The perfect alchemy of the human and timeless Beethoven

When Walter Legge instead Klemperer EMI under contract in 1954, the maestro is one of Beethoven's greatest leaders in business. It is therefore quite natural that the first major corpus engraved by the septuagenarian leader is the complete symphonies of the master of Bonn. At the time, the Philharmonia always headed Herbert von Karajan, hired by Legge in 1946. Karajan who also also began his first complete Beethoven Symphonies in 1951 (it will finish in 1959). But in 1955 Karajan was appointed head of the Berlin Philharmonic (to take after the god Furtwängler, who died in November 1954). In early October 1955, in just a week, Klemperer records the 3rd, 5th and 7th symphonies; two years later, the integral will be closed. It is from one of the best discographic references.

Klemperer brought the extraordinary symphonic Beethoven to heights of greatness that few leaders can claim. With his characteristic approach of integrity and cohesion in overall architectural vision with tempis often moderate but still alive, it dissolves all superficiality, all round effect, and realizes the perfect alchemy of the human Beethoven and timeless. One is also struck by the absolute sense of tension and breathing, and the motor (over) natural behind this visionary Beethoven of unquestionable greatness.

Among the 13 boxes provided by EMI to mark the 40th anniversary of the death of the leader, it includes the Beethoven's symphonic recordings in the studio with (New) Philharmonia Orchestra between 1955 and 1969. The complete symphonies, formerly published Concertos with the young Barenboim (which is found in the box of 6 CDs of recordings devoted to concertants Klemperer), is here supplemented by other Beethoven recordings (including alternative versions) that the leader has carved during his 14 years as head of the Philharmonia.

There will thus be entitled to both versions (mono and stereo) of the 3rd and 5th, and the three versions of the 7th Symphony (mono, 2 stereo), all recordings splendid, although they will be heavier with the years . But also, in addition to orchestral version of the Great Fugue, one will find with great pleasure the Fidelio Overture Leonore and 1-3 (2 chacunes versions), Coriolanus, The Consecration of the House (2 versions), Stéphane Le Roi; and excerpts from Egmont (opening + 3 sung excerpts of which 2 with Birgit Nilsson imperial) and Creatures of Prometheus (2 times the opening plus the Adagio and Finale). Absolutely superb readings phrasing and balances both orchestral and theatrical, which make each room a small precise Beethoven art.

Below is the detailed content of the box with recording periods.
Some recordings are the subject of a new remastering for this edition; they are indicated by a double asterisk (**).

Symphonies: # 1 op.21 (October 1957) - op.36 No. 2 (October 1957) - op.55 No. 3 "Eroica" (mono October & November 1955; stereo October & November 1959) - op.60 No. 4 (October 1957) - No. 5 op. 67 (mono October & December 1955; stereo October 1959) - op.68 No. 6 "Pastorale" (October 1957) - 7 op.92 (mono October 1955; October & November 1960; October 1968 **) - op.93 No. 8 (October 1957) - 9 op.125 (October & November 1957).
Overture: Leonore op.138 1 (mono November 1954; November 1963) - Leonore No. 2 op.72a (mono November 1954; November 1963) - Leonore No. 3 op.72b (mono November 1954; ** November 1963 ) - Fidelio op.72 (mono November 1954 **; February 1962) - Coriolanus op.62 (October 1957) - Stephen King op.117 (October 1959) - The Consecration of the House op.124 ( ** July 1956; October 1959) - The Creatures of Prometheus, ballet op.43 (November 1957; with the Adagio and Finale, October 1969 **) - Egmont, incidental music op.84 (October & November 1957, 3 of the 9 numbers, including two sung by Birgit Nilsson).
Great Fugue op.133 (March 1956).