Mas depois ouço este pedacinho de concerto, e penso que não é preciso saber tudo. Basta estar tão inteiramente dentro do momento que nem me dou conta de que parei de respirar.
(Os comentários que me provocaram um ataque de só-sei-que-nada-sei:
- Karajan, 100% technique and 0% emotion. That's the problem of the teuthonic school. I love his performance as a chief conductor and genius, but I feel that something is missing like breathless feeling.
- There is (nor ever was) no such thing as a specific "teutonic school" of orchestral playing and conducting. It's a very wide spectrum, and Karajan's style was just part of the spectrum. Nor is it "100% technique and 0% emotion". Many of the "teutonic" conductors like Furtwängler or Jochum were particularly known for their spontaneous and emotionally charged conducting which emphasized expression over technical perfection. Karajan combined elements of that fluent, breathing style with a great sense of sound. Technical perfection was never his primary goal either - one can hear many little flaws and moments of slightly imprecise ensemble in his recordings (including the above). He cared more for the long line, the big picture. The emphasis on technical perfection for its own sake was more something that came from Toscanini and that was cultivated in the US by many European conductors who emigrated to there, like Reiner, Szell, Rodzinski, and others. It was never a primary element of any part of the wide spectrum of the "teutonic" style of conducting and orchestral playing.)