Ich habe ihn in den 80er Jahren sehr oft in Konzerten in München erlebt. Leider wusste ich diese Momente damals als 20-Jähriger noch gar nicht so zu würdigen. Aber die vier letzten Lieder mit ihm und Jessye Norman werden mir für immer als ein Höhepunkt meines Lebens in Erinnerung bleiben. Das war mir selbst damals schon bewusst. Für die Bruckner-Symphonien hat er mich jedenfalls ein für alle Mal verdorben - ich kann sie mir von niemand anderem als von ihm anhören. (Zum Glück brauchten seine Erben Geld und haben seine Mitschnitte zur Veröffentlichung freigegeben.) Dass Karajan ein Scharlatan war, damit hatte er übrigens vollkommen recht. Mit Bernstein und Abbado auch.
3:46 Not true. The microphones are extremely sensitive & are placed in the optimum positions. They capture the sound far better than you can hear in the middle or rear seats, even in the best concert halls. And they possibly have a coughing filter as well!
Dunno if you guys gives a shit but if you guys are bored like me during the covid times then you can stream pretty much all of the latest series on InstaFlixxer. I've been streaming with my brother for the last few months =)
Of course the same could never be said about those who don't understand English. But remember the nobody seems able to eulogise about at such length and to so little purpose as when they are speaking German!
Ein Charlatan, durch und durch. A Poster-boy for nearly everything one can do WRONG as a conductor. Witness the stupid exercise of the orchestra playing "nonsense music" to his inept conducting gestures at his mill. How sad that so many can be so easily taken in by this kind of elaborate flim-flam. Makes me ill.
Just wondering, who do you consider a good conductor? Honest question, I love classical music and want to know more. I've heard Celibidache recordings and I like them, specifically Pictures at an exhibition, and there are things that come to life in a way I haven't heard in recording from other conductors. Cheers.
Not too many good ones, unfortunately. To name a few, in no particular order: Fritz Reiner, George Szell, Wolfgang Sawallisch, Fritz Busch, Claudio Abbado, Bermard Haitinck, Marek Janowski. There are many ways to judge and evaluate an orchestral conductor, and different constituencies (orchestra players, management or governing board, audience members) will rank certain qualities higher or lower than others. For me it is the utter dedication to presenting the work of any composer in its truest sense, with an orchestral sound that is balanced and homogeneous. Richard Strauss formulated seven "golden rules" for conductors; a few are stated with "tongue in cheek" but they are all valid nonetheless.
Chanate Tapatio There's no questioning the greatness of Celebidache's talent. Not only talent, but a rare intellect as well. Unfortunately he has some eccentricities (and he's not the only one). As for what is a good conductor, that's not an easy question. That's because (in my opinion) there's so many factors and so many ways of looking at music that you can get great conductors with opposing traits! - a famous case-in-point being Toscanini (often called a 'literalist' or 'objectivist' - one with solemn respect for the notations of the score) and Furtwangler (a 'romantic' or 'subjectivist' - one who believes notation will always be inadequate and thus will add elements in the conviction that he is serving the spirit, not just the letter, of the score). And to me they are both great! At the end of the day though, their job is to serve US, the listeners, and therefore if there's something you really like in a conductor's performance, whoever he or she is, then that's really enough. However I do recommend listening to various performances of a given work. More likely than not, you will not just prefer one over another - but come to see different strengths (and weaknesses) across several versions. PS a musician who plays under a conductor will of course have their own criteria - the most important ones being: does the conductor know what they're doing?, and can I follow him/her? There have been some famous problems in this regard, one being with Mitropoulos and the New York Philharmonic. He had great vision in his interpretations but poor conducting technical skills. The orchestra was criticised for lowering its standard of playing under him, and actually in one performance the musicians didn't know whether or not to play a certain repeat - some did and some didn't - the concert ending up a disaster.
He filled the concert halls and was thus a commercial success. Not much difference between him and Michael Jackson, except, of course, for the glove. That was a stroke of musical genius.
Overrated conductor. He hated the women for example the poor American trombonist Abbie Conant who was discriminated by Celibidache and the Munich Philharmonic
