At the same time, several German-Austrian command masters stayed in Germany during the war, such as Ford Ongler, Bohm and karajan. Is being investigated by the allied forces. In wartime, those who went abroad, such as old Klebel, klemperer, Searle, Napbush, etc. , or a small achievement in foreign countries, or like klemperer into turbulent adversity (although it was not easy to be as miserable as klemperer). For example, Klip was appointed during the Soviet occupation, and Walter had to take refuge in toscanini early because of his embarrassing Jewish status. In short, most of the masters who stayed at home at that time were accused of having close ties with the Nazis and forced to stay at home, while the masters who went abroad would definitely not come back for a while. As a result, Cherie ascended the throne of Berlin Philharmonic with her innocent identity and talent.
Cherie, who shoulders this heavy responsibility, can't take it lightly at this time. With natural talent and sensitive ears, he polished and waxed Berlin Philharmonic's timbre, and hardly heard any impurities. The so-called "success is 1% talent plus 99% effort" does not mean that a person's talent is enough, but that his efforts are more than 99 times that of talent, and Cherie is such a representative. During his tenure in Berlin Philharmonic, he devoted himself to directing this work day and night. Not only did he constantly expand Berlin Philharmonic's repertoire (including the music works of many 20th century composers such as Ravel, Stravinsky and Shostakovich), but his long-term reading and endless rehearsals also kept Berlin Philharmonic at a high level. As a command bridge of Berlin Philharmonic during the post-war restructuring period from 1945 to 1947 when Ford Vingler returned to the music scene, Cherie's performance was not only competent, but even excellent. While waiting for the master's return with the members of the orchestra, he devoted himself wholeheartedly to the music and worked hard, which virtually gave the members a power to stabilize morale. His strong demand for clean and accurate music, as well as constant practice and preparation before each concert, not only kept the performance level of the orchestra unchanged, but also made members have no time to take care of things other than music, and also avoided some shocks caused by the unstable situation after the war to some extent.
At the same time, Cherie also ran around for the early end of the non-Nazi censorship in Futvingler. When Futvingler regained control of the Berlin Philharmonic in 1947, Cherie only said, "Doctor, this is your band, and now it is returned to Zhao intact!" In fact, at that time, Cherie was definitely an admirer of Futvingler. It was deeply influenced by Futvingler. You know, after the war, you will gradually step into Futvingler in your twilight years. It is with his profound insight and understanding of his works and his profound understanding of life that he created a series of shocking performances. Every tremor of the baton in his hand is directed at the notes and the message behind them. At this time, Futvingler has reached the most extensive and precise position as a conductor. At this time, Cherebidakai lived with the master day and night, how could he not be inspired by it! What's more, with its insatiable pursuit of music and demanding self-perfection, and deeply influenced by the magic of master music, how can Cherie give up the chance to learn from the master for a moment! So Cherie's Berlin Philharmonic period with Ford Vingler was the biggest leap in his life. The legend of his life should also be based on this.
But this wonderful cooperation did not last long. First of all, Ford Vingler was not so tolerant of young people's talents. In addition, Cherie always talks about honesty and frankness, and she can say whatever she wants. The division of labor between the two is unclear in the management of the band, so the friction soon rises. So by 1952, Cherie had basically never commanded Berlin Philharmonic. At this point, another German conductor star, karajan, is already on the rise. Although Ford Vingler didn't like karajan, he was allowed to be a guest conductor in Berlin Philharmonic. In addition, Cherie refused opera (which he thought was child's play) and recording (canned), and paid more attention to Ravel, Stravinsky, Shostakovich and Tchaikovsky when conducting, so she was deeply disgusted by most conservatives in the orchestra. On the other hand, karajan, with his smooth personality, finally defeated Cherie after the strangulation of Ford Wenger in 1957 and became the successor of Ford Vingler! Karajan's era began.
1992 At the end of spring, Cherie returned to Berlin Philharmonic at the invitation of the German President. According to the book "Classical Masters" by Mr. Wang Li, "Time has turned Chelebi Ducker on the podium into a kind elder, smiling and instructing the younger generation how to convey the happy thoughts of brukner's Seventh Symphony. The members showed respect to him and performed wholeheartedly. Cherebidakai sat on the podium, staring at the orchestra with bright eyes and calmly "watching" the music in front of him. He has a clear picture of the composer's music construction in his heart, and he slowly unfolds and condenses it into a time building. Karajan banned Cheribidakai for more than 30 years, but Cheribidakai changed the Berlin Philharmonic back to the tone he wanted overnight-"clean and transparent".
Unlike our master Ka, who was so successful in her future career, Cherie, who was completely isolated from Berlin Philharmonic, went all over the world as a guest conductor.
From 1954 to 1979, he settled in Munich Philharmonic. During these twenty-five years, Cherebidake served as a guest conductor in Europe, the United States, Japan and other places, and served as a permanent conductor in Stockholm Radio Symphony Orchestra, French National Symphony Orchestra, Stuckett Radio Symphony Orchestra and Hamburg Symphony Orchestra until 1979.