This is, "THE, TRULY GREATEST PERFORMANCE OF DEBUSSY'S TROIS NOCTURNES POUR ORCHESTRE", THAT THERE, IS, HAS BEEN, OR---- EVER---- WILL BE !!!!!!!!!!!!! Maestro Celibidache's controversial, very, very, SLOW, Tempi, are not so, AT ALL !!!! These Tempi are, PERFECT, for Late Nineteenth Century and Early Twen- tieth Century French Composers. Although these Musicians eschewed the classification "Impressionist", their Personae were of the Nature of a "mysterious" Sensuality, which to many seemed evocative of a Woman's erotic Sensuality, with great Finesse, however!!!! This Aesthetic came to be called "Sybarism". Now, Sergiu Celibidache's style for shaping a musical utterance, is FULLY understanding---- PERFECT---- for "Turn-of- the- Other- Century" Music of all kinds, particularly, French. Why? He is, above all, a "Subjective", "Emo- tional", "Romantic" Composer !!!! The "eyes" of this artistic "Brain and Heart" need attention to a Plethora of so, so, details, to allow themselves to unfold, naturally. However, I have---- NEVER---- heard the Nicturnes, "shaped", so---- exquisitely !!!! I am not describing just the "Sybaritic Beauty" of the third Nocturne, "Sirene`s". Debussy's sensuous, "scientific" mystery is here so CLEARLY brought to life, that one may only exclaim: " Early Twentieth Century French Music is truly---- EXQUISITELY BEAUTIFUL, AND WITH SUCH FINESSE !!!! To You Tube, to Anyone: Bring us more performances from such a great Artist, who, unfortunately, seems to be known only for his interpretations of "heavy" German Repertoire, usually, Bruckner, and, who us maliciously unjustly derided for his deep rendi- tions of German Symphonies !!!! Thank you, all involved in the Produc- tion of the Video Thank you, You Tube !!!!
I think the old man would have been quite rude about the hum, considering his general position on recording music. I'm sorry, but I can't listen to it because it makes me feel uncomfortable.
That's the thing about Celibidache, isn't it. He claimed to hate recordings, but so many emerged in any case, especially after his death. Not his doing though. He let other people tend to that. Even through the hum, I can hear his pacing, his attention to the textures and orchestration, to the score and its possibilities that other conductors have either ignored or overlooked. I've listed to this recording more times than I can count. Each time I hear something refreshing and unexpected.
