The reputation of Klemperer was made a long time, that of a manic head almost tyrannical, imposing tempi of sometimes record slowness, with stiffness and dry sound (enhanced by the marvelous taken its very raw but highly detailed of the British firm) edged with the model built at the same time a Karajan in Berlin, and this slowness differentiating it from that softer, silky, a Celibidache (particularly in its Munich's years). But how Klemperer, which also implies a refusal of the effect does not deprive (at least not always) the music from the tension she must clear.
We forget that reputation in all its critical aspects and that we do retain the positive aspects (retail, breathing, blood pressure) if we want to get an idea of these recordings. In Mendelssohn include a slow direction, but not necessarily an excessively if we take points of comparison. Klemperer The Hebrides are thus shorter than those of Karajan or Abbado, and of comparable length to those of Haitink. Moderation therefore without excess, which is found in symphonies 3 and 4 of the Mendelssohn. However, the sound point of view, what an extraordinary reading! What sound fulfillment! And it is not here a marmoréen building too rigid and plain, but a flicker of color from a band at its peak! Then, of course, the beginning of the Italian may lack a certain jerkiness, but reading so clear and pure of the Andante is absolutely astounding. Klemperer is one of the few truly convincing leaders Mendelssohn (among whom I count such Dohnanyi and Munch) and it would be wrong to forget.
But Symphony No. 4 Schumann is perhaps the real summit here. Without excess, without fury, but without forgetting the dramatic continuity of this symphony in four linked movements of a false trait, Klemperer offers one of the most remarkable readings that are certainly not in the deeply personal tone of Furtwängler or Abendroth Keilberth, but it is precisely the search for balance here which helps achieve a result so convincing and among the most successful. A single date (5 May 1960) and if you did not insurance we would have no difficulty in believing that this was recorded in one take as continuity is respected naturally! Perhaps the most beautiful version of this symphony with that of Sawallisch, also here again the tempi are not so slow (Sawallisch more moderate than in the first movement, but slightly more lively then, reinforcing also the 'sense of balance in this version). And the sound is amazing and beautifully remastered (and, hence, better than the very decision reverberated Sawallisch with the Staatskapelle Dresden).
This reissue is truly a luxury offered by EMI also a very affordable price. A real little book-disc with a lavishly illustrated booklet of photos and original vinyl reproductions, with text on the back of the booklets and a new article on the interpreter and works. Above all, this is 2 hybrid SACD (therefore usable on SACD player but also on any CD player), and a new novel remastering. Initially intended for the Japanese market this collection accomplishes miracles that collectors used to the Japanese market know well. Certainly the original recordings were quite good, but a profound work has been done to make them a more comfortable sound quality possible according to modern standards.
Find these recordings is a joy, but this reissue quality is a real gift from EMI!
A default, however, a lack really annoying. During these recordings, Klemperer recorded the score Mendelssohn, but also the version with a different conclusion, "corrected" by the head, and Klemperer directed the concert. Both findings were on the original vinyl and EMI should offer these CD / SACD. Especially there was ample space since none of the two reaches on time ... A rather inexplicable stinginess but that should not tarnish the pleasure that we find these jacks.
