the major orchestras in the world, and his recitals are almost always sold out. Comparing him with Horowitz, the New York Times once wrote: “He was an entire orchestra.” His often controversial and always stunning interpretations confirm the originality of his talent and intellect. In 1986 and 1987, when Pogorelich was in his late 20s, Unitel recorded a series of six recitals with the artist in venues of particularly striking beauty. The fact that the young pianist chose several pieces that are not among the most spectacular or frequently performed of the piano repertoire already hints at the unique and uncompromising character of this young pianist.
Haydn, Transcription of the Violin Concerto in C major, Hob.VIIa:1 (2nd movement)
Mozart, Clarinet Concerto in A major, K. 622
Composed two months before Mozart’s death, the Clarinet Concerto K. 622 marks the beginning and climax of clarinet literature. It set standards, was never equaled, and became the undisputed landmark on which Weber, Strauss, Debussy and Busoni guided themselves. Mozart masterfully exploited the particular sound quality of the instrument and the various timbres of its registers to produce a work of ethereal beauty and lyrical elegance. The Vienna Philharmonic conducted by Leonard Bernstein lives up to its usual high standard in this interpretation of “its” Mozart. Incidentally, the soloist Peter Schmidl, who has been solo clarinetist of the Vienna Philharmonic since 1968, is the son and grandson of former solo clarinetists of this same orchestra!
Leonard Bernstein in Salzau 1987 – Part I: “…so that we get ahead…” The Birth of an Orchestra.
The music special “Leonard Bernstein in Salzau” offers a lively and fascinating inside look at the professional world of young conductors and orchestral musicians in three one-hour-long programs. It also portrays one of the greatest conductors of the 20th century, Leonard Bernstein, shown at work with young musicians, challenging them, but also encouraging and reassuring them. In Part One, we witness the arrival of 120 young musicians in Salzau, all of whom have been selected from over 1600 competitors in auditions. Under the guidance of experienced conductors and teachers, they work together in various groups which yield a homogeneous orchestral body in an amazingly short time. During this preparatory phase, the musicians were constantly observed by Unitel’s cameras and interviewed about their impressions and experiences.