On 8, 9 and 10 January 1978 Giulini conducted three memorable concerts devoted entirely to French music: Ma mère l'oye (Mother Goose Suite) and the Concerto for the left hand by Ravel, and after the interval La Mer – a clever choice of programme.

“Apparently Giulini's approach to any work that he conducts is somewhat reticent – full of profound awe and humble devotion. He makes no fuss whatever. As soon as this tall, slim, aristocratic man hesitantly enters the stage, his baton pointing down like a Geiger counter, one suspects that the coming performance has not only been preceded by many hours of rehearsal, but also by just as much time spent in contemplation.” Klaus Geitel wrote in Die Welt, 10 January 1978: “The care with which Ravel composed Ma mère l'oye was highlighted by Giulini's careful interpretation. He feels his way thoughtfully through the sections, the music arrives as though on tiptoe, lest the Sleeping Beauty be awakened… Musical miniatures, full of delicate cross references, solemn sophistication, weightless yet significant. Giulini displayed it as though under a magnifying glass: a close-up of small things, every detail clearly brought out.”

Wolfgang Burde, the critic of the Tagesspiegel, praised many facets of the concert. Michel Block coped brilliantly with all the technical and interpretative problems of Ravel's Piano Concerto for the left hand, missing none of the punchlines while preserving the transparent delicacy of Ravel's texture. Regarding Ma mère l'oye he stated: “It is quite remarkable how Giulini, who tends to emphasis and the grand gesture of renunciation, also integrates those aspects of refinement, indeed of the fragility of almost foundering speech. What basically concerns him is the mysterious texture of Impressionism, of iridescent beauty, of remoteness and delicacy. Even in La Mer, that grandiloquent showpiece of Impressionism, Giulini attempted to bring more intimate sounds to the fore.”

(from the booklet note by Helge Grünewald)