Word: giulini
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...that post to concentrate on his other job in Boston. Minnesota has grabbed two top Europeans: Britain's Neville Marriner as music director and Germany's Klaus Tennstedt as principal guest conductor. Los Angeles is easily the high roller in the game. It has captured Carlo Maria Giulini, 64, an Italian who is considered a master among maestros-but after having lost Zubin Mehta, 42, to New York...
Dvorak: Symphony No. 9 "From the New World" (Chicago Symphony Orchestra, Carlo Maria Giulini, conductor; Deutsche Grammophon). In the case of the "New World" Symphony, familiarity has bred lack of imagination: conductors tend to blast through the great crescendos and wallow in the well-known themes. Not Giulini, however, whose byword is subtlety. The Chicago's famous brass is brilliant, not blaring, and Giulini achieves unexpected nuances of color and volume. Those who prefer their "New World" brooding and Slavic should stick with Stokowski's various recordings, but those with an ear for freshness will like this interpretation...
Carlo Maria Giulini, as he got ready to take over his post as music director of the Los Angeles Philharmonic: "I always think I am a very small man. When I shave myself, I look in the mirror and see behind me Beethoven and Brahms...
Dvorak: Symphony No. 7 in D-Minor. (London Philharmonic Orchestra, Carlo Maria Giulini conductor, Angel; Concertgebouw Orchestra, Amsterdam, Colin Davis conductor, Philips.) No other of Dvorak's nine symphonies equals the nobility and deep melancholy of this landscape of rich melody and subtly changing orchestral color. The warm, spacious performance by Giulini would be a winner at almost any time. Right now, however, it comes up against Davis and the Concertgebouw in one of their most electrifying collaborations. The lilting Czech dance rhythms in the Scherzo, for example, have the kind of freedom and spontaneity one would expect from...
...body seemed at times to be equal to the emotive power of the music he conducted, as every muscle of his body, and every inch of himself to the very tips of his hair, seemed to involve itself in the music. He was not a histrionic conductor, as Giulini so often is, but he was a man deeply involved in his music. He seemed never to analyze a piece of music in terms of the individual notes and phrases, but as an emotional experience, in its entirety. This sort of thing is dangerous in the hands of the incompetent conductor...