Karl Miller writes:

>...I cannot help but wonder if Celibidace's refusal to
> record made collecting his broadcast performances all that more appealing.
> For me, it was great marketing.

Attributed to Celi is a quip that observes that it'd be great to dance
with the real Bardot but not with a photo of her.  He felt, I think,
sincerely that recordings falsified the itegrity of performance, They
lacked the essence, namely the physical interplay between audience,
conductor and players.Film was different.  He allowed filming because
it at least "showed the beat."

Very recently an outfit called Opus Arte released four films of
Celibidache conducting the orchestra sinfonica of Turin.  Their dating
will be tipped by the fact that they're in black and white.  They cover
a Mozart Symphony, Schubert's Second, Bruckner's Ninth, Berlioz's Symphonie
Fantastique, and Prokoviev's Fifth.  A friend who got a shot at the films
says they moved him deeply.  The orchestra was never up to the task, he
said, but the effort invited compassion.

Not in this series but existent is a great film of Celi doing Debussy
and Ravel with the Munich Philharmonic.  That, and Prokoviev, is real
Celi stuff.  Oh, and there's also a film showing Celi leading the Berlin
Philharmonic in the immediate postwar ruins of Berlin.  Playing the
Egmont overture.  Wow!

Denis Fodor

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