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<v Announcer>This program is made possible by a grant from IBM. <v Andre Watts>This is the sixth Van Cliburn International Piano Competition broadcast <v Andre Watts>live from Fort Worth, Texas. <v Andre Watts>Hello, I'm Andre Watts, and I'm backstage live at the John <v Andre Watts>Kennedy Theater in Fort Worth. <v Andre Watts>This has been the music capital of the world for the past 2o weeks <v Andre Watts>due to the influx of 39 brilliant young pianists looking for that special <v Andre Watts>boost to their careers. <v Andre Watts>And indeed, within the next 90 minutes, a major performing career will be launched
<v Andre Watts>when Van Cliburn announces the grand prize winner of one of the world's biggest and <v Andre Watts>most prestigious piano competitions. <v Andre Watts>In a few moments on stage behind me will be the preliminary ceremonies that will take us <v Andre Watts>to the news we've all been waiting for. <v Andre Watts>We invite you to stay with us during this biggest night of the competition. <v Andre Watts>For a look back at some of the hectic, joyful, painful and always exciting times <v Andre Watts>that have brought us to this point for the naming of the gold medal recipient <v Andre Watts>and a live performance by that pianist whose concertizing horizons <v Andre Watts>will have been expanded to an incredible degree. <v Andre Watts>There will be 6 ambitious, hopeful and probably quite tense pianists <v Andre Watts>out there. For 1 of them, tonight will be a night that dramatically changes <v Andre Watts>his life. He will walk away from Fort Worth with a 12,000 <v Andre Watts>dollar first prize, a recording contract, a tour <v Andre Watts>of North America, including a Carnegie Hall recital, a
<v Andre Watts>tour of Europe, including recitals in London, Hamburg, Amsterdam, <v Andre Watts>a 3 week tour of China. <v Andre Watts>He will play with 50 of the world's leading orchestras. <v Andre Watts>All in all, about 300 concerts in 2 years. <v Andre Watts>Now, for any pianist, that's an incredible schedule, both in terms of quantity and <v Andre Watts>quality. For a young pianist, it can only be a dream come true. <v Andre Watts>But before the dream will come, there will be a lot of nervousness. <v Andre Watts>And I, for one, am genuinely sympathetic. <v Andre Watts>I got my dream through winning a competition to play a Young People's concert with <v Andre Watts>Leonard Bernstein and the New York Philharmonic about 16 years ago. <v Andre Watts>That competition wasn't nearly as arduous as what's going on here. <v Andre Watts>And still, it was laden with nerves and jitters and <v Andre Watts>butterflies. <v Leonard Bernstein (in 1963)>Now we come to a young man who is so remarkable that I am tempted to give <v Leonard Bernstein (in 1963)>him a tremendous buildup, but I'd almost rather not so that you might have the same
<v Leonard Bernstein (in 1963)>unexpected shock of pleasure and wonderment that I had when I first heard him play. <v Leonard Bernstein (in 1963)>He was just another in a long procession of pianists who are auditioning for us. <v Leonard Bernstein (in 1963)>One afternoon oldie came a sensitive faced 16 year old boy <v Leonard Bernstein (in 1963)>from Philadelphia, looking rather like a young Persian prince, <v Leonard Bernstein (in 1963)>sat down at the piano and tore into the opening bars of a list concerto in such a way <v Leonard Bernstein (in 1963)>that we simply flipped. <v Leonard Bernstein (in 1963)>He was named Andre Watts, and that mixed up name comes <v Leonard Bernstein (in 1963)>from having an American father named Watts and a Hungarian mother who met each <v Leonard Bernstein (in 1963)>other in Nuremberg, Germany, where Andre's father was stationed with the United States <v Leonard Bernstein (in 1963)>Army. I love that kind of story. <v Leonard Bernstein (in 1963)>I like to believe that international marriages produce highly distinguished human <v Leonard Bernstein (in 1963)>beings. At least this one did as you about to hear when Andre <v Leonard Bernstein (in 1963)>plays for you, the Liszt concerto in E Flat Major. <v Leonard Bernstein (in 1963)>Because I admire his playing so much, I am going to be selfish and take the pleasure of <v Leonard Bernstein (in 1963)>conducting for it myself. Let us welcome him with warmth and pride
<v Leonard Bernstein (in 1963)>Andre Watts. <v Andre Watts>That was the beginning of my dream come true. <v Andre Watts>And tonight we can all share the excitement of a dream becoming reality from <v Andre Watts>1 of our contestants. The Cliburn competition is 1 of the great events in the world <v Andre Watts>of music. It was conceived as a way of honoring the famous victory of a young American <v Andre Watts>pianist who took first prize in another contest, the 1958 Tchaikovsky <v Andre Watts>Competition in Moscow. <v Andre Watts>Every 4 years since 1962, the best young pianists from all over <v Andre Watts>the world have come to Fort Worth in hopes of getting that 1 big break that can <v Andre Watts>their careers skyrocketing. <v Andre Watts>At this stage, it's up to the judges. <v Andre Watts>The panel here in Fort Worth consists of 11 internationally famous conductors,
<v Andre Watts>composers and pianists. <v Andre Watts>While they're continuing with their final deliberations here, some of the events <v Andre Watts>that have brought us to this exciting moment are coming your way. <v Photographer>Is everybody here? ?inaudible? <v Offscreen Voice>How are you? <v Photographer>Everybody up there. Can you come down here, please? On that side ?inaudible? <v Photographer>Can you count to 38? <v Photo organizer>Well no-. <v Non Intelligble Dialog>[crosstalk among photo organizers]. <v Photographer>Okay. Are there any other contestants here in the audience? <v Photographer>Can you count to 38? <v Photo organizer>Well, no. <v Photographer>They're not all here. <v Photo organizer 2>We're taking what's here. <v Photographer>Okay. Are there any other contestants in the audience? <v Photographer>Brush your hand across it. <v Photographer>Nobody has a cowboy hat. <v Photographer>Is this Texas? <v Photographer>?inaudible? Right here, Steven, fix your hair. <v Photographer>Thank you very much. <v Offscreen Voice 2>Is that it? May I go find out who the winner or this year's winners are going to be? <v John Giordano>I'm John Giordano, the chairman of the jury of the Van Cliburn International Piano
<v John Giordano>Competition. <v John Giordano>I have worked in and around music and musicians all my life, but I don't think I've <v John Giordano>ever seen an entire city turn out so totally in support of a single musical event. <v John Giordano>This is the way things were in Fort Worth just before the arrival of 39 gifted young <v John Giordano>pianists from around the world. <v John Giordano>Now that they are here, everyone wants to watch them compete for the biggest prize in <v John Giordano>piano competition history.
<v Non Intelligble Dialog>[crosstalk conversation between offscreen voice and unnamed waiter] <v John Giordano>One of the things that makes the Van Cliburn so memorable is the fine Texas hospitality <v John Giordano>that one finds every step of the way. <v John Giordano>But despite this congenial atmosphere, tensions always are mounted. <v John Giordano>At this official opening party contestants meet their competition, many for <v John Giordano>the first time. <v John Giordano>Of the 123 applicants last winter, only 39 cleared <v John Giordano>the first hurdle. They are gathering here now to draw lots for their playing positions <v John Giordano>and nobody wants to draw number 1. <v Position announcer>Number 1. <v Unnamed commentator>That's the easiest position. <v Non Intelligble Dialog>[Banter surrounding the position assignment]
<v Position announcer>Hold the pen in your left fingers and sign. <v Unnamed commentator>He won't sign, now, what do we do? <v John Giordano>Just as a player's personality colors a musical performance, so 1 <v John Giordano>make of piano conveys distinct nuances and shadings over another. <v John Giordano>And choosing among 6 concert grands, the decision as to which one to pick <v John Giordano>is a highly personal matter. <v John Giordano>1 performer will choose an American Steinway another Bosendorfer. <v John Giordano>Whatever the choice, there must be a total confidence in the instrument. <v John Giordano>For a pianist, it is the voice of the heart.
<v John Giordano (non-narration)>Everyone is eager for the competition to continue-. <v John Giordano>With the selection of pianos completed, the distinguished international jury, <v John Giordano>waits for the first contestants. <v John Giordano>Over the next six days of relentless scrutiny for the original 39 contestants <v John Giordano>will be reduced to 12 semifinalists. <v John Giordano>The race is on. <v Contest announcer>Thank you very much. Would you please start the Schumann Etude Symphonique <v Contest announcer>and I will stop you after a few minutes. <v Contest announcer>Thank you. He is playing on the American Steinway and the jury <v Contest announcer>has asked him to play the second movement of the Mozart Sonata in A minor, <v Contest announcer>K310. <v Contest announcer>Contestant number 17 is Andre Michel Schub of the United States. <v Contest announcer>I lost my list. Is he playing on the American Steinway? <v Contest announcer>Yes. He's chosen the American Steinway. <v Contest announcer>And the jury has selected the first movement of the Mozart Sonata in F.
<v Contest announcer>?inaudible?332. <v Contest announcer>The jury would now like to hear from Debussy's Images Book <v Contest announcer>One, Reflets dan L'eau.The first, the first piece. <v Contest announcer>Good morning, this morning our first contestant is Kathy Selby from Australia, <v Contest announcer>and she's playing on the American Steinway and the jury <v Contest announcer>has chosen the last movement of the Mozart <v Contest announcer>Sonata in C Minor. K457 as her first work. <v Kathy Selby>It would change my life so incredibly that I guess <v Kathy Selby>I really haven't ventured beyond that point. <v Kathy Selby>I'm just here for the fun, you know? Of course, you'd like to think that you'll win. <v Kathy Selby>But that's just sort of 3,000 feet up, you know?
<v Kathy Selby>Oh, this is Harold Schonberg. Here I am. Oh that's really nice. <v Kathy Selby>Well, it says that I'm 18 and I'm Australian and I'm a student at Bryn Mawr <v Kathy Selby>and I take a full academic schedule, but I also manage to practice a minimum <v Kathy Selby>of 6 hours day. <v Kathy Selby>And I'm a natural. <v Kathy Selby>I don't know what kind he means. <v Kathy Selby>An open air party allows some a chance to escape the piano for an hour and mixed with <v Kathy Selby>fellow contestants. <v John Giordano>Although many attend, others stay home and continue with still more practicing. <v John Giordano>Andre Michel Schub, at 28, is one of the oldest competitors. <v John Giordano>For the Cliburn, the top age is 30. <v John Giordano>Schub has already established a promising career. <v John Giordano>To be eliminated in the early stages would be a serious setback.
<v John Giordano>Kathy Selby at 18 is the youngest in the contest and has much less to lose. <v John Giordano>She can always come back. <v John Giordano>Others can't. <v John Giordano>To break the solitary hours of practice and preparation, she has struck up a fast <v John Giordano>friendship with the daughter of her host family. <v Kathy Selby>Oh, I've forgotten it. Oh yeah. Okay, I got it. No these ones, sorry.
<v John Giordano>Already, in this preliminary phase of the competition, there are those who stand out. <v John Giordano (non-narration)>Eventually, go ahead and see if we can bring these deliberations to a close as quickly <v John Giordano (non-narration)>as possible. The main thing I wanted to make sure you were given a, a <v John Giordano (non-narration)>list. Initially, and I hope that <v John Giordano (non-narration)>had- now where is that list? <v John Giordano (non-narration)>But anyway, it had your name, your scores for the second phase <v John Giordano (non-narration)>and the jury average for the second phase in order. <v John Giordano (non-narration)>I hope everyone has looked at that and compared it against your notebook.
<v Jury Member>There are however, several considerations make me want to vote for one against <v Jury Member>another. I found painstakingly honest performances <v Jury Member>through all of them, but uneven and occasionally <v Jury Member>rough. 1 weaker, 1 stronger, and so on. <v John Giordano (non-narration)>All right. I mean, we are voting for 3 out of these 6, but I would <v John Giordano (non-narration)>like to ask you to do is list them from 1 to 6 <v John Giordano (non-narration)>by their name. <v John Giordano (non-narration)>39 and 37. We will pass out a ballot. <v John Giordano (non-narration)>In fact, can we pass that out now please.
<v John Giordano>With the opening phase is completed, the jury retires to tally up the scores. <v John Giordano>Meanwhile, contestants gather for the announcement and try to relax. <v John Giordano>This will be the first real cutoff. <v Lady offering drinks>Have you all had something to drink? <v Young woman>No. <v Lady offering drinks>Would you like something? <v Young woman>Sure. <v Waiter>What can I get you? <v Waiter>Margaritas are good. <v Young woman>Just some orange juice, please. <v Waiter>Orange juice? <v Guy helping with drink suggestions>I'll turn away you can order some whiskey. <v Young woman>Actually, you know what I'd like? <v Guy helping with drink suggestions>Order what you'd like. <v Young woman>You know, I only had 1 of these. A straw- a strawberry daquiri. <v John Giordano (non-narration)>So this is a very mixed emotional <v John Giordano (non-narration)>time for me, because, as you know, when we perform, <v John Giordano (non-narration)>what we're doing is opening our souls and our emotions for the whole world to see. <v John Giordano (non-narration)>And I think through this last week, I feel very close to all of you,
<v John Giordano (non-narration)>even though I don't really know any of you personally. <v John Giordano (non-narration)>But anyway, to those in advance, congratulations. <v John Giordano (non-narration)>To those who were not selected, remember that this is a subjective <v John Giordano (non-narration)>decision by 11 fallible people. <v John Giordano (non-narration)>Would you please when I read your name, would you please come up to the platform here <v John Giordano (non-narration)>so that the press can meet you and take pictures and we can congratulate you and all that <v John Giordano (non-narration)>sort of thing? Number 7, Jeffrey Kahane from the United States. <v John Giordano (non-narration)>Number 17, Andre Michel Schub of the United States.
<v John Giordano (non-narration)>Number 26, Santiago Rodriguez from the United States. <v Santiago Rodriguez>Well, everybody looked beat. You know, I mean, just beat. <v Santiago Rodriguez>If they were they were told that they were not in the second round. <v Santiago Rodriguez>Kathy was out there, like I told you, and she was crying. <v Santiago Rodriguez>She was wiping her tears and she kept looking up at the stage. <v Santiago Rodriguez>But it was not 1 of those beat cries. <v Santiago Rodriguez>It was 1 of those of, you know, confident, kind of like, I'm hurt <v Santiago Rodriguez>now and I don't mind showing you I'm hurt, but my turn is going to come. <v Andre Watts>We're live again backstage on the biggest night of all. <v Andre Watts>The final voting for the winner of the 6th Van Cliburn International Piano Competition. <v Andre Watts>The voting is still not completed. <v Andre Watts>And we're bringing you up to date with the previous 2 weeks of activity.
<v Andre Watts>You've just seen the end of the preliminaries. <v Andre Watts>Out of 125 who applied last winter, 39 were selected <v Andre Watts>for those preliminaries, including for the first time ever, 2 candidates from the <v Andre Watts>People's Republic of China. <v Andre Watts>12 have made it into the semifinals. <v Andre Watts>Now for the preliminaries, the contestants were offered a wide repertoire designed to <v Andre Watts>display their technical ability and talent and a range of musical styles from many <v Andre Watts>periods. For the semifinals coming up, they were asked to perform with the Tokyo String <v Andre Watts>Quartet, a choice of the piano quintets of Brahms, Borgia, Schumann, <v Andre Watts>Franck together with a 1 hour recital of works of their choice. <v Andre Watts>The 1 required piece was a specially commissioned composition by Leonard Bernstein. <v Andre Watts>Here's the way some of that round of competition went. <v Andre Watts>Now remember, we'll be following the field of 12 out of the original 39. <v Andre Watts>The pressure which started out high grows even more <v Andre Watts>intense.
<v Panayis Lyras>I think that's a very important thing to be a normal human being and to be with <v Panayis Lyras>people. So it's a sacrifice that we're all making. <v Panayis Lyras>You know, sometimes I think about it and I say, well, I <v Panayis Lyras>will never be in my 20s again. And this may be a time of my life that's so <v Panayis Lyras>wonderful. Could be so wonderful. <v Panayis Lyras>And here I am, 27 and it's all gone by, and I haven't really had that much <v Panayis Lyras>fun. And you can have regrets about it. <v Panayis Lyras>But also, you know, you're doing something that's very <v Panayis Lyras>wonderful and it gives pleasure to people and makes people <v Panayis Lyras>happy.
<v Christopher O'Riley>I'm here because I want to win. But at the same time, I still have those misgivings <v Christopher O'Riley>about it. And that there's the insecurity of knowing whether one is able to stand <v Christopher O'Riley>straight. But everyone wants to win. <v Zhu Da Ming>[Speaking Mandarin]. <v Translator>He said during this period when he can listen and, you know,
<v Translator>attend this performance. You realize every individual pianist <v Translator>has their own specialties. <v Translator>Their special areas. <v Translator>And he can learn from them. To him, this is very, very valuable. <v Backstage attendant 1>Apparently, all of the jurors are not there yet. <v Backstage attendant 2>We're still having troubles. <v Backstage attendant 2>Long lunch hour. <v Andre Michel Schub>In a way, it's good when you get nervous with <v Andre Michel Schub>any competitions it's helpful for the competitionist. There's somewhat more pressure <v Andre Michel Schub>because there are other people rather than just <v Andre Michel Schub>?inaudible? <v Backstage attendant 1>The jury isn't out there yet? <v Andre Michel Schub>I guess that's, <v Andre Michel Schub>you know, is hard to deal with. <v Andre Michel Schub>But on the other hand, that's I guess- competitions <v Andre Michel Schub>are here and major careers depend on it. <v Backstage attendant 1>Would you like a drink of water or anything? <v Backstage attendant 2>They would say to you, when the lights go down, we're ready.
<v Andre Michel Schub>Unless you go out and strive for something. <v Andre Michel Schub>It's not going to be handed to you. Nothing. <v Andre Michel Schub>Nothing in life is just given to anybody. <v Speaker>I feel as if almost the music is taking over, that I'm <v Speaker>just part of creating it. <v Speaker>And those are, those are ideal moments. <v Speaker>The piano gets harder and harder with age.You see more things in the music. <v Speaker>And this is a challenge and it's a growth experience. <v Speaker>It also increases the difficulty as you get older.
<v Speaker>What usually happens if it's a piece that I love, for instance, <v Speaker>at the end of the Fuge and Brahams Handel, Brahams Handel variations, it builds up and <v Speaker>sometimes I almost feel as if it's an orchestra and I'm not even really there. <v Backstage attendant 1>Wonderful. Can I get a drink of water? <v Backstage attendant 1>Orange juice? <v Andre Michel Schub>Water. <v Backstage attendant 1>Just water. <v Andre Michel Schub>I wish I could have been a baseball player or tennis player. <v Backstage attendant 1>A lot of work, oh, I know. <v Andre Michel Schub>Thank you very much. <v Andre Michel Schub>And my dream used to be Mickey Mantle, so that never happened.
<v Andre Michel Schub>But those are the kinds of sacrifices that I regret. <v Backstage attendant 1>Good luck. See you back again. <v Andre Michel Schub>It's a toss up. You can't-. <v Backstage attendant 1>Go home. <v John Giordano (non-narration)>Okay we are ready now for our next contestant. <v John Giordano (non-narration)>Mr. Jeffrey Kahane, number 7. <v John Giordano (non-narration)>Mr. Kahane's from the United States. <v John Giordano (non-narration)>And his program for his recital portion of the semifinals is as printed in the program. <v John Giordano (non-narration)>This is Mr. Jeffrey Kahane. <v Jeff Kahane>My name is Jeff Kahane. <v Jeff Kahane>I'm from Southern California. I live in Venice, by the beach.
<v Jeff Kahane>I'm married and expecting our first child <v Jeff Kahane>in 2 months. <v Jeff Kahane>I've been doing music all my life. I started when I was probably <v Jeff Kahane>5 years old, maybe a little earlier. <v Jeff Kahane>I as a child, I love classical music. <v Jeff Kahane>When I got to be about 10, something somewhere around there, I sort of started to <v Jeff Kahane>reject it a little and I got very popular music and I played in rock and roll bands, <v Jeff Kahane>played jazz a lot, and I still feel very close to that whole <v Jeff Kahane>other side of the fence. <v Jeff Kahane>Although this is what I do and I guess that's what I do best. <v Jeff Kahane>The piece that I want to play the most that I, I feel closest to in a way of all <v Jeff Kahane>the pieces is the Schumann Fantasie. <v Jeff Kahane>It's always been a special kind of
<v Jeff Kahane>statement for me. <v Jeff Kahane>A testament, you know, an affirmation and a prayer. <v Jeff Kahane>And it's also <v Jeff Kahane>just incredibly beautiful music, and I very much want to play it because it's 1 piece <v Jeff Kahane>that I always feel like I can sit down and <v Jeff Kahane>speak through it. <v Jeff Kahane>In those moments before I go out to <v Jeff Kahane>to be a gladiator in the musical arena. <v Jeff Kahane>I, I try very <v Jeff Kahane>hard to think about how despite <v Jeff Kahane>my pounding heart and my sweating palms, I do have the capacity to go
<v Jeff Kahane>out there and, and give. <v Jeff Kahane>Well, behind this soft spoken exterior does literally, in fact, lurk a maniacal <v Jeff Kahane>competitor. <v Jeff Kahane>I would love to win this competition. I love to play the piano. <v Jeff Kahane>I'm just discovering how much I love it. <v Jeff Kahane>And if there's a maniacal aspect to it, for me, it's because I would really <v Jeff Kahane>like to to have the opportunity to play
<v Jeff Kahane>with great orchestras and, and play as much as possible. <v Jeff Kahane>And before I came, I went through a real soul <v Jeff Kahane>searching period and realized that I have nothing to lose. <v Jeff Kahane>There are times, of course, when I feel- I don't feel that way. <v Jeff Kahane>I'm not quite so lucid and on top of it. <v Jeff Kahane>But right now, I don't feel like I have anything to lose. <v Santiago Rodriguez>I live in this type of fantasy world now. <v Santiago Rodriguez>I as far as actually playing the piano, once you get to that piano, it's just you and it. <v Santiago Rodriguez>Let's face it, I will never be the most- the cleanest pianist there <v Santiago Rodriguez>is and I will never be the most, you know,
<v Santiago Rodriguez>create the largest amount sound. I'm just not built to create a lot of sound. <v Santiago Rodriguez>I'm not intent on doing that. I'm intending to express something I have inside of me. <v Santiago Rodriguez>It's a feeling that kind of lays dormant for a while. <v Santiago Rodriguez>This need to express yourself. What beat this into me like I was telling you was my kid <v Santiago Rodriguez>and my wife. And they didn't really have to talk to me about it's just them being there, <v Santiago Rodriguez>that kind of rhetoric. <v Santiago Rodriguez>There's my wife and my little girl, and there's my wife my little girl, <v Santiago Rodriguez>and there's my little girl. <v Santiago Rodriguez>And there's my little girl. I keep this full photograph with me all the time. <v Santiago Rodriguez>This is my good luck charm. Or really, I mean, like I said, it keeps you <v Santiago Rodriguez>humble. It kind of keeps you from taking yourself too seriously.
<v Santiago Rodriguez>My wife and I met each other, we were in an auditorium. <v Santiago Rodriguez>I was going to turn to listen to somebody play. <v Santiago Rodriguez>It was it really instant. 1 day we got engaged in <v Santiago Rodriguez>the third day and we got married <v Santiago Rodriguez>a month after that, and the part I'm not telling you was that it happened in Russia. <v Santiago Rodriguez>And I was in Russia for a competition. <v Santiago Rodriguez>I always call my wife after a play. She's always dying. <v Santiago Rodriguez>She's always sitting by the telephone telling me that she couldn't sleep or eat, which is <v Santiago Rodriguez>not true. She eats very well. <v Santiago Rodriguez>She sleeps very well. But it's still, but it's still it's still very it's still very <v Santiago Rodriguez>necessary for me to call her. Literally, she will have a nervous breakdown if I don't <v Santiago Rodriguez>call. I said, I'm through playing. <v Santiago Rodriguez>Natasha, Natasha, I'm so tired if I sound like <v Santiago Rodriguez>you don't know me. Oh no no Natasha, really. <v Santiago Rodriguez>I mean, I left everything I had right there on stage. <v Santiago Rodriguez>I mean, the Chopin Sonata I played like I was playing it for the last time, you know, I
<v Santiago Rodriguez>played the Petrushka like I played it for the last time, you understand? <v Santiago Rodriguez>So to me, that love and that passion is 1 and the same. <v Santiago Rodriguez>I have a great deal of passion for my wife. Well, if you saw her, you would know what I <v Santiago Rodriguez>mean. But when I go out with that piano <v Santiago Rodriguez>you know, it's a feeling that you sit there and all the accumulation of what your family <v Santiago Rodriguez>has given you and what your teachers have given you, everything that you have accumulated <v Santiago Rodriguez>by loving somebody, by being loved back, which is your input, kind of comes <v Santiago Rodriguez>out. You're kind of like a medium where that goes into you and then, and the piano <v Santiago Rodriguez>kind of speaks for you.
<v John Giordano (non-narration)>The last thing you would want to happen has happened. <v John Giordano (non-narration)>A violin string breaks, the performance stops until the string can be replaced. <v Santiago Rodriguez>Well, when we can't pick up from there, can we start from the beginning again? <v Santiago Rodriguez>We'll pick up <v Santiago Rodriguez>right from when we popped the string. That's a perfect. Yes. <v Santiago Rodriguez>Things like this happen. I'm glad. You know, it's just that- we're human beings. <v Santiago Rodriguez>Strings do pop.
<v Santiago Rodriguez>This is definitely my last competition. <v Santiago Rodriguez>No more, absolutely no more. <v Santiago Rodriguez>I'm 29 years old. I've been on the tour now on the concert tour for about 5, 6 years. <v Santiago Rodriguez>And this competition is like putting 4 or 5 years of that tour <v Santiago Rodriguez>into 2 weeks. <v Santiago Rodriguez>I think I've lost about 8 pounds since I've been here. <v Santiago Rodriguez>I've seen my face change from I would say from no lines <v Santiago Rodriguez>to quite a few lines. And my forehands are, are sore. <v Santiago Rodriguez>I notice that I'm getting extra calluses on my fingers. <v Santiago Rodriguez>And this will be my last. Win or not win. <v John Giordano (non-narration)>Because this was such a confusing type of system. <v John Giordano (non-narration)>I want to make sure that not only are the scores accurate, but <v John Giordano (non-narration)>that we have the right 6 people that everybody wanted. <v John Giordano (non-narration)>I think we'd better check the scores very carefully, please. <v John Giordano (non-narration)>Abravanel 90.
<v John Giordano (non-narration)>Chasins 60. <v John Giordano (non-narration)>That's correct? <v Jury Member>It sure is. <v John Giordano (non-narration)>Gheorghiu 92. <v John Giordano (non-narration)>Henriot 78. <v John Giordano (non-narration)>Nojima 75. Wild 90. <v John Giordano (non-narration)>Zhou 90. <v John Giordano (non-narration)>If you are willing to take 6 people into the finals. <v John Giordano (non-narration)>That's my question right now. <v Jury Member>Yes, but with those three? We now have an embarrassment of riches. <v Jury Member>We have 7. <v John Giordano (non-narration)>No, we'll have to, we'll have to take 2 out of 3. <v John Giordano (non-narration)>We'll have to take 2 out of 3. <v Jury Member>Obviously. <v John Giordano (non-narration)>All right. Would anyone else care to try to speak to that? <v Andre Watts>We're still waiting for the final decision of the judges in this sixth Van Cliburn <v Andre Watts>International Piano competition. <v Andre Watts>Our videotape report has carried us through to the end of the semifinals from the <v Andre Watts>original 39 contestants. The field was narrowed first to 12 and now <v Andre Watts>to 6 finalists. <v Andre Watts>Tension and expectation are earmarks of all competitions. <v Andre Watts>But here, as the field grows smaller, this increase in tension seems to highlight and
<v Andre Watts>bring to the fore the different musical personalities of the contestants. <v Andre Watts>And that's what interests judges. Personality. <v Andre Watts>Certainly, they want to hear technical proficiency, but that alone is not enough. <v Andre Watts>Those 11 musical experts out there didn't come to Fort Worth from all over the world <v Andre Watts>just to keep score. They came to be surprised, to be enthralled. <v Andre Watts>In fact, out there on stage are patiently waiting some of the world's great <v Andre Watts>optimists. <v Andre Watts>Well, let's go back to the finals. <v Andre Watts>This is it. This is the last lap out of this comes <v Andre Watts>what we've been eagerly waiting for. And out of this comes a new international <v Andre Watts>career.
<v John Giordano (non-narration)>The jury deliberated very carefully. <v John Giordano (non-narration)>You must realize that the decision in all aspects of this competition, <v John Giordano (non-narration)>while scores are not accumulated, is based on the performance <v John Giordano (non-narration)>in every phase of the competition. <v John Giordano (non-narration)>I am reading the names in order of their original <v John Giordano (non-narration)>numbers. <v John Giordano (non-narration)>Number 5, Zhu Da Ming. <v John Giordano (non-narration)>Number 7, Jeffrey Kahane. <v John Giordano (non-narration)>Number 17, Andre Michel Schub. <v John Giordano (non-narration)>Number 26, Santiago Rodriguez. <v John Giordano (non-narration)>Number 33, Christopher O'Riley.
<v John Giordano (non-narration)>And number 36, Kanayis Lyris. <v Non Intelligble Dialog>[Photographers and onlookers setting up photos and poses]. <v Photo organizer>Can we have something convincing please?
<v John Giordano>Even the most seasoned musician would be exhausted after 5 demanding performances in less <v John Giordano>than 2 weeks time. <v John Giordano>In this final phase of the competition, complete with full orchestra, the contestants <v John Giordano>eagerly await their final battle.
<v Santiago Rodriguez>Take my life. I thought I was going to die, but no way. <v Backstage attendant 3>Go on, go on.
<v Santiago Rodriguez>I can't believe I got to this competition. <v Santiago Rodriguez>I just can't <v Santiago Rodriguez>believe it. <v Andre Watts>This is Andre Watts again. We are backstage live on the night we've all been waiting for. <v Andre Watts>Grand prize night at the sixth Van Cliburn International Piano Competition in Fort Worth, <v Andre Watts>Texas. And just a moment behind me out there onstage, Van Cliburn <v Andre Watts>will tell us the ending of our 2 week tale. <v Andre Watts>The name of the young soloist who will get the boost of a lifetime toward an <v Andre Watts>international career. <v Andre Watts>Contests like this teach a performer a lot. <v Andre Watts>They are not really unlike the life outside, so to speak. <v Andre Watts>Concert playing can be at least as rugged as participating in a competition like the <v Andre Watts>Cliburn. In fact, the life of a concert pianist can sometimes make 2 weeks <v Andre Watts>in a pressure cooker like this seem a little sheltered. <v Andre Watts>If I have 1 wish for the winner of this incredible race, <v Andre Watts>and even rather, I should say, all the participants in this race.
<v Andre Watts>I hope that in the midst of what follows after this night, they will be able to keep a <v Andre Watts>sense of the joy that they felt <v Andre Watts>when they started on this road of music. <v Andre Watts>And now we will have the joy of hearing and seeing the culmination of hard work, devotion <v Andre Watts>and love as we discover the winner of the sixth Van Cliburn International Piano <v Andre Watts>Competition. Let's go out on stage and join the proceedings. <v Stage announcer>Ladies and gentlemen, may I ask you, please, to give a good Texas welcome to Van <v Stage announcer>Cliburn. <v Van Cliburn>Good evening, ladies and gentlemen. <v Van Cliburn>Through the universal language of music and through 1 of its instruments, the piano, we
<v Van Cliburn>here in Fort Worth have for the last 2 weeks experienced the joy, <v Van Cliburn>consolation and spiritual nourishment of an inspiring <v Van Cliburn>music festival. <v Van Cliburn>The 39 talented international young artists who thrilled us <v Van Cliburn>with riches from the piano literature have given us an intimate view <v Van Cliburn>of a performer's life long dedication to the service of musical <v Van Cliburn>performance and the quest for a lasting career <v Van Cliburn>in the art of music. <v Van Cliburn>But what really is the catalyst for this dedication to art? <v Van Cliburn>What motivates a human heart to strive, as Rachmaninoff <v Van Cliburn>once said, for that ever receding horizon? <v Van Cliburn>In the third act of Puccini's great and last opera Turandot, <v Van Cliburn>we find the Chinese Princess Turandot questioning the little
<v Van Cliburn>slave girl Lu for the answer to her stoic ability <v Van Cliburn>in the face of death to continue to conceal the identity <v Van Cliburn>of her master who is her secret love the Prince <v Van Cliburn>Calaf. The slave girl's only answer to the insensitive princess <v Van Cliburn>was, oh, your Imperial Highness, it is <v Van Cliburn>for love. <v Van Cliburn>Within the parameter of love, we find that she loved enough <v Van Cliburn>to care. <v Van Cliburn>She had the devotion, dedication and the discipline <v Van Cliburn>to serve, and eventually she had the determination <v Van Cliburn>to sacrifice her own life. <v Van Cliburn>Thus, those who are artists know <v Van Cliburn>something about love. <v Van Cliburn>Its devotion, discipline, dedication
<v Van Cliburn>and sacrifice are all the great imperatives, <v Van Cliburn>not only for the arts, but for all of life. <v Van Cliburn>It gives me great pleasure to introduce to you our distinguished and wonderful <v Van Cliburn>chairman of the foundation, Mrs. Jo. <v Van Cliburn>A Tilly, Phyllis Tilly. <v Phyllis Tilly>To thank everyone responsible for making the Van Cliburn competition a success <v Phyllis Tilly>would delay the beginning of tonight's program well into next week. <v Phyllis Tilly>So I will confine myself to 2 special salutes to the heroic and hardworking <v Phyllis Tilly>members of the Van Cliburn committe, my boundless admiration. <v Phyllis Tilly>You have performed miracles with routine grace. <v Phyllis Tilly>And to the people of Fort Worth, my gratitude and my love. <v Phyllis Tilly>In opening your homes and your hearts to these fine young artists, you have done Texas
<v Phyllis Tilly>proud and turn strangers into friends. <v Phyllis Tilly>My thanks to all of you. <v Phyllis Tilly>And most important, welcome to the awards ceremony of the sixth Van Cliburn <v Phyllis Tilly>piano competition. And it is now my pleasure to introduce Rita Clements, <v Phyllis Tilly>first lady of Texas. <v Rita Clements>For 2 weeks, every 4 years, it's no exaggeration to say <v Rita Clements>that Texas becomes the musical capital of the world. <v Rita Clements>There are national press, a distinguished jury, concert <v Rita Clements>managers, musicians and music lovers come to Fort Worth <v Rita Clements>to celebrate the artistry of a new generation of pianists <v Rita Clements>and to be on hand when a bright new career is launched.
<v Rita Clements>On behalf of the state of Texas, we are delighted to have you with us. <v Rita Clements>And to those of you in the television audience, may I simply say that 4 <v Rita Clements>years indeed pass very quickly and preparations are already <v Rita Clements>underway for the seventh Van Cliburn competition. <v Rita Clements>Thank you. <v Van Cliburn>It is now my pleasure to introduce to you the chairman of our jury, <v Van Cliburn>Maestro John Giordano. <v John Giordano (non-narration)>From the beginning of the Van Cliburn competitions, we have tried to provide contestants
<v John Giordano (non-narration)>with a highly visible platform upon which young talent can be offered to the <v John Giordano (non-narration)>world. As a result, there are many others who will rise to piano stardom in <v John Giordano (non-narration)>addition to the finalists, the prizes that will be awarded tonight are based on <v John Giordano (non-narration)>the 11 member juries having invested something over 150 <v John Giordano (non-narration)>hours of concentrated listening and careful scrutiny. <v John Giordano (non-narration)>And this is taking place over the past 2 weeks. <v John Giordano (non-narration)>I should add that at the jury suggestion, while special attention was paid to the <v John Giordano (non-narration)>orchestral finals, the overall scores reflect the competitors' sustained <v John Giordano (non-narration)>levels of quality displayed throughout the 2 weeks of competition. <v John Giordano (non-narration)>The first prize, therefore, honors the artist who, in the opinion of the jury, <v John Giordano (non-narration)>displayed the most consistently superior level of performance since the beginning round. <v John Giordano (non-narration)>The jury's scrupulous attention to their heavy responsibilities, has been unstinting <v John Giordano (non-narration)>and devoted. I commend them for doing such a hard job <v John Giordano (non-narration)>with a rare mixture of sympathy, fair mindedness and
<v John Giordano (non-narration)>hopeful expectation. <v John Giordano (non-narration)>Well, onto the business at hand that we're here today to determine tonight. <v John Giordano (non-narration)>At each Cliburn competition, the jury has the option of presenting a special <v John Giordano (non-narration)>discretionary award to that non finalist who exhibits the most promise <v John Giordano (non-narration)>in the competition. <v John Giordano (non-narration)>This was an extraordinary year because this year the jury could not decide between 2 such <v John Giordano (non-narration)>contestants and they have voted unanimously to <v John Giordano (non-narration)>award 2 discretionary awards and they themselves <v John Giordano (non-narration)>have contributed to fund the second award. <v John Giordano (non-narration)>And I think that's extraordinary. <v John Giordano (non-narration)>As I read your names out, would you please- This is a total surprise to the youngsters <v John Giordano (non-narration)>who are in the audience. When I read your names, would you please come to the podium and
<v John Giordano (non-narration)>receive your award from Mr. Van Cliburn, the jury special <v John Giordano (non-narration)>discretionary award for the 2 performers exhibiting the most promise in this competition <v John Giordano (non-narration)>go to Barry Douglas of Northern Ireland and <v John Giordano (non-narration)>Kathy Selby of Australia.
<v John Giordano (non-narration)>Now comes the time to announce the placement <v John Giordano (non-narration)>of our 6 finalists on stage. <v John Giordano (non-narration)>The sixth prize, together with a check for 1,500 dollars, <v John Giordano (non-narration)>has been awarded to Zhu Da Ming of the People's Republic of China. <v John Giordano (non-narration)>The fifth prize, together with a check for 3,000 dollars,
The Sixth Van Cliburn International Piano Competition
Part 1
Producing Organization
Fort Worth Productions
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The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
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"'The Sixth Van Cliburn International Piano Competition' captures the climactic moments of one of the world's most prestigious music events with an innovative mix of preproduced segments focusing on the early stages of competition, profiles of the finalists and live coverage culminating with the announcement of the winner."--1981 Peabody Awards entry form.
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Producing Organization: KERA
Producing Organization: Fort Worth Productions
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The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia
Identifier: cpb-aacip-c0a22820fc4 (Filename)
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Duration: 1:28:46
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Chicago: “The Sixth Van Cliburn International Piano Competition; Part 1,” 1981-05-31, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 26, 2022,
MLA: “The Sixth Van Cliburn International Piano Competition; Part 1.” 1981-05-31. The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 26, 2022. <>.
APA: The Sixth Van Cliburn International Piano Competition; Part 1. Boston, MA: The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from