Fantastic quote from this interview: "The creative act knows no memory, no science, and no cognisance... The creative act accepts no conditions outside of itself. That's why it is free."
I don't know enough to judge whether everything Celibidache says is true or not, but I do admire him for making the effort to consciously understand and explain music on an abstract, philosophical level.
There are so many musicians who are stuck into the technical part of music. What is music is the obvious question: it is a phrase of sounds that are pleasant to the ear-and this notes can be played following the same phrase in different ways, transmitting different feelings. Don't get stuck in the technical details - try to insert your own soul and feeling in what you play. Like this you will discover a new world and maybe even yourself.
The inspiration I take from Furtwangler and Celibidache is the idea that every experience of art is fresh and unique to that time and place. Even the most brilliant Bruckner scholar can never hope to know what was going on in Bruckner's mind, neither can the most brilliant performer ever perform exactly as the composer would have imagined it to sound. Some composers don't even seem to care all that much. Bruckner was known to have said "do what you want, just perform them". For me, every performance is a fresh, new creation, a product of its own unique time, place and context, not divorced from the historical forces that led to it, but also not in any way the same as what went before. This is why I love Celibidache's quote, "there is no such thing as a repetition". Even an exactly "copy-and-paste" kind of repeat, like Bruckner did in some of his music, is not a pure repetition. The second time always feels different. We're in a different place when we hear it. I think all performance is like that. It's a new, unique, special place. It's at unity with the universe, without being homogeneous with the universe.
Somewhat related: Horowitz's comment about some modern pianists... he said that they practice and practice and practice, and then go on stage and practice some more...
Quanta fortuna ho avuto e quale onore averlo conosciuto e aver assistito a numerosissimi suoi concerti EMOZIONI PROFONDE E CELESTIALI...... Grazie CELI ..❣
j'ai reconnu la voix de la journaliste 𝗘𝘃𝗲 𝗥𝘂𝗴𝗴𝗶𝗲𝗿𝗲. Grande journaliste de la musique clasique. 𝗘𝘃𝗲 𝗥𝘂𝗴𝗴𝗶𝗲𝗿𝗲, née à Limoges le 13 mars 1939, est une productrice d'émissions de radio et de télévision, présidente de société, écrivaine et animatrice française de radio et de télévision. De 1982 à 2007, elle est productrice et présentatrice de l'émission Musiques au cœur puis Musiques au cœur 5 étoiles sur Antenne 2 devenue France 2 en 19921,7. ----- En 1987, elle est directrice de collection au département classique de CBS. En 1988-1989, elle est directrice des programmes de France Inter puis d'Antenne 2 en 1989-1990. Elle participe en 1990 au festival d'Aix-en-Provence, où elle présente l'intégrale des symphonies de Beethoven par le Gewendhausorchester dirigé par Kurt Masur. Elle est chroniqueuse artistique de la page musique au sein du Figaro Magazine en 1990-1991 et depuis 1991, présidente-fondatrice de la société de production Eve-R productions. Depuis 1993, elle est directrice artistique puis productrice à partir de 2002 du festival d'Antibes ainsi que du festival des Journées lyriques de Chartres. [Wikipedia]
"100 according to Mälzel, but only for the first bars, because the feeling also has its own tempo and cannot be expressed by this number" Ludwig van Beethoven - 1817. Everything I want to mean is summarized by this sentence of Beethoven.
My father told me that everything was said in this interview. I need some time to understand what he really meant. I want that you become conscious of the phenomena that move you. I don’t want you to get stuck with this emotional impression. Because that is not music. We hear a beautiful sound at the first because it is beautiful. But the true end ultimate purpose of every piece of music is freedom. -Sergiu Celibidache-
@@vijinanadu1962 yo bin student und habe zurzeit nicht viel möglichkeiten mich intensiv mit etwas anderem zu beschäftigen, ich wäre also über einer ausführung durchaus interessiert und dankbar
@@pistol625 I am 59 now, a total philosopher, just like Celibidache, i also compose occasionally, what Plato said is just the framework, the details Celibidache explained quite well in the interview: He can hear the metaphysical music, and the materialists cannot !
"You don't do anything ~ you let it evolve" ... quote from, and also title of a DVD I bought a few years back. A 'must see', if you already like Sergiu Celibidache. An 'ought to see' for those who don't yet. A remarkable man ... an amazing musician! Thank you "1Furtwangler" for letting me find this great presentation!
@@voloshanca Beauty is a step on the path to truth because it still implies opposites like ugliness, truth is the resolution when the opposites become one. Beauty is what draws you in, then the other side steps in: "the bad, the dark, the contrast" afterwards the playout of the conflict follows and the two forces interplay until we finally reach the point where duality is revealed to have been illusion, because in truth there is but unity. This realization is the freedom that he talks about and the goal of art.
You can hear that Celibidache say in this interview, in last part of 3rd movement of Schumann 4 symphonie: in this crescendo, that divides 3-4 movements, all his conception about musicology, can be cleared heared.
Correct. He was trying valiantly to put something into words, when words cannot describe it fully. A very interesting and educational conversation, which deserves listening to carefully. The irony of this being a recording, on TH-cam, with all of its compression and mangling, of what was once live music and conversation, is not lost on me. Anyone who experiences live music, and who creates such music, is 'in the moment', not in a repeated and processed (even with many edits!) recording. That's more like reading a diary than being alive in the moment. It's like viewing the Mona Lisa, compared to being there when it was painted. Even playing my own modest pipe organ arrangements live is never done in quite the same way again. One has to react to the circumstances continually, just as we tend to do in all walks of life. Thank-you to the interviewer, for having the good sense to remain quiet and to listen to the full answers to her brief question and responses. That's an art which has been lost by most modern interviewers. A richness in conversation and understanding is missed when the questioner interrupts with another, often unrelated, question.
Very interesting interview and philosophy. I am also convinced (and have spoken about it to students) that time isn't absolute. It is relative and flexible. Because it is related to the organism (body): where the heart rate is faster, time seems to move faster as well (though for an external viewer, time has remained the same). Also, halls, instruments, and other acoustical variables determine the time it takes to speak the composers message (according to you, of course, the interpreter)...
Sir, his time or tempo is what Henrie Bergson called duree, not physical timing, but phenomenological time, experiential time, the instrument of Gosmic Mind for Cosmic movement, what he calls: vibrations.
Thanks for this interview & thanks to Radio France who obtained this rare event now years ago. Celi's aproach to music is still making progress in 2016 Wuhuuu !!! Forget CD's DVD's and go to damn concerts, bad or good, that's where music is. Strings of 0 & 1 digits can't do much music : D
I read Weingartner's book and I believe I have a pretty good understanding of Furtwänglerian musicianship. And I'm not here to defend Celi. Basically, his approach is, that the tempo is correct if your mind is able to consciously experience all musical information in a single moment. In his thinking, metronome markings were all too fast because sound, when imagined in a composer's mind, has no physical properties and limitations, but it does have them in the real world.
The man is a philosofer in the true sense. He knows to bind reality and words. I would also say that he is well acquainted with hinduism. Remainds me also on Friedrich Schelling, which emphasysed the same origin of both Truth and Beauty. Superb.
@Gregory Wanamaker: thanks, but I meant to ask if this interview comes out from a tv broadcast (in this case, which channel and when broadcasted) or if it's a bonus of some dvd (which one, in this case), because I (still) want to see the rest of it.
He is a genius! No question. He is right. Direct hearing. You cannot jump into the same river twice. As a far as I can remember, as soon as he died, his family member(s) signed with EMI to release his life recordings. :-)
I still believe recordings have a value, even if they don't capture all of Celi's intentions and what is contained in the music. Enough is transferred for it to be a meaningful experience for the listener, even if it's a poor simulacra. However, I believe all artists should be as exacting as he was in his demands and musical values.
+Danny B. - Your arguments were reason German court declared part of Celibidache's testament being invalid. The treasures of existing records (both performances and public rehearsals) are too precious to be banned from publishing.
+Danny B. - Yes. Celibidache gave permissions to records by tv only to be aired while he lives. No other publishing, too. In his will, he put firmly again to forbid any publishing of made records. In Germany, only a court can cancel a will (or parts of it) if there are very good reasons. For example, the loss of a great artistic heritage.
@Salvatore Obinu: interessante il tuo commento, ho sempre pensato ad una similitudine del pensiero del Celi sulla musica ad alcune riflessioni di Bergson, anche se non ho mai letto qualcosa su questo accostamento. Ad esempio, in questa intervista il concetto che egli espone sulla "moltitude" mi sembra essere precisamente quello della differenza tra "molteplicità quantitativa" (spaziale, del mondo esterno) e "molteplicità qualitativa" (della coscienza) che il filosofo francese espone nel Saggio sui dati immediati della coscienza (titolo non molto seducente, lo ammetto, ma libro straordinario), precisamente nel secondo capitolo. A quali idee di "Materia e memoria" tu invece fari riferimento?
Introduction to Metaphysics by Bergson is more clear Also: Edmond Husserl: Phenomenology of Inner Time Consciousness or Stream of Thought in William James: Principles of Psychology. These three are related: the American, the French and the Austrian.
16:57 music is the shortest route to human revelation and the existence of the central vibration. 15:45 everything is vibration. 14:53 i believe in a central, cosmic vibration. i believe we are in constant contact with it. you might call it - God -. 19:28 beauty is just a stage on the path to truth, on the path to being able to perceive the sensation of the central cosmic vibration. the goal of music and art is not to be beautiful. it´s goal is ultimate truth. 30:16 the true end and ultimate purpose of every piece of music is freedom. at the end of a concert if you only hear people applaud and scream you haven´t understood. one should just thank God for this gift of attaining freedom, simply saying - that was good, i am free again. -
Beethoven was referring to flexible tempo. The slower tendency is another thing. Metronome indications are relative orientation marks for people like Celi and other arch-romantics who, despite saying sometimes very deep things about the purpose of music (truth and higher order beyond sensuous beauty etc), are more happy with a transcendental approach to it than to a real, stylish and HIP.
Back to basics: one must take into account the size of the hall and its acoustic properties. Why did composers (Beethoven included) play their music at different tempos in different occasions? And during the 19th century concert halls and orchestras grew gradually larger. That's why Celi failed with the classical, but could he not have a point with late Bruckner at least? Wasn't Bruckner half way between Beethoven's fire and his own huge, contemplative inner universe?
Hello 1Furtwangler: I loved this interview and I would like to make a spanish translation to share, so I'd need the original text in french (I don't write it myself because I don't understand some words by voice) so I can make the translation the most faithful possible. I don't know if you did this translation by yourself, but if you could help me to find the source, I would be very grateful. Thank you.
I have understood that perfectly well the first time you have stated so. But also I have tried many times to understand how you see the term "liberty" in music. In my belief, though I am also limited to these "poor" audio recordings, Celibidache did not use "bad" editions or music itself to own the genius of Bruckner all by himself but to see Bruckner as he saw him in his creative spirit. And that's it.
It's a DELIGHT to actually watch Conductor's Celibidache's work (search for th-cam.com/video/m8Y5x1N_aIg/w-d-xo.html). I saw him performing live as a child in communist Romania. We terribly miss him.
Mozart said once that he had never composed a real Adagio. The perception on tempo varies in different ages. Andante means walking, so for 'slowists' the baroque indication 'Andante allegro' would be very strange, he, he.
By golly, he can certainly talk! His use of the word "astral" coupled with his absolute certainty that he's right about just about everything left my bullshit detector red hot and smoking. However...! Yes...however! ... I spend over 50 years not appreciating Bruckner. As one critic has said, listening to a Bruckner symphony is like crossing London by car and finding every traffic light against you. Just when you think you're getting somewhere, you're pulled up to a dead halt. And then you lurch off again. Sometimes along a different street. Only to stop dead again at the next lights. And so it goes on. Till you finally reach your destination. Bruised, tired, frustrated, worn out... Then I discovered by accident on TH-cam Celibidache's live performances of Bruckner, and for the first time his music made sense to me. The slow tempi removed the lurching; I could now sit back and enjoy the ride and take in what became glorious sound-scenery; all the puzzling details fell into place and the pauses and stoppings became a time for reflection and anticipation. I must say Celibidache's conducting has opened up my ears and mind, at least to Bruckner. So thank you, Sergiu, wherever you are! But when you explain yourself in words as opposed to music, I'm afraid I don't understand a thing you're rabbitting on about. Do you really have a degree in philosophy?
Celi also opened my eyes (I meant "ears") to Bruckner, but first to Tchaikovsky (the 5th w/ the Munich symphony orchestra). I've come to realize that the whole "slow" tempo critique has to do with one's attitude towards (1) life (and by extension, death) and (2) the use-value of time during one's life. Sure, these "modern" (i.e., anything lasting more than 30 minutes) symphonies by their duration task anyone's patience. However, if you had an opportunity to spend a solid hour and half thoroughly enjoying yourself, would you deny yourself such unique pleasure just because some critic you've never met issued an edict that such-and-such a symphony should take no less than 58 and no more than 60 minutes to play from start to finish (pauses btwn mvmts excepted)?! Sure, I can understand objecting to intonation problems or failures of the musicians to get in sync w/ one another and/or the conductor's commands. However, each audience member (or digital listener) marches to the beat of a drummer beating the skins at a rate determined by a thick, complex layer cake of fate. Hence the tempo of each symphony resonates with each person better or worse according to how closely said tempo approximates the thwack-thwack-thwack rate of such person's inner Animal (i.e., the drummer from the Muppets), Kieth Moon, or Max Roach. Astrophysicists talk about the sound of the birth of the universe, something that we think we can actually still hear. One gets a chance with Celi to imagine what the music of the afterlife might be like, without being forced to accept Pascal's Wager.
Unique ! the demonstration that genius can be obtained along a life ! c'est la démonstration qu'entre un illuminé jeune tel un Arthur Rimbaud au fond a moins d’intérêt pour l'humanité qu'un homme qui s'est trompé à ses débuts, qui a été humilié et qui avec les années a accéder à un monde d'une autre qualité ... le génie de Celibidache m’impressionne encore plus que celui de Rimbaud qui au fond a plus exploiter les effets des substances hallucinogènes qu'un réel potentiel individuel ... cela devrait inciter les jeunes qui lisent ces lignes à éviter de se griser par des pseudo paradis artificiels .. le paradis est au bout d'un long chemin dans un tunnel ou dans un désert !!!
MICK DUNN NOTRE ESPRIT QUI N'EST PAS PHYSIQUE A TOUJOURS CONNU L'ANGELIQUE. THE TOOLS WE USE TO RECONNECT WILL ALWAYS HAVE PHYSICAL LIMITATIONS. IT IS SERGIU'S GENIUS THAT IS A GIFT TO US FOR GETTING A MERE GLIMPSE AT OUR FINAL DESTINATION. His gift of music is appreciated for the soul connection but as a human I reserve my right to enjoy all the beauty of sound as long as I am still here. Creation is the rainbow of beauty we bring by free will back with us to the eternal realm that incompasses as Sergiu puts it so well the 1rst 2nd 3nd and 4th tempos that only build all the others.
Does anyone know where this interview is from? I am including some quotes in an academic work (my dissertation) so I need specific bibliographical information. Is it from French television? Does anyone know what year? Is it available on DVD? Any info would be greatly appreciated!!
'He (critic) is a victim of a false experience.' - They (common wisdom) say everything depends on perspective, but it takes a true genius to make everything depends on perception (abstraction).
As I already wrote many times, when 98% of conductors play Bruckner's symphonies 25% - 50% or even 100% slower, whatever are the acoustical conditions, it is clear that there is a real problem of understanding and/or informations about the music. As an organ player, I perfeclty know how to adapt a tempo to the acoustic of a church. Why to be so irrational just when I mention the word "metronome" when this tool gives us a precious and essential indication about the character of the music?
Leibniz's monad as a prototype of beauty. A possible logic of beauty. Leibniz defined a monad as a complete concept, that is, a vessel containing all of the necessary predicates to define it. The unity would be the monad itself. Similarly, Felix Mendelssohn, among others, said that 'The essence of the beautiful is unity in variety.' Because of this similarity, it does not seem unreasonable to assign the monad as the prototype of the beautful. A similar prototype would be , after Meinong's theory of mental objects as intendeds, what we call "intendeds". These objects of thought are Secondnesses, similar to monads, except that they have no physical correspondents, as monads do. There is more to it, since we have not studied Leibniz's cdoncept of apperceptyion enough to understand feelings arising from sensory inputs. This may be connected to the idea that Mind is the only perceiver, but reports thoss perceptions back to individual minds, Finally, since Leibniz's monads follow logic. as observed by Bertrand Russell in his text on Leibniz,it might be possible to construct a logic of beauty. -- Constructing a combined Leibniz-Peirce-Plato aesthetic First of all, there is Plato's aesthetic, in which perceived objects are compared to their ideal forms. Thus a vision of a chair would be compared to its ideal form -- the essence, the "chairness"-- of a chair. No existing object will be as perfect as the ideal form, so that the world consists imperfect copies of the ideal forms. This provides some understanding, but, being humans, we do not know what the ideal forms are. so we will proceed to the more detailed perceptual theories of Peirce (his categories) and Leibniz (his model of perception). These are briefly described below, paired in terms of Peirce's categories and Leibniz's elements of perception. We will, however, retain Plato's three categories of goodness, truth, and beauty. We then have: [ Some of these interpretations are taken from en.wikipedia.org/wiki/Categories_%28Peirce%29 ] Firstness- Suchness- First Person singular-raw perception Essentially monadic (the quale, in the sense of the such, which has the quality). The realm of Mind and individual mind. Leibniz- raw perception, which Mind acquires by converting input sensory nerve signals to mental experiences Plato- This would seem to correspond, bound as it is to feeling, to Plato's beauty. I believe that Meinong called this "sosein" or suchness. This is essenttially intuitive, a "first grasp" which a composer such as Mozart or Bach are believed to have composed much of their music from, that is, from Plato's Mind. Secondness - Thisness -Second person-relational; Essentially dyadic (the relate and the correlate). Leibniz- the process of apperception- reflecting on the esperience, making it conscious. Leibniz discusses this topic (apperception) in more detail athan I can here. See en.wikipedia.org/wiki/Apperception Apperception is essentially the whole of aesthetics and needs to be further explored. Plato-- being relational, this corresponds to Plato's goodness. Note that Kant believed that the moral played a large part in aesthetics. Here the musical intuitions mentioned above of Bach and Mozart become more definite objects of perception. And personally, when I view a painting by Homer I judge it beautiful because the lines seem just “right”. Thirdness - Thatness-- Third person- Essentially triadic (sign, object, interpretant*). Leibniz- this has to be reflection on the apperception, identifying or cognizing it. Plato- truth- that, through the interprrnt, the sign corresponds to the object. Here Bach and Mozart would put what they heard down on composition paper. I believe that Heidegger would ` refer to this as "dassein" or "being here". One has this feeling when viewing the Mona Lisa. It is as if she is right there, actual, before you. -- Dr. Roger B Clough NIST (retired, 2000). See my Leibniz site: rclough@verizon.academia.edu/RogerClough For personal messages use rclough@verizon.net
what does he refer to when he speaks of the 4th and 9th octave? the harmonic series? does anyone have more info regarding his stance on this or explanation
He means the metaphysical octaves, only the subtle years can hear them, it belongs to the Angelic dimensions, the realm of Anton Bruckner, where he met the angels, archangels and God, his symphnies are his diaries of his encounters with them basically, so many dimensions , so accordingly, many octaves, the higher in hierarchy in angel's scale, the more octaves. This phenomenology is lost in the contemporary art, but Celibidache keeps it, so is Furtwangler and Mravinsky, Read Rudolf Steiner on music, you will understand something about what Celibidache means.
@@vijinanadu1962 Thanks , I feel this way with BWV 232, The B Minor Mass - I have gone deeper into Jung but not Steiner, what by Steiner do you recommend on this topic?
@@vijinanadu1962 Thank you, I read the first 2 lecture series on music and tone, the details and some starting premises are unclear to me. I need to start with introductory material im order to grasp it. So as per your suggestion I will start with the first book you listed before returning to the music lectures ?
when he speaks about conflict, what does he mean? experiencing oppositions and contrasts in the music, going through them and feeling liberated? is that it?
But these things are not set in stone, one has to adapt to the acoustic circumstances of every particular hall. You can't play fast and crisp in a very large and resonant hall. The equilibrium which existed until the 20th century between ensembles, performance practice, the music itself and the halls was broken when the halls grew larger and larger. So the majestic, slower approach developed in the last century was a necessity motivated not only on ideological, but also on some acoustic bases.
I've been reading the Gospel of Thomas (GoT) out of personal curiosity. The GoT is admittedly rather cryptic. Particularly for a topic of supposedly such great importance, if it was indeed Jesus who said everything written down in the GoT! Of course, it's impossible to prove that point one way or another. On a more interesting note; some of what Celibidache is saying in this video isn't far away from what Jesus said in the GoT. Jesus said, for example, hat the Kingdom of Heaven is within us and all around us, it is right in front of your face but we can't see it. Celibidache's comment on music is similar again. There is much more to a sound than the physicality of the sound wave. More over, only those who've been taught how to hear the extra content will appreciate why the music is being played at the tempo it is. One wonders what we are missing in every day life? I wonder if William Shatner's reaction to his first space flight gives us a clue? I've long subscribed to the theory that our minds interpolate and extrapolate what our senses detect at each moment. What we believe we sense is a mixture of the present and the past. That mixture is rarely ever as rich as what is actually there however we don't notice it - it's all we know! Aldous Huxley experienced the wonder of the present when he took mescaline.What he documented in his essay "The Doors to Perception" makes for a fascinating read. It's available for free online. When Shatner saw the earth from above, his mind had no prior data from which to extrapolate/interpolate what was visible through the window. He therefore saw the real thing!!
Mistranslation: 20:10 he is talking about a series of "No's" not a series of "mots" (= words). The process of making music is a series of "nos" - too loud, too early, too sharp, too slow. Eliminate these and the eternal "yes" might - might! - emerge.
Music is not only mystical contemplation or emotions. To compose music is also, and porbably above a rational act. Why do so many composers indicate metronome markings? Why to trust the score and the composer would be a only "technical part" of music? For example, when Bruckner wrote for the beginning of the 7th symphony half note = 58, why Celibidache (and so many other conductors) perform the cellos thems almost two times slower? Why allegre moderato becomes adagio molto?
Fantastic quote from this interview: "The creative act knows no memory, no science, and no cognisance... The creative act accepts no conditions outside of itself. That's why it is free."
c' est libre ...
This love my friend and you ve finditt
8:20
8:20
This quote is trash.
I don't know enough to judge whether everything Celibidache says is true or not, but I do admire him for making the effort to consciously understand and explain music on an abstract, philosophical level.
There are so many musicians who are stuck into the technical part of music. What is music is the obvious question: it is a phrase of sounds that are pleasant to the ear-and this notes can be played following the same phrase in different ways, transmitting different feelings. Don't get stuck in the technical details - try to insert your own soul and feeling in what you play. Like this you will discover a new world and maybe even yourself.
When he had time to learn so many languages ?! I think that he was very busy with all the rehearsals and concerts he conduct... Absolutely Genius !
@@guessouiam7738 He spoke a perfect italian as well
The inspiration I take from Furtwangler and Celibidache is the idea that every experience of art is fresh and unique to that time and place. Even the most brilliant Bruckner scholar can never hope to know what was going on in Bruckner's mind, neither can the most brilliant performer ever perform exactly as the composer would have imagined it to sound. Some composers don't even seem to care all that much. Bruckner was known to have said "do what you want, just perform them". For me, every performance is a fresh, new creation, a product of its own unique time, place and context, not divorced from the historical forces that led to it, but also not in any way the same as what went before. This is why I love Celibidache's quote, "there is no such thing as a repetition". Even an exactly "copy-and-paste" kind of repeat, like Bruckner did in some of his music, is not a pure repetition. The second time always feels different. We're in a different place when we hear it. I think all performance is like that. It's a new, unique, special place. It's at unity with the universe, without being homogeneous with the universe.
+Jonathan Conway ABSOLUTELY RIGHT!
Jonathan Conway xxx
Somewhat related: Horowitz's comment about some modern pianists... he said that they practice and practice and practice, and then go on stage and practice some more...
Yuri Meyrowitz indeed! Some pf them are trying to be perfect.. Every time. So that’s where the lack of real ‘live (unpredictable) act” comes from..
This is not only the philosophy of music. This is the philosophy of life!!
And art :D
Art.. Life.. Go together always :)
phenomenologic
Asa e Larisa.
ABSOLUTELY Larisa!
Celibidache: genialissime!!!
" Tout art a un seul but: la liberté "
Voila l essence pure de la pensée de Celibidache!
Envoutant, Celibidache!
Une interview vraiment marquante. Un grand monsieur et un Maestro lumineux.
loved ,hated ,highly controversial ,all facts ,BUT the man was a genius
The best are always loved, hated, highly controversial. That is one thing I've noticed :P
@@Snoupity you are so right !
Quanta fortuna ho avuto e quale onore averlo conosciuto e aver assistito a numerosissimi suoi concerti EMOZIONI PROFONDE E CELESTIALI...... Grazie CELI ..❣
'All art has one single goal: Freedom'. Thank you for this thought provoking interview!
Brilliant Mathematician, Musician, Thinker and Linguist! I bet the Angels feared his arrival in Heaven!!
He was also a doctor of philosophy. Polyglot ....etc etc.
Fantastic mind, so much to think about in this interview alone.
j'ai reconnu la voix de la journaliste 𝗘𝘃𝗲 𝗥𝘂𝗴𝗴𝗶𝗲𝗿𝗲. Grande journaliste de la musique clasique.
𝗘𝘃𝗲 𝗥𝘂𝗴𝗴𝗶𝗲𝗿𝗲, née à Limoges le 13 mars 1939, est une productrice d'émissions de radio et de télévision, présidente de société, écrivaine et animatrice française de radio et de télévision.
De 1982 à 2007, elle est productrice et présentatrice de l'émission Musiques au cœur puis Musiques au cœur 5 étoiles sur Antenne 2 devenue France 2 en 19921,7.
-----
En 1987, elle est directrice de collection au département classique de CBS. En 1988-1989, elle est directrice des programmes de France Inter puis d'Antenne 2 en 1989-1990. Elle participe en 1990 au festival d'Aix-en-Provence, où elle présente l'intégrale des symphonies de Beethoven par le Gewendhausorchester dirigé par Kurt Masur. Elle est chroniqueuse artistique de la page musique au sein du Figaro Magazine en 1990-1991 et depuis 1991, présidente-fondatrice de la société de production Eve-R productions. Depuis 1993, elle est directrice artistique puis productrice à partir de 2002 du festival d'Antibes ainsi que du festival des Journées lyriques de Chartres. [Wikipedia]
"100 according to Mälzel, but only for the first bars, because the feeling also has its own tempo and cannot be expressed by this number" Ludwig van Beethoven - 1817.
Everything I want to mean is summarized by this sentence of Beethoven.
Superbe entrevue avec ce grand Directeur Musical, les explications sont vraiment très bien vulgarisées.... MECI pour tout....
This man...pure brilliance !
Thank you SO MUCH, 10-String Guitar Channel, believe it or not this is a HUGE help!!!
My father told me that everything was said in this interview. I need some time to understand what he really meant.
I want that you become conscious of the phenomena that move you. I don’t want you to get stuck with this emotional impression. Because that is not music. We hear a beautiful sound at the first because it is beautiful. But the true end ultimate purpose of every piece of music is freedom.
-Sergiu Celibidache-
Read Plato: Diotima on Eros in Symposium, and you will understand. If not , just ask me.
@@vijinanadu1962 yo bin student und habe zurzeit nicht viel möglichkeiten mich intensiv mit etwas anderem zu beschäftigen, ich wäre also über einer ausführung durchaus interessiert und dankbar
@@pistol625 I am 59 now, a total philosopher, just like Celibidache, i also compose occasionally, what Plato said is just the framework, the details Celibidache explained quite well in the interview: He can hear the metaphysical music, and the materialists cannot !
@@pistol625 Write in Lingua franca of the modern time: English, or I will write in Chinese in return.
@@vijinanadu1962 hhahahaha
To express all this philosophical thought so succinctly in 4-5 different languages is GENIUS!
Thank you so much for posting this!
"You don't do anything ~ you let it evolve" ... quote from, and also title of a DVD I bought a few years back. A 'must see', if you already like Sergiu Celibidache. An 'ought to see' for those who don't yet. A remarkable man ... an amazing musician!
Thank you "1Furtwangler" for letting me find this great presentation!
It was not beautiful, it was true. Beauty is just a stage on the path to truth...
i paused myself and everything at that moment...chills...such an evolved and uplifiting spirit
I didn't get this one
@@voloshanca Beauty is a step on the path to truth because it still implies opposites like ugliness, truth is the resolution when the opposites become one. Beauty is what draws you in, then the other side steps in: "the bad, the dark, the contrast" afterwards the playout of the conflict follows and the two forces interplay until we finally reach the point where duality is revealed to have been illusion, because in truth there is but unity. This realization is the freedom that he talks about and the goal of art.
Brilliant Stefan!
@@stefansava Great, Sir ! Salute ! From Taiwan
His 1971 Ravels Bolero !!!!!!!!!!!!!! No one has ever done it better.
Thats true. The best Bolero ever performed . He has a nother one good enough with the Munchener Philarmoniker. Try to hear it.
unique
You can hear that Celibidache say in this interview, in last part of 3rd movement of Schumann 4 symphonie: in this crescendo, that divides 3-4 movements, all his conception about musicology, can be cleared heared.
Starting at 6:00 he's quite clear about why more time is needed.
Correct. He was trying valiantly to put something into words, when words cannot describe it fully. A very interesting and educational conversation, which deserves listening to carefully.
The irony of this being a recording, on TH-cam, with all of its compression and mangling, of what was once live music and conversation, is not lost on me.
Anyone who experiences live music, and who creates such music, is 'in the moment', not in a repeated and processed (even with many edits!) recording. That's more like reading a diary than being alive in the moment. It's like viewing the Mona Lisa, compared to being there when it was painted. Even playing my own modest pipe organ arrangements live is never done in quite the same way again. One has to react to the circumstances continually, just as we tend to do in all walks of life.
Thank-you to the interviewer, for having the good sense to remain quiet and to listen to the full answers to her brief question and responses. That's an art which has been lost by most modern interviewers. A richness in conversation and understanding is missed when the questioner interrupts with another, often unrelated, question.
Very interesting interview and philosophy. I am also convinced (and have spoken about it to students) that time isn't absolute. It is relative and flexible. Because it is related to the organism (body): where the heart rate is faster, time seems to move faster as well (though for an external viewer, time has remained the same). Also, halls, instruments, and other acoustical variables determine the time it takes to speak the composers message (according to you, of course, the interpreter)...
Sir, his time or tempo is what Henrie Bergson called duree, not physical timing, but phenomenological time, experiential time, the instrument of Gosmic Mind for Cosmic movement, what he calls: vibrations.
best conductor ever.
Amazing interview
grand merci pour ce grand moment qui en rappelle d'autres, de merveilleux souvenirs !
The greatest amog the greats ! Beautiful upload.
Thanks a lot
Thanks for this interview & thanks to Radio France who obtained this rare event now years ago. Celi's aproach to music is still making progress in 2016 Wuhuuu !!! Forget CD's DVD's and go to damn concerts, bad or good, that's where music is. Strings of 0 & 1 digits can't do much music : D
Belle intelligence par une structure lucide et complète synthèse physique à une spiritualité spayiale.Merci.
I read Weingartner's book and I believe I have a pretty good understanding of Furtwänglerian musicianship. And I'm not here to defend Celi. Basically, his approach is, that the tempo is correct if your mind is able to consciously experience all musical information in a single moment. In his thinking, metronome markings were all too fast because sound, when imagined in a composer's mind, has no physical properties and limitations, but it does have them in the real world.
As an expert in electromagnetics and communication systems, I find his interpretation so enlightening and poetic. What a great conductor he was.
An exceptional Romanian musician!
The man is a philosofer in the true sense. He knows to bind reality and words. I would also say that he is well acquainted with hinduism. Remainds me also on Friedrich Schelling, which emphasysed the same origin of both Truth and Beauty.
Superb.
Great, Yes, Schelling( Philosophie der Kunst), and goes back to Plotinus( Enneade) and Plato( Symposium)
20:20 Blowing my mind entirely !!!
@Gregory Wanamaker: thanks, but I meant to ask if this interview comes out from a tv broadcast (in this case, which channel and when broadcasted) or if it's a bonus of some dvd (which one, in this case), because I (still) want to see the rest of it.
wow, this is crazy genius
what a man
yes, you are a great man, and I offer you all my respect.
THIS IS A SCHOOL ON ITS OWN....A DEEP INTELLECT;A MARK OF ALL THE GREAT CLASSICAL ACTORS....
GENIUS.
He is a genius! No question. He is right. Direct hearing. You cannot jump into the same river twice. As a far as I can remember, as soon as he died, his family member(s) signed with EMI to release his life recordings. :-)
Music... The harmony of it moves us deeply. It reminds us (of) Lost Paradise... ♥
I still believe recordings have a value, even if they don't capture all of Celi's intentions and what is contained in the music. Enough is transferred for it to be a meaningful experience for the listener, even if it's a poor simulacra. However, I believe all artists should be as exacting as he was in his demands and musical values.
+Danny B. - Your arguments were reason German court declared part of Celibidache's testament being invalid. The treasures of existing records (both performances and public rehearsals) are too precious to be banned from publishing.
pega17pl This matter went to court?
+Danny B. - Yes. Celibidache gave permissions to records by tv only to be aired while he lives. No other publishing, too. In his will, he put firmly again to forbid any publishing of made records. In Germany, only a court can cancel a will (or parts of it) if there are very good reasons. For example, the loss of a great artistic heritage.
"beauty is just a stage on the path to truth, on the path to being able to perceive the sensation of the central cosmic vibration."
Celibidache a pleasing anti-dote to today's hurry-up existence where even many classical musicians play too fast.
merci Maitre, tout est vibration , énergie, information^^
in memoriam sergiu celidibache ! supreme intelligence et immense talent quoi qu en en disent les petits bobos qui pretendent aimer la grande musique!!
merci pour votre analyse amities
Thank you,i needed this comment so much
I know of no deeper understanding of music so lucidly stated by the great master.
Amazing!!
Now, I understand perfectly why he is the totally opposite from Toscanini. I do love Celi.
@Salvatore Obinu: interessante il tuo commento, ho sempre pensato ad una similitudine del pensiero del Celi sulla musica ad alcune riflessioni di Bergson, anche se non ho mai letto qualcosa su questo accostamento.
Ad esempio, in questa intervista il concetto che egli espone sulla "moltitude" mi sembra essere precisamente quello della differenza tra "molteplicità quantitativa" (spaziale, del mondo esterno) e "molteplicità qualitativa" (della coscienza) che il filosofo francese espone nel Saggio sui dati immediati della coscienza (titolo non molto seducente, lo ammetto, ma libro straordinario), precisamente nel secondo capitolo.
A quali idee di "Materia e memoria" tu invece fari riferimento?
Introduction to Metaphysics by Bergson is more clear
Also: Edmond Husserl: Phenomenology of Inner Time Consciousness or Stream of Thought in William James: Principles of Psychology. These three are related: the American, the French and the Austrian.
Grand monsieur
16:57 music is the shortest route to human revelation and the existence of the central vibration.
15:45 everything is vibration.
14:53 i believe in a central, cosmic vibration. i believe we are in constant contact with it. you might call it - God -.
19:28 beauty is just a stage on the path to truth, on the path to being able to perceive the sensation of the central cosmic vibration. the goal of music and art is not to be beautiful. it´s goal is ultimate truth.
30:16 the true end and ultimate purpose of every piece of music is freedom. at the end of a concert if you only hear people applaud and scream you haven´t understood. one should just thank God for this gift of attaining freedom, simply saying - that was good, i am free again. -
Powerful words
Beethoven was referring to flexible tempo. The slower tendency is another thing. Metronome indications are relative orientation marks for people like Celi and other arch-romantics who, despite saying sometimes very deep things about the purpose of music (truth and higher order beyond sensuous beauty etc), are more happy with a transcendental approach to it than to a real, stylish and HIP.
Back to basics: one must take into account the size of the hall and its acoustic properties. Why did composers (Beethoven included) play their music at different tempos in different occasions? And during the 19th century concert halls and orchestras grew gradually larger. That's why Celi failed with the classical, but could he not have a point with late Bruckner at least? Wasn't Bruckner half way between Beethoven's fire and his own huge, contemplative inner universe?
Hello 1Furtwangler: I loved this interview and I would like to make a spanish translation to share, so I'd need the original text in french (I don't write it myself because I don't understand some words by voice) so I can make the translation the most faithful possible. I don't know if you did this translation by yourself, but if you could help me to find the source, I would be very grateful. Thank you.
I have understood that perfectly well the first time you have stated so. But also I have tried many times to understand how you see the term "liberty" in music. In my belief, though I am also limited to these "poor" audio recordings, Celibidache did not use "bad" editions or music itself to own the genius of Bruckner all by himself but to see Bruckner as he saw him in his creative spirit. And that's it.
It's a DELIGHT to actually watch Conductor's Celibidache's work (search for th-cam.com/video/m8Y5x1N_aIg/w-d-xo.html). I saw him performing live as a child in communist Romania. We terribly miss him.
Mozart said once that he had never composed a real Adagio. The perception on tempo varies in different ages. Andante means walking, so for 'slowists' the baroque indication 'Andante allegro' would be very strange, he, he.
By golly, he can certainly talk! His use of the word "astral" coupled with his absolute certainty that he's right about just about everything left my bullshit detector red hot and smoking. However...! Yes...however!
... I spend over 50 years not appreciating Bruckner. As one critic has said, listening to a Bruckner symphony is like crossing London by car and finding every traffic light against you. Just when you think you're getting somewhere, you're pulled up to a dead halt. And then you lurch off again. Sometimes along a different street. Only to stop dead again at the next lights. And so it goes on. Till you finally reach your destination. Bruised, tired, frustrated, worn out...
Then I discovered by accident on TH-cam Celibidache's live performances of Bruckner, and for the first time his music made sense to me. The slow tempi removed the lurching; I could now sit back and enjoy the ride and take in what became glorious sound-scenery; all the puzzling details fell into place and the pauses and stoppings became a time for reflection and anticipation.
I must say Celibidache's conducting has opened up my ears and mind, at least to Bruckner.
So thank you, Sergiu, wherever you are! But when you explain yourself in words as opposed to music, I'm afraid I don't understand a thing you're rabbitting on about. Do you really have a degree in philosophy?
Celi also opened my eyes (I meant "ears") to Bruckner, but first to Tchaikovsky (the 5th w/ the Munich symphony orchestra). I've come to realize that the whole "slow" tempo critique has to do with one's attitude towards (1) life (and by extension, death) and (2) the use-value of time during one's life. Sure, these "modern" (i.e., anything lasting more than 30 minutes) symphonies by their duration task anyone's patience. However, if you had an opportunity to spend a solid hour and half thoroughly enjoying yourself, would you deny yourself such unique pleasure just because some critic you've never met issued an edict that such-and-such a symphony should take no less than 58 and no more than 60 minutes to play from start to finish (pauses btwn mvmts excepted)?! Sure, I can understand objecting to intonation problems or failures of the musicians to get in sync w/ one another and/or the conductor's commands. However, each audience member (or digital listener) marches to the beat of a drummer beating the skins at a rate determined by a thick, complex layer cake of fate. Hence the tempo of each symphony resonates with each person better or worse according to how closely said tempo approximates the thwack-thwack-thwack rate of such person's inner Animal (i.e., the drummer from the Muppets), Kieth Moon, or Max Roach. Astrophysicists talk about the sound of the birth of the universe, something that we think we can actually still hear. One gets a chance with Celi to imagine what the music of the afterlife might be like, without being forced to accept Pascal's Wager.
Hear it once more! and then again.
it have a degree in mathematical science...do research.
Anglo saxons havent ADN to create olso mins to undestand clasic music , ithen Mexic is more rich.
Perfection!
Unique ! the demonstration that genius can be obtained along a life !
c'est la démonstration qu'entre un illuminé jeune tel un Arthur Rimbaud au fond a moins d’intérêt pour l'humanité qu'un homme qui s'est trompé à ses débuts, qui a été humilié et qui avec les années a accéder à un monde d'une autre qualité ... le génie de Celibidache m’impressionne encore plus que celui de Rimbaud qui au fond a plus exploiter les effets des substances hallucinogènes qu'un réel potentiel individuel ... cela devrait inciter les jeunes qui lisent ces lignes à éviter de se griser par des pseudo paradis artificiels .. le paradis est au bout d'un long chemin dans un tunnel ou dans un désert !!!
Genius! genio inegável - só um num século
MICK DUNN NOTRE ESPRIT QUI N'EST PAS PHYSIQUE A TOUJOURS CONNU L'ANGELIQUE. THE TOOLS WE USE TO RECONNECT WILL ALWAYS HAVE PHYSICAL LIMITATIONS. IT IS SERGIU'S GENIUS THAT IS A GIFT TO US FOR GETTING A MERE GLIMPSE AT OUR FINAL DESTINATION. His gift of music is appreciated for the soul connection but as a human I reserve my right to enjoy all the beauty of sound as long as I am still here. Creation is the rainbow of beauty we bring by free will back with us to the eternal realm that incompasses as Sergiu puts it so well the 1rst 2nd 3nd and 4th tempos that only build all the others.
b
Ca fait des années que je cherchais ces enregistrements que j'avais entendu sur France Culture.
brilliant. finally someone talking some sense
yes! my thoughts exactly :)
Does anyone know where this interview is from? I am including some quotes in an academic work (my dissertation) so I need specific bibliographical information. Is it from French television? Does anyone know what year? Is it available on DVD? Any info would be greatly appreciated!!
Hi! Are the English subtitles from the original source of the interview?
i love u maestro !
'He (critic) is a victim of a false experience.' - They (common wisdom) say everything depends on perspective, but it takes a true genius to make everything depends on perception (abstraction).
IMMENSO
Does anyone know if this is available on DVD? If it's an excerpt something?
Awesome.
The Man was a Monster , a very rare one ! he knew it all ...
Prophet to be precise , that's why he criticises all corruptions at least in music: the realm of the Muses.
As I already wrote many times, when 98% of conductors play Bruckner's symphonies 25% - 50% or even 100% slower, whatever are the acoustical conditions, it is clear that there is a real problem of understanding and/or informations about the music. As an organ player, I perfeclty know how to adapt a tempo to the acoustic of a church. Why to be so irrational just when I mention the word "metronome" when this tool gives us a precious and essential indication about the character of the music?
Leibniz's monad as a prototype of beauty. A possible logic of beauty.
Leibniz defined a monad as a complete concept, that is, a vessel containing all of the necessary predicates to define it. The unity would be the monad itself. Similarly, Felix Mendelssohn, among others, said that 'The essence of the beautiful is unity in variety.' Because of this similarity, it does not seem unreasonable to assign the monad as
the prototype of the beautful. A similar prototype would be , after Meinong's theory of mental objects as intendeds, what we call "intendeds". These objects of thought are Secondnesses, similar to monads, except that they have no physical correspondents, as monads do.
There is more to it, since we have not studied Leibniz's cdoncept of apperceptyion enough to
understand feelings arising from sensory inputs. This may be connected to the idea
that Mind is the only perceiver, but reports thoss perceptions back to individual minds,
Finally, since Leibniz's monads follow logic. as observed by Bertrand Russell in his text on Leibniz,it might be possible to construct a logic of beauty.
--
Constructing a combined Leibniz-Peirce-Plato aesthetic
First of all, there is Plato's aesthetic, in which perceived objects are compared
to their ideal forms. Thus a vision of a chair would be compared to
its ideal form -- the essence, the "chairness"-- of a chair. No existing
object will be as perfect as the ideal form, so that the world consists
imperfect copies of the ideal forms.
This provides some understanding, but, being humans, we do not
know what the ideal forms are. so we will proceed to the more
detailed perceptual theories of Peirce (his categories) and Leibniz
(his model of perception). These are briefly described below,
paired in terms of Peirce's categories and Leibniz's elements of perception.
We will, however, retain Plato's three categories of goodness, truth, and beauty.
We then have:
[ Some of these interpretations are taken from
en.wikipedia.org/wiki/Categories_%28Peirce%29 ]
Firstness- Suchness- First Person singular-raw perception Essentially monadic (the quale,
in the sense of the such, which has the quality). The realm of Mind and individual mind.
Leibniz- raw perception, which Mind acquires by converting input sensory nerve signals to mental experiences
Plato- This would seem to correspond, bound as it is to feeling, to Plato's beauty. I believe that
Meinong called this "sosein" or suchness. This is essenttially intuitive, a "first grasp" which a
composer such as Mozart or Bach are believed to have composed much of their music from, that is, from Plato's Mind.
Secondness - Thisness -Second person-relational; Essentially dyadic (the relate and the correlate).
Leibniz- the process of apperception- reflecting on the esperience, making it conscious.
Leibniz discusses this topic (apperception) in more detail athan I can here. See
en.wikipedia.org/wiki/Apperception
Apperception is essentially the whole of aesthetics and needs to be further explored.
Plato-- being relational, this corresponds to Plato's goodness. Note that Kant believed that the moral
played a large part in aesthetics. Here the musical intuitions mentioned above of Bach and Mozart become
more definite objects of perception. And personally, when I view a painting by Homer I judge it beautiful because the lines seem just “right”.
Thirdness - Thatness-- Third person- Essentially triadic (sign, object, interpretant*).
Leibniz- this has to be reflection on the apperception, identifying or cognizing it.
Plato- truth- that, through the interprrnt, the sign corresponds to the object. Here Bach
and Mozart would put what they heard down on composition paper. I believe that
Heidegger would ` refer to this as "dassein" or "being here". One has this feeling when
viewing the Mona Lisa. It is as if she is right there, actual, before you.
--
Dr. Roger B Clough NIST (retired, 2000).
See my Leibniz site: rclough@verizon.academia.edu/RogerClough
For personal messages use rclough@verizon.net
Where and when did this interview take place? I need the info for a quote. Thanks in advance.
Génial !
what does he refer to when he speaks of the 4th and 9th octave? the harmonic series? does anyone have more info regarding his stance on this or explanation
He means the metaphysical octaves, only the subtle years can hear them, it belongs to the Angelic dimensions, the realm of Anton Bruckner, where he met the angels, archangels and God, his symphnies are his diaries of his encounters with them basically, so many dimensions , so accordingly, many octaves, the higher in hierarchy in angel's scale, the more octaves. This phenomenology is lost in the contemporary art, but Celibidache keeps it, so is Furtwangler and Mravinsky, Read Rudolf Steiner on music, you will understand something about what Celibidache means.
@@vijinanadu1962 Thanks , I feel this way with BWV 232, The B Minor Mass - I have gone deeper into Jung but not Steiner, what by Steiner do you recommend on this topic?
@@matijakrunic7498 The basic book of Steiner is Theosophie, and the book on music is The inner nature of music and the experience of tone
@@vijinanadu1962 Thank you, I read the first 2 lecture series on music and tone, the details and some starting premises are unclear to me. I need to start with introductory material im order to grasp it. So as per your suggestion I will start with the first book you listed before returning to the music lectures ?
Salut! Did a concert take place before or after this interview? Which was it? Thanks!
the concert was before
Some-1 an idee when this interview was? I can't use it in my essay because I can't find anywhere the date...! :/
when he speaks about conflict, what does he mean? experiencing oppositions and contrasts in the music, going through them and feeling liberated? is that it?
But these things are not set in stone, one has to adapt to the acoustic circumstances of every particular hall. You can't play fast and crisp in a very large and resonant hall. The equilibrium which existed until the 20th century between ensembles, performance practice, the music itself and the halls was broken when the halls grew larger and larger. So the majestic, slower approach developed in the last century was a necessity motivated not only on ideological, but also on some acoustic bases.
totalement d'accord
I've been reading the Gospel of Thomas (GoT) out of personal curiosity. The GoT is admittedly rather cryptic. Particularly for a topic of supposedly such great importance, if it was indeed Jesus who said everything written down in the GoT! Of course, it's impossible to prove that point one way or another.
On a more interesting note; some of what Celibidache is saying in this video isn't far away from what Jesus said in the GoT. Jesus said, for example, hat the Kingdom of Heaven is within us and all around us, it is right in front of your face but we can't see it. Celibidache's comment on music is similar again. There is much more to a sound than the physicality of the sound wave. More over, only those who've been taught how to hear the extra content will appreciate why the music is being played at the tempo it is. One wonders what we are missing in every day life? I wonder if William Shatner's reaction to his first space flight gives us a clue? I've long subscribed to the theory that our minds interpolate and extrapolate what our senses detect at each moment. What we believe we sense is a mixture of the present and the past. That mixture is rarely ever as rich as what is actually there however we don't notice it - it's all we know! Aldous Huxley experienced the wonder of the present when he took mescaline.What he documented in his essay "The Doors to Perception" makes for a fascinating read. It's available for free online.
When Shatner saw the earth from above, his mind had no prior data from which to extrapolate/interpolate what was visible through the window. He therefore saw the real thing!!
I wouldn’t exactly call this ‘his philosophy of music’. It’s more about how to apply his buddhist principles to music.
Mistranslation: 20:10 he is talking about a series of "No's" not a series of "mots" (= words). The process of making music is a series of "nos" - too loud, too early, too sharp, too slow. Eliminate these and the eternal "yes" might - might! - emerge.
Fantastyczna praca kamery, kamerzysta jest profesjonalista :)
Can anybody tell me where is this video taken from?
Merci -
WOW, so true!!
Music is not only mystical contemplation or emotions. To compose music is also, and porbably above a rational act. Why do so many composers indicate metronome markings? Why to trust the score and the composer would be a only "technical part" of music? For example, when Bruckner wrote for the beginning of the 7th symphony half note = 58, why Celibidache (and so many other conductors) perform the cellos thems almost two times slower? Why allegre moderato becomes adagio molto?
wow...
real musician!