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tv   Doc Film - Barenboim or the Power of Music  Deutsche Welle  November 18, 2017 8:15am-9:01am CET

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no way successful i wasn't born with a silver spoon in my mouth i had to find for success now came from. freedom of expression. a value that always has to be defended and new. all over the world. are to a freedom freedom of art. a multimedia project about artists and their right to express their views freely. d w dot com to freedom. every journey begins with the first step and every language of the first word political nico is in germany to learn german. business just why not and with no plan outcome it's simple online on euro mile and for
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a. new stuff. d w z learning course because weak german made easy. the music well the study of music requires an extremely high degree of humility if you are not humble enough you can forget it you can't say i'm the greatest i'll do
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what i want with it humility is really very very important. then when you go on stage you have to leave that humility in the dressing room. you can't go out on stage thinking i don't deserve this if that doesn't work as soon as i agree to do a concert i have to feel i'm worth it that people pay money to come and hear me. that is anything but humble. this is. march twenty seventeen it's one day before the opening of the pierre boulez the concert hall in the burned bomb site you'd academy. the tension is
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culpable among the musicians and the man without whom all this wouldn't be happening daniel barenboim. a last look down into the foyer. then he and the musicians head off to the dress rehearsal in a spectacular concert hall. architect frank gehry designed it for his friend daniel barenboim it took just three and a half years to build from the initial idea until the opening. every musician who's played there is fascinated. there is something really special about it. in part i think that it's an oval it's round. but because in every concert hall from the worst to the best there are two communities. one is the community that is playing on the stage.
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and then there's the audience community that is listening bill but here there is no stage we play on the floor and it's all one round. so that means that before we start to play we are already in one community that is not sentimentality it's something totally direct and every musician who comes out of the hole so to speak that's what it looks like in the whole end to the whole is struck by this sense of one community. and again one thank you audience feels it immediately in the opening concert no other concert hall seats the listeners so close to the musicians and the music. politicised is there. even when he's politically he's also private as
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a musician he's private and political he does everything passionately meticulously deliberately so it's not just the passion of the driven musician man politician but there's an incredible deliberation in everything he does a study and listening having ideas for me it's phenomenal how everything comes together with him. and finish us so i just buy him some income.
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for states is a hope is but you know eyeing a role because you always know where you stand with him or not this way you always know with him he doesn't hide anything and he doesn't hide what he's thinking he doesn't try to hide it so. this is an immense it's a personal friendship but also a musical one. i respect him that way too he's probably the greatest musician of our times so there's no doubt about it.
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this is what he is one hundred percent involved and concentrated on what he's doing at that moment when or what he's planning a need whether it's a schubert sonata or finishing a concert hall or the. fed thinking of course he has a lot of good people around him but he's the one who decides every day every hour. one. is by the spectrum forms and that it if it's a broad spectrum of his activities he's a pianist again he's a conductor he founded the divine orchestra. for me he's a huge already and a fantastic musician no need does he have such talent he's also
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a wonderful manager and he can push through his ideas he can convince people that. goes and talks to them and gets what he wants not everyone can do that and the things he wants are very important for us. both to suffer just as tell us they have everything. in one nine hundred ninety nine weimar was a european capital of culture and barenboim was asked to come up with an idea for the music program for a long time he and his friend edward saeed had thought about an orchestra with young israeli and arab musicians barenboim seize the opportunity and the west eastern divan orchestra was born. oh yeah yeah yeah so. you.
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value getting heavier and heavier and slowing the whole thing you must keep going months beat of. people called the west eastern divine orchestra an orchestra for peace that's not what it is. said that so many times an orchestra can't bring peace i what is peace justice for the palestinians and security for the israelis. an orchestra can't achieve that we know that was this focus. is. what the orchestra can show is that if a situation of equality is a deceived everyone can work together eat together laugh together and crying together laugh. well. the friendship between edward saeed the palestinian american intellectual and daniel barenboim the
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argentinian israeli musician was the starting point for the project that led to the west eastern divonne orchestra. one of the reasons for our friendship i mean he's an israeli and i'm a palestinian but daniel is one of the i mean as you all know he's a great musician i don't have to tell you this but one of the rare things about him is that he's a person who can understand and experience the suffering of others and is willing to. make the effort to do that it's very very hard to do especially if you feel as so many of us do vulnerable and defensive say well what about me what about myself i mean who is looking after me suffering is in my opinion the monopoly of no one but i think that experience would become would be incomplete without recognizing the trail. of hatred and hostility and sadness which
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a place like. next to via maher has produced. environment noisy ali ali the cultural environment are in ninety nine or of us the entire orchestra edward syeed and i went to the book involved concentration camps or with any group or form one to twenty i came out with my group of twenty twenty five people and there was a syrian girl who was very affected by it all. she said something incredible to me do you know what i've learned today there if we syrians or arabs in general had been here back then. we would also have ended up in the ovens that reaction movement is so much.
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two thousand and five two years after saeed's death of leukemia saw a legendary concert by the west eastern divan orchestra in ramallah in the israeli occupied west bank. the arab and israeli musicians had to enter the territory separately first the arab members arrived via jordan. saudi. then under tight security the israelis who entered via jerusalem. would. see the impossible is much easier. finally that evening they were all reunited on this stage an incredible moment for
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the orchestra and the audience.
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a whole thrilled to hear no it's why those who've is there. the hope that we had back in two thousand and five is gone it that concert with the west east and yvonne orchestra in two thousand and five would be impossible today in twenty seventeen vygotsky they wouldn't allow us to come they wouldn't invite has because for part of the palestinian population that would be an act of normalization it was but i have to explain that the everywhere in the world normalization is something positive right through your blood pressure is too high so you take medication which normalizes the blood pressure of a normal but normalization in the middle east means normalization of the status quo
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normal easy and then status quo. normalization of the situation where the israelis are the occupiers and the palestinians the occupied. when the. the political situation began to turn before that before adam a diet there was hope and there were many signs that things were going to improve when this happened the conservatory suspended their relationship with that and then made the s. movement while divestment and sanctions became began and they began to pressure people not to join the orchestra which was very very sad. daniel barenboim relationship with israel is complicated in two thousand and one he caused an uproar when at a concert by the berliner starts capella in jerusalem he conducted the live is told from a shot wagner's tristan und isolde as an encore. he consulted the audience beforehand
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and a majority was in favor of it. but many left the hall in protest. since then barenboim's ties to israel the country he loved have gotten worse. he's pained by the political developments there. this is fear and from the wound. like an open wound for him to see the country moving in this direction to see this occupation. to see this unbelievable deterioration of models there. which are getting worse and worse it went under he really can't stand it. he's been spat upon on the street and he's really hardest. on to. my mind is it sometimes even been dangerous but he has to have a bodyguard in israel because it's going to task.
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even by two thousand and four the distance from his one time home land had grown large as seen when he was awarded the wolf prize in the knesset in jerusalem. in his acceptance speech he cited the israeli declaration of independence contrasting its words with today's reality and he had an earth. moving that this is called the state of israel will dedicate itself to the development of this country to the benefit of all its people. it will be founded on the principles of liberty justice and peace as envisaged by the prophets of israel regardless of differences of faith race or sex it will guarantee all its inhabitants equal social and political rights.
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but. that is what bothers me the most is that so few israelis are able to see and say that the occupation might also be a reason for the violence coming from palestine. to give out the. theater like many people in israel think we have to occupy palestine because of the violence that. they can't get it into their heads that the occupation might also be the reason why the only one i don't want to sugarcoat the other side is not at all. of those this and that on both sides but israel has a bigger responsibility. israel is a state israel is a strong state. the others are
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a people and they are occupied and the whole world has been talking for seventy years or maybe a little less about a two state solution. why. where is that second state what does that mean two states i make a state accept palestine as a state and then they can negotiate as one state to another in about three months of he used to be so proud of israel this is the third me when i met him he was the first man i knew who came from israel. i did have a few friends from there but otherwise. and the way he talked about it and the way he explained it all to me and how the country created itself from nothing wonderful and then over the years one after another you could see how it went down like a rollercoaster. and most of all i think it's not so much the situations themselves
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as the people more the way more out has gone has declined. the freethinking or differently minded people are no longer respected. respected this is saturday is lack of respect and an exhaustion and passivity in political matters. i'm glad a country can't be a political leaders and that's why it's optional tina's he's returned to his roots here and really feels at home here. when osiris was always special in the way that its different cultures religions and nationalities lived peacefully side by side it made a deep impression on daniel barenboim.
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is how do you get busy no i lived here until i was nine years old and i have quite a few memories of it some of them very nice memories. funnily or maybe not so funnily not of school. but in the one nine hundred forty s. argentina had the third largest jewish community in the world in your mind and because of all that the synagogues here were the center of social life for young people. deal with children danced on a plate and that has stayed very clearly in my mind. and hope of. is keep. under
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law and. there is no other country where you can have several different identities as. you are argentinian first but not just with german or jewish or italian or whatever roots but really that. when there's a match should serve as a model for the whole world. there are three million muslims here in argentina all of them argentinians all argentineans no violence no one minds and this acceptance of other people is what i learnt here. three years ago daniel barenboim gave a series of concerts in the called on in when a sari's together with martha argerich the great argentinian pianist she has been
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his friend since they were children. audiences throng to the concert to welcome the two national heroes together on the stage. because. i've been. here. on the sidelines of the rehearsals all the artists have known each other for years the atmosphere is friendly and relaxed. and here were my months feel this is the stand and said here i've only just told my husband much better through seeing him here. since we've been coming here it's as if i know where his real mentality comes from he says it is from here and it's funny he was only here until he was nine years old and then he was gone but it's remained i think because his family continued to be arjun tines at home in israel and wherever he lived they coped georgian cine and
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they spoke spanish but he comes in they always dressed that way for the first time i understood why he was always dressed like that so elegantly. he always has the feeling that one must be properly dressed they're all like that here. it's here in venice have. a mr nest all the rules and it's place where we used to go you used to go every week i don't know if it was wednesday or thursday as a remember and play and there were
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a lot of foreign artists and local artists musicians you know going there and playing timber music he himself used to play mr nestor and he was a martyr and his wife would make wonderful after school because she was they were from the a nice thing originally there was a jewish family but from vienna and then did date wonderful. you know part is like that children and that's where we met. despite their tight schedule during the concerts in buenos aires three years ago the two musicians found the time to search for mr rosenthal's apartment. he's playing a few colombians down off the economy until his time on him h.c. you know he's using the new environment in a subtle no couldn't see moses much easier with time and mr cause i'm thinking i said who we are but they think we're i don't know what a pity. you know asked.
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them. to. get along with. barenboim doesn't seem to have gotten through so she gives it a try. on the stand you must. be so much. sicker than a hundred. i know she had some of that with daniel barenboim and martha argerich each good we met here when we were children in the home of sin your hosen time. no good in the part of the mental but i don't want. anyone here with a german television team all you on the second to the third floor business will know sinyard rosen time lived on the second floor. he believed. where. the shout.
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barenboim was born in buenos aires he was given piano lessons at the age of five first from his mother aida then from his father enrique barenboim. he was dutch where the piano was. by we both have the impression that this was really the apartment he was released about a flute it was a grand piano there and the apple strudel was here. nowadays people have records but back then great artists played together with amateurs.
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sinyard rozental was an amateur violinist he had a trio. and all the great musicians came to his house. bush see chad a bit dark and they were always guess that listening. my parents wanted to emigrate to israel. my grandparents were already in israel when i got an invitation from eagle markovitch to plant the book festival as a soloist in the final concert of the conductor's course. but we didn't have the means both my parents were piano teachers and couldn't afford to go to europe and then to israel. so we were able to collect some money which was very very kind and went to silence borg and then to vienna. i left argentina in late july
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you know oldest we were ins outs book september to november in vienna i played in vienna and in rome by christmas fifty two i was in israel. then use the argentine prodigy spirit invitations to perform at concerts abroad following the music world was taking notice of him. he medfield him for dangler who invited him to play with the berlin philharmonic but in barenboim refused he said it was too soon after the war for a jewish pianist to appear in germany. accepted that and wrote a glowing letter of reference. it was around that time that the young musicians started to conduct. the. i was very lucky in my life in many ways. one of them was that i always felt at
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home where i work and lived. in paris in london and obviously now in berlin. that is my final station but really my if you like emotional relationship is a human being is to argentina and to israel where i lived for ten years and went to school. after those ten years in israel barenboim moved to london. there he met his first wife the english cellist jacqueline du prey. the young and fabulously gifted couple caused a stir. tragically jacqueline du pre it was stricken with multiple sclerosis in the early one nine hundred seventy s. and died several years later at forty two. the
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. hot conducting helped me in terms of my piano playing to hear myself. when you conduct you develop the years to hear with. the ornish. barenboim began to devote more time to conducting in one thousand nine hundred eighty five he became music director of the orchestra to poverty he remained chief conductor there until one nine hundred eighty nine his older son david recalls unfun bless him at the beginning he worked in the building where we lived in paris a side clearly was the concert house and we had an apartment on the sixth floor. as opposed to the way that we just had to take the elevator downstairs so he wasn't away so much as after paris ended he was away more sometimes traveling constantly
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for one or two years. but my father always wants more he can't just do one thing he has to have four or five things going on at once most of that is. going to be done funk. and. in june two thousand and seventeen berlin was still temporarily housing the staatsoper during the renovations on it's building on today linton on the rehearsal schedule george the pearl fishers in a stage production by filmmaker of inventors. itself and so there's a. bit still money. on the. eyes of even then can. the woman run on for the amount
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of feeling. the burn and wolf owl the board of the staatskapelle a orchestra approach may. i was fascinated by the idea of working with such an institution so old with such a history of them and but i said i can't accept without conducting the orchestra at least once. at least a rehearsal so i can get a sense of whether i can get along with this orchestra or not i learned more importantly if it can get along with me so we had a rehearsal. what do you want to rehearse i said passive followers overture and they said but we have three hours and then i said pacify overture. and i came along. and there they were. and i started and it was
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a shock for me because i heard the sound i had grown up with. of less starts cut palenque up was like a beautiful piece of antique furniture and. the show and when. you could sense the quality like you see the would. be here and the good here was a chip and there's something broken there was definitely need for repair. you know men but basically the attitude towards the music and the sound was absolutely right. absolutely. and that was a shock to us. and shock. is a shock is that shock has grown into
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a great joy over more than twenty five years. and it's taken a lot of patience from both sides. but of course most of all from the side of the orchestra. is such. he has something special that not many conductors have. he can shine both in opera and in concert but he can do that many it's their kindness stupidity to get there are not so conductors who want to perform concerts and symphonies because they can't deal with the reset attempts and the transitions in opera but are outstanding in concert conductors and subtly get the. chain we don't have to take jelly duckett for example he never conducted opera maybe it was too much for him with the stage rehearsals the directors the singers who also have their special characters i don't know. there are many famous opera conductors who can't do so well in concert on
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the grounds of i have been doing it since i've been in concert and he saw but with him barenboim he can do both and fortunately the staatskapelle are can also do both . in the starts oprah's production of the pearl fishers italian tenor francesco to morrow and hungary and romanian baritone or and sing the roles of the two friends who become rivals for the same woman. and. i'll order the we don't know if this. is not an environment. nine that i don't know it's passed by side. by side that is that will get you commission under the no no. v.v. goes a little the lesson on must be not my bet you but that the right began so long from
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here. i am. was.
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then about a bonus as one of his own does mystically a benny hill barenboim is a person who can't be explained as pianist as he leads different lives to the pianist as the conductor as the general music director and the world personality. if you look at how it performed the entire schubert sonata cycle and its new concert all the. the how in course he had learned most of those piano sonatas until he was seventeen there as it says and if you see him doing those sonata as an addition to the program as a conductor here on this it's all really not explainable. he's someone who comes out strongly for these situation where as hell he wants this institution to move forward when finding and he always sees the whole picture through and thinks the whole thing through of the institutes on him and that is something very special that. i think that and it's not. this is it.
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it's here listen up if. on october third two thousand and seventeen the long awaited reopening of the start over was celebrated with schumann's scenes from get just faust and the audience celebrated daniel barenboim and this particular. was it is the business surely the very thought of music is the best school we've all experienced that we fall in love and we automatically lose all sense of
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discipline. because. for example you can't make music only with passion. and you can't make music only with reason. it is this coexistence sometimes tension filled minds of passion and discipline. that is the condit c.e.o. sidney kwan on the phone making music. on the jersey they print this wednesday.
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to celebrate the reopening the staatskapelle also gave an open air concert next to the opera house. beethoven's ninth symphony for all berliners. as he dined with the bias that's when for me said listen if there's a wonderful sentence from the great italian philosopher graeme sheen that is. the end of it if i can't quote the sentence exactly but the census is well a bit he said this in the late one nine hundred thirty s.
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but it's relevant to twenty seventeen ways that he says the old world is dying. the new world is not yet born know these data on that and in between come the monsters home and the a monster. that there is that of course he meant hitler. but now i don't want to compare but we have a similar variant mound that a. humvee it.
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