- 4 months ago
This documentary is an informal portrait of the great modern composer Igor Stravinsky. Proudly American, though still very much an Old World figure with a long and alert memory for people and events in music, literature and art, Stravinsky is depicted here conducting the CBC Symphony Orchestra in a recording of his Symphony of Psalms.
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00:00You
00:30Igor Stravinsky, a giant of the 20th century, has just entered Massey Hall in Toronto.
00:49In the next three hours, the CBC Symphony Orchestra and the Festival of Singers will
00:53be required to put on recording tape once and for all the definitive interpretation
00:58of a Stravinsky classic. It is a major musical event. The meticulous preparation is almost
01:07complete. It is supervised by Stravinsky's protégé, Robert Craft, and by John McClure
01:13of Columbia Records. Stravinsky is waiting.
01:17Maestro, I want you to meet Julian Bree. Very happy to meet you, Maestro. I wanted
01:23to meet you so much. We were at Dartington. I was there when you were there. That was
01:28right. We never met, actually, and I always wanted to very much. How are you? Are you
01:33enjoying your time? I am fine. I am fine. You are, and you're working very hard and
01:37recording away. All my life. Yes. Julian Bree is the world's best player of the lute. I
01:44always wanted to play to you sometime on the lute, because I read that you find the lute
01:51a very beautiful and expressive instrument. Always, of course. But when? Well, any time.
01:58I have no time. I'm sure it's very difficult for you. I have no time. There are people
02:04who have time. Yes. There are people who have money. Yes. There are people who have many
02:10things, you know. Yes. I have some things. Yes, but you've got great gifts, which is
02:15more than the time or the money. All right. And you're making a film here. Well, they
02:20are filming you here. Which film? Well, I see thousands of cameras. No. Would you like
02:28to see a lute? Would you like to see my lute? I brought it with me. Stravinsky is excited
02:35by the physical presence of musical instruments. The lute, he says, is perhaps the most perfect
02:41and certainly the most personal instrument of all. It was written much more for the lute
02:48than for the piano. I'd love sometime to play you a little piece. Perhaps I could play
02:55a beginning now a little bit. The problem with this instrument is so many strings, it
03:03takes a lifetime to tune it. The recording session has to be done tonight, gentlemen.
03:09Let's go. This is a little Pavane.
03:39Igor Stravinsky remembers back into the summer forests of Imperial Russia, when an old peasant,
04:07who was mute, clucked his tongue and smacked his armpits to make music for the children.
04:12He remembers even earlier a song of some peasant girls coming home from the fields and how
04:17he delighted his parents that evening by repeating the song, although he had not yet learned
04:22to talk.
04:50Why don't you continue this in the next break, because we have to do a different kind of
04:55work. Yeah, sure. Thank you very, very much. It's been very wonderful to meet you, sir.
04:59Thank you very much for coming. It's been a great pleasure. Very glad to meet you. Now
05:05we have to work ourselves. The world pays homage. It was different on a Paris night
05:12in 1913. A confused and furious audience drowned out his music. Barbaric, they said. But soon
05:19the world decided it would be best to listen. Good afternoon.
05:45No. No rehearsing. Just playing through.
06:10Are we ready? Not yet.
06:23Maestro, should we do it? Yeah. Movement by movement. Oh.
06:31I guess that meant yes. What did he say? Oh. Oh.
06:36Stand by, please, everyone.
06:43Stravinsky, Symphony of Songs, first movement, take one.
07:05Stravinsky's music is completely like music.
07:33Stravinsky's music is completely like that of an extraordinary bird, or a very light
07:39bird, and of an insect, an extraordinary insect. I was always very much interested by the fact
07:48how much he physically, his movements, his way of smiling, his wit, the way of talking,
07:56his mannerisms even, resemble his music.
08:00Nicholas Nabokov, Director General of the World Congress of Cultural Freedom, has known
08:05Stravinsky since 1925.
08:09I was always surprised when I see him conduct, when Stravinsky conducts, the way he turns
08:19his right hand to show the contrapuntal part of the rhythm. It's so essentially the rhythm
08:28itself. It's the visualization of that rhythm. That is another thing which always excited
08:35me about Stravinsky conduct. As a matter of fact, I think that his conducting is very
08:41interesting.
08:59Maybe he's not a virtuoso, the art of conducting, but I think that this particular virtue which
09:10Stravinsky's conducting, Stravinsky's presence has, that people are then solely concerned
09:18with the problem of how to make music. And the music is not written on the face of the
09:24conductor as many conductors think, but it's written in the part. It's written down in
09:30the part. And the conductor is there to help realize what's written, to help the musician
09:37realize what's written in the part. And there Stravinsky gives a very good moral lesson
09:41to conductors.
09:42Excuse me, but I ask for accents here. Accents. Forzando piano. And you play piano. Once more, 24.
10:02Give me forzando piano. Each time as it is written.
10:12That's good.
10:25No.
10:27Accent. Yes. Accent. More accent.
10:57The same with the ladies. Piano. Subito piano.
11:08Stravinsky is an extraordinary flower. He's sort of an extraordinary plant. A plant which
11:16always wants with its roots to find fresh water, fresh juices in the earth. And needs
11:24them for his own nourishment. Stravinsky, I would say, is exactly diametrically the
11:32opposite form of genius than is, for example, Wagner. Was Wagner, I suppose. Wagner is completely,
11:41I mean, once he had covered the field of Mr. Meyerbeer, and there is no relation to anything
11:49which he needs. He feeds on himself somehow. He's a plant sitting tightly on his piece
11:56of soil and doing that. Stravinsky, on the contrary. Stravinsky is a curious phenomenon.
12:02He needs an enormous amount of heterogeneous nourishment for his talent.
12:49Don't say anything. Let him go on if he goes on.
13:17Good.
13:25Maestro, could you pick up the phone?
13:27Move the tuba back a little, I think.
13:30Where was it too much? Maestro, I think we do it once more and we'll have it.
13:46A day out of New York and bound for Hamburg. Stravinsky has crossed this ocean 97 times.
14:00He has always had to travel and has always hated it.
14:05We can expect that we will have a lot of trouble here.
14:18Lifeboat drills for a man of more than 80 years are events to be ignored.
14:23So are the other trials of the sea.
14:27I never am seasick. Never. I am sea drunk. Quite different.
14:37They are good health.
14:47How do you explain the miracle, the phenomenon of music? Why should there be music?
14:54Is it possible to live without music? It isn't for you, obviously.
14:59It's very difficult to answer. Because I was always with music.
15:07And so I cannot imagine myself to be without music. Without any music. Without even bad music.
15:19Who created music?
15:24Oh, I... Listen, that... hierarchy... hierarchy.
15:38Hierarchy.
15:39Hierarchy. I don't know the hierarchy.
15:43The hierarchy of creation.
15:46It was created probably by God.
15:50And I think, I even not think, but I am sure that when we read about the creation of the world,
16:05it was created just a big drum and cymbals and music.
16:21Thanks very much.
16:27Stravinsky...
16:28Tribal activities. Excuse me.
16:31Symphony of Psalms, second movement, take one.
16:35In my eye.
16:37Good. Serves you right.
17:00The Son of an Opera Singer
17:10The son of an opera singer, he was raised in St. Petersburg.
17:13A manufacturer of galoshes lived below.
17:16The Tsar would drive by, his horses hung with blue nets to catch the flying snow.
17:22Then, in the spring, the ice would break with a single great crack,
17:26and barges would carry scenery down the Krukov Canal to the opera.
17:33He studied two days a week with Rimsky-Korsakov.
17:39In 1910, he left Russia for Paris.
17:42The Firebird brought immediate fame, great friends and memories.
17:47Of Diaghilev, the impresario, who had a servant to do his praying.
17:52Of Cocteau, and of being arrested with Picasso when they relieved themselves outside the Naples Opera.
17:59And being stopped at a frontier when he could not convince Italian police that a sketch by Picasso was not a plan of fortifications.
18:08Switzerland, the Riviera, and here in Paris in 1927.
18:13He has seen Tchaikovsky and Ibsen and the heavy veils of Bernhardt.
18:18He has felt the soft fingers of the sculptor Rodin, and the hard eyes of Benito Mussolini.
18:24He has known the friendship of Ravel and Debussy, and the love of beautiful women.
18:31Vera de Bosse, painter, and second wife to Stravinsky.
18:36When I was in Paris, I knew very well Diaghilev.
18:41He called me and said, are you free for dinner today?
18:45And I said, yes, come, we will go with Ravel, with Baxt, and with Stravinsky.
18:53To a little restaurant in Montmartre.
18:56The dinner was very gay. Stravinsky was moody.
19:00I don't know, he had something happened in the family, or I don't know what happened.
19:05He was rather moody.
19:07And Diaghilev told me even, he has some difficulties.
19:14He didn't say what.
19:16So, be gay and friendly, this is all.
19:20So, we met the first time. It was a very gay dinner.
19:24And then later, he came to...
19:27What year was that, may I ask?
19:29It was 21.
19:3221, yes.
19:34And you had come to Paris when, in 1920?
19:38And then Diaghilev spoke very much about the sleeping beauty he will make in London.
19:50And he asked me if I want to be the queen there.
19:56There's not very much dancing, nothing, only pantomime.
20:01And what did you say, da?
20:03I said, with pleasure, Sergei Pavlovich.
20:08I'm very touched.
20:11And then I started to see Stravinsky all the time.
20:15She used to play chess with the great Prokofiev,
20:18and charm the novelist Thomas Mann, who thought her the perfect Russian.
20:23She has been married to Stravinsky since 1940.
20:26And I went with him very often to the rehearsals, and to the essayage of the costumes.
20:33And...
20:36Then...
20:38It was this way.
20:42It started this way.
20:45Can you imagine the situation of a...
20:47I mean, it's really unimaginable when I think about it.
20:50A man of the valor of Stravinsky,
20:54a man of the thoroughness of work,
20:58who produced, in his early age,
21:03three works which were, well, let's say,
21:09real bestsellers on the international market.
21:13Petrushka, Oiseau de Feu, and Le Sacre du Printemps.
21:17Can you imagine that these three works,
21:20because of the stupidity of Tsarist Russia,
21:24and then the Soviet Union, continues that stupidity,
21:28not belonging to the Berne Convention,
21:30is not covered by copyright?
21:32Can you imagine that he saw people like Strauss and even Ravel
21:38getting wealthy and rich on one or two works, Ravel and Ballero,
21:42Strauss on two or three of his operas?
21:46And here's Stravinsky having to struggle financially
21:50for two-thirds of his life.
21:52He was really in a difficult financial condition.
21:57You know that in 1917, 1918,
22:01people were collecting money for the Stravinsky family to survive.
22:06I mean, Stravinsky, at the time he was writing L'histoire des soldats,
22:09had a very hard time financially.
22:12People say, yes, but he always lived in a kind of luxurious way.
22:16Well, this is none of people's business.
22:18He wants to live that way, he was accustomed to live that way,
22:20and he should be living that way.
22:23A man like Stravinsky should be living without having constantly the thought,
22:27my God, what will happen to me?
22:30Stravinsky saw his first ballet probably at a very tender age.
22:38I know that he saw the big Tchaikovsky ballets
22:42when he was eight years of age,
22:45and he became very fond of them.
22:48He was very fond of them.
22:51He was very fond of them.
22:53He saw the big Tchaikovsky ballets when he was eight years of age,
22:58and he became an amateur of ballet,
23:04as an American child would of baseball, perhaps.
23:09By the time he was ten, he knew all the standard ballets,
23:13he knew the steps, the positions.
23:16In fact, if you watch him take a bow at the end of a concert,
23:23here in Hamburg at the end of the first performance,
23:26he'll surely come on stage, take a bow.
23:29He bows in the tradition of the Mariinsky theater.
23:34But he has a very keen eye for classic ballet.
23:44However, at the time that Stravinsky's first ballets broke upon the scene,
23:51the classic ballet was already in some decline.
23:56Interesting new music was not being written for it,
24:00and it had come into a sort of barren period.
24:05That, of course, is the achievements of Diaghilev,
24:13who had the idea, who saw in Stravinsky
24:17somebody who could rejuvenate the ballet.
24:22For the first time in the history of music,
24:25you have a major composer appearing through the ballet.
24:31And a work like Balanchine's choreography
24:35to Stravinsky's movements for piano and orchestra,
24:38this seems to me almost more successful
24:41than some overtly composed ballet pieces.
24:45Stravinsky's ballet music is said to be the greatest ever written.
24:50He has been called a platinum grasshopper
24:54scooting along at the head of the pack.
24:57Still, he is furiously attacked.
25:01One critic explained that it is hard
25:04to make a father image of an insect.
25:08Balanchine of New York, a master of movement,
25:12is one of the few who has kept pace with Stravinsky.
25:16Unlike an earlier collaborator, Nijinsky,
25:19Balanchine has a deep and full understanding of music.
25:23He is, says Stravinsky, a master of music.
25:27Stravinsky is a master of music.
25:31He is a master of music.
25:33He has a deep and full understanding of music.
25:36He is, says Stravinsky, the perfect collaborator.
25:40Together they have dominated ballet for 40 years.
25:51There are young friends, too.
25:54Robert Kraft, conductor, composer and teacher,
25:57wrote to Stravinsky in 1947 for advice.
26:00They met.
26:01And since that meeting,
26:03Kraft has been musical assistant and constant companion.
26:06He has introduced Stravinsky to new trends
26:09and new people in music
26:11and has helped the old man to a second life.
26:14Another young friend was Dylan Thomas.
26:17They were going to write an opera together.
26:20A telegram announced that Dylan was dead
26:23and the old man wept.
26:26You're halfway through and the session is two-thirds over.
26:29One-third through and the session is two-thirds over.
26:32Symphony of Psalms, third movement, take one.
27:00Laudate!
27:06Laudate!
27:11Laudate!
27:16Gloria!
27:27Stravinsky was always concerned
27:30in everything he did
27:33with ritual.
27:36And man in the ritualistic world
27:40which he himself creates
27:42but then which becomes to take hold of him.
27:45Petrushka is the earliest example.
27:49Stravinsky is concerned with,
27:52and profoundly concerned
27:53with everything which has to deal
27:57with belief,
28:00with the Christian faith.
28:03And there is probably,
28:06one cannot speak of Stravinsky as a religious composer.
28:10One can say that, however,
28:12very few composers in our time
28:16have dealt with religious subjects
28:20in his art as did Stravinsky.
28:23Laudate!
28:30Laudate!
28:32Now pray for this transition to work.
28:35I told them all what to do.
28:37Laudate!
28:40Everyone please here will cross their fingers
28:43and accept the control man who may need his.
28:46Laudate!
28:48Laudate!
28:52Laudate!
28:54Pick it up you bastards!
28:57I gave them a lecture before this day
29:00and they did it and they did it.
29:07I get it.
29:12It's all going to be done.
29:18Laudate!
29:20Laudate!
29:22Laudate!
29:24Laudate!
29:26Laudate!
29:28Laudate!
29:30Those two bars are just fabulous.
29:33He always gets a little bit behind.
29:35Chorus.
29:40If they drag him.
29:48Try it on 80.
29:50Drop the chorus.
29:55More bass drum, I meant to tell him.
29:58Never mind.
30:00Good.
30:02It's not enough.
30:04Yes it is.
30:17Laudate!
30:19Laudate!
30:21Laudate!
30:23Laudate!
30:25Laudate!
30:27The chorus is dragging him down a little bit.
30:33This is as good a tempo you'll get.
30:36Laudate!
30:38Laudate!
30:40Laudate!
30:42Laudate!
30:44Laudate!
30:47Now.
30:49On cue, raise the chorus.
30:52No, maybe not. They were all right before.
30:55Wait a second.
30:57One and a half on cue.
31:17Stop it. It's no good.
31:20The timpani came in wrong.
31:22Better to go back and make an insert while they cut the tempo.
31:24Do it now. Do it now.
31:26Okay, excuse me.
31:29What is the timpani doing with the 13?
31:34It's not correct.
31:36Listen, wonderful tempo everybody. It's very good up to here.
31:40Let them start right on 13. It's a complete cut off.
31:44Can we start right at 13 on tempo?
31:47Tempo 80.
31:50There you go. One bar for nothing.
31:5613.
32:01For who is this?
32:04Okay.
32:06In that case you do this.
32:08If you want to do that, you do this. It's not any good anywhere.
32:12Five before nine.
32:14I think maybe it's better now to go back there.
32:17While we do chorus here, let's go back to the bar before nine.
32:24Chorus, very careful not to drag at your entrances.
32:28What is the union on the hour break?
32:33All right, let's start one before nine, please. Everyone stand by.
32:37No, I mean between sessions. I think they're supposed to have an hour.
32:41I give you one bar for nothing in four.
32:44And the bar before nine is in three.
32:47Here we go. Third movement, symphony of psalms. Insert two, take one.
32:59All right, bar before nine.
33:06Third movement, insert two, take two.
33:15Two feet up.
33:18Almost.
33:19Not together, two feet up.
33:21Let's make a clean start. Bar before nine, last time.
33:25Third movement, insert two, take three.
33:28Jeez.
33:34What's the confusion?
33:38It's no good. It's just no good. Stop it.
33:40This is hopeless.
33:44Maybe it's not a good place to start. Let's start at eight.
33:49And can we have a little more bass drum, please? Two before nine.
33:52I don't like eight. Six is better.
33:56What?
33:57Six.
33:58It's all right. Do it at six.
34:00All right, announce it.
34:02Yeah.
34:04Six.
34:05Hello?
34:06Six.
34:07Six is okay.
34:08Six.
34:09Yeah.
34:10Six.
34:11Let's do it.
34:15Stand by, please. Number six.
34:19We'd better talk to Harry if he's here.
34:23Third movement, symphony of songs, insert two, take four.
34:26Third movement, symphony of songs, insert two, take four.
34:43The crowds for concerts grow greater,
34:46but there are fewer old friends for lunch.
34:49Nabokov is one of the last remaining old friends.
34:57Hello, how are you?
34:59Very well, and you?
35:00Well, I was wondering, how is it going in Canada?
35:03Canada? We haven't been there in a long time, right?
35:08Very well.
35:10So, here we are.
35:16I'm happy to see him. Very happy to see him.
35:19We're two friends.
35:21They're recording devices.
35:23It's terrible.
35:25We can't say anything.
35:26We can only say very nice things.
35:33I have no intention of saying otherwise,
35:36because they're very nice people.
35:38I'm very happy to see them all the time.
35:42I didn't know you were already there.
35:44I was downstairs.
35:46I didn't know.
35:47You had the masseur.
35:48I had the masseur who massaged me.
35:50I have a terrible headache today.
35:52I'm not going anywhere.
35:53I'm staying in my room.
35:55I put on my tie to be polite.
35:58I'm going to eat because I'm hungry.
36:00I have a terrible headache.
36:02That's all, gentlemen, for today.
36:04So, you can go.
36:06Now, you can finish giving me your hand.
36:11Can you do it?
36:12No, I'm sorry.
36:13You don't speak French.
36:15So, I will translate it.
36:17You can finish the business.
36:20Give me your hand.
36:22Shake the hand.
36:26I shake your hand.
36:29It would not be possible for us to photograph a little more
36:32some of your conversation with Mr. Nabokov.
36:34We'll talk Russian.
36:35Yes, that would be marvelous.
36:37We would love to have some film of you talking Russian.
36:40No, really.
36:41Yes, it would be very good for us.
36:43Would you like to sit down, please, and be comfortable?
36:46Just forget us.
36:47I didn't know that you wanted.
36:49I didn't know that you want.
36:51Do you want just a drop of scotch?
36:55Wonderful.
36:56Wonderful means wonderful in Russia.
36:59If you want, I translate what I say in Russia.
37:03I will translate you.
37:04I'm a professional translator.
37:09I have no glass.
37:10I have only one glass.
37:12And we will drink from this glass.
37:15Let me give you.
37:17That's our glass.
37:19If you want.
37:31Now we can sit down.
37:38You see, Russian is a language.
37:41All the French words, like, for example, sortir.
37:44Sortir.
37:45Sortir means WC.
37:49But means also get.
37:53It means sortir.
37:57Sortir where?
38:00To WC.
38:05How do you feel, dear?
38:07Excellent.
38:08No, really.
38:09Looking well.
38:11Looking well.
38:13Everybody says to me, you are looking so well.
38:17And I say, I think so.
38:20But I don't feel well at all.
38:22I cannot stand this feitigkeit.
38:28How do you say feitigkeit in Russian?
38:32Cirrus.
38:33Cirrus.
38:35How do you say feitigkeit in English?
38:39Dampness.
38:40Dampness.
38:42Damp weather.
38:43Damp weather.
38:44Magi, damp weather.
38:45Yes.
38:46And how do you say feitigkeit in French?
38:50Humidity.
38:52Humidity.
38:53And how do you say in Italian?
38:55Humidità .
38:56Humidità .
38:57Humidità .
38:58Your good health.
38:59Merci beaucoup.
39:00Your good health, gentlemen.
39:03Oh, you have a beautiful beard.
39:05It's new, isn't it?
39:06It's very beautiful.
39:09Well?
39:11Wonderful to see you.
39:42Can I have some more?
39:44Of course, my dear.
39:46That's what I do to drink.
39:48I wanted to bring you something, but I couldn't find it in Berlin.
39:52A wonderful Scotch.
39:53It's called Chivas Special.
39:55Chivas.
39:56Chivas Riegel.
39:57Chivas Riegel.
39:58Wonderful Scotch.
39:59Chivas Riegel, that's my Scotch.
40:01That's a wonderful Scotch.
40:02Chivas Riegel, that's my Scotch.
40:04I'll go and get it.
40:08Now, you have to drink.
40:11Enough.
40:13You are too, how do you say, prejudiced.
40:20You are much too assiduous.
40:25Assiduous.
40:26No, prejudiced.
40:28When you say a boy is very studious, not studious.
40:35Assiduous.
40:36Assiduous.
40:37When he does his work too well.
40:40Yes.
40:41What's the word for that?
40:42I will tell you.
40:43I have a dictionary.
40:45Always with me.
40:47Russian, English, English, Russian dictionary.
40:50Yes.
40:51With a mirror?
40:53I don't know.
40:54Oblivion.
40:56That's an old dictionary.
40:59But with a new...
41:01New dictionary.
41:02I don't remember how to read it.
41:04Obedient.
41:09To stroke.
41:14To burn.
41:18K.
41:19R.
41:21To...
41:24To...
41:26To...
41:27To...
41:28To...
41:30To...
41:34Diligent.
41:36You are too diligent, gentleman.
41:39It means Prilezhniy in Russian.
41:42Not so easy to pronounce for you.
41:45How do you say it?
41:47Prilezhniy.
41:48Prilezhniy.
41:49Briefly is Vzogen.
41:51Prilezhniy.
41:52That's...
41:53Bravo.
41:54You know, there are...
41:55You are born?
41:56I'm Ukrainian.
41:57Ah, you're a Ukrainian.
41:58You know, Canada is full of very dangerous Russians.
42:01You have Dukhabors in Canada.
42:03And I was at a meeting at the Tolstoy...
42:07I told you the story.
42:08There was a Tolstoy conference in Venice.
42:11A lady, Dukhabor, in front of all,
42:14Isaiah Berlin was there,
42:16and there were all kinds of people,
42:19like Dospasus, writers,
42:21and suddenly a lady got up and said,
42:23And now, ladies and gentlemen,
42:25I must undress and be naked,
42:28and I advise you to do the same,
42:31because we must be naked in front of God.
42:33And to which Branko said,
42:36Oh, per favore, non facciamo là ,
42:39in the Fondazione Cini.
42:42They walk naked around.
42:44Yes, they give us a lot of trouble.
42:46A lot of trouble, yes.
42:47And you know whom you owe them to?
42:50No.
42:51Tolstoy.
42:53Yes, Tolstoy was...
42:54He paid for that trip.
42:55He paid the whole thing.
42:57He paid the whole thing for them to come to Canada.
43:00A naked country.
43:02Yeah.
43:03Naked before God.
43:05But where is God?
43:15Did you tell him about Cocteau?
43:18No, I didn't.
43:20You know, Cocteau is terrible.
43:22What?
43:27No, Jean had an attack.
43:30Yes, and we thought he was going to die,
43:34but he didn't die,
43:36but we think he will remain completely paralyzed.
43:39No.
43:40Yes.
43:41No.
43:42Yes.
43:43But what a horror.
43:44It's a bit...
43:45But what a horror.
43:47What a horror.
43:48But what happened?
43:50I don't know.
43:58No, but you had a very small...
44:00Yes.
44:08Yes.
44:09Yes.
44:19I don't know why I walk with a cane.
44:21Yes, but Jean had a generalized paralysis.
44:26But what about his mind?
44:28We don't know.
44:30For eight days, we can't say anything.
44:33He is in a state of...
44:35He was in a coma.
44:37Now he is out of the coma,
44:39but we can't say anything yet,
44:41and we are waiting to see if certain drugs will work or not.
44:45There are four doctors...
44:47Stravinsky has moved a great distance.
44:50His first wife and a multitude of friends are dead.
44:54Shortly after this conversation,
44:56Cocteau, too, was dead.
44:59Gaugol, Stravinsky once said,
45:02died screaming.
45:04Diaghilev died laughing and singing La Boheme.
45:08Ravel died slowly,
45:10and that is the worst.
45:12Still, let's call him now.
45:14I don't think it's open yet.
45:16I think it's one o'clock.
45:18Voilà .
45:19So, gentlemen,
45:21I leave you.
45:24You must close the door.
45:27And so I wish you...
45:30all the things we wish for,
45:34to have a good appetite,
45:37eat well,
45:39eat well, drink well.
45:42Voilà .
45:46Au revoir.
46:16Au revoir.
46:17Au revoir.
46:47Ah!
46:50Ah!
46:52Ah!
46:54Ah!
46:56Ah!
46:58Ah!
47:00Ah!
47:02Ah!
47:04Ah!
47:06Ah!
47:08Ah!
47:10Ah!
47:12Ah!
47:15Ah!
47:17Ah!
47:19Ah!
47:44Ah!
47:46Ah!
47:48Ah!
47:50Ah!
47:52Ah!
47:54Ah!
47:56Ah!
47:58Ah!
48:00Alleluia!
48:08Laudate!
48:14Laudate!
48:20Laudate!
48:26The cameras follow Stravinsky,
48:29as they have done for 55 years.
48:32The people of Hamburg wait for loved ones.
48:35Some say,
48:37who is the little old man?
48:39Others say,
48:41look,
48:43there goes Stravinsky.
48:47Now you make the announcement.
48:51Bravo, everyone.
48:53Beautiful, we have it.
48:55Thank you very much.
49:37© BF-WATCH TV 2021
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