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他的《卡门》全剧还没到手就先来这个消息，从猎奇一下子变成缅怀了。。。

谣传了好几次他去世的消息， 这回恐怕是真的了. 下面是路透社的消息:

LJUBLJANA (Reuters) - Austrian-Argentine conductor Carlos Kleiber， dubbed one of the greatest and most difficult conductors of his time， died aged 74 last week， Austrian state television reported on Monday.
Kleiber was known as a brilliant conductor who could inspire an orchestra but also as an enfant terrible who would call off performances at the last minute.

Over the years his appearances became rarer and he last conducted in February 1999. He never granted interviews.

"Among music experts as well as the public， Kleiber was counted among the most important conductors of the 20th century，" Austrian President Heinz Fischer said.

Kleiber， who lived in Munich， died on July 13 in Slovenia， the homeland of his mother and his late wife， Austrian television ORF quoted Slovenia’s news agency STA as saying. He was buried on Saturday in the Slovenian village of Konjsic.

Kleiber was born on July 3， 1930， in Berlin， the son of Erich Kleiber， an Austrian-Argentine who conducted the premier of Alban Berg’s opera Wozzeck in 1924 and directed some of the world’s great orchestras.

The family moved to Argentina in 1935 to flee Nazi rule and Kleiber started his musical training in Buenos Aires in 1950.

He first conducted in 1952 in La Plata and a year later for the first time in Europe at Munich’s Gaertnerplatztheater.

From 1968 to 1973 he worked under contract at the Bavarian State Opera. But he preferred to roam and increasingly made only individual guest appearances in places like Vienna， London and Milan.

His last public concert appearance was in February 1999 in Cagliari on the island of Sardinia， where he conducted Beethoven’s Fourth and Seventh symphonies.

&copy； Reuters 2004. All Rights Reserved.

Servant and Master am I:
Servant of the dead
And master of the living.
Through my spirit the immortals speak the message
That make the world weep and laugh，
And wonder and worship.
For I am the instrument of God:
I am music.

-Anonymous.

想用音乐， 但我却只能用文字来表达无法表达的哀伤和怀念.

虽然从来没有买过一张他的CD，我相信海庭克的话：看了他的指挥，我要重新钻研这门艺术了。
看起来我们可以等待一套很精彩的专辑了。

FRANKFURT， Germany -- Carlos Kleiber， the celebrated perfectionist conductor whose mystique grew partly out of the rarity of his performances， has died. He was 74.

Kleiber died last Tuesday after a long illness and was buried Saturday at Konjsica， Slovenia， the Slovenian news agency STA said. A relative， speaking to The Associated Press on condition of anonymity， confirmed that Kleiber had died and said the conductor wanted to be buried next to his wife， who was Slovenian and died in December.

原來他的妻子已於十二月時去世...
通常人失去愛伴， 另一個就...

The greatest living conductor has left us，" Ioan Holender， director of the Vienna State Opera， told the Austria Press Agency.

The son of famed conductor Erich Kleiber， Carlos Kleiber was an independent who refused to accept positions with companies， instead preferring to guest conduct wherever and whenever he pleased.

"He was considered one of the great conductors of the late 20th century along with Leonard Bernstein， Herbert von Karajan and Georg Solti. Kleiber was a mysterious figure in the music world， refusing all interviews， but he repeatedly left orchestra players notes filled with instructions， which became known as "Kleibergrams."

"Carlos Kleiber was a musical genius beyond words，" Luciano Pavarotti said in a statement released through his spokeswoman， Terri Robson. "Music-loving audiences the world over were deprived of the privilege of experiencing him in public in more recent years， but he was a unique conductor and an extraordinary interpreter and the music world has suffered a tragic loss."

Kleiber’s performances were electric， filled with precise tempi and unusual color. The tenor Placido Domingo， himself a conductor， called Kleiber the consummate conductor. Asked what attributes he would want from every living conductor， Domingo was quoted in Helen Matheopoulos’ 1982 book "Maestro" as saying he would want "the cheering of Jimmy Levine， Claudio Abbado’s special way of indicating a legato， Zubin Mehta’s incredible facility.

"But from Carlos Kleiber， I would want ... everything."

Kleiber largely retired after 1994， conducting only a pair of concerts each in 1996 and 1997 before his final public performances， five concerts of Beethoven’s Fourth and Seventh Symphonies followed by the overture to Johann Strauss Jr. "Die Fledermaus" with the Bavarian Radio Symphony Orchestra in Spain and Italy in January and February 1999.

When encountered by an AP reporter in his hotel’s rooftop restaurant after the opening performance on Grand Canary Island and asked whether he had plans to conduct again in New York， he replied， "Maybe next year，" sounding more like he was trying to end the conversation quickly than give an accurate answer.

Kleiber made his U.S. debut with the Chicago Symphony Orchestra on Oct. 12， 1978， conducting the overture to Weber’s "Der Freischutz，" Schubert’s Third Symphony and Beethoven’s Fifth. He returned to Orchestra Hall in June 1983 for Butterworth’s English Idylls No. 1， Mozart’s Symphony No. 33 and Brahms’ Symphony No. 2.

His only other American performances were at the Metropolitan Opera， where he made his debut on Jan. 22， 1988， in a revival of Puccini’s "La Boheme."

"Puccini’s bittersweet tale of bohemian lovers in Paris had been heard 639 times at the Metropolitan Opera before Friday night’s performance， but it’s doubtful it ever sounded better，" AP critic Mike Silverman wrote.

Kleiber conducted 19 performances in all at the Met over a two-year period， also leading the company in a new production of Verdi’s "La Traviata" and revivals of Verdi’s "Otello" and Richard Strauss’ "Der Rosenkavalier." After that， he refused all overtures to return to the United States.

Carlos Kleiber was born in Berlin on July 3， 1930. His father had performed for the first time in the United States in 1930-31 with the New York Philharmonic and after the family fled Nazi Germany in the 1930s， the young Kleiber grew up in Argentina.

After the war， he studied chemistry in Switzerland， but his love for music led him to a 1954 conducting debut in Potsdam， East Germany， in Karl Milloecker’s operetta "Gasparone." Instead of conducting under his own name， Kleiber conducted that night under the name Karl Keller， Matheopoulos wrote.

Copyright &copy； 2004， The Associated Press

（修改：Samuel 2004-07-20 12:02）

刚缅怀完老卡，就又去了一个
这7月真是黑色啊

悲喜交集，悲：绝世大师就此西去，喜：大师的许多现场录音有可能被大唱片公司发行。期待中。

我最喜爱的大师啊！！！！！！！
就这样去世了
算是早逝吧

默哀..............

我周日才又看了玫瑰骑士，难道是感应吗？我最喜欢的一位指挥，一直期待他的复出。。。其实我是不希望唱片公司把他做成cele2的，但是确实想多听他的录音。

没想到是真的。默哀……

今天的耳朵只属于克莱伯

......

怀念~~~~~~~~~~.................!!!!!!!

默哀！

刚在古典音乐资讯看到他去世的消息~ ：（

:( 遗憾!

默哀!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!默哀!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

其实他再活十年，我们也不可以期待什么。

他的录音，我觉得五十五十啦。

昨天指挥了Jr.Strauss的《艺术家的生涯》、《春之声》、《骑士帕斯曼》之查尔达什舞曲、《加速》、《维也纳血统》等圆舞曲，以此表示对大师的怀念……

他的唱片准备大卖头了

说是13日去世的，怎么这两天才发布消息，诸位可知？

天哪，这居然是真的！

我也不愿意这是真的，但不信不行啊，事实就是这样残酷！
沉痛悼念伟大的指挥家--克莱伯！！

我不是他的fans，但是我也觉得可惜，沉痛。
我在他的音乐里头，除了糖果味道，和维也纳的优美的圆舞曲外，什么都没感觉。。。

今晚的心情很沉重……

克的《吉普赛男爵》序曲如果和87卡的比较，我认为卡的好听，但是当我看见克莱伯那指挥的生态，简直就是施特劳斯在自己指挥。

（修改：pkuopk 2004-07-22 23:16）

deleted

（修改：ultra 2004-07-23 00:25）

又去了一个，唉，还等他多录几部呢，这下根本就没指望了
这几天一直在听他和他老爸的录音，没上网，不想一上网就看到这个。默哀……

In Memoriam Carlos Kleiber

With the passing of Carlos Kleiber on 13 July 2004， the world of music has lost one of its most charismatic and enigmatic figures.

He was called a conductor who didn’t like to conduct: Kleiber deigned to pick up the baton “only when he was hungry”， quipped Herbert von Karajan (who， like many others， called him a “genius” – they were a two-man mutual admiration society). A recluse who never granted interviews， he did repeatedly leave orchestral players notes filled with instructions (which became known as “Kleibergrams”). His repertoire comprised no more than a handful of symphonies by Beethoven， Haydn， Mozart， Schubert and Brahms， and a scarcely longer list of operas – a fragment of the repertoire conducted by his equally famous father Erich Kleiber， another titan， with whom Carlos had notoriously difficult relations (but whose marked scores he used in his performances). Once his career was established， he refused to accept a permanent position.

Much critical ink has been spilled over the precious few performances that Carlos Kleiber actually delivered – principally with the Vienna Philharmonic and Amsterdam Concertgebouw orchestras and at some of the world’s operatic shrines: Vienna， Munich， Bayreuth， London， Milan， and New York – reviews couched almost exclusively in superlatives bestowed on few other musicians of the late 20th century. Kleiber was truly – and for once the tired cliché is apt – a legend in his own time.

A perfectionist in extremis， he also， famously and frustratingly， disliked making studio recordings. But the ones he did produce have naturally come to occupy a special place in the history of the medium. Deutsche Grammophon had the great good fortune of being the label with which he was associated. Our collaboration with Carlos Kleiber began in 1973 with the Dresden recording of Weber’s Freischütz， which London’s Daily Telegraph， typifying the praise showered on it from all quarters， described the set in terms that could well be applied to every work the artist touched: “Kleiber…brings such vitality， freshness of tone and buoyancy of rhythm to the orchestral score and his choice of tempi shows that he has rethought this music…by discovering how to be faithful to the composer’s spirit without transgressing the letter.”

Subsequent releases over the next several years spread the appreciation of his phenomenal gifts to an adoring international public and fellowship of music critics: Beethoven’s Fifth from Vienna in 1975， Beethoven’s Seventh from Vienna and Johann Strauss’s Fledermaus from Munich in 1976， Verdi’s Traviata from Munich in 1977， Schubert’s Third and “Unfinished” from Vienna in 1979， Brahms’s Fourth from Vienna in 1981 and Wagner’s Tristan (which he had conducted at Bayreuth from 1974-76) from Dresden in 1982. These are recordings that never have been， and surely never will be， absent from the catalogue.

Carlos Kleiber was born in Berlin on 3 July 1930 but grew up in Argentina after his family (who were not Jewish) fled from Nazi Germany in 1935. After the war， he studied chemistry in Switzerland， but an overwhelming love for music led inexorably to his 1954 debut (conducting an operetta in Potsdam， East Germany). He served as répétiteur of the Deutsche Oper am Rhein in Düsseldorf from 1956， becoming its conductor two years later， was at the Zurich Opera from 1964-66， and was first Kapellmeister at the Württembergisches Staatstheater in Stuttgart for three years from 1966. He first appeared at the Vienna State Opera in 1973 conducting Tristan， with which he made his Bayreuth debut the following year， debuted in 1974 at Covent Garden and Scala (conducting Der Rosenkavalier)， made his Berlin Philharmonic in 1982， and his first appearance at the Met in 1988， though San Francisco was lucky to hear him as early as 1977.

(emanated from DGG Website)

不是吧？！默哀。。

天才的时代划上了句号……

kleiber指挥的管弦乐作品（歌剧也只有trestan and isold 和奥赛罗比较大型），都不是什么大部头，而且都是一些节奏强，偏于轻快的作品，不知道是他生活的态度是那样呢，还是他对一些大部头的作品不感兴趣呢，虽然他的指挥给人一种很畅快的感觉，但是畅快过后，对我而言确是没有留下什么很深刻的印象，就算是brahms的第四，都是“向前，向前，向前前“ 到最后都是肾上腺素不断飙升，如果karajan的贝六是开喷气机，那么他的第六也是开法拉利。。。其实他的死，正是给我们一个机会重新认识kleiber.和他的效应，是因为他的录音少，所以才有那么多人追捧吗？

要说对音乐的理解，有很多和他一样和比他还要好的指挥家。但他是为数不多的把音乐与形体完美结合的指挥家，毕竟对于现场的观众还是很有吸引力的。

确实，就像我前面说的，拿他的《吉普赛男爵》序曲和卡的87比，还是卡的跟好听，完美。
但是看看克的指挥的动作，简直就是施特劳斯自己在指挥一样。

的确是一位伟大的世界公民，死后竟然埋葬在小国斯洛文尼亚，虽然我能在5秒内从世界地图指出斯洛文尼亚的位置。