It was the spring of 1975 when a phone call changed the trajectory of Peter Oundjian’s life. A friend of his sister, tied to a major London agency representing Pinchas Zukerman, asked if he might be available in two weeks to participate in one of Zukerman’s master classes at the Brighton Festival. At just 19, Oundjian was already in awe of Zukerman, one of the premiere violinists of the moment and nothing less than a towering inspiration.
Zukerman, understandably, insisted on an audition before appearing publicly with the young violinist, which is how Oundjian found himself at a modest apartment near Sloane Square in London. “I’ll never forget the moment when he opened the door and there’s the great Pinchas Zukerman waiting to hear me play,” he recalls.
“I’ll never forget the moment when he opened the door and there’s the great Pinchas Zukerman waiting to hear me play.”
Peter Oundjian, Music Director
After performing the Mendelssohn Violin Concerto, Zukerman gently told Oundjian to remove his shoulder rest. Then, in an act of both humor and generosity, the elegantly dressed Zukerman removed his own silk tie, placed it under Oundjian’s sweaty shirt, and said, “that’s all you need.” Zukerman accepted him on the spot.
At the master class in Brighton, among four violinists including a young Nigel Kennedy, Zukerman’s warmth never faded. Lots of laughter, lunches, and tea shaped their days. On the final day of the festival, when Oundjian admitted his plan to study in Salzburg to “perfect my German,” Zukerman gently urged otherwise. He offered, “you should come to New York and study with my teacher, Mr. Galamian, and I’ll look after you.” Oundjian hesitated, citing his father’s preference for Salzburg. Zukerman asked, “where is your father?” and it just so happened Oundjian’s father was there that day, so he pointed him out and Zukerman said, “give me a minute.”
Moments later, Zukerman had quietly persuaded the usually inflexible paternal figure. Oundjian remembers that “My father is walking back with a smile, and Pinchas is walking behind him winking at me. And in that moment, my future was changed.” He applied to Juilliard that autumn and the rest is history.
That intervention enabled Oundjian to study with the likes of Ivan Galamian, Dorothy DeLay, and another of his personal heroes, Itzhak Perlman, connections that shaped him into one of the world’s premiere violinists in his own right.
During Oundjian’s time at Julliard, he and Zukerman forged a deep friendship. On one occasion, Zukerman attended a Juilliard rehearsal, taking time out of his busy schedule to hear Oundjian perform as soloist in the Beethoven Violin Concerto with the Julliard Orchestra, offering advice and support even as his own career soared.
However, their relationship wasn’t merely educational, it was rooted in friendship and artistic kinship. Oundjian refers to Zukerman as his “big brother” in music.
Over the ensuing decades, the bond forged in those early years blossomed into a rich pattern of musical partnership. Whether sharing the stage in chamber settings — most notably during Oundjian’s renowned tenure with the Tokyo String Quartet when Zukerman would sometimes join as second violist — or collaborating in concerts and recordings, their artistic dialogue remained vibrant and deep.
“You have to show respect for your instrument, and conducting is an instrument.”
Pinchas Zukerman, violinist
Both men began their careers as celebrated violinists and later embraced conducting, bringing a performer’s insight to the podium. “You have to show respect for your instrument, and conducting is an instrument,” reflected Zukerman. “To learn it takes a lifetime. You mustn’t conduct if you don’t know how to do it!”
Zukerman’s approach to every musical challenge emphasized vulnerability and openness. “When you are vulnerable, that means you are really open to making it better. When you play and conduct as much as I do, you learn so much music, but you learn how much more there is.”
Oundjian had actually studied conducting during his time at Juilliard and even conducted at a masterclass with Herbert von Karajan, who told the young violinist, “I’m telling you now, you have the hands of a conductor.”
“I’m telling you now, you have the hands of a conductor.”
Herbert von Karajan, conductor
Oundjian took all of these lessons to heart. As music director of the Toronto Symphony, he transformed rehearsal rooms into emotional laboratories, focusing on acoustic balance, spontaneity, and performer engagement, ideas he’s since brought to Denver in his new role with the Colorado Symphony.
Now, half a century later, Oundjian and Zukerman revisit the creative spark that was ignited in Brighton, when Oundjian leads the Colorado Symphony as Music Director for the first time and Zukerman joins as soloist for the Bruch Violin Concerto and Beethoven’s Romance in G major. This concert marks a new chapter for the orchestra under Oundjian’s leadership, but also serves as a poetic full-circle moment between mentor and protégé.
Imagine the moment on stage at Boettcher Concert Hall this September: the young violinist who once stood in that London apartment, helped by a silk tie and a persuasive wink, now conducting alongside Zukerman. This promises to be more than the opening of the Colorado Symphony’s 2025/26 season, it’s a reunion seasoned by decades of friendship, mentorship, mutual respect, and shared artistry.
As they continue to inspire new generations, the bond between these two artists remains a testament to how music and friendship can converge and mature into something lasting and transformative. From a supportive masterclass in Brighton to powerful performances around the world, their relationship has bridged strings and baton, student and mentor, soloist and conductor. We are honored to have them together on our stage at the Colorado Symphony to kick off our new season.
Join us for Classics Opening Weekend
Join us for Classics Opening Weekend, September 19-21, 2025, to experience this reunion live at Boettcher Concert Hall. Learn more and get your tickets today.
JOAN TOWER Suite from Concerto for Orchestra
BRUCH Violin Concerto No. 1 in G minor, Op. 26
BEETHOVEN Romance No. 1 in G major, Op. 40
RESPIGHI Pines of Rome
