Date: |
Sat, 25 Aug 2001 10:04:27 -0400 |
Subject: |
|
From: |
|
Parts/Attachments: |
|
|
Thus spoke Tony Duggan:
>Yes, mesmerizing is a good word for some of them. I am sure Dr. Mesmer
>would have found use for them on some of his patients. What Bruckner would
>have thought is another matter. I have heard a Bruckner 7 by Celi that was
>slow beyond all belief or reason. How the orchestra's brass players didn't
>suffocate I do not know.
Here is a short fragment from MTO 4.5:
4] "It meant very hard work," recalls Joerg Eggebrecht, who plays
first Cello at the Munich Philharmonic orchestra, where Celibidache
conducted from the early eighties until his death. "His way of
rehearing put enormous pressure on us. If I study the score as
closely as Celibidache, if I make it my life's work to play Bruckner
as Bruckner meant us to play him--with great calm and quiet--then
this means a great effort especially for the wind instruments. Some
of my colleagues had actually taken up yoga in order to fulfil Celi's
breathing technique requirements. The release of the CDs will show
that our brass players play completely different than anything we
have previously heard of Bruckner
[5] Eggebrecht recalls that the wind instruments were required to
precisely dosage of their breath. "To keep up this enormous peace
and quiet all through the symphony was a great strain" he explains,
adding: "but it means that our Bruckner performances were completely
lacking in violence. Every note could be born at its own pace, all
sound had its own space. Nothing was swallowed up. It was possible
to hear every minute aspect of the music and comprehend what Bruckner
had meant to bring across. It was like a moment of truth, and the
musical space expanded beyond the orchestra, into the audience
The whole article could be found at the following address:
http://boethius.music.ucsb.edu/mto/issues/mto.98.4.5/mto.98.4.5.james.html
Doru Ionescu
|
|
|