Che preziosi questi documenti sonori! Celibidache è , per definizione ontologica stessa , da ascoltare dal vivo , ma come si può pretendere che questo immenso Maestro possa continuare a resistere 111 anni dopo la sua nascita corporale?! non ci resta che ricostruire , frammento per frammento archeologico nella registrazione , l'insegnamento a monte , e godere di partecipare alla stessa esistenza dell'universo nella quale la musica , e mediatori come Celi, sono vissuti e vivono.
I'm so completely besotted with Celibidache's sublime later Brucker performances (especially the 7th) I was shocked to read @caleblaw's criticisms of Celi's rendition of my favorite Prokofiev symphony. But at 5:45-6:00 I can sort of hear it. It sounds, dare I say, a bit rushed -- truly shocking given how voluptuously slow his Bruckner tempo is. I'm used to the majestic first movement being taken at a grander, more expansive pace. Celi gets the mad acidulous dance of the 2nd and 4th movements exactly right though, and seeing his younger, leaner self in action -- and I do mean ACTION with priceless conductive dancing and facial expressions -- is a revelation. I detect no dragging in the third movement, but de gustibus etc....
The fist movement interpretation is heavy and choppy and not flowing. One thing very important is forward momentum and I found it lacking in this performance (first movement)
@@caleblaw3497 a later performance of this in an infinitely better recording with a far far better orchestra and of course the difference is night and day ua-cam.com/video/IVIPZPdgLj4/v-deo.html the first movement has the proper gravity and grandeur and, to my ears, flows beautifully, no choppiness whatsoever but rather that famous Celibidache legato through-line very much in evidence. In fact, for all the stupendously lush, plush, finely detailed sound, my one complaint is the finale is TOO lush and legato -- in my humble opinion, having first learned to love the 5th via Klemperer and the Philharmonia, the finale needs to feel like its careening nearly out of control.
What a quality of image! Thank you!
Che preziosi questi documenti sonori! Celibidache è , per definizione ontologica stessa , da ascoltare dal vivo , ma come si può pretendere che questo immenso Maestro possa continuare a resistere 111 anni dopo la sua nascita corporale?! non ci resta che ricostruire , frammento per frammento archeologico nella registrazione , l'insegnamento a monte , e godere di partecipare alla stessa esistenza dell'universo nella quale la musica , e mediatori come Celi, sono vissuti e vivono.
Wow!
superb!
I find this to have been an outstanding performance!
I'm so completely besotted with Celibidache's sublime later Brucker performances (especially the 7th) I was shocked to read @caleblaw's criticisms of Celi's rendition of my favorite Prokofiev symphony. But at 5:45-6:00 I can sort of hear it. It sounds, dare I say, a bit rushed -- truly shocking given how voluptuously slow his Bruckner tempo is. I'm used to the majestic first movement being taken at a grander, more expansive pace. Celi gets the mad acidulous dance of the 2nd and 4th movements exactly right though, and seeing his younger, leaner self in action -- and I do mean ACTION with priceless conductive dancing and facial expressions -- is a revelation. I detect no dragging in the third movement, but de gustibus etc....
Grande Celibidache!
The fist movement interpretation is heavy and choppy and not flowing. One thing very important is forward momentum and I found it lacking in this performance (first movement)
The third movement is pretty bad too. Just listen to 25:00 to 25:38. Sounds like an elephant stuck in some mud. Every step is heavy and difficult
@@caleblaw3497 a later performance of this in an infinitely better recording with a far far better orchestra and of course the difference is night and day
ua-cam.com/video/IVIPZPdgLj4/v-deo.html
the first movement has the proper gravity and grandeur and, to my ears, flows beautifully, no choppiness whatsoever but rather that famous Celibidache legato through-line very much in evidence. In fact, for all the stupendously lush, plush, finely detailed sound, my one complaint is the finale is TOO lush and legato -- in my humble opinion, having first learned to love the 5th via Klemperer and the Philharmonia, the finale needs to feel like its careening nearly out of control.