Tuning in…
Tuning in…
Castaway
2 appearances
Eminent French cellist, conductor and composer.
On the island
Eight records
Orchestre du Théâtre des Champs-Élysées / Désiré-Émile Inghelbrecht (conductor)
Because it speaks of Greece … the island could be not a Greek island … this would help me because it would bring to me the beauty of the landscape of Greece.
Also on account of Greece … not for the landscape, but for the great power … I can see the beauty of the Greek temple and I can feel also the history, the wonderful mythology history of [Penelope].
Frauenliebe und -leben, Op. 42Favourite
[No direct quote given beyond the title cue.]
String Quintet in C major, D. 956
[With Paul Tortelier and others]
Because [Gábor] plays in it … that would be a remembrance of one of the best moments of my artistic life in Prague.
Because it's just unbelievable … the faith, the enthusiasm she has got … the talent, genius … in improvisation.
Sinfonia Concertante in E-flat major, K. 364
I love opera, but I don't know anything about opera … so I chose the Andante of the Symphony Concertant because it sounds a little like an [opera].
Brandenburg Concerto No. 1 in F major, BWV 1046 (slow movement)
The slow movement is so beautiful that you dare not to play it even … but as it belongs to the general thing, which is all beautiful, you can't play just a little piece of it.
Christmas Oratorio, BWV 248 (opening chorus, 'Jauchzet, frohlocket!')
[That is a thing that helps you to live on a desert island.]
Cello Concerto in E minor, Op. 85
Jacqueline du Pré, London Symphony Orchestra, Sir John Barbirolli
I think uh I must really uh give a chance to my dear friend and ex former pupil, Jacqueline Dupre, to be heard at once, to start, because she plays so beautifully the Elgar concerto. And that's what I would like to hear.
Tristan und Isolde: Mild und leise wie er lächelt (Isolde's Liebestod)
Linda Esther Gray, Orchestra of the Welsh National Opera, Reginald Goodall
That is a great, great thing of uh Wagner, uh Tristan and Isold. The death of Isold at the end of the opera, which is sung by the wonderful uh singer Linda Esther Gray. Uh Tristan is Isold is something unique, is unique, and I would like to have it.
String Quintet in C major, D. 956
Isaac Stern, Alexander Schneider, Milton Katims, Pablo Casals, Paul Tortelier
I think the Schubert Quintet with Pablo Casals, because that is a wonderful remembrance for me. Uh I am sorry I play in it, it's not very modest, but it is just to hear uh the beautiful playing of Isaac Stern and Pablo Casalt, and to remember the Prad Festival when we recorded that live.
Konzertmusik for Brass and Strings, Op. 50
Philadelphia Orchestra, Eugene Ormandy
Ah, speaking of Kucvitzki, I like to have a recording of Hindowit concerto for brass and strings. Because uh Kucvitsky loved to play Hindamit. I discovered the music of Hindamit there in the Boston Symphony.
Frauenliebe und -leben, Op. 42
It is uh something I treasure also. It is uh the voice of Kathleen Ferrier. L La Mour d'un Famme is a record. I don't know how to put it in English. La Mour d'une femme, the love woman, uh
Piano Concerto in G majorFavourite
Monique Haas, Orchestre National de France
Ravel? Ravel must be there. Not because I am nationalist, but he has written a beautiful slow movement in his piano concerto. And I would like to have it.
Mass in B minor, BWV 232: Kyrie
Munich Bach Choir, Munich Bach Orchestra, Karl Richter
Bach is my great hope for the future of mankind, because it is there. ... We have this. We have uh a fugue by Bach is a perfect image of how the society, the human society should be. And uh now, besides the question of uh philosophy, uh it is also the most beautiful thing you can hear.
Introduction and Variations on 'Dal tuo stellato soglio' from Rossini's 'Mosè in Egitto', MS 23
Paul Tortelier, Maud Martin Tortelier
The one which will bring my wife near me. Because she's playing in this record. Oh, well. I'm glad that the record has been made in London and that it is uh issued again. It is uh variations on one string by Paganini on a Rossini's theme from an opera called Moses. And we play together.
In conversation
Presenter asks
1:01What was your guiding principle in choosing these [discs] for the desert island?
I thought of the music I liked best, first of all … and … association with best remembrance and keeping quiet.
Presenter asks
4:38In what part of France were you born, and was it a very musical family?
In Paris … no, not at all, they had music at heart, but they were not professional.
Presenter asks
5:03When did you decide that the cello was to be your instrument?
I didn't decide [it] either … you don't know what you want when you are six … your mother had the ambition for you to be a professional musician, a cellist … this is very ambitious.
Presenter asks
5:18How many hours a day did you practice at that time?
I remember I was very lazy … progressively I reached four hours a day when I was ten, ten, eleven, probably I made four hours a day.
The keepsakes
The book
Auguste Rodin
I don't say that it is the best book in the world, but that book is the one that would feed me my ideals. It is The Cathedrals of France by Auguste Rodin. ... It is a guide for happiness. It is a guide for wisdom.
The luxury
If I were a bachelor I would choose a ... telescope. But I am not a bachelor. So I will choose a photo of my wife.
Presenter asks
14:12You have an ambition that hasn't been realized yet?
Oh, well, if I could go back, I think I would just work in a kindergarten … because it is just the most beautiful thing, working with young children … they are so beautiful, they are so touching.
Presenter asks
17:12How well could you bear the loneliness of a desert island?
Oh, I can be alone very well … I like solitude … but not indefinite solitude … how I should manage to live that I don't know … I couldn't [build a shelter] … to cultivate, I couldn't either … I tried [to fish], but the fish always escaped me … only my wife can … she won't be there.
Presenter asks
0:44How well could you endure loneliness?
I am prepared for that because most of my life I was uh alone and I was also when I was very young I was alone because my sister my only sister was much older than I. So I think I could stand pretty well, but I would miss my wife.
Presenter asks
3:28Were your parents of Parisian stock?
No. My father came from Brittany, and my mother had her origin in Lorraine, the country of Joan of Arc.
Presenter asks
3:39Was there music in your family? Were your parents musical?
They were amateur they played an instrument which has disappeared now. It's a la mandoline. But they they were loved music. That's what's important.
Presenter asks
3:58So at the age of six you had to practise every day. Did you mind that?
Well, not so much. No, no, no. I did not enjoy that at all. I preferred to play marbles in the street because my bedroom was directly on the ground on the yes. So I could hear the little children playing uh in the streets. So how could I resist? No, no, no. I preferred to to play in the streets and to play the cello.
Presenter asks
6:28When did you start playing professionally? When did you start being paid for your cello playing?
I think uh right after my sickness uh I I I was very sick when I was thirteen, so it was about thirteen years old when I played in Bracery in cinema, movie houses to earn my living because I was alone with my mother. I had to earn my living.
Presenter asks
12:16How was Richard Strauss to work with? Was he encouraging?
He he was very nice, very sober in his manner, but I felt that he liked my playing. Uh he did not disapprove of anything.
“I didn't decide [the cello] … you don't know what you want when you are six. And your mother had the ambition for you to be a professional musician, a cellist.”
“The good idea was to pass an audition for [Mengelberg?] … and for Beinum, that was a start. My first appearance as a soloist international was in Amsterdam.”
“They [the Kibbutz community] were the best friends and I think I love them so much … love mustn't be something too sure … just to the family or to your country or even to your race … race doesn't mean anything to everybody.”
“The most beautiful thing [would be] working with young children … they are so beautiful, they are so touching.”
“I shall choose the Schumann … by [Kathleen Ferrier], because there it is the heart that is beating.”
“I can work only if I am happy. Right. And I am happy only if I work.”
“Bach is my great hope for the future of mankind, because it is there. ... We don't need to worry about any problem, any religion, any ideology, any any ody, theology. No. We have this. We have uh a fugue by Bach is a perfect image of how the society, the human society should be.”
“I think I can find some food uh in the sea perhaps. I am better at sea. ... I can succeed getting some fish after a few hours.”