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Sergiu Celibidache
Romanian conductor (1912–1996)
Sergiu Celibidache (Romanian:[ˈserd͡ʒjut͡ʃelibiˈdake]; 11 July [O.S. 28 June] 1912 – 13 August 1996) was a Romanianconductor, composer, musical theorist, and teacher.[1] Educated in his native Romania, and later in Paris and Berlin, Celibidache's career in music spanned over five decades, including tenures as principal conductor of the Munich Philharmonic, the Berlin Philharmonic, the RAI National Symphony Orchestra, the Orchestre de Radio France, the Swedish Radio Symphony Orchestra and many other European orchestras such as the Stuttgart Radio Symphony Orchestra, the Danish National Symphony Orchestra or the London Symphony Orchestra.
Considering teaching as one of the most important activities, he taught music and musical phenomelogy at the Accademia Musicale Chigiana in Siena, Italy as well as at Mainz University in Germany, at the Curtis Institute of Music in Philadelphia, Pennsylvania, at the Schleswig-Holstein Musik Festival in Germany and towards the end at the Schola Cantorum in Paris.
Celibidache categorically refused to release his performances on commercial recordings during his lifetime, claiming that a listener could not have a "transcendental experience
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The Online Journal of the Society for Music Theory
Volume 4.5:
Tess James*
Celibidache and Bruckner
KEYWORDS: Bruckner, Celibidache, Tremolo, Bow Speed, Rehearsal, Conducting[1] This month sees the release by EMI of the Bruckner symphonies of German-based maestro Sergiu Celibidache. Even before his death in 1996, the Rumanian was often considered by many to be the last surviving great genius of conducting. The release of this collection is all the more special because Celibidache throughout his lifetime opposed recordings of his work. Throughout the world, it will be the first chance for many to discover why music critics wrote that Celibidache was capable of presenting an entirely new and extremely moving Bruckner.
[2] There has always been a special relationship between Celibidache and Bruckner, the former being said to have understood the latter like nobody else.
[3] "To him, time is different than it is to other composers. To a normal man, time is what comes after the beginning. To Bruckner, time is what comes after the end. All his apotheotical finals, the hope for another world, the hope of being saved, of being again baptised in light, it exists nowhere else in the same manner"--these were Celibidache's own words when asked about Bruckner. B