Professional Documents
Culture Documents
Sergiu Celibidache was born on 28 June 1912 in Roman, a small town in North East
Romania, where his father was a government official. Early in his youth, he began
studying piano and after traditional schooling in Romania, he was sent by his
father to Bucharest and then to Paris where he studied music, philosophy and
mathematics. His father had expected him to pursue a political career in Romania.
However, Celibidache chose to enroll in the Hochschule fr Musik (Academy of Music)
in Berlin, Germany in 1936 where he studied composition under Heinz Thiessen and
later conducting under Kurt Thomas, Walter Gmeindl and Fritz Stein. He continued
with doctoral studies at the Friedrich Wilhelm University (Friedrich-Wilhelms-
Universitt) in Berlin where he studied philosophy with Nicolai Hartmann and Eduard
Spranger and musicology with Arnold Schering and Georg Schnemann. He submitted a
dissertation on Franco-Flemish composer Josquin des Prez (c. 14501521) and his
work during the Renaissance. He received his degree in 1944. During his studies in
Berlin, Celibidache was introduced to Zen Buddhism through the influence of his
teacher, Martin Steinke, and the tenets of Buddhism informed Celibidache's
worldview and work for the rest of his life.
Career
Sergiu Celibidache studied in Berlin and, from 1945 to 1952, he was principal
conductor of the Berlin Philharmonic. He later worked with radio orchestras in
Stockholm, Stuttgart and Paris. He also worked in Britain in the late 1940s and
1950s, due partly to the promotional efforts of the pianist Eileen Joyce and her
partner, an artists' agent. Joyce said that Celibidache was the greatest conductor
she had ever worked with "he was the only one who got inside my soul". In 1970 he
was awarded Denmark's Sonning Award. From 1979 until his death he was music
director of the Munich Philharmonic. He regularly taught at Mainz University in
Germany and in 1984 taught at the Curtis Institute in Philadelphia, Pennsylvania.
Teaching was a major focus throughout his life and his courses were frequently open
to all without fee. Among his notable students are Franoys Bernier, Jordi Mora,
Peter Perret, Markand Thakar, Konrad von Abel, and Nils-Gran Areskoug, as well as
The Danish Windquintet.
He appeared in the film Botschafter der Musik where he conducted the Berlin
Philharmonic in a complete performance of Ludwig van Beethoven's Egmont overture.
One controversial incident during his tenure with the Munich Philharmonic was a
protracted legal battle to oust principal trombonist Abbie Conant that lasted 12
years, with Conant ultimately prevailing. Judge Angela Mack ruled that the City of
Munich through the orchestra had broken the law concerning the equal treatment of
employees. A detailed description of the case and the sexism Ms. Conant had to put
up with can be found in an internet article published by her husband, William
Osbourne. Her audition and controversy is discussed in Malcolm Gladwell's book
Blink.
Death
Personal life
In 1965, Celibidache married Ioana Procopie Dimitrescu. They had one son, Sergiu
Ioan Celibidache ("Serge"), born 19 June 1968.
Legacy
Performance style and criticism
Celibidache's focus was instead on creating, during each concert, the optimal
conditions for what he called a "transcendent experience". Aspects of Zen Buddhism,
such as ichi-go ichi-e, were strongly influential on him. He believed that musical
experiences were extremely unlikely to ensue when listening to recorded music, so
he eschewed them. As a result, some of his concerts did provide audiences with
exceptional and sometimes life-altering experiences, including, for example, a 1984
concert in Carnegie Hall by the Orchestra of the Curtis Institute that New York
Times critic John Rockwell touted as the best of his twenty-five years of concert-
going.
Celibidache was well known for his demands for extensive rehearsal time with
orchestras. An oft-mentioned feature of many of his concerts, captured in the live
recordings of them, is a slower tempo than what is considered the norm, while, in
fast passages, his tempos often exceeded expectations. In Celibidache's own view,
however, criticism of a recording's tempo is irrelevant, as it is not (and cannot
be) a critique of the performance but rather of a transcription of it, without the
ambience of the moment for him, a key factor in any musical performance. As
Celibidache explained, the acoustic space in which one hears a concert directly
affects the likelihood of the emergence of his sought-after transcendent
experience. The acoustic space within which one hears a recording of one of his
performances, on the other hand, has no impact on the performance, as it is
impossible for the acoustic features of that space to stimulate musicians to play
slower or faster.
That his recorded performances differ so widely from the majority of other
recordings has led them to be seen by some as collectors' items rather than
mainstream releases, 'one-offs' rather than reference recordings.
Discography
Notable releases have been his Munich performances of Beethoven, Johannes Brahms,
Anton Bruckner, Robert Schumann, Johann Sebastian Bach, Gabriel Faur and a series
of live performances with the London Symphony Orchestra and the Stuttgart Radio
Symphony Orchestra.