{"product_id":"klemperer-conducts-beethoven-symphonies-volume-2-1956-59-pasc369","title":"KLEMPERER conducts Beethoven Symphonies Volume 2 (1956-59) - PASC369","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodysmallarial\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 4\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 5\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eSymphony No. 6\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eGroße Fuge\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eRecorded in stereo between 1956 \u0026amp; 1959\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 2hr 19:16\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eThe Philharmonia Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOtto Klemperer, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThere is a perceptible improvement to be enjoyed as a result of Rose’s remastering efforts. 578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThese releases represent a sonic update by Andrew\nRose of the well-known and highly regarded Klemperer EMI Kingsway Hall\nreleases from 1956-60, plus the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nrecorded at Abbey Road Studio One. Though EMI pressings of that era\ncould be noisy and sometimes less than luminous, the master tapes\nthemselves have always been considered to represent the best that was\npossible in early stereo, and listeners have been able to enjoy them on\nCD for some time now without having to make too many allowances for\nantiquity. There is nonetheless a perceptible improvement to be enjoyed\nas a result of Rose’s remastering efforts. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe sound here seems to have had a veil lifted\nfrom the treble, and the general effect of comparing these CDs side by\nside with the EMI releases is to note a greater kaleidoscopic and\nreverberant depth as a result of Rose’s efforts. These CDs sound nearly\nmodern in their lack of “flatness.” And for long stretches one nearly\nforgets entirely the age of the endeavor. Of course, dynamics in\nclimaxes tend to back away from the listener a bit, and the price of\ngreater luminosity is sometimes a slight metallic tinge to the\nreverberant field. But all of this is so subtle, that the general effect\nis of a nearly modern set of recordings. There is little real\ndistortion. A happy plus in these releases is the inclusion as liner\nnotes of the original \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGramophone\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e reviews from the cycle. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eRehearing after many years, I’m struck by how\nnormal Klemperer’s pacing actually is, for a conductor often accused of\nslowness. He was clearly in full vigor for these interpretations. And\nthe Philharmonia of his era was an elegant orchestra, as close as\nBritain ever got to replicating the smoothness and elision of phrasing\npossible in Berlin and Vienna. It does not hurt that the other major\nconductor most associated with recording the Philharmonia during this\nperiod was Herbert von Karajan! Karajan consciously aimed to combine the\nelectricity of Toscanini with the smoother and more metaphysical view\nfavored by Furtwängler. Klemperer, by contrast, sought a slower and more\nconsistently rounded approach, not unlike Furtwängler’s, but without\nFurtwängler’s sudden shifts in tempo. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eThe Fifth and Seventh symphonies make for good\ncases in point. Listening is like watching a powerful railroad train\nfrom the air. The train moves massively and even swiftly. It does not\nseem to slow down going uphill, nor speed-up going down. It leans\nslightly into curves, but its weight carries it around them at full\nspeed. One is aware of great mass-in-motion and the sheer impressiveness\nof its unstoppability. Indeed, this power is so striking, one is\ntempted to extend the metaphor and suggest that period-performance\npractices of the present day are giving us toy trains! \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eBack in the early 1960s, much was made of how\nslowly the scherzo in the “Pastorale” came across in Walter’s Columbia\nSymphony recording—and it was commented that Klemperer’s recording was\neven slower. But listening with fresh ears, I’m struck by how well\nKlemperer’s tempo comports with a group of people actually dancing. If\nyou were watching a folk dance on the village green, the participants\nwould most likely move at a tempo like this—one which takes into account\nthe sheer physics of mass and movement. Thought about this way, the\nmore common “Pastorale” tempo choices often seem cartoonish and\nun-danceable. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIn general, when it comes to phrasing Beethoven,\nan irreverent analysis might go like this: Toscanini—dogs sneezing;\nKarajan—a bullet train; Klemperer—a hundred car freight train. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eI’m happy to be a hobo on this one. Save me a boxcar! \u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eSteven Kruger\u003c\/b\u003e\u003cbr\u003e\u003c\/span\u003eThis article originally appeared in Issue 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003cspan class=\"TIMESb\"\u003e\u003cbr\u003e \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC369.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eKlemperer's classic Beethoven Symphony Cycle: The middle set, Nos 4-6\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp class=\"bodymid\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 18px;\"\u003eUnprecedented sound quality in these new 32-bit XR-remastered transfers\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eIt's true to say that these recordings were very well made for their day - better perhaps than the Brahms which had preceded them. XR remastering here isn't a question of rescuing a dismal historic artefact; rather it's a case of eliciting the very finest sound quality possible from from fine source material - digging deep into the bass for added richness; opening out oft-constricted strings; lifting a veil from the upper treble. In short, whilst the current EMI transfers are perfectly acceptable representations of what was possible in 1956-59, these Pristine remastering offer us what more could have been heard had Klemperer and the Philharmonia had a 21st century recording facility to work with. It's one of those classic series of recordings which merit the very best sound quality - and which should stand thus in every collection.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eAndrew Rose\u003c\/em\u003e \u003c\/p\u003e\n578a9379d1e540bd96d26f03a79628d9tab1_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\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 4 in B flat, Op. 60 \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Symphony No. 5 in C minor, Op. 67 \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e\u003c\/span\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003c\/strong\u003e Symphony No. 6 in F, Op. 68 \"Pastoral\"\u003cspan class=\"bodymidarial\"\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN\u003c\/strong\u003e Große Fuge, Op. 133\u003c\/span\u003e\u003cspan class=\"body\"\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eThe Philharmonia Orchestra\u003c\/strong\u003e \u003cbr\u003e\u003cstrong\u003eOtto Klemperer \u003c\/strong\u003econductor\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003e\u003cbr\u003eRecording dates:\u003c\/strong\u003e\u003cbr\u003eSymphony No. 4 recorded 21-22 October 1957\u003cbr\u003e*Symphony No. 5 recorded 22-24 October 1959 \u003cbr\u003eSymphony No. 6 recorded 28-29 October 1957 \u003cbr\u003e*Große Fuge recorded 26-27 March 1956 \u003cbr\u003e\u003cbr\u003eRecorded at Kingsway Hall, London \u003cbr\u003e*Studio One, Abbey Road, London\u003c\/span\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cbr\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp class=\"bodysmallarial\"\u003eXR remastering by Andrew Rose at Pristine Audio, November 2012\u003cbr\u003eCover artwork based on a photograph of Otto Klemperer\u003cbr\u003e\u003cbr\u003eTotal duration: 2hr 19:16\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover Art578a9379d1e540bd96d26f03a79628d9tab3_typefb55cd020f0643f08418183279e63a5fcover_art578a9379d1e540bd96d26f03a79628d9tab3_contentfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/thumbs\/PASC369.jpg578a9379d1e540bd96d26f03a79628d9tab3_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_cover_download_s3_locationfb55cd020f0643f08418183279e63a5fcovers\/PASC369.pdf578a9379d1e540bd96d26f03a79628d9tab3_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_labelfb55cd020f0643f08418183279e63a5fHistoric Review578a9379d1e540bd96d26f03a79628d9tab4_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab4_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybigblue\"\u003e\u003cstrong\u003eREVIEW Beethoven Symphony No. 6\u003c\/strong\u003e\u003c\/p\u003e\u003cp class=\"body\"\u003eThis seemed to me a performance of the utmost integrity\nin the monaural version. The stereophonic one is even more impressive,\nand, of course, much more realistic. As you listen, you become conscious\nthat the instruments are in their accustomed places, with an\ninteresting exception to which I shall come in a moment, and that they\nshow no tendency to move about. Stereophonically this record is a huge\nsuccess. The second violins are not in their usual place. Most English\nconductors put them behind the first violins, on the left of the\nplatform so that the bellies of the instruments are facing the audience.\nBut in the old days they were usually put at the front on the right, so\nthat the audience could enjoy visually as well as aurally antiphonal\neffects between the two groups of violins on opposite sides of the\nplatform. Sir Adrian Boult is one of the few modern conductors who\npreserves this traditional layout, and he affirms that composers in the\nclassical period often wrote with it in mind. The disadvantage is that\nthe second violins cannot hope to produce so full a tone as the firsts\nbecause the bellies of their instruments are facing backwards away from\nthe audience, and certainly for sound radio and for monaural records it\nwould seem preferable to have firsts and seconds together on the left,\nproducing their maximum tone. But what about binaural records? For the\nfirst time in the world of canned music the antiphonal effect becomes a\npossibility. How conductors are going to react remains to be seen, but\nKlemperer for one seems happy to use the old layout with the second\nviolins on his right. A passage like the opening of the Storm movement\nin the Pastoral certainly profits from this arrangement.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cstrong\u003eRF, The Gramophone\u003c\/strong\u003e, October 1958 \u003cem\u003e(Review of stereo LP issue)\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab4_sample6_s3_locationfb55cd020f0643f08418183279e63a5f","brand":"Pristine Classical","offers":[{"title":"Stereo 24-bit FLAC","offer_id":55010048442734,"sku":"vpn1789305534572","price":29.33,"currency_code":"USD","in_stock":true},{"title":"Stereo 16-bit FLAC","offer_id":55010048475502,"sku":"fxa1789305534573","price":19.91,"currency_code":"USD","in_stock":true},{"title":"320kbps Stereo MP3","offer_id":55010048508270,"sku":"hcr1789305534574","price":16.09,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0915\/3986\/5966\/files\/klemperer-conducts-beethoven-symphonies-volume-2-1956-59---pasc369_1.jpg?v=1789305541","url":"https:\/\/www.harborviewgoods.shop\/products\/klemperer-conducts-beethoven-symphonies-volume-2-1956-59-pasc369","provider":"My Store","version":"1.0","type":"link"}