Otto Klemperer (1885-1973)

[revdrdave]

What are your thoughts on Klemperer's RIAs recordings on the Audite label?

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I have to confess, Moonfish, that I'm not familiar with these recordings. I've known of Klemperer's work with the RIAS orchestra but I've never heard any of the performances. He recorded these at the same time he was recording much of the same material for Vox; there's also some overlap with his earliest recordings for EMI. I've never been a huge fan of his Vox recordings because of the calibre of the Vienna Symphony, Vox's unwillingness to allow much in the way of rehearsal prior to recording, and the quality of the recordings themselves. I'd be interested to hear the RIAS material if for no other reason than some of these performances coincide with the time Ferenc Fricsay (a woefully underrated conductor, in my opinion) was Music Director of the RIAS orchestra and had turned it into a first-class group. The works performed are core repertoire for Klemperer.

[Drasko]

I've been listening (for the first time) to Klemp's Vox recording of Das Lied von der Erde from March, 1951. I was taken aback right from the beginning. It's much faster than his later EMI account but so detailed and rhythmic, and doesn't feel rushed at all. The orchestra is great. There is a horn player that really soars, playing with such confidence and flair, I love it! The work's orchestration sounds modern and prickly with no sentimentality. I'm going to have to track down his Vox recordings!

Thanks for mentioning that one, I'll have to spin it soon, haven't listened to it in ages. Though it definitely is lightning fast, not just much faster than his later EMI recording but faster than pretty much anything else. But what I remember liking most about it is mellifluous singing of Anton Dermota (though amply helped by recording engineers putting him well forward of the orchestra). Could be my favorite tenor in the role.

[Leo K.]

What are your thoughts on Klemperer's RIAs recordings on the Audite label?

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I don't have this set but a few of the recordings on other releases. I'm just starting to listen to the Mozart No.38, and wow, despite the poor sound the performance is Klemp firing on all cylinders, with the expo. repeat observed in the first movement. Aces!

[Leo K.]

I really love this record. Alan Civil's (1929-1989) tone is my cup of tea, probably my favorite player of the Mozart horn concertos. Klemperer leads the Philharmonica in a elegiac expression of these concertos. The mood of the performances is like the world of the Clarinet Concerto.  I found this quote from a Yahoo group regarding Alan Civil, Dennis Brain (featured on Karajan's account of the horn concerti), and Klemperer:

"Some place in the Stephen Pettitt book on Dennis Brain there is a
section about the issue of tempo's with Otto Klemperer on the first
attempt to record the Paul Hindemith Horn Concerto with Dennis Brain.
Klemperer's tempos where just too slow for Dennis Brain to feel
comfortable.

From what read between the lines, Otto Klemperer felt that Dennis Brain
was too reserved in his sound and under-played the big solos in the
German literature. He also did not like the, what he called "French
Novels" that Dennis Brain read during rehearsals.

Klemperer liked Alan Civil's concepts of tone much better and this was
his choice of Horn players when he conducted in England. I don't know
if Otto Klemperer was Alan Civils choice of of conductors."

[Sergeant Rock]

I really love this record. Alan Civil's (1929-1989) tone is my cup of tea, probably my favorite player of the Mozart horn concertos. Klemperer leads the Philharmonica in a elegiac expression of these concertos.

Sold. I just ordered this box:

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Sarge

[revdrdave]

Klemperer's life and times
Just for the record: these two volumes written by Peter Heyworth appear to be THE Klemperer biography. They are OOP and the second volume is currently quite expensive. However, the first volume on his early life is very affordable and is likely to be of interest to readers of this thread. There is a more recent edition of volume 1 (slightly higher price).

Otto Klemperer: His Life and Times, Vol. 1: 1885-1933



Otto Klemperer: Volume 2, 1933-1973: His Life and Times

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The newer edition of Volume 1:

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Yes--not only is this essential reading for anyone interested in Klemperer but, IMHO, it's one of the best biographies of a conductor ever written.  Heyworth died before he completed the second volume but it was finished by John Lucas. The first volume is particularly interesting on a couple of levels.  First, it spends a great deal of time talking about Klemperer's years as Director of the Kroll Opera in Berlin, a story that, prior to this biography, hadn't been told--at least not in the detail it is here.  This is important not only because it's a good story but it underscores how active a role Klemperer played in getting then-contemporary music before the public (he was responsible, for example, for the premiers of operas by Hindemith and Schoenberg and worked closely with Busoni, Zemlinsky, Pfitzner, and Stravinsky).  Second, it demonstrates just how wide Klemperer's repertoire was at one time.  He became known, of course, for Beethoven/Brahms/Mozart/Haydn but, early on, he was programming music by composers you'd never associate with him.  We tend to know Klemperer as a musical conservative when, for much of his career prior to the rise to power of the Nazis, he was known as something of a cutting-edge radical.  In fact, it wasn't until Klemperer left Germany in 1933, eventually finding his way to Los Angeles, that his repertoire began to narrow, with an increasing focus on Austro-German classical composers.  I've always regretted that there aren't more recordings of Klemperer earlier in his career--the thought of Klemperer conducting Schoenberg (other than Verklarte Nacht, which he did record) kind of blows my mind!

BTW, Peter Heyworth published another book--Conversations With Klemperer--which is a good supplement to the biography.

[revdrdave]

Sold. I just ordered this box:

[asin] B00A4AI0AS[/asin]


Sarge

Great choice, Sarge. I share Leo's love of the Mozart Horn Concerti and I've always had a particular affection for the Beethoven Piano Concerti with a young Daniel Barenboim towards the beginning of his career and an aging Klemperer nearing the end of his.  I'm not saying they're the best Beethoven concerti across the board (although I think 3 and 4 are particularly fine) but there is, to my ears, a great humanity in these performances.  The Schumann and Liszt concerti with Annie Fischer are terrific, too, but probably the best performance in the entire box is the Brahms with David Oistrakh.  For me, no other performance of the Violin Concerto comes close to this one. 

[Leo K.]

Sold. I just ordered this box:

[asin] B00A4AI0AS[/asin]


Sarge

That's great Sarge, I look forward to your thoughts on it. Aces! The Mozart Piano Concerto no.25 is really nice too.

[Leo K.]

Yes--not only is this essential reading for anyone interested in Klemperer but, IMHO, it's one of the best biographies of a conductor ever written.  Heyworth died before he completed the second volume but it was finished by John Lucas. The first volume is particularly interesting on a couple of levels.  First, it spends a great deal of time talking about Klemperer's years as Director of the Kroll Opera in Berlin, a story that, prior to this biography, hadn't been told--at least not in the detail it is here.  This is important not only because it's a good story but it underscores how active a role Klemperer played in getting then-contemporary music before the public (he was responsible, for example, for the premiers of operas by Hindemith and Schoenberg and worked closely with Busoni, Zemlinsky, Pfitzner, and Stravinsky).  Second, it demonstrates just how wide Klemperer's repertoire was at one time.  He became known, of course, for Beethoven/Brahms/Mozart/Haydn but, early on, he was programming music by composers you'd never associate with him.  We tend to know Klemperer as a musical conservative when, for much of his career prior to the rise to power of the Nazis, he was known as something of a cutting-edge radical.  In fact, it wasn't until Klemperer left Germany in 1933, eventually finding his way to Los Angeles, that his repertoire began to narrow, with an increasing focus on Austro-German classical composers.  I've always regretted that there aren't more recordings of Klemperer earlier in his career--the thought of Klemperer conducting Schoenberg (other than Verklarte Nacht, which he did record) kind of blows my mind!

BTW, Peter Heyworth published another book--Conversations With Klemperer--which is a good supplement to the biography.

That is fascinating Dave and thanks for the discussion. I'll see if I can check it out through inter-library loan. I used to see the first volume in my home city library but I haven't seen the second volume.

[Leo K.]

Great choice, Sarge. I share Leo's love of the Mozart Horn Concerti and I've always had a particular affection for the Beethoven Piano Concerti with a young Daniel Barenboim towards the beginning of his career and an aging Klemperer nearing the end of his.  I'm not saying they're the best Beethoven concerti across the board (although I think 3 and 4 are particularly fine) but there is, to my ears, a great humanity in these performances.  The Schumann and Liszt concerti with Annie Fischer are terrific, too, but probably the best performance in the entire box is the Brahms with David Oistrakh.  For me, no other performance of the Violin Concerto comes close to this one.

Oh yeah I love the Schumann Piano Concerto performance. It is magisterial and Epic.

[Sergeant Rock]

That's great Sarge, I look forward to your thoughts on it. Aces! The Mozart Piano Concerto no.25 is really nice too.

Great choice, Sarge. I share Leo's love of the Mozart Horn Concerti and I've always had a particular affection for the Beethoven Piano Concerti with a young Daniel Barenboim towards the beginning of his career and an aging Klemperer nearing the end of his.  I'm not saying they're the best Beethoven concerti across the board (although I think 3 and 4 are particularly fine) but there is, to my ears, a great humanity in these performances.  The Schumann and Liszt concerti with Annie Fischer are terrific, too, but probably the best performance in the entire box is the Brahms with David Oistrakh.  For me, no other performance of the Violin Concerto comes close to this one. 

The Klemperer/Barenboim Concertos I already have. Came with Klemp's set of Beethoven Symphonies:



I agree the Fourth is particularly fine. In fact, I've long known it: I bought the LP during my first visit to London (summer of '72).




The duplication doesn't bother me. The box is cheaper than one full-priced CD and the other performances will be new. Looking forward to it. Should be here tomorrow (just received an email that it's shipped).

Sarge

[Leo K.]

I've been closely listening to all three of Klemp's M9's (New Phil., VPO, and the Jerusalem). His interpretation is pretty much the same for all three performances, but each has it's own fascinating sound, details, and atmosphere. My estimation of his M9 has changed from nonchalance to pure greatness. Years ago I didn't understand his pacing despite my preference for slower performances of Mahler's 9. I just needed to listen to his EMI account closely, studying it again and again. His EMI Das Lied von der Erde had inspired me to take another look at his Mahler 9 and wow, I'm glad I did.

My personal favorite is the Jerusalem performance. The players, with the addition of members of the Gadna Symphony Orchestra (comprised of Israel's talented youth players) play with utmost conviction. I particularly love the power of the brass.

The Jerusalem can be heard here: https://youtu.be/U67C27PpQ4g

Quote from GP49 in the rec.music.classical.recordings group:

"This is a live concert performance of Mahler Symphony #9 conducted by
Otto Klemperer, from Jerusalem on August 4, 1970.

A reel-to-reel recording of the broadcast has circulated among
collectors for years.  Over time the orchestra has become identified
as the Israel Philharmonic.  But it's not, according to Klemperer's
biographer Peter Heyworth, who wrote that it is the Jerusalem Radio
(Kol Israel) Orchestra, now the Jerusalem Symphony, at the time a
smallish group of 54 players which had to be augmented for Mahler 9
by the Gadna Symphony, a youth orchestra (Gadna is an Israeli
military program to prepare youth for their mandatory military
service). Heyworth made mention of one of the Gadna cellists being
only twelve years old, which both impressed and amused Klemperer.

"The playing standards are not high," wrote Heyworth.  He was
correct. There are missed entries and the orchestra is very scrappy
in places.  Klemperer's tempi are mostly slower here than those in
his justly famous EMI recording with the New Philharmonia, but the
Israeli orchestra sometimes doesn't play together even at these slow
tempi. This should be considered a historical document, not an
alternative to the EMI studio recording.

At a reception after this performance of Mahler 9, Otto Klemperer
became a dual national, accepting Israeli citizenship in addition to
that of West Germany as he was presented with an Israeli passport by
government officials.

Analog tape hiss is surprisingly low, as is background mains hum that
afflicts many home recordings from radio broadcasts.  However, there
are tape dropouts and fading; varying left-channel high-frequency
loss typical of quarter-track 1/4 inch reel-to-reel tape, especially
in the first five minutes; and shifts in level and balance."

[Moonfish]

Mozart: Die Zauberflöte            Gedda/Janowitz/Berry/Popp/Frick/Philharmonia Chorus & Orchestra/Klemperer

One of my favorite performances of Die Zauberflöte! I listened to it twice over the last two days to really take in the music. I was a bit surprised at how much I enjoyed it. Particularly, I was taken in by the performances of Janowitz as well as Popp. Their voices were powerful and vibrant throughout. The orchestra's support was very powerful weaving an incantation of immediacy and joy as the story unfolded. I must admit that I prefer renditions that maintain the spoken part as I view the opera as a story. The spoken elements seem essential to bring forward the narrative (as far as I am concerned). However, the performance overall was so vivid and engaging that I quickly allowed myself to accept these missing portions of the opera. Still, I wish they were included....     
A great performance of Die Zauberflöte!

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from
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[revdrdave]

I've been closely listening to all three of Klemp's M9's (New Phil., VPO, and the Jerusalem). His interpretation is pretty much the same for all three performances, but each has it's own fascinating sound, details, and atmosphere. My estimation of his M9 has changed from nonchalance to pure greatness. Years ago I didn't understand his pacing despite my preference for slower performances of Mahler's 9. I just needed to listen to his EMI account closely, studying it again and again. His EMI Das Lied von der Erde had inspired me to take another look at his Mahler 9 and wow, I'm glad I did.

My personal favorite is the Jerusalem performance. The players, with the addition of members of the Gadna Symphony Orchestra (comprised of Israel's talented youth players) play with utmost conviction. I particularly love the power of the brass.

The Jerusalem can be heard here: https://youtu.be/U67C27PpQ4g

Quote from GP49 in the rec.music.classical.recordings group:

"This is a live concert performance of Mahler Symphony #9 conducted by
Otto Klemperer, from Jerusalem on August 4, 1970.

A reel-to-reel recording of the broadcast has circulated among
collectors for years.  Over time the orchestra has become identified
as the Israel Philharmonic.  But it's not, according to Klemperer's
biographer Peter Heyworth, who wrote that it is the Jerusalem Radio
(Kol Israel) Orchestra, now the Jerusalem Symphony, at the time a
smallish group of 54 players which had to be augmented for Mahler 9
by the Gadna Symphony, a youth orchestra (Gadna is an Israeli
military program to prepare youth for their mandatory military
service). Heyworth made mention of one of the Gadna cellists being
only twelve years old, which both impressed and amused Klemperer.

"The playing standards are not high," wrote Heyworth.  He was
correct. There are missed entries and the orchestra is very scrappy
in places.  Klemperer's tempi are mostly slower here than those in
his justly famous EMI recording with the New Philharmonia, but the
Israeli orchestra sometimes doesn't play together even at these slow
tempi. This should be considered a historical document, not an
alternative to the EMI studio recording.

At a reception after this performance of Mahler 9, Otto Klemperer
became a dual national, accepting Israeli citizenship in addition to
that of West Germany as he was presented with an Israeli passport by
government officials.

Analog tape hiss is surprisingly low, as is background mains hum that
afflicts many home recordings from radio broadcasts.  However, there
are tape dropouts and fading; varying left-channel high-frequency
loss typical of quarter-track 1/4 inch reel-to-reel tape, especially
in the first five minutes; and shifts in level and balance."

Wow, Leo, what a gift bringing the existence of this performance to our collective attention--thank you so much!  I knew copies of this performance were floating around but rare; it never occurred to me to check YouTube.  In any case, what an amazing performance!  Scrappy, yes, but I think the rawness of some of the playing is part of its appeal.  This is, after all, one of the more emotionally raw of the Mahler symphonies and one that Klemperer somehow always managed to conduct well.  My understanding of the concert is that Klemperer was originally planning to conduct Mahler 4 but then insisted on something more "challenging."  The irony, of course, as noted above, is that the Ninth required that the 54 members of the Jerusalem Radio Orchestra be supplemented by kids (and that's what they were, some as young as 12 years old) from the Gadna Symphony, a youth orchestra.  Now that I've heard it, I think that, in some ways, I prefer this performance to the more polished EMI studio recording with the New Philharmonia.

[revdrdave]

Mozart: Die Zauberflöte            Gedda/Janowitz/Berry/Popp/Frick/Philharmonia Chorus & Orchestra/Klemperer

One of my favorite performances of Die Zauberflöte! I listened to it twice over the last two days to really take in the music. I was a bit surprised at how much I enjoyed it. Particularly, I was taken in by the performances of Janowitz as well as Popp. Their voices were powerful and vibrant throughout. The orchestra's support was very powerful weaving an incantation of immediacy and joy as the story unfolded. I must admit that I prefer renditions that maintain the spoken part as I view the opera as a story. The spoken elements seem essential to bring forward the narrative (as far as I am concerned). However, the performance overall was so vivid and engaging that I quickly allowed myself to accept these missing portions of the opera. Still, I wish they were included....     
A great performance of Die Zauberflöte!

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from
[asin] B00AOG6P86[/asin]

You aren't alone in regretting the absence of spoken dialogue.  The recording's producer, Walter Legge, felt the same way.  There's a great story about this.  Klemperer and Legge's relationship had been deteriorating for some time; recording Die Zauberflote killed it altogether.  EMI's German offshoot, Electrola, sent a telegram to Legge questioning the wisdom of not recording the dialogue.  Legge forwarded the telegram to Klemperer urging him to record at least some of the dialogue but Klemperer was adamant.  He responded to Legge, "As I take responsibility for these records I must use my own judgment."  Legge sent Klemperer's response to Electrola with the comment, "There's no fool like an old fool."  After work on the recording finished, Klemperer and Legge never spoke again.

[Leo K.]

Wow, Leo, what a gift bringing the existence of this performance to our collective attention--thank you so much!  I knew copies of this performance were floating around but rare; it never occurred to me to check YouTube.  In any case, what an amazing performance!  Scrappy, yes, but I think the rawness of some of the playing is part of its appeal.  This is, after all, one of the more emotionally raw of the Mahler symphonies and one that Klemperer somehow always managed to conduct well.  My understanding of the concert is that Klemperer was originally planning to conduct Mahler 4 but then insisted on something more "challenging."  The irony, of course, as noted above, is that the Ninth required that the 54 members of the Jerusalem Radio Orchestra be supplemented by kids (and that's what they were, some as young as 12 years old) from the Gadna Symphony, a youth orchestra.  Now that I've heard it, I think that, in some ways, I prefer this performance to the more polished EMI studio recording with the New Philharmonia.

That's great Dave! I've listened to this performance a few times now and can't get over how forceful and determined it is despite the circumstances. Klemp's wonderful details are there, even more than usual in this live recording. The tam-tam and trombones in the climax of the 1st mov. are vivid and haunting.

[Leo K.]

I've been really enjoying Klemp's symphonies today, the 1st (cond. Hans Rosbaud on an old broadcast) the 2nd (cond. Klemperer on EMI) and now the incredibly elegiac and autumnal 3rd on this amazing recording (digital download on Amazon):



Wow wow wow, and with the New Philharmonia playing with Klemperer at the helm. The 4th is on here too!!

[Leo K.]

After the final performance at his last appearance in 1969 at the Royal Opera House Covent Garden conducting a revival of his production of Beethoven's Fidelio, Klemperer said to the orchestra “I come back to you in February – if I am dead I will still come back”!

What a guy!

[Leo K.]

I have a new recording of the Klemperer Mahler 7, the 'HQ' edition from Japan. The sound is fantastic. For a recording made in September of 68, it sounds excellent (I have yet to compare to the new Warner Mahler box).



I am re-accessing this fascinating recording. It's interesting to come back to it after exploring Klemperer recordings the last few weeks (I don't appear to be slowing down!). The complete performance is carefully laid out, all kinds of details appearing but not a sign of over-the-top phrasing (for the sake of drama). This M7 reminds me of Klemperer's Mahler 9. It's played straight but the power in the details create an accumulating impact by the end. The performance is consistent and fully realized. I'm so enraptured by Klemperer's probing of the symphony, the "slowness" is a virtue here. Klemperer makes points others miss and his conception of this work is so different than any other that it's completely fascinating. Hearing it always makes me think of George Szell's quote about making music, "One must think with the heart, and feel with the brain".

P.S. I love the sound of the New Philharmonia, a sound I've been appreciating more and more over the last few weeks.

[Leo K.]

Between the 1954 and 1969 recordings of Bach's Orchestral Suites, I'm leaning towards the 1969. I love the luscious sound of the orchestra, how the brass breaks through the texture and the sober phrases of melodic logic keep the construction going. Aces!