The meeting of the Symphony in Three Movements (1962) and later of Pulcinella by Stravinsky, completed the following four sub Opera by Kurt Weill, is all the more precious. The whole is to be counted among the finest recordings of Klemperer across all directories. Rarely has the Philharmonia as rutilated that in this symphony in three movements, energetic (some "young leaders" look old next to air ...) and sumptuous. This is one of the three fundamental recordings of the work with that of Stravinsky himself and the New York Philharmonic, conducted in 1946 soon after the creation, and that of Ansermet Decca. Following Pulcinella is a lovingly crafted gem: the Serenata, the Tarantella and Toccata are irresistible and witty in their neoclassical grace: it is still a performer of Stravinsky Stravinsky himself placed very high .
The suite from the opera of four sub (Dreigroschenmusik commissioned by Klemperer Kurt Weill, and created by Klemperer himself in 1929) is performed superiorly and the Tango-Ballad, in particular, is poignant in the nostalgic evocation a cosmopolitan and bold Berlin, Hitler hated one, music that evokes a world that is now only a distant and dear memories.
The second disc makes us besides his Merry Waltz, the Symphony No. 2 of Klemperer and one of his quartets, the seventh, two works previously coupled to the 7th CD of Mahler. Unlike Bruno Walter, who had stopped composing early, smarting from the cold reception by his Mahler Symphony in D minor, also estimable, Klemperer, as Furtwängler, wrote all his life, and he attached great importance to his own compositions. It is more easy to detect influences by listening to the second symphony -the first movement is really thinking about Mahler. The quartet, which deserves careful listening, paints a musical portrait of the chief songwriter: we see humor (second movement) and a family resemblance to Reger and Schoenberg (before serialism).
The third disc has Nobilissima visione Paul Hindemith, which other composer Klemperer was associated. Here, a typical work of the mature Hindemith: majestic and serene at the risk of solemnity. Klemperer, as rightly reminds record, did not like the music without nuances of his colleague. A vibrant and highly expressive performance in any case, far from the reductive label into the "new objectivity" that sometimes sticks to the head.
In addition, "audio biography" of the head by Jon Tolansky, it is obviously in English (a very clear and deliciously British English), with lots of musical excerpts. Few discoveries for those who know the volume Writings and Interviews (Pocket Plural). Klemperer refers to a reception for 75 years: to praise, he replied that much of them must go Philharmonia. Moreover, when in response to a question, leave it recognizes the concerts of some of his colleagues in the middle means a laugh that says something like Pulcinella, on unknown aspects of his personality: he could be funny and irreverent as he could terrify.
We will turn to some concert taken to complete this box: Leos Janacek Sinfonietta with the orchestra of the Amsterdam Concertgebouw, the viola concerto Bela Bartók with violist of the century, William PrimroseConducts Concertgebouw Orchestra, deserve to be known. There are also Nights in the Gardens of Spain by Manuel de Falla (same publisher). The absence of Schoenberg in the chief's discography is a real scandal: one can still find a Transfigured Night time republished by ArchiphonJanacek / Bartok / Schoenberg. There would also be a decision of the Chamber Symphony op. 9 of that I lose track of. Klemperer also conducted Berg (Lulu Suite, Concerto in Memory of an Angel), Webern, Sibelius (Fourth Symphony), etc. From all this officially, nothing. Of course.
Unless you already own the first disc (formerly rose "Viennese Blood" by Johann Strauss "), it is almost unthinkable to take an interest in Klemperer, or music in the 20th century and to forego this release.
