These stories begin with the Zurich company still in residence, but near the end of the regime. Mr. Balanchine had returned to NYC, and we were rehearsing for our American tour to Washington D.C. Rudolph Nureyev had choreographed a ballet called "MANFRED" to the Tchaikovsky Manfred Symphony, roughly the story of Byron. He was dancing the lead role, of course. This was a huge ballet and used everyone in the company. I was playing the piano from the orchestral score, not so easy, but I managed. Sometimes Rudi tended to over-choreograph the music....and once I told him that! He took it well, and just said he agreed with me. At times he got so caught up in the steps that he would forget to listen to the music....(at least, that was my analysis.) It was exciting and stimulating for the dancers to be in class with Rudi (not to mention rehearsals)...he was always very entertaining! I shall never forget that he always wore a woolen cap in class....he believed that was a deterrent against illness....to keep one's head warm! (I remembered this in later years...to always keep my head warm, and gloves on my hands outdoors.)
There were several other ballets being presented in Washington as well....one was a Dohnanyi Piano Concerto called "VARIATIONS ON A NURSERY RHYME" (on the theme of "Twinkle Twinkle Little Star"). That may sound simple, but the piece develops into a huge tour de force after a thunderous orchestral introduction followed by the 'Twinkle Twinkle' Theme played on the piano. The choreographer, (whose name escapes me at this moment) was Hungarian. Our Dutch conductor, Andre Presser, was going to be on the podium, for which I was grateful.
The night before we left on this trip (in Zurich) I had the most vivid dream.....in which Mr. B. died! I was so upset in the dream, and when I awoke, was crying. I told Chrissy (my roommate) about it, and she became very disturbed as well. However, we got ourselves ready and departed for the bus at the Opernhaus which was to transport us to the airport. Once there, I began to feel a bit better and tried not to think about that dream. I purchased a coffee and a magazine (still no cellphones) and sat down in the Swissair Terminal waiting area. The flight was very pleasant, (no bumps or sudden drops) and I became calm. We landed at JFK, where we were to be transported onto a bus for Washington D.C. However, upon deplaning, Chrissy and I saw the company's agent (Francis Francis) who rushed up to us...."Mr. B. is gone," he said....and I just gasped! The dream was accurate (this has happened many times to me....so now I no longer question them). Pat was sobbing, as was Chrissy, and I was in shock! How could this happen? As the reality of this horrible news set in, my mind was reeling. We still had to go to Washington and perform...(even though there was to be a candlelight ceremony at the State Theater for him, we would NOT be able to attend.
While on the bus many scenes of Mr. B drifted through my head....I was having trouble wrapping my mind around this horrible happening! So many people would be affected by this....the NYCB, the dancers, musicians and personnel in that organization....not to mention the ENTIRE BALLET WORLD!! I felt like I was living in a nightmare....one from which I would not awaken. I also thought it was too soon for Mr. B to be leaving all of us. And this made me unutterably sad. The entire thing was so surreal...I just could not accept it.
It seemed overwhelming to have to perform just now after what had happened. BUT, the show must go on! There wasn't a way out of that one! Not if you are a performer. It is a code I have lived by all my life
as well as my friends who are performers. Most people cannot even begin to understand this. I have performed with bronchitis and a 104 degree fever...and while playing, am NOT sick at all. Then afterwards, the illness returns. Very odd!
We arrived in Washington many hours later, and after checking into our hotel (can't recall if it was the HOLIDAY INN or the WATERGATE), went to eat dinner. Then I went to bed immediately, as I had an early morning orchestra rehearsal for the Dohnanyi piece. I was so tired from the traveling, jet lag, and grief, that there was no problem falling asleep.
I awoke the next morning with a heavy heart....as I recalled immediately what had transpired. My actions felt wooden....like sleepwalking! But I forced myself to attention, ate breakfast, and walked to the Kennedy Center Opera House. It helped to clear the cobwebs from my brain. Once there I began to practice the piano on which I would be performing in the pit. The orchestra had not yet arrived, but Andre (conductor) was present. He was in total disbelief, but both of us knew how to keep our feelings to ourselves. Others in the orchestra would not be able to identify with the level of grief we were experiencing. So when everyone was present, Andre made a short announcement about Mr. Balanchine, and then we began the rehearsal. I was able to concentrate fully on playing, for which I was grateful. After the orchestral rehearsal, I went upstairs to the ballet studio, to play for the first dance rehearsal. (Someone else had played class that day as I was busy with the orchestra. Thank goodness for small favors! I believe that a completely different pianist had been recruited from a school in Washington to play ALL classes, so I didn't have that particular duty.
Rudi walked into the studio and immediately came over to me and Christine to express his heartfelt sympathies. (He knew both of us quite well). I could see that he was very upset by the dreadful news....he was very fond of Mr. B and respected him so much. Our first rehearsal was MANFRED with Rudi. He was very low-key for the entire time....everyone was. The dancers were doing their very best, but no one felt much like dancing and I didn't feel like playing. But so what? You didn't get to just stop....not in this profession! The next rehearsal was the Dohnanyi piece, which went quite well actually. Pat was as quiet as I had ever seen her. She was struggling to keep herself together, as we all were.
After the rehearsal, I recall that Chrissy, Elise and I went out for lunch, and then returned to the hotel for a short nap. The first performance was that evening (not much time to recover from the overseas trip!) This was par for the course, due to financial considerations. Sponsors never wanted to pay more than was absolutely necessary! I still felt as though I were walking underwater, and prayed that feeling would disappear. I needed my wits about me to perform that Dohnanyi piece (very difficult for the piano soloist). I did manage to sleep for a short while, then got up to shower, dress and return to the theater. (When people ask me what ELSE I do on these tours, I just laugh. I see the theater, the piano, the hotel and a restaurant or two, and that is it!! No time for much unless we have a day off, which is rare! And often I sleep that day, order room service and watch TV! One day I would like to re-visit some of the cities in which I have performed, and be a real tourist!) Anyway I had a chance to warm up again on the Steinway, and then relax as much as possible in the orchestral lounge. My number was first on the program, for which I was thankful. Half-hour was called....(the first alert for the performance), and then 15 minutes was the next alert. At that point I re-entered the pit and sat down at the piano. I always feel better sitting AT the piano than anywhere else. One by one the orchestra members entered the pit, and finally the 5-minute warning bell was sounded. The players all tuned to the piano "A"....then Andre walked into the pit...the orchestra stood, he bowed, then gestured to me...and I bowed (as the soloist) and the audience applauded all of us. (Here I must say that this pit was visible from the audience....many are not.)
THEN...Pat walked on stage with a glass and a bottle of vodka!! (I had no idea she was going to make an appearance). She made a short speech of welcome, and then announced that GEORGE BALANCHINE, our beloved Artistic Director had passed, and she wanted to dedicate the evening's performance to him! At this point, reality set in (for me). And I burst into tears at the piano....(in full view of the audience.) I tried to get myself under control, but was having trouble. Andre looked at me and mouthed the words: "Are you OK?" I nodded and gestured for him to proceed. I dimly realized that the audience could see me sobbing! But I knew that the bombastic orchestral introduction was quite long...at least a minute...and I would be able to control my sobs by the end of it. I had to, that was all. And that is what happened. Somehow I became calm, and played the simple little tune of "TWINKLE TWINKLE LITTLE STAR," followed by a huge tour de force of pianism and technical difficulty. It came off without a hitch, thank goodness. I just played my heart out and thought of nothing but the music! At the end of the performance there was a huge ovation for everyone. But when I walked onstage (at this point I could walk without assistance) there was thunderous applause, a standing ovation and catcalls! The orchestra also stood and applauded for me. I saw Rudi applauding for me in the wings, and Pat as well. I was very happy the performance had gone so well, and equally happy that it was over! It was a very emotional moment for everyone! I shall never forget it!
Tuesday, June 17, 2014
Tuesday, June 3, 2014
ADVENTURES IN ZURICH WITH MR. BALANCHINE, PAT, AND DANCERS
Life in Zurich was very pleasant for me as well as the others, for the most part. We worked a great deal, but the schedule in a European Theater is usually quite congenial. There were times when Pat asked us to work longer hours than contracted, but in those instances people had a choice. Except for me...she usually needed me for rehearsals. I lived in a beautiful apartment in a town called THALWIL, about 10 miles from the Operahouse. The apartment was on the ground floor with a large yard (many flowers) so Chrissy's (Christine Redpath was my roommate), collie dog, Miss Julie, could run around freely. On the floor below (where the garage was located) there was another room that belonged to my apartment. I put my piano in that room, which was next door to the sauna and cold plunge. Chrissy and I made good use of that sauna! Now that was luxury. Fortunately, the lady who owned the house liked both dogs and music! There were three other apartments in this dwelling....and I do recall that one of my neighbors wasn't so fond of my piano playing in the early morning...but that didn't stop me. I did have the landlady's blessing! My good friends, Debbie and Jonas, lived close by in a lovely penthouse apartment (also in Thalwil) with a large deck that wrapped around their apartment. So between the both places, we had the best of both worlds!
I recall one of Mr. Balanchine's visits which turned into a nightmare! He wasn't feeling well (no one knew what was wrong). Pat and I were sitting with him in the theater for a stage rehearsal....he was between the two of us. The Operahouse stage manager dismissed the crew, as the rehearsal time was finished! (They were all very conscious of overtime, and clocks!). Mr. Balanchine became enraged....he stood up and yelled, "NO! NO! NOT YET FINISHED!!!" And then he slammed his fist on the table in front of us! His face turned purple, and I thought he would have a heart attack! Both Pat and I were very alarmed, and raced to the stage to ask everyone to please continue the rehearsal. Then we called Herr Direktor Dr. Drese who came immediately to the stage. He persuaded the crew to stay, saying he would pay the overtime. (That almost never happened, but obviously he did not wish to cause Mr. Balanchine to leave the theater.) So....the rehearsal continued. I should say here that Mr. B was not accustomed to having his rehearsals stopped or supervised. But this was a European theatre, and he did not have the same authority as he did in the NYCB. For the next several days, we all were walking on eggshells, fearing another outburst like that one. There were several more stage rehearsals, but all of them went very smoothly. Everyone was on their best behavior, including the stage crew. I remember breathing a sign of relief, after the first performance had finished, and all had gone well. Mr. Balanchine left for NYC....it was not long afterwards that he went into hospital. Even after that episode it didn't occur to me that Mr. B was mortal, and could become incapacitated, which is what happened. I had always thought of him as invincible and indestructible. But of course, no one is...and we were all to learn very soon that he would not last long!
Another episode I remember well concerned the ballet LIEBESLIEDER WALZER, before it was scheduled to premier in Zurich. Karin von Aroldingen came to stage the entire ballet, and she brought us all gifts....hats and scarves she had knitted herself! I had been put in charge of the music (by Mr. B himself)....the four (4) singers. That turned out to be a hornet's nest! Two of the singers (both men) were very below par...and I was having difficulty with them. I rehearsed them (playing the piano, and coaching the singing) every day. However, they were just really POOR, and I realized they would not be able to get through an entire performance, let alone many shows without mishap. (This was reminiscent of the Berlin filming singers.) So I went upstairs to the DIREKTION, and told them exactly that. I knew that the Opernhaus was trying to save money, and had obviously hired two less proficient singers (reflected in their pay scale). However, that was not going to work, said I. Mr. Balanchine had told me that if the singers were not topnotch, then he did not want the ballet presented, and on my recommendation would just cancel it! Well, that put the fear of God into them....and they agreed to hire two competent male singers! I couldn't believe they ever argued with me at all, but they did....until I delivered that ultimatum! So I was provided with a cast of four (4) good singers (with decent backups as well), who needed rehearsing, of course....that was my job. But at least I had the necessary components for decent musical performances! They did go splendidly, and were all well received by the audiences in Zurich....even better than in New York. Mr. Balanchine was very pleased, and frankly, I was relieved that the singers had performed so well. My duo-partner was Andre Presser, a Dutch musician and pianist who also conducted for the Zurich Ballet...as well as many other companies. I always enjoyed my concerto performances when he was wielding the baton. Together we performed on many gala programs in Europe: Monte Carlo, Madrid, Granada, Turin, and many other cities, including Washington D.C. (Unfortunately I recently learned that Andre had passed in April of this year...which saddened me a great deal. Andre was a heavy smoker, which may have contributed to his illness. We were good friends, and enjoyed our work and performances together. That is not always the case....some conductors are less congenial and competent than others.....one in Seattle comes to mind.)
I distinctly remember the first time I performed 'THE CONCERT' in Zurich....choreographed by Jerome (Jerry) Robbins. I rehearsed this ballet often in NYCB, but had never performed it there. My friend and colleague, Jerry ZIMMERMAN, was always the onstage pianist for that work. He was so perfect for the role, with his curly blonde hair, and taciturn demeanor. Jerry performed this ballet until the end of his life....which was over too soon, sadly. This was during the period of the AIDS epidemic, and no one knew what was happening. To continue: I was cast as the onstage pianist, and I remember Tommy Abbott coming to stage, rehearse and coach the ballet...Jerry would come later. (Tommy, by the way, was one of the originals in the film of WEST SIDE STORY. I didn't meet him until he came to the NYCB as Jerry's assistant.) This ballet is a 'must' for anyone's bucket list. I still laugh while watching it, and I have performed it many, many times. There is a great deal of acting involved for everyone, including the pianist. For example, there is a grand entrance for him or her, which includes an entire pantomime at the piano, before the ballet even begins! I had great fun playing the Chopin pieces, and interacting with the various dancer characters onstage! At the conclusion, the pianist becomes furious with everyone, and taking a butterfly net, chases all the dancers (who have since metamorphed into butterflies) around the stage, and then off. At which point, the curtain slams down with a bang! I wouldn't be able to perform the ballet now, simply because I can no longer run! In Zurich one reviewer wrote: "in the event Miss Chilgren should decide to stop concertizing, she definitely has a future in comedy!" I have to say, I loved that review!
While living in Zurich, I was asked to be Piano Soloist for the Basel Ballet Company, by the Director, Heinz SPOERLI, who actually was Swiss. (He is presently Director of the ZURICH COMPANY.) Of course, I requested permission from the Direktor of the Zurich Opernhaus, as well as Pat and Mr. Balanchine. They were all very obliging in this, as long as my performing schedules did not conflict. Since Basel was only an hour's drive from Zurich, I elected to drive each time, instead of taking the train. Most of the time I stayed with my good friend, Mandy Bennett (Amanda), although I could have opted for a hotel. Instead I asked for the per diem allowed for the hotel, and used the money for dinners with Mandy and our friend, Sheldon Schwartz. I became acquainted with many of the dancers, including Uko Gorter (who later came to Seattle to join PNB, and Susan, another dancer friend who later married Uko. They live in Seattle...and Uko often performs character roles with PNB). Another dancer, with whom I became friendly is Martin Schlepfer....who was an extremely gifted dancer. (He began as a figure skater, actually). Martin became Direktor of the Berner Ballet, and then later went to Dusseldorf. He has become a well-known choreographer in Europe, and earned many awards in that field. Anyway, Heinz choreographed many piano solo ballets....to music of Rachmaninoff (Preludes) and various Liszt Etudes. I was very busy there as well as in Zurich...but I really loved it all! The Basler Theatre was very modern, and had an exceptionally good canteen....one could order an excellent meal, (as in Zurich) for much less money than in a restaurant. American theaters do not offer this amenity....they could learn much from their European counterparts.
Speaking of canteens, I recall the day in the Zurich canteen, when the entire Opera Orchestra was present....many were members of the famed TONHALLE Orchestra of Zurich. A very friendly fellow sat down next to me and offered me a glass of wine! Since I was finished performing for the evening, I felt free to accept, as long as it wasn't too much. (I needed to drive home to Thalwil after performances). So I accepted his offer and we talked until the canteen closed! This was the first time I met Christian Florea, a fabulous Rumanian cellist, although of course, he no longer lived in Rumania. We became very good friends, duo-partners, and more, eventually. My adventures with Christian would fill a book, so I won't start on them here. However, that period of time was very interesting and musically stimulating for me. I learned a great deal of the cello/piano repertoire, entered cello-piano duo competitions, played many concerts with him, went on many concert tours in various parts of Europe as well. Our partnership was extensive, and we also appeared on several radio broadcasts. I loved all of this, as you might imagine. At one point, I brought Christian to America to teach and give master classes in one of the New York State Universities....where one of my good friends was chair of the music department. (I also was on the faculty of this University during the summer...and both Christian and I taught and presented duo-recitals.)
Just to backtrack a bit....there is one story which bears repeating: we were driving from Zurich to Florence, Italy for a group of concerts. At one of the borders we were stopped for many hours....the car was searched, and Christian was strip-searched thoroughly. Why? He was Rumanian, with no official passport...only asylum papers for Switzerland. He had fled his country while on tour with a string quartet at age 17....to escape the cruel dictator there. When he was 15 years old, his father was shot to death on a bus in front of his eyes, for being an activist! This was the world in which he had lived and been raised, about which I knew nothing. After several hours, we were released....and I recall Christian telling me that I was so fortunate to have an AMERICAN passport. I never forgot that! It is true....I was never searched, nor questioned because of that passport! I learned much on these excursions, and from him. Americans know nothing of what goes on in other countries, and some of the atrocities that occur. The sort of suspicion and distrust that is fostered in young people who have grown up in that atmosphere, is not to be believed. Christian distrusted almost every older person he met from Rumania, for example....and other countries with similar dictator type of governments. He was very explicit with me....that I should NEVER answer any questions about him from anyone. He did trust me....I was so naive about so much, and am sure that was evident. Unfortunately, I have lost touch with him, which happens in life all too often....although I have tried to find him, on Facebook, and other places, but to no avail. I think perhaps he lives in Spain now, and may be conducting....but other than that, I know nothing else. Perhaps one day I will locate him. I do hope so.
I recall one of Mr. Balanchine's visits which turned into a nightmare! He wasn't feeling well (no one knew what was wrong). Pat and I were sitting with him in the theater for a stage rehearsal....he was between the two of us. The Operahouse stage manager dismissed the crew, as the rehearsal time was finished! (They were all very conscious of overtime, and clocks!). Mr. Balanchine became enraged....he stood up and yelled, "NO! NO! NOT YET FINISHED!!!" And then he slammed his fist on the table in front of us! His face turned purple, and I thought he would have a heart attack! Both Pat and I were very alarmed, and raced to the stage to ask everyone to please continue the rehearsal. Then we called Herr Direktor Dr. Drese who came immediately to the stage. He persuaded the crew to stay, saying he would pay the overtime. (That almost never happened, but obviously he did not wish to cause Mr. Balanchine to leave the theater.) So....the rehearsal continued. I should say here that Mr. B was not accustomed to having his rehearsals stopped or supervised. But this was a European theatre, and he did not have the same authority as he did in the NYCB. For the next several days, we all were walking on eggshells, fearing another outburst like that one. There were several more stage rehearsals, but all of them went very smoothly. Everyone was on their best behavior, including the stage crew. I remember breathing a sign of relief, after the first performance had finished, and all had gone well. Mr. Balanchine left for NYC....it was not long afterwards that he went into hospital. Even after that episode it didn't occur to me that Mr. B was mortal, and could become incapacitated, which is what happened. I had always thought of him as invincible and indestructible. But of course, no one is...and we were all to learn very soon that he would not last long!
Another episode I remember well concerned the ballet LIEBESLIEDER WALZER, before it was scheduled to premier in Zurich. Karin von Aroldingen came to stage the entire ballet, and she brought us all gifts....hats and scarves she had knitted herself! I had been put in charge of the music (by Mr. B himself)....the four (4) singers. That turned out to be a hornet's nest! Two of the singers (both men) were very below par...and I was having difficulty with them. I rehearsed them (playing the piano, and coaching the singing) every day. However, they were just really POOR, and I realized they would not be able to get through an entire performance, let alone many shows without mishap. (This was reminiscent of the Berlin filming singers.) So I went upstairs to the DIREKTION, and told them exactly that. I knew that the Opernhaus was trying to save money, and had obviously hired two less proficient singers (reflected in their pay scale). However, that was not going to work, said I. Mr. Balanchine had told me that if the singers were not topnotch, then he did not want the ballet presented, and on my recommendation would just cancel it! Well, that put the fear of God into them....and they agreed to hire two competent male singers! I couldn't believe they ever argued with me at all, but they did....until I delivered that ultimatum! So I was provided with a cast of four (4) good singers (with decent backups as well), who needed rehearsing, of course....that was my job. But at least I had the necessary components for decent musical performances! They did go splendidly, and were all well received by the audiences in Zurich....even better than in New York. Mr. Balanchine was very pleased, and frankly, I was relieved that the singers had performed so well. My duo-partner was Andre Presser, a Dutch musician and pianist who also conducted for the Zurich Ballet...as well as many other companies. I always enjoyed my concerto performances when he was wielding the baton. Together we performed on many gala programs in Europe: Monte Carlo, Madrid, Granada, Turin, and many other cities, including Washington D.C. (Unfortunately I recently learned that Andre had passed in April of this year...which saddened me a great deal. Andre was a heavy smoker, which may have contributed to his illness. We were good friends, and enjoyed our work and performances together. That is not always the case....some conductors are less congenial and competent than others.....one in Seattle comes to mind.)
I distinctly remember the first time I performed 'THE CONCERT' in Zurich....choreographed by Jerome (Jerry) Robbins. I rehearsed this ballet often in NYCB, but had never performed it there. My friend and colleague, Jerry ZIMMERMAN, was always the onstage pianist for that work. He was so perfect for the role, with his curly blonde hair, and taciturn demeanor. Jerry performed this ballet until the end of his life....which was over too soon, sadly. This was during the period of the AIDS epidemic, and no one knew what was happening. To continue: I was cast as the onstage pianist, and I remember Tommy Abbott coming to stage, rehearse and coach the ballet...Jerry would come later. (Tommy, by the way, was one of the originals in the film of WEST SIDE STORY. I didn't meet him until he came to the NYCB as Jerry's assistant.) This ballet is a 'must' for anyone's bucket list. I still laugh while watching it, and I have performed it many, many times. There is a great deal of acting involved for everyone, including the pianist. For example, there is a grand entrance for him or her, which includes an entire pantomime at the piano, before the ballet even begins! I had great fun playing the Chopin pieces, and interacting with the various dancer characters onstage! At the conclusion, the pianist becomes furious with everyone, and taking a butterfly net, chases all the dancers (who have since metamorphed into butterflies) around the stage, and then off. At which point, the curtain slams down with a bang! I wouldn't be able to perform the ballet now, simply because I can no longer run! In Zurich one reviewer wrote: "in the event Miss Chilgren should decide to stop concertizing, she definitely has a future in comedy!" I have to say, I loved that review!
While living in Zurich, I was asked to be Piano Soloist for the Basel Ballet Company, by the Director, Heinz SPOERLI, who actually was Swiss. (He is presently Director of the ZURICH COMPANY.) Of course, I requested permission from the Direktor of the Zurich Opernhaus, as well as Pat and Mr. Balanchine. They were all very obliging in this, as long as my performing schedules did not conflict. Since Basel was only an hour's drive from Zurich, I elected to drive each time, instead of taking the train. Most of the time I stayed with my good friend, Mandy Bennett (Amanda), although I could have opted for a hotel. Instead I asked for the per diem allowed for the hotel, and used the money for dinners with Mandy and our friend, Sheldon Schwartz. I became acquainted with many of the dancers, including Uko Gorter (who later came to Seattle to join PNB, and Susan, another dancer friend who later married Uko. They live in Seattle...and Uko often performs character roles with PNB). Another dancer, with whom I became friendly is Martin Schlepfer....who was an extremely gifted dancer. (He began as a figure skater, actually). Martin became Direktor of the Berner Ballet, and then later went to Dusseldorf. He has become a well-known choreographer in Europe, and earned many awards in that field. Anyway, Heinz choreographed many piano solo ballets....to music of Rachmaninoff (Preludes) and various Liszt Etudes. I was very busy there as well as in Zurich...but I really loved it all! The Basler Theatre was very modern, and had an exceptionally good canteen....one could order an excellent meal, (as in Zurich) for much less money than in a restaurant. American theaters do not offer this amenity....they could learn much from their European counterparts.
Speaking of canteens, I recall the day in the Zurich canteen, when the entire Opera Orchestra was present....many were members of the famed TONHALLE Orchestra of Zurich. A very friendly fellow sat down next to me and offered me a glass of wine! Since I was finished performing for the evening, I felt free to accept, as long as it wasn't too much. (I needed to drive home to Thalwil after performances). So I accepted his offer and we talked until the canteen closed! This was the first time I met Christian Florea, a fabulous Rumanian cellist, although of course, he no longer lived in Rumania. We became very good friends, duo-partners, and more, eventually. My adventures with Christian would fill a book, so I won't start on them here. However, that period of time was very interesting and musically stimulating for me. I learned a great deal of the cello/piano repertoire, entered cello-piano duo competitions, played many concerts with him, went on many concert tours in various parts of Europe as well. Our partnership was extensive, and we also appeared on several radio broadcasts. I loved all of this, as you might imagine. At one point, I brought Christian to America to teach and give master classes in one of the New York State Universities....where one of my good friends was chair of the music department. (I also was on the faculty of this University during the summer...and both Christian and I taught and presented duo-recitals.)
Just to backtrack a bit....there is one story which bears repeating: we were driving from Zurich to Florence, Italy for a group of concerts. At one of the borders we were stopped for many hours....the car was searched, and Christian was strip-searched thoroughly. Why? He was Rumanian, with no official passport...only asylum papers for Switzerland. He had fled his country while on tour with a string quartet at age 17....to escape the cruel dictator there. When he was 15 years old, his father was shot to death on a bus in front of his eyes, for being an activist! This was the world in which he had lived and been raised, about which I knew nothing. After several hours, we were released....and I recall Christian telling me that I was so fortunate to have an AMERICAN passport. I never forgot that! It is true....I was never searched, nor questioned because of that passport! I learned much on these excursions, and from him. Americans know nothing of what goes on in other countries, and some of the atrocities that occur. The sort of suspicion and distrust that is fostered in young people who have grown up in that atmosphere, is not to be believed. Christian distrusted almost every older person he met from Rumania, for example....and other countries with similar dictator type of governments. He was very explicit with me....that I should NEVER answer any questions about him from anyone. He did trust me....I was so naive about so much, and am sure that was evident. Unfortunately, I have lost touch with him, which happens in life all too often....although I have tried to find him, on Facebook, and other places, but to no avail. I think perhaps he lives in Spain now, and may be conducting....but other than that, I know nothing else. Perhaps one day I will locate him. I do hope so.
Subscribe to:
Posts (Atom)