In either formulation the key question is: to what extent is it possible to change from someone with a passive relationship to the world to one in which you make things happen? I don’t know the answer to that – I get the impression that these things can be very deep-rooted, but have also seen people display quite different tendencies after a change in circumstances.

But I find myself uncomfortable with the judgemental tone of the category ‘drifters’, and it’s taken me a while to work out why. I think it’s because it implies that the drifters are such by choice, and just need to buck their ideas up to become doers. If that’s the case, though – if it’s true they have genuine choice in the matter – then describing them in those terms is quite unhelpful, as it breed resentment rather than motivation. Do you see what I mean?

Celi was very demanding of us, but also very open and caring. The fact that he opened up his home to us, spent several days (all day, several times a year, on top of our weekly sessions) with us, and never charged a dime, is one small example of the type of relationship he had with us.

It was not easy becoming a “Celi Shuler.” His precise use of language (in many languages), for example, was very difficult for me and many others. It took most new students several months to begin to understand his teachings and to be able to take part in discussions.

There were four major components to his teaching: 1) the Phenomenology of Music 2) beating technique 3) rehearsal observations 4) weekly sessions and other master classes. The master class in the video was not as harsh at the video portays. Everyone in the room is one of his students, many close students like myself. These sessions, and our weekly instruction were much more than the master dictating and our attempted mind-reading. It was always a highly engaging and dynamic environment with some of the most brilliant thinkers and talented musicians in Europe. If you look at the section of the video at the start of the break, for example, you will notice Juan Jose’ Chuquisengo. He is possibly the most important pianist of our generation.

I guess the bottom line for me was that we were all looking for “truth” in the music, not “beauty.” Celibidache is the only conductor that I am aware of that strove for and found the truth on a consistent basis. If you are interested in random, abstract and mind-reading, I have lots of Bernstein (and others) stories from Schelswig Holstein, the Bavarian Radio Orchestra and the Vienna Philharmonic. Going to Gasteig, on the other hand, was like going to chruch.