{"product_id":"klemperer-in-geneva-bach-beethoven-hindemith-1957-pasc475","title":"KLEMPERER in Geneva: Bach, Beethoven, Hindemith (1957) - PASC475","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cul\u003e\u003c\/ul\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eHINDEMITH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eNobilissima Visione\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBACH \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eOrchestral Suite No. 3\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003e Symphony No. 7\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive broadcast recording, 1957\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 79:41\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtto Klemperer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOrchestre de la Suisse Romande\u003c\/span\u003e\u003c\/b\u003e\n\u003cdiv data_liveedit_tagid=\"000000000D775340\" style=\"padding-left: 120px\"\u003e\n\u003cspan data_liveedit_tagid=\"000000000D775470\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fReviews: MusicWeb International \u0026amp; Fanfare578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fIn every movement, the OSR responds magnificently, playing with great concentration and faithfully producing the conductor’s trademark granitic Beethoven textures578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003eAfter his enforced exile from Nazi Germany, Otto Klemperer endured\ntwenty or more years of wandering before finally making his home in\nSwitzerland. This CD presents a ‘live’ concert with the Orchestre de la\nSuisse Romande (OSR) and is a product of his residency in that country.\nThe performances are impressive for their ‘heroic scale’, as Peter\nHeyworth characterised Klemperer’s conducting in general. His attention\nto detail is accommodated within an unfailing sense of structure. The\nsource of this CD issue is a high-quality French FM re-broadcast of a\nlive recording.\u003cbr\u003e \u003cbr\u003e Paul Hindemith was one of two composers – the\nother was Igor Stravinsky – whose music helped to establish Klemperer’s\nreputation as a modernist during his tenure at the Kroll Opera in Berlin\nbetween 1927 and 1931. \u003cem\u003eNobilissima Visione\u003c\/em\u003e was a\n‘choreographic legend’ in one act and five scenes for which Hindemith\ncomposed the music. Massine devised the choreography and danced it. The\nSuite which was taken from the music is in three movements. It is\nblazing and powerful – ‘visionary’ indeed – and the OSR under Klemperer\nresponds with whole-hearted commitment to its demands, as it does to all\nthe music played here.\u003cbr\u003e \u003cbr\u003e Each of the works performed in this\nconcert had been recorded in the studio by Klemperer with the\nPhilharmonia Orchestra two or three years previously. A performance of \u003cem\u003eNobilissima Visione\u003c\/em\u003e was probably his first recording for EMI. It was issued back-to-back with the Brahms\/Haydn \u003cem\u003eVariations\u003c\/em\u003e\non a ten-inch medium play disc and was most recently reissued in a CD\nboxed set of Klemperer conducting twentieth century music – review.\nIn comparing this performance of the Hindemith with the OSR’s, due\nallowance must be made for the compromises of the ‘live’ recording\nprocess. Perhaps understandably, the Walter Legge\/Philharmonia regime at\nits zenith surpasses the ‘live’ production from Geneva’s Victoria Hall –\nbut not by as much as you might expect.\u003cbr\u003e \u003cbr\u003e Klemperer’s direction\nvaried only a little: the OSR performance is just under a minute faster.\nWhat is noticeable is the superior balance achieved by Klemperer and\nLegge in the studio. In the EMI recording, the drum which accompanies\nthe solo flute (probably Gareth Morris) in the second movement’s March\nhas a very tangible, but not exaggerated, presence – a dramatic effect\nwhich the composer surely wanted. In the OSR production the drum is\nthere but is less present. In the fierce contrapuntal uproar which\nprevails at the conclusion of the third movement’s \u003cem\u003ePassacaglia\u003c\/em\u003e,\nthe Philharmonia’s woodwinds are clearly discernible shrieking\nimpressively amid the din, the OSR’s less so. EMI’s clear yet\nfull-bodied, wide-ranging recording is, in short, a stunning example of\nhigh-fidelity mono sound, better than many a modern effort.\u003cbr\u003e \u003cbr\u003e For\nthe OSR’s performance of Bach’s Orchestral Suite No. 3, Klemperer uses\nan orchestra of large if indeterminate size and there are few\nconcessions to ‘scholarship’. Yet what is clear from this performance\nand the Philharmonia recording he made in 1954 is that Klemperer was a\nBach interpreter of formidable power, intellect and concentration. The\nstudio performance has somewhat more clarity and may have used a smaller\nbody of players and thus sounds a touch more ‘authentic’. The two\nreadings are very similar in outline and their total timings differ by\njust one second. Listeners without ‘HIP’ prejudices, or able to suspend\nthem for half an hour, will be impressed by these performances.\u003cbr\u003e \u003cbr\u003e\nThe best is last – Beethoven’s Seventh Symphony. In assessing this\nrecording, my benchmark was Klemperer’s superbly recorded 1955 EMI \u003cem\u003emono\u003c\/em\u003e\nperformance, not the one recorded in rather indifferent experimental\nstereo at the same time. Unfortunately, it is the latter version which\nhas been included in the conductor’s EMI\/Warner boxed set of Beethoven’s\norchestral music. The mono performance was last available on a Naxos\nHistorical release, coupled with the 1955 mono recording of the Fifth\nSymphony. The mono Seventh received Legge’s full attention, resulting in\nsuperb balance. Just listen to the way the timpani reinforce the climax\nof the last movement and elsewhere.\u003cbr\u003e \u003cbr\u003e The 1955 performance is\nthe fastest of Klemperer’s studio renditions, but this OSR example\nshaves almost two minutes off it. In both readings, he maintains what\nhas been called his “inexorable forward momentum” without the need for\nrushing. In both recordings, the conductor, as is usual for him,\nexaggerates the great double hammer-blows in the first movement’s \u003cem\u003eAllegro\u003c\/em\u003e.\nRather than impeding the momentum, this reminds us that a real\nconductor is in charge, not a mere time-beater. In every movement, the\nOSR responds magnificently, playing with great concentration and\nfaithfully producing the conductor’s trademark granitic Beethoven\ntextures. If this is not virtuoso orchestral playing, it is something\nvery close to it.\u003cbr\u003e \u003cbr\u003e In the OSR’s third movement \u003cem\u003eTrio\u003c\/em\u003e,\nsomething occurs which I have not noticed in any other Klemperer\nperformance of this music: there is a delightful ‘swing’ and lilt in the\nplaying, achieved without the pronounced slowing down Furtwängler used\nin his 1950 EMI studio recording.\u003cbr\u003e \u003cbr\u003e I am almost certainly in a\nminority in disliking ‘express train’ speeds in the final movement. My\nobjection is two-fold. Firstly, if the repeat is omitted - as it usually\nis - a very fast tempo makes the movement sound too short in relation\nto the rest of the work. Secondly, the faster the speed, the harder it\nis to maintain full intensity. Furtwängler managed to bring it off in\nhis swift reading timed at 6:54; two seconds faster than Toscanini and\nthe BBC Symphony Orchestra. Walter took it even faster in his Sony\nstereo recording at 6:43 and didn’t quite bring it off. It was a\nslightly anti-climactic end to an otherwise great performance. Klemperer\nand the OSR allow themselves 7:41. It’s true that when they start this\nmovement, one senses a trudge may be coming – but only for a moment.\nVery soon, there is a feeling of being irresistibly drawn into a vortex\nby what has been called the conductor’s “terrifying intensity”. One\nsurrenders to it and is swept to an overwhelming conclusion. This is\nquite the finest Beethoven Seventh I have heard from Klemperer.\u003cbr\u003e \u003cbr\u003e\nPristine offers an admirable high fidelity mono recording. It\nfaithfully conveys the warm, full, forward sound familiar to collectors\nof Ernest Ansermet’s recordings from the Victoria Hall. There is a\nslight tendency for the bass to ‘boom’ on occasion, which is easily\nignored. The audience is quiet. Its applause was apparently not\npreserved in the source of the recording and so is not heard here.\u003cbr\u003e \u003cbr\u003e \u003cb\u003e\u003cem\u003eRob W McKenzie\u003c\/em\u003e\u003c\/b\u003e\u003cbr\u003eMusicWeb International\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eFor those who enjoy pigeonholing conductors (e.g.\nSzell and Toscanini are always fast and taut, with a bright, lean\nsonority; Furtwängler is always weighty, massive, and darker in color,\netc.) Otto Klemperer presents the ultimate challenge. Whether for purely\nmusical reasons, his well-documented manic-depressive condition, or a\ncombination of both, Klemperer can sound like different conductors at\ndifferent times and places. I own recordings of Bruckner’s Fourth\nSymphony led by Klemperer ranging from 55:00 to 60:58, and Mahler’s\nSecond from 73:30 to 79:43. The general perception of those who know his\nwork mainly from his EMI Philharmonia Orchestra recordings is to think\nof his conducting as always on the slow and weighty side, but that is\nsimply not true. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003ePristine has made a major contribution to the\nKlemperer discography with this release of a complete broadcast concert\nby the Suisse Romande Orchestra from 1957 (with neither applause nor\nannouncements). This same concert was released on the Archiphon label\nearlier; I have not heard it, but that label’s track record would not\nencourage me to think the quality is even close to this. The source of\nPristine’s issue is a French FM radio rebroadcast, to which Pristine has\nadded its XR processing, creating a bit more space around the\norchestral sound. The result is a superb mid-1950s sound quality equal\nto that of professional studio recordings. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Hindemith is perhaps the biggest surprise here\nto those unfamiliar with the conductor’s EMI recording of the work, to\nwhich this is similar in interpretive outline. Klemperer’s tempos in\nthis piece are among the fastest on records. Here are a few comparisons\nfrom my own collection: \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eKondrashin 19:35 \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eKlemperer 19:40 (this performance) \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eMonteux 20:43 \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eTortelier 23:31 \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eMuti 23:52 \u003c\/span\u003e\n\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eHindemith 24:51 \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eNot only is this performance quick, but it is\nlight-footed, even witty at times. The orchestra plays very well\nthroughout, save for a slightly askew entrance at the onset of the\npassacaglia finale. This is a performance of sweep and drama, with a\nrhythmic lift and a degree of intensity not quite present in the EMI\nrecording. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Bach is guaranteed to upset the HIP\nspecialists, with its big sonority, string playing with a fairly strong\nvibrato, and the huge ritard prior to the work’s conclusion. Klemperer\nwas from a generation that performed Bach regularly in a style more\ngrand than is the norm today. He recorded the four Orchestral Suites\ntwice for EMI, in 1954 and 1960. The performance here of the Third is\nfreer, more spontaneously inflected, and a bit more joyous than the\nstudio recordings, with the famous “Air” lovingly and affectionately\nmolded. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eKlemperer recorded Beethoven’s Seventh Symphony\nfor EMI three times: in 1955, 1960, and 1968—the last being quite slow\nand weighty. A word often applied to this conductor, “granitic,” would\nfit all three recordings to varying degrees. That word is less\napplicable here. This performance is graceful, warmly lyrical and supple\nin the second movement, and the opening movement is moderately quick\nand very energetic. While the third and fourth movements are on the slow\nside, the well-sprung rhythms and an orchestral sonority somewhat\nlighter in texture than the studio efforts make this a more propulsive\nreading, and in my view an extremely successful one. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eThis will self-recommend to Klemperer collectors,\nbut the more general collector may well want to seek it out as an\nexample of one of the 20th century’s greatest conductors operating at\nhis peak. \u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\n\n\n\n\u003cbr\u003e\u003c\/p\u003e\u003cdiv id=\"dateBlockDiv\"\u003e\n\u003ch4\u003eThis article originally appeared in Issue 40:4 (Mar\/Apr 2017) of \u003ci\u003eFanfare\u003c\/i\u003e Magazine.\u003c\/h4\u003e\n\n\u003c\/div\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC475.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eKlemperer's incredible 1957 Geneva Beethoven 7th\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This\nis quite the finest Beethoven Seventh I have heard from Klemperer ...\nOne surrenders to it and is swept to an overwhelming conclusion\" -\nMusicWeb International\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003eThis live radio recording, sourced here from a later, high-quality\nFrench FM rebroadcast, offers us nearly eighty minutes of Otto Klemperer\nat the height of his musical powers, some three years after he began\nhis run of extraordinary recordings with the Philharmonia Orchestra for\nEMI, thanks to the efforts of legendary producer Walter Legge.\u003cbr\u003e\u003cli\u003e\n\u003cbr\u003eDespite\nbecoming the first principal conductor of the Philharmonia in 1959, it\nwas in Switzerland that Klemperer settled at this stage in his life, and\nthis live 1957 radio broadcast is a rare example of him conducting the\nprimary orchestra of his adopted home. Recorded at Victoria Hall,\nGeneva, the venue for the orchestra's many Decca recordings (and thus,\none might expect, well-equipped and well-known to local sound\nengineers), the sound quality is excellent throughout following XR\nremastering, which has dealt effectively with a slightly over-forward\ntonal balance in the original.\u003cbr\u003e\u003cbr\u003eAlas our source material included\nno applause or other material from the original broadcasts, though\ntimings would have been very tight to include any additional content for\nthis release.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/li\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHINDEMITH\u003c\/b\u003e Nobilissima Visione - Konzert-Suite (1938) \u003c\/span\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eJ. S. 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