{"ops":[{"insert":"原文德語，節(jié)選自Thinking the senses \nOn the Death of Sergiu Celibidache\nby Hans Zender\n\nI was visiting my friend Heinrich Schiff's holiday home. \"I have video footage of Celi: Bruckner,\" said Heinrich. \"You have to watch them.\" Videos? From celi? The only thing I really admired about him without reservation was his opposition to the use of music in the media. These notes are the only exception to this rule, said Heinrich, and I would lose my hearing and seeing ... I had experienced Celibidache mainly in the 1960s, admired his striking technique deeply, but felt repelled by his mannerist, somewhat vain attitude. Wonderfully balanced performances of impressionistic music linger in the memory, contrasted with classic interpretations that struck me as soulless in their marionette-like precision. Besides: he had always neglected the noblest duty of a conductor, the service to the music of his own time. As far as the 2nd Viennese school was concerned, I could still understand it considering his attachment to the French tradition; but why did he also ignore Messiaen? No one would have been better qualified to conduct this difficult task than he.\n\nAnd now the old master, in the highest stage of his maturity. The video recordings gave a different picture; they banned me, to admit it right away, against my will for almost three full days in front of the television screen. The first reaction to this Bruckner was astonishment (\"That can't be true!!\"). Tempi stretched to half the (usual) values; Absence of any spontaneous expression, any playful impulse; almost constant dynamics over long periods of time. Actually, that shouldn't have produced anything but boredom; the strange thing was that the exact opposite was the case. The stretching of time unleashed a new quality of listening: Bruckner's macro form was understood directly through the ears and not through the intellect, and much better than in the usual, much faster performances. A paradox! Likewise, the complete stylization of all affects through the resulting ritual,\n\nSo the second reaction had to be the question: \"How the hell does that guy manage that?\" This kind of perfection, which was no longer the circus-like perfection of the great virtuoso, but the perfection of a complete awareness, could only and that was the first answer to be achieved through the well-known large amount of rehearsals that Celibidache always knew how to conquer, against the resistance of an entire music business. That what a thoughtless Concert practice based on pure functioning and commercial profit as “spontaneity”, even “vitality”, appears, compared to such a level, as pure dilettantism. Of course, it's not about spontaneity at all - no one plays from sight or improvises - but about a fatal half-consciousness. Especially with very brilliant and well-trained orchestras, in whose collective memory the memories of many different interpretations of the same pieces are mixed, Only excessive rehearsal work can lead to that magical unity of conductor, orchestra and concept that has the greatest effect through its absolute awareness. And only then, see Kleist's “marionette theatre”, can a new “spontaneity” emerge!\n\nBut the most patient rehearsal work and Celibidache submitted to this drudgery to the end will not be fruitful in the end if the conductor does not have sovereign control over his own \"instrument\". His instrument is the \"Schschlag\". The physical frailty shown in the video recordings had reduced this hit to an impulse letter of pure expediency through the forced renunciation of all externals. The amazing thing was that this shot never seemed \"abstract\". It was clearly a will made manifest; he sat exactly on the resounding event, in complete contrast to Karajan's tactics, which sometimes predicted up to a whole beat length. However, he did not produce the harshness of the attack that is otherwise typical of precision conductors, but contained all the ability to modulate at the moment of precipitation: a maximum of plasticity and differentiation. he sat exactly on the resounding event, in complete contrast to Karajan's tactics, which sometimes predicted up to a whole beat length. However, he did not produce the harshness of the attack that is otherwise typical of precision conductors, but contained all the ability to modulate at the moment of precipitation: a maximum of plasticity and differentiation. he sat exactly on the resounding event, in complete contrast to Karajan's tactics, which sometimes predicted up to a whole beat length. However, he did not produce the harshness of the attack that is otherwise typical of precision conductors, but contained all the ability to modulate at the moment of precipitation: a maximum of plasticity and differentiation.\n\nUltimately, however, the consideration of the artistic means could not suppress the most important question, that of aesthetics. Here I had to accept another paradox: Despite the extremely individual reading, one could not speak of \"subjectivism\" as a basic attitude. On the contrary, a path was consistently taken here that led to something like \"sounding architecture\". The term (always hated by me) of architecture as “frozen music” seemed to be confirmed here in its reversal. The music takes on almost the character of an object, the sound becomes a \"building block of time\" ... Celibidache touched one pole of the music, the form; the other, opposite, would be the glowing lava of the \"happening-now-this-moment\": the dream of all romantics.\n\nIn recent years, music lovers have been able to learn from the example of Bruckner how differently a great interpreter can read the writing of the score. The signs of the score are infinitely ambiguous. When one hears Günter Wand conduct a Bruckner symphony and compares it with a Celibidache interpretation, one sometimes believes that they are not the same piece. Youthful, fiery, dramatically tense, Wand's time flies by, whereas Celi's sometimes had the feeling that Amfortas celebrates the ceremony of the Grail. But the wonderful thing is that both extremes are possible side by side! What a great and mysterious thing music is; what a wealth of colors and ideas is already slumbering in a single score and how many scores are still slumbering in the heads of composers...\n\nAt the end of the third day of my celi video high, something soberingly strange happened. In the middle of the slow movement of the 6th, Celi suddenly froze, with his arm raised, facing the concertmaster, who was looking up. The television went on strike and no amount of persuasion could get it going again. The technique so detested by Celi, in a malicious parody it made a face of the artistic ideal of objectivation. The spell was broken: I could turn to myself again.\n\n"}]}