C1175. SERGIU CELIBIDACHE Cond. Kölner Rundfunk S.O. & Chorus, w.Agnes Giebel & Hans Hotter; Hans Bachem (organ): Ein Deutsches Requiem (Brahms). (E.U.) Myto 00196, recorded 28 Oct., 1957. Long out-of-print, Final Sealed Copy! - 8014399501965
“Sergiu Celibidache's 1957 recording of Brahms' EIN DEUTSCHES REQUIEM easily ranks among the most thrilling and satisfying on disc, which is no small recommendation, given the multitude of outstanding versions. The conductor's grasp of the work's architecture, both as a whole and in each movement, makes this a riveting performance; the REQUIEM has rarely sounded so vividly dramatic. The opening movement, ‘Blessed Are They That Mourn’, seems slow at first compared to common performance practice. There is no slackness in Celibidache's approach, though; the sense of ethereal equipoise that the stately tempo induces beautifully evokes the serenity that the text describes, and it doesn't take long before this relaxed pace is entirely convincing, even revelatory. The second movement, ‘Behold All Flesh Is as the Grass’, is all the more gripping in its contrast; the ominous, thunderous second and fourth iterations of the theme are overwhelming in their emotional punch.”
"Celibidache was the most phenomenally gifted musician. He could shape a piece any way he liked, and did....of his musicianship, his ability and his showmanship there can be no doubt. His intellect was prodigious - he spoke fifteen languages, or it may have been thirty. Who knows? He was a truly, truly great musician. He was certainly a character and conductor one can't ignore in terms of the development of conducting in the second half of the twentieth century".
- Norman Lebrecht
"The transcedentally-endowed Romanian conductor, Sergiu Celibidache, studied Philosophy and Mathematics at the University of Bucharest. In 1936 he went to Berlin and continued his studies, largely concerning himself with wave mechanics, but also with musical studies. He wrote his doctorate on Josquin des Pres. From 1939 to 1945 he studied at the Berlin College of Music under Fritz Stein, Kurt Thomas and Walter Gmeindl.
After completing his studies, Sergiu Celibidache was immediately able to work with the Berlin Philharmonic Orchestra because the orchestra's previous conductor, Wilhelm Furtwängler, was suspected of collaboration and received no permit for public performances. For three years, he conducted most concerts of the famous orchestra and proved his exceptional personality. After Wilhelm Furtwängler's return as the head of the orchestra he mainly worked as a guest conductor without committing himself to any single orchestra for a long period because his demands were almost impossible to fulfill, and he himself was not willing to make any concessions to his musicians or audience. At first, he continued to work mainly with Berlin orchestras - the Philharmonic Orchestra and the RIAS Berlin Radio Orchestra. After the appointment of Herbert von Karajan as the principal conductor of the Berlin Philharmonic Orchestra, Celibidache did not conduct the orchestra again for another 37 years.
1948 saw the debut of Sergiu Celibidache in London. Then he frequently conducted in Italy. From 1959 he was regularly invited by the Stuttgart Radio Orchestra. From 1960 to 1962 he held master courses at the Accademia Musicale Chigiana in Siena; the young conductors were extremely keen to be admitted. In 1962 he became the director of the Stockholm Radio Symphony Orchestra, which he completely rebuilt. From 1973 to 1975 he was the primary permanent guest conductor of the French Orchestre National. In 1979 he became the director of the Munich Philharmonic Orchestra, which he made one of the best orchestras in the world. In Munich he held master courses in orchestral conducting. Despite his severe illness he didn't stop conducting until a few months before his death."
- Zillah D. Akron
“Born in Heerlen, Netherlands, Agnes Giebel’s career began in 1947 and quickly became a fixture with the Philharmonia Orchestra under Otto Klemperer and the Leipzig Thomanerchor with Günter Ramin. Giebel’s repertoire was very varied but it was mostly made up of Cantatas, Oratorios, passions and masses. She was considered one of the greatest interpreters of Bach’s music and was also recognized for interpretations in lieder. She was also well known for her work on Beethoven’s Ninth Symphony. Her career lasted until the 1990s.
Later in her career, she served as a jury member for Alois Kottmann Award. She retired in the 1990s.”
- Francisco Salazar
"Hotter was far, far more than a Wagnerian [he] sang Lieder at recitals and in the studio throughout his timeless career. All his interpretations evinced a care over matching text to music. Even in Wagner he gave a Lieder singer's attention to the words. In private he was a gentle giant, an engaging raconteur and an intelligent observer of the musical scene."
- Alan Blyth, GRAMOPHONE, March, 2004