Klemperer's Ten Best Recordings (Preview Discussion: Do Conductors Improve With Age?)

[@saltburner2]

I once asked Gareth Morris, first flute in the Philharmonia, how they followed Klemperer's beat in his old age (all over the place!). He said "we don't look at him - we know what he wants and we give it to him."

[@salt_cots]

I like the opening of Walter Legge's tribute to Otto Klemperer in Gramophone, December 1973. “Death, who had so often unsuccessfully wrestled with Otto Klemperer, finally overcame him while he slept; only in sleep could Klemperer's adamant will have been broken.”

[@Warp75]

As someone who also has bipolar I understand that completely. You have to beat life everyday with passion or the illness will kick your arse.

[@dmntuba]

I have always had a hot/cold relationship with Klemps recordings, but I've always had the highest respect for him & his work. The recordings of his that are dear to my heart are VERY dear to my heart 😍 KEEP ON LISTENING!!!📣 Maybe it's time for you to write a book on Klemp😁

[@geoffradnor9357]

I don't have any more recordings by Klemp but I still have in my mind the memories of hearing the Philharmonia being conducted by him in the 1950s at the Royal Festival Hall.

[@ftumschk]

I experienced for the first time Klemps' Philharmonia Dvořák Ninth over the weekend, and - despite the age of the recording - I heard details and nuances that I've seldom heard elsewhere. I was suitably impressed.

[@DiegoGonzalez-nv9qv]

Klemperer proved a revelation to my ears when I heard his Bruckner 6 (I was a very inexperienced 16 year old.) Up to that time I had only really heard Toscanini on the inexpensive Victrola releases, the only ones I could afford on my meager budget. I now own the box series as well as many of the live recordings. Your list of 10 greatest is not subject to debate, but I would add the Beethoven 5 with the Vienna Philharmonic, the Beethoven 6 with the Berlin Philharmonic, much of the Concertgebouw box which as you suggest is probably out of print by now, the Mozart Magic Flute and Don Giovanni, as well as the Wagner Flying Dutchman. Since my initial plunge into classical music I have learned to admire many other interpreters of the repertoire- Bruno Walter, Fritz Reiner, Pierre Monteux (I hope he is next in your reviews of the top ten), Leonard Bernstein, and others too numerous to mention- but I return to Klemperer whenever I am depressed over the state of the world. He really does embody the attitude that you will get through this. Thank you for the marvelous work you offer us.

[@arteguey]

Recognition to Suvi Raj Grubb, the world famous recording Engineer...

[@langsamwozzeck]

One moment I like to point out for the "Klemperer is too slow" crowd is his Brahms First. In the fourth movement, there's that big build up and ritard right between the pizzicato parts and when the main tune gets played for the first time. Soooo many conductors, even really good ones, slow it down so much and turn it into a big traffic jam. There's a Charles Munch recording with the Orchestre du Paris (not the BSO one) that I kind of love because it has that French orchestral sound, and it's really nice to hear Brahms like that. But oh my goodness, he slows down that particular section to an absolute crawl. Klemperer, on the other hand, slows down a bit, but once he has his tempo set, he doesn't deviate from it much. And it sounds so good! You can actually hear the shape of the counterlines clearly. John Wooden liked to tell his players "be quick, but don't hurry." I feel like Klemperer's motto would be the converse: "be slow, but don't dawdle."

[@jefolson6989]

His Brahms is great. But sometimes HE IS too slow! That Messiah and the Bach passions simply NEVER END! Some of the Beethoven ( the 7th. Just weird). But when he was good he was monumental. Still, you will never hear anyone say " Klemperer goes TOO FAST".

[@christianstark2381]

My personal Klemperer top ten (without ranking those), Philharmonia if not mentioned otherwise: Missa Solemnis German Requiem Flying Dutchman live recording Beethoven 6 Berlin Phil live recording Schubert 9 Don Giovanni Brahms cycle selected Haydn symphonies Das Lied von der Erde Mahler 2 Bavarian radio symphony orchestra, Baker/Harper live Honorable mention: B Minor mass, which I find fabulous but probably not to everyone's taste nowadays... There is so much more (much of his Bruckner), and even on his off days he always had something interesting to say, but oh well, there are only ten spots in a top ten list...

[@klemmelchi9408]

Interesting topic. Peter Heyworth (Klemperer’s biographer) pointed out Klemperer’s conducting really depended on if he was in the maniac phase or depression phase. I have heard most his most output through out his life but cannot find a strong correlation between his work and his mental state to prove Heyworth’s statement.

[@DavesClassicalGuide]

Well, we don't always know what his mental state was, so that isn't surprising.

[@chacha15347]

It is supposed that Klemperer played well in depression but not in manic. Since manic states reduce attention, he probably was in a manic state when he caused a fire while smoking. Interestingly, Nos. 3, 5, and 7 of his Beethoven cycle were recorded in 1958-1959 after this incident and feature a slow tempo, unlike the other recordings in the Beethoven cycle recorded in 1957. I think there may be an impact of his mental illness here.

[@alanmcginn4796]

Dave. Klemps could be my favorite conductor. I love his stuff and have all of the Warner boxes which are fabulous. Btw. My CT mug arrived this morning!!

[@DavesClassicalGuide]

L'Chaim!

[@estel5335]

Kudos to Walter Legge, giving Klemps another chance to establish his prestige of pre WWII times.

[@killmrdarcy4367]

...Yes - even if Legge was always in it for the money - while the pillow talk re: that 'chance' would have been interesting further to Wally's 'you-know-who' somewhat anti-semitic wife!

[@morrigambist]

in my youth I scorned Klemperer's work as "too slow". Now I have completely the opposite opinion. Among my favorites (not on Dave's list) are two exquisitely droll pieces (Stravinsky: Pulcinella Suite and Haydn Symphony 102, "Clock"), Brahms 3, Mozart 38 ("Prague") and Piano Concerto 25, Beethoven 4 (fierce and powerful), Schumann 1 and 4, Mendelssohn 3 and 4, and Bruckner 4.

[@antoineduchamp4931]

Mr. M. I have to say that concur with you entirely. In my youth I spurned Klemperer's recordings as too slow... But now I play little else.. How I agree with you on the Haydn 102, the Brahms 3rd, Mozart 38, Mozart PC 25, and wow his Beethoven 4th which I adore beyond belief. Did you know about a rare recording he made with the Bavarian radio orchestra / Beethoven 4+5. It seems to have disappeared.. it was a live recording. The greatest, greatest recording in my very large collection. I hope you can find it. It will risk blowing you away. Kind regards.

[@sebastianjander768]

Hi Dave, I really admire your thoughtful and stimulating videos and reviews and I can also say that hearing Klemperer‘s Schumann First symphony for the first time many years ago was a defining moment for my music hearing in general. I found your comment on textural clarity and woodwinds in Klemperer‘s recording of Beethoven 5th very interesting and listened to both the 1955 mono and the later stereo version - very impressive and gripping performances indeed - but I hear the woodwind motifs in the Durchführung much more clearly in other recordings, for example the „HIP“-inspired recording by Paavo Järvi and the Bremen Chamber Philharmonia.

[@EddieJazzFan]

The name Otto Klemperer always makes me chuckle when I think of his son (Werner Klemperer) who played the role of Colonel Klink in the "Hogan's Hero's" TV series.

[@grantparsons6205]

My favourite Klemp recordings would include a selection of his granitic Mozart, including the late symphonies & Magic Flute; Beethoven 6 & 9; the Mathew Passion; German Requiem & the whole Brahms symphony cycle; Das Lied von der Erde; & perhaps unexpectedly, the Franck symphony.

[@grantparsons6205]

Oh, & Mussa Solemnis, of course!

[@grantparsons6205]

Missa

[@hesamforozan8964]

I always follow your recommendations! I purchased a LP of Fidelio with Ludwig! It was great!

[@vincentzincone8012]

Conductors over time can rethink their interpretations for better or worse.

[@jlaurson]

Actually, I find most early/mid/mid-late Haitink genteel. But the last ten years were amazing, perhaps because he loosened up and orchestras happily played for him. Great recordings esp. of Bruckner with Dresden, BR, and Chicago which I all prefer over any Christmas- or standard-cycle stuff. Even the London Alpine Symphony is stupendous. (Whereas his LSO Beethoven fits your description.)

[@jac9229]

Klemperer, along with Szell, Bruno Walter and Leonard Bernstein in his New York period, is among the conductors I seek out most often. While I don’t care for his Schumann 2 or 3, you mentioned in one video review (believe it was the ideal Mozart Symphony 35-41 set where you picked Klemperer for Symphony 39) that Klemperer did not play the music too fast. That, in my opinion, applies to most of his (Philharmonia/New Philharmonia) Brahms Symphony, Beethoven Symphony (except No. 7) and Overture, Schubert Symphony and Mozart Symphony performances.

[@martinrichard237]

Yahooooooooo!!! A big 95 CD's of Klemperer by Warner!! I am going to faint.....Finally, ..they made it... We have to wait February.....

[@DavesClassicalGuide]

June.

[@peterboer9572]

There is a recent 24 cd Archiphon box 'Otto Klemperer conducts the Concertgebouw Orchestra' with live recordings between 1947 and 1961. They are characterful and in decent sound. Some of them are on youtube.

[@DavesClassicalGuide]

Yes I know. I think it's already out of print.

[@peterboer9572]

It is reprinted and available from Germany.

[@peterboer9572]

The box got some rave reviews on amazon, but other people say it's a rip off. The box is a mix of unpublished taperecorder recordings of a fan in the audience and well known radiorecordings in good remasterings. It documents Otto Klemperer's development between his Ungary and Philharmonia periods. Dave, what is your critical opinion of the box ? Is it reveleatory as an example for his more expressive supple style before his late stolid monumental Philharmonia style or just a rip off?

[@DavesClassicalGuide]

@@peterboer9572 I haven't gotten through it yet, but will report.

[@peterboer9572]

Great! I am looking forward to your review, thank you.

[@markfarrington5183]

One Klemps recording unlikely to make anyone's top ten list, but fun to hear, anyway: his Mendelssohn Midsummer Night's Dream Scherzo...played as if it were the Scherzo to the 9th of Brrrrucknerrr. Surely it would a neigh from Frau Bluecher. As would Toscanini's Haydn Surprise Symphony's third movement (not Scherzo, but) Tarantella & Trio - one of the Maestro's very (VERY) few slips, but fun to hear.

[@Bucky58]

I haven't seen many recordings of Neemi Jarvi as of late who seemed to put out at least one or more recordings a month. I don't know whether that's because he's getting older or whether he's already been through all the repertoire. Would have liked to have him done a Myaskovsky Symphony series

[@robertdandre94101]

oh....! the great choice you take....i love this 10 recording.......however, i like the choral fantasia op 80 with daniel barenboim,beautiful interpretation by klemperer.....just one note ,you d,ont talk in your video...this accident at the montréal airport in 1951,klemperer after that must conduct sit down......

[@henrygingercat]

I wonder if Legge's decision to shout down the Philharmonia had anything to with Klemperer's increasing ossification ? I saw the old boy do Mahler 2 the the NPO around 1971: he was carried to the podium by two assistants who manipulated him to bow to the audience and then got him seated. The performance was slow and messy (it's on youtube) with the percussion getting way out in the last movement. But I certainly agree he did his best recording work when Legge was around.

[@LeotheK]

I really have to admit it, I like Klemp's sleeping Schumann's 3rd.

[@alfredolabbe]

Me too!

[@richardwilliams473]

You are spot on about Toscanni s very fast tempos. They were too fast to my liking and forced the orchestra to slur a lot of the notes as a result

[@DavesClassicalGuide]

Some were and some weren't. There is no rule.

[@bbailey7818]

All three of Toscanini's surviving Brahms Requiems are slower overall than Klemperer's EMI and live one on ICA. Just one example.

[@robbysun3137]

My personal experience of listening to Klemperer‘s music is like watching a statue. It’s magnificent, impressive, rich in details and texture, but also motionless and lifeless.

[@DavesClassicalGuide]

Not my experience at all.

[@markfarrington5183]

@@DavesClassicalGuide Agree...Klemps' Haydn espeically confounds such expectations.

[@morrigambist]

Try the Bruckner 4. The first movement is almost "headlong", and is very exciting.

[@michelangelomulieri5134]

I have never understood why Arrau was not accompanied by klemps, instead of Galliera, in his glorious traversal of Beethoven piano concertos for EMI. It would have been the ideal coupling for the ages, I think...

[@salt_cots]

It may be that Arrau and Klemperer would have disagreed strongly about the music. In one rehearsal with Klemperer, Arrau was lavishing a lot of care and attention on a trill. The conductor stopped and said : What are you doing there? A trill is just a trill. Arrau unimpressed. Joseph Horowitz in his book Conversations with Arrau says that after one performance with Karajan, whom he found aloof, Arrau said - more or less - “Never again”.

[@tarakb7606]

It may well be because Arrau in his younger years had a bad experience with Klemperer. (His personality, plus the fact that he wasn't willing to devote much time to the concerto they were due to perform.)

[@tarakb7606]

@@salt_cots It's a fascinating read.

[@salt_cots]

@@tarakb7606 I think it's one of the best books on any pianist

[@tarakb7606]

@@salt_cots Definitely.

[@hesamforozan8964]

You did not mention the ten recordings here!

[@DavesClassicalGuide]

No, they are in a separate video for classicstoday.com insiders, as I explain.

[@hesamforozan8964]

Thanks for your reply! I will check it out@@DavesClassicalGuide

[@martinhaub2602]

The conductors who remained interesting and got better as they aged were those who kept on renewing their repertoire rather than playing the same music over and over. Even the most talented stick out there just had to get bored stiff at some point doing yet another Beethoven 5, Brahms 1 or Mahler 2.

[@GastonBulbous]

Dear David, Would it be possible for you to grant a free (or even one-month) Classics Today Insider pass for veterans, the disabled, those on TANF or SNAP or other poverty programs? Your consideration would be appreciated as it is hard to bring a little aesthetic pleasure into lives constrained by poverty. Thank you!

[@DavesClassicalGuide]

I am very sympathetic, hence the 900+ free videos and tens of thousands of free reviews at ClassicsToday.com. I understand some might want more, but I honestly believe we have been extremely generous to all with our resources. I am sorry if you don't agree.

[@luccharbonneau9382]

He broke his hip in Montreal in 1950s

[@jefolson6989]

Did he have a stroke? Before or after falling asleep with his pipe in his mouth and setting himself on fire I don't know know. There seems to be a hole in his recorded legacy. Where are the records from his middle age?

[@luccharbonneau9382]

@@jefolson6989 A long suffering life

[@johnanderton4200]

With Klemperer there's almost always something revelatory buried in even a largely insufferable performance. His Schumann Second plods like his Third in the outer movements but the slow movement is swift, restless and DEEPLY disturbed (8 minutes versus the more 10+); and the scherzo has unusual clarity and nimbleness and doesn't sound clunky. His seating of the orchestra and preferred microphone placement always underlines his terraced dynamics, so you HAVE to listen even if Mahler 7 runs 20 minutes long.

[@OuterGalaxyLounge]

Interesting points.

[@jefolson6989]

True, but it takes time to find those moments and Im no longer young. I appreciate it when someone timestamps them.