[perhapss]

Speaking of opinions,
 
I've often wondered if Celibidache's tendency toward the "slow" side of interpretive things may have to do with the close proximity to the Hofbräuhaus his orchestra enjoyed during his tenure in Munich.

 

[ekvilibrijum1]

I heard one interview of his, and when his was asked about his choice of tempos he responded, that the tempo in his opinion is very much influenced by the complexity of the piece.
 
He likes to deliver the piece in a way that the listener is very much concious about the things happening in all that complexity.
 
Interesting approach, which seems have worked for him.

 

[perhapss]

  I heard one interview of his, and when his was asked about his choice of tempos he responded, that the tempo in his opinion is very much influenced by the complexity of the piece.
 
He likes to deliver the piece in a way that the listener is very much concious about the things happening in all that complexity.
 
Interesting approach, which seems have worked for him.

 
"complexity of the piece."???
 
"concious about the things happening in all that complexity."???
 

 
The only interpretation I can find for this explanation is that either:
 
A. He thinks the listener can't digest music at the composers' indicated tempos( or the quicker tempos that nearly every other conductor than him chose).
 
OR:
 
B. The indicated tempos are too fast for him to handle.
 
 
I for one don't need to be spoon fed and I think he probably was probably too competent for choice B.
 
I'll just conclude that he was a very individual conductor whose recordings bore me immensely.
BUT he himself thought recordings were inadaquate for conveying a musical event and generally did not want recordings to be made of his performances. So therefore I generally respect his wishes and avoid the recordings. 

.

 

[kendavis]

This one is my favorite (at the moment)...

 

[perhapss]

 
 
In the context of the long line of this thread.
 
LONG line.

 

[ekvilibrijum1]

Pehapss - Yeah, maybe.
 
His knowledge is not in question, just his approach.
 
I liked his tempos in Mozarts Requiem, it was very interesting experience.

 

[Quinto]

Sometimes complexity can use some extra time to unfold its structure/beauty, works great with his Bruckner and Brahm for instance..'spoon fed' doesn't resonate with me  a t  a l l

 

[ekvilibrijum1]

Apsolutely Quinto.
 
His Ravel and Debussy are also very interesting.
 
Yesterday, I listened his rendition of Sibelius Symphony No. 5.
 
Also very logical and captivating.

 

[kendavis]

  Apsolutely Quinto.
 
His Ravel and Debussy are also very interesting.
 
Yesterday, I listened his rendition of Sibelius Symphony No. 5.
 
Also very logical and captivating.

Are you talking about Celibidache? I've only recently started listening to him. I agree on Bruckner. I haven't listened to his Sibelius.
 
I also just started listening to a bit of Jascha Horenstein's Mahler and found his interpretations to just sound right. Finally, another conductor who "just sounds right" to me is Beecham.
 
To keep us on topic, I will add that I'm listening to a whole lot more music since I upgraded my headphone setup. Coincidence? I think not.

 

[sh4dowd4ncer]

  This one is my favorite (at the moment)...

Great choice.

IMHO, the best ever recording of Dvorak's. In my opinion, even better than the "reference" Rostropovich/Karajan.

 

[sh4dowd4ncer]

  I heard one interview of his, and when his was asked about his choice of tempos he responded, that the tempo in his opinion is very much influenced by the complexity of the piece.

I think the interview is this one:

 

[ekvilibrijum1]

 I think the interview is this one:

 
 
Bingo!

 

[perhapss]

 
 
 
vs.
 

 
 
 

 

 

[perhapss]

  Pehapss - Yeah, maybe.
 
His knowledge is not in question, just his approach.
 
I liked his tempos in Mozarts Requiem, it was very interesting experience.

 
 
Despite not favoring his recordings I admire Mr. C for having an individual and distinct approach.
I wish I could have seen/heard him perform live in person. A powerful experience by most accounts.

 

[perhapss]

An issue I have with Dvorak interpretations by Karajan and Celibidache (among other, especially non-Czech interpretations) is a tendency to be overly heavy handed and solemn with Dvorak"s music. Dvorak makes great use of subtle and playful material often rooted in folk music. This intent/attitude and especially phrasing is often obscured by the heavy handedness of many conductors.
 
Go to the Czech performers (Czech Philharmonic, for example) to hear what I'm talking about.
 
 
Start here:
 
 
 
 
EDIT: BTW Not bad at all IMO.