C. BECHSTEIN “Resonances”

In Berlin, the PR head of C.Bechstein’s PR department Mrs. Küpper saw the need for a new image-film after they had designed a new website. The length of about 15 to 20 minutes was about the only „guideline“ I was given, with other words, I was free come come up with a conception.
C.Bechstein’s orientation was definitely only to classical music. My idea was much more open to Jazz and even „popular“ music. Endless discussions followed, even when we were shooting already at Bechstein’s main production place Seifhennersdorf in the southeast of Germany. The main idea was to widen the customer circle also to people who would enjoy playing a wonderful piano, even if they are not able to practice 6 or more hours the day to make it onto classical concert level.
The shootings in Seifhennersdorf were marked by an extraordinary support by the head of the production Mr. König as well as nearly everybody of the Bechstein workforce there. The atmosphere was amazing. Bechstein’s conception to connect their craftsmen to the company and their philosophy as close as possible was detectable all the time. It is not only reflected in the quality of the instruments, but definitely also in the mood there.
We were recording Jazz in Copenhagen with the Morton Schantz Trio and while communicating with the very helpful Danish sales representative I finally received a phone call by him telling me how thankful he is that after all these years: Finally Bechstein mentions Jazz as well. So far, the whole business went to Yamaha according to him: a C.Bechstein was considered not suitable for that kind of music. By „accident“ I found these old photographs of nobody less than Dave Brukeck, Duke Ellington, Chuck LeavelI on a Bechstein during concerts, to name a few. In the end after the production I was around in the Berlin headquarter, when Morten Schantz selected and bought himself a Bechstein…..
Finally, the film had a length of 37 minutes due to the interesting and richness of the story and the great musicians recorded. Honestly, I expected discussions when presenting a first film version to a number of the leading people in Berlin headquarter. Overwhelming enthusiasm instead – not the slightest request for any change. It was even not easy to convince the boss, that my layout narration should be replaced by a professional speaker.
We recorded it in our atelier in Hamburg in 7 languages. My son Ric was the master in this affair and of course the whole success while shooting goes back to my great crew: Marc Lorat, Barbara Ludwig, Ric Nitsch, Michael Felgendreher, Yeganeh Pashai und Angelika Berger.