C1716. SERGIU CELIBIDACHE Cond. RAI S.O., Torino, w. IDA HAENDEL: Violin Concerto in a (Casella), Live Performance, 13 March, 1957; SERGIU CELIBIDACHE Cond. Stuttgart Radio S.O., w. RONY ROGOFF: 'To the Memory of an Angel' Violin Concerto (Berg), Live Performance, 21 Oct., 1976. (Canada) St Laurent Studio YSL T-834. Transfers by Yves St Laurent.
"Ida Haendel is one of the few instrumental prodigies to have achieved and then sustained a top-class international career lasting several decades. In a world dominated by male violinists, Haendel emerged on the scene playing with a scorching imperativeness and tonal opulence that rendered issues of gender a glorious irrelevance. A natural performer with a captivating stage presence, she filled even the largest of halls with waves of unbridled sound, enveloping her audiences in a sonic cocoon. When watching and listening to Haendel play, one is immediately struck by the naturalness and spontaneity of her musical thinking. In her hands the violin appears a natural extension of her being, a soulmate in which she confides and through which she projects her most intimate thoughts. Full bows speed through with a rapier’s thrust, articulated by an exceptionally strong left hand and finger-tip precision to enhance tonal clarity. The unmistakable impression created of someone born to play the instrument is no fanciful illusion. Even by prodigy standards, the rate at which Haendel mastered the violin - both technically and musically - borders on the miraculous.
Reflecting on her time with Flesch, Haendel felt that ‘he did not protect his students but spoke his mind, faults and all’. On the other hand ‘he was extremely kind to me and would kiss me on the forehead whenever I played well’. However, even that didn’t preclude a temporary falling-out between the two and during the hiatus that followed Ida headed for Paris seeking advice from Georges Enescu, a much gentler man and the polar opposite of Flesch being more preoccupied with the musical result than the means taken to achieve it. Another major milestone occurred in September 1935 when Haendel made her Proms début at the Queen’s Hall aged 9 - the first of 68 appearances at the British festival so far - playing the Beethoven Concerto under Sir Henry Wood. The DAILY TELEGRAPH reported that she possessed a command that most players achieve ‘only after long and industrious study’, while the OBSERVER commented that ‘no prodigy since Menuhin has shown such a sense of fitness, or played with such glow, such dignity’. Haendel spent the war years based in Britain, making the transition from prodigy to a maturing artist of the first rank while contributing to the war effort by performing to allied troops and appearing at Myra Hess’ famous National Gallery concerts. Following the war, she made her US début in 1946, and in 1948 became the first soloist to perform with the re-named Israel Philharmonic. She went on to establish a reputation second to none as a concerto soloist and became a notable champion of the Sibelius Concerto, then a comparative rarity. After hearing her give a radio broadcast of the work, the composer wrote to her personally congratulating her on what he felt was a defining interpretation.”
- Julian Haylock, Cremona Musica, 8 June, 2015
"Rony Rogoff is the only violinist who uses the proper proportion for any given style and the best Mozart player in existence. He is one of the few who understand the meaning behind the notes and is capable of bringing it through." –
“Rony Rogoff was born in Israel and was taught initially by his father, who was a founding member of the Israel Philharmonic Orchestra, and by Ramy Shevelov. He then studied at the Juilliard School in New York with Ivan Galamian and Dorothy DeLay as well as in Switzerland with Joseph Szigeti.
As a soloist he was accompanied by the Israel Philharmonic Orchestra under Zubin Mehta, as well as by the leading orchestras in Philadelphia, San Francisco, Paris, Madrid, Tokyo, Manila, Caracas, the radio orchestras in Copenhagen and Stuttgart, the Munich Philharmonic, the Orchestre de la Suisse Romande and the 'Rheinland-Pfälzische Staatsphilharmonie' under conductors like Sergiu Celibidache, Leonard Bernstein, Enrique García Asensio, Aldo Ceccato or Arthur Fiedler.
The long lasting collaboration with Sergiu Celibidache was the most influential in Rogoff’s professional life. Not least, the continuous exchange with many international first class artists has helped him to develop into one of the most experienced violin teachers of our time. Indeed, the teaching practice has become more and more important for Rogoff and is claiming more and more of his time. His master classes for violin and chamber music in South America, Japan, the Philippines, Italy, Austria (summer school of the Mozarteum) and Germany (working for nine years continuously in CJD institutions Elze and Berchtesgaden) have become legendary.
In 1994, Rogoff started founding a chamber orchestra with students in Italy. Initially situated near Vicenza and named 'I Cameristi - La Scuola di Rony Rogoff', the orchestra quickly gained an outstanding reputation and was soon invited to the renowned Italian festivals in Bologna and Venice. In Venice they performed Brahms’ complete chamber music as well as the first Serenade for Orchestra. The cycle was recorded live and issued on CD (released by Mondo Musica and highly praised by the media in Germany and Italy). After becoming incorporated into the Fondazione Cini in Venice the orchestra was renamed as 'Accademia Musicale di San Giorgio'. Recorded performances of demanding works like Bruckner’s String Quintet, Richard Strauss’ Metamorphoses, Arnold Schönberg’s 'Transfigured Night' and 'Suite in G', Béla Bartók’s Divertimento, as well as symphonic works by Haydn, Mozart, Beethoven, Schubert, Brahms, etc., demonstrate the unique qualities of this ensemble. He worked as the Artistic Director of the ensemble until 2002.”
- El Sistema, Venezuela
"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