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*Description
The unique world of Klempner, a master who produced many legendary performances in his later years
Discovered by Mahler, Klempner was the last great maestro born in the 19th century, serving as principal conductor and music director at opera houses across Europe.
After a turbulent life, he became the Philharmonia Orchestra\'s principal conductor for life, formed by EMI\'s great producer Walter Legge.
Now, in his long-awaited prime, these legendary recordings—representing the golden age of classical music recording at EMI—are presented on Super Audio CD hybrid discs.
Antonín Dvořák: Symphony No. 9 in E minor, Op. 95 “From the New World”
1. Movement 1: Adagio – Allegro molto
2. Movement 2: Largo
3. Movement 3: Scherzo (Molto vivace)
4. Movement 4: Allegro con fuoco
Franz Schubert: Symphony No. 8 in B minor, D. 759 “Unfinished”
5. First Movement: Allegro moderato
6. Second Movement: Andante con moto
Philharmonia Orchestra
Conductor: Otto 30 - November 2, 1963 [1-4], February 4 & 6, 1963 [5-6]
London, Kingsway Hall
Few conductors led lives as tumultuous as Otto Klemperer (1885-1973), the last great maestro born in the 19th century.
Born in Breslau, northern Germany (now Wrocław, Poland), he began piano studies in Hamburg at age four. In 1905, he served as assistant conductor for Oscar Fried\'s performance of Mahler\'s Symphony No. 2, “Resurrection,” in Berlin.
Furthermore, Mahler praised his piano arrangement of the same symphony. After achieving great success in 1906 as a substitute conductor for Offenbach\'s comic opera Orpheus in the Underworld, directed by Reinhardt, he was hired as a conductor at the German Opera in Prague in 1907, on Mahler\'s recommendation, and began his career as a conductor in earnest.
From 1910 onward, he served as chief conductor and music director at opera houses across Germany, including Hamburg, Strasbourg, Cologne, and Wiesbaden. He also guest-conducted throughout Europe and the Soviet Union. Beginning in 1924, he conducted the Berlin Philharmonic and the National Opera, further enhancing his reputation.
Berlin at that time was considered its most artistically prosperous period, with conductors like Furtwängler, E. Kleiber, and Walter also active. Klemperer, however, staged innovative productions of Mozart, Wagner, and Italian opera, as well as new operas by Stravinsky, Schoenberg, Hindemith, Janáček, Weill, and others.
He also actively performed contemporary music in concerts, showcasing a broad repertoire. However, he fled to the United States in 1933 when the Nazis seized power.
During this period, Klempner gained attention for recordings made with the Berlin State Opera Orchestra around 1925, when electrical recording became possible. These included Beethoven\'s Symphonies Nos. 1 and 8, Schubert\'s “Unfinished” Symphony, Brahms\' Symphony No. 1, and symphonic poems by Richard Strauss. After moving to the United States, he became Music Director of the Los Angeles Philharmonic in 1933 and subsequently guest-conducted throughout the country.
However, in September 1939, as World War II erupted, he developed a brain tumor. Even after recovering from major surgery, he was left with paralysis on his right side. Due to inappropriate remarks stemming from mania that recurred as a side effect of the surgery, he was dismissed from the Los Angeles Philharmonic. Rumors even circulated that he was unable to make a comeback.
Despite his illnesses and injuries, Klemperer continued to hold concerts at his own expense. In 1944, he conducted a concert commemorating the 70th anniversary of Schoenberg\'s birth. In 1945, after the war ended, he co-hosted and conducted the Russian Music Festival with Stravinsky.In 1946, he returned to Europe for the first time in 13 years. He appeared at the Salzburg Festival in 1947 after a 14-year absence. Following his first invitation to the Philharmonia Orchestra in 1951, which was a great success, he was guest conducting in North and South America when he fell from the aircraft steps at Montreal Airport, fracturing his leg and forcing him into another long hospital stay.
As if to compound his misfortune, he was suspected of being a communist in America and forced to suspend his activities.
After acquiring West German citizenship in 1954, he resumed his career based in Zurich, Switzerland. He signed with EMI and began recording with the Philharmonia Orchestra in October, finally beginning to gain worldwide renown.
When discussing the later years of Klemperer, one cannot overlook the presence of Walter Legge, the great producer at EMI.
A heavyweight in the classical division, he employed many stars: Furtwängler, Karajan, the renowned soprano Schwarzkopf (who later became his wife), and Maria Callas.
Simultaneously, in 1945, he gathered talented musicians who had lost their jobs during World War II and formed the Philharmonia Orchestra.
This orchestra performed exclusively for EMI\'s classical division.
Legg was extremely active in many areas, but when Karajan became the Berlin Philharmonic\'s exclusive conductor in the mid-1950s, the Philharmonia Orchestra needed a new conductor.
The man chosen for this role was Klemperer.
His reputation had not matched his true ability, but this opportunity marked his resurgence.
He built his reputation primarily with the Philharmonia Orchestra from 1955, reaching the height of his fame at age 70.
He became their Principal Conductor for Life in 1959.
This recording captures a legendary performance by Klemperer and the Philharmonia Orchestra, made precisely during that long-awaited peak of his career.
Even within this period of stability, incidents occurred.
In 1963, Walter Legge resigned, likely due to differences of opinion with EMI management.
Subsequently, the Philharmonia Orchestra disbanded, leaving its members at a loss.
With Klempner\'s cooperation, the New Philharmonia Orchestra was reconstituted and continued its activities.
This recording captures the golden age just before that turmoil—a stable, almost honeymoon-like relationship between Klempner and Legg, during which they released numerous masterful Klempner\'s conducting style, particularly his tempo choices, underwent a significant transformation in his later years.
Whether influenced by Legg\'s advice or due to physical issues from his long battle with illness, he shifted towards a more deliberate, leisurely approach.
However, his deep, meticulous carving of every detail within the music remained unchanged.
This is another aspect I hope you will listen for.
In any case, even before his retirement in 1972, he frequently interrupted his activities due to relapses of manic depression, injuries, and severe burns, yet rose like a phoenix each time. He was not just a musician, but a “master of indomitable spirit” throughout his entire life. That was Klempner.
The recording took place at London\'s Kingsway Hall.
Established in 1912, it produced numerous legendary recordings until 1983.
EMI utilized this hall extensively as a recording venue, just like Abbey Road Studios. Similarly, Decca also used this hall in London, testament to its exceptional acoustic qualities.
Located underground, with the subway reportedly running beneath it, the hall presented constant challenges for production staff. Yet, its exceptional acoustics made it a legendary venue.
Seating 2,000, the hall featured stuccoed walls and wooden floors, said to hold the secret to its beautiful, delicate reverberation. Due to this acoustics, Klempner\'s recordings sometimes emphasized the mid-to-high frequencies, but this recording captures a rich, enveloping quality.
As with previous releases, this project involved uncompromising work from master selection to the final DSD mastering process.
For the DSD mastering specifically, “Esoteric Mastering” was employed.
ESOTERIC\'s meticulously calibrated top-tier equipment, the Master Sound Discrete DAC and Master Sound Discrete Clock, were utilized.
Furthermore, by generously employing MEXCEL cables, the information inherent in the original master was successfully transferred to disc with a vibrant, expansive sound.
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