At this price, this bargain set of 14 CDs could be recommended
as a superb introduction for the novice to some of the cornerstones
of the Romantic classical canon. It embraces seminal Beethoven
symphonies through Schubert, Mendelssohn, Schumann, Brahms,
Dvorák, Wagner, Bruckner and Mahler to Strauss. Obviously, these
are all in the Austro-Germanic school at the core of Tennstedt’s
repertoire, although Mussorgsky, Prokofiev and Kodály also get
a look in on these well-filled discs. The more seasoned collector
will want them as a memento of one whom some would call the
last great conductor – with all due respect to Abbado, Gergiev
and Temirkanov.
Although occasionally patchy and inconsistent, the greatness
of Klaus Tennstedt (1926–1998) is clearly revealed by these
recordings; it helps that he is directing some of the finest
orchestras of his or any day in the Chicago Symphony Orchestra,
the Berlin Philharmonic and his beloved London Philharmonic
Orchestra. It has often been said that Tennstedt was best live.
Two symphonies here are live recordings; otherwise EMI has made
a judicious selection from the studio recordings. For someone
who had to be coaxed into the recording studio, Tennstedt was
mighty busy for EMI in the mid-1980s. I drew attention in my
recent review of his similarly packaged and equally impressive
Complete Mahler Symphonies EMI box set to what I might call
his tectonic quality; whatever he is conducting is moulded and
shaped in function of his overview of the music’s structural
integrity. Very often, one begins by thinking that Tennstedt
has undercooked the tempo and tension a piece requires, only
to be ultimately convinced, if not seduced, by the aptness of
his pacing; Tennstedt delivers climactic release in his own
time.
His beat is not in fact by any means extreme in the Celibidache
fashion, although amongst the most daringly slow items here
is the Brahms Requiem, which takes risks with etiolated tempi
but stays this side of the stodginess that mars Rattle’s account
with the BPO. I think it’s a grand interpretation, far preferable
to Gardiner’s perkiness and in the tradition of Klemperer, Previn
and – my favourite versions – Karajan. As is so often the case
with Tennstedt, the metronome will tell you that the speeds
are abnormally slow yet he injects momentum and tension when
required. A key point for me is “Aber des Herrn Wort” which
takes off as it should and the contribution of the two soloists
is superb: both Jörma Hynninen and Jessye Norman have big, V8
voices whose majesty and might suit Tennstedt’s sepulchral conception.
Brahms’ First Symphony is played on a comparably large scale.
It is not so much slower than my favourite interpretation, which
is one of Karajan’s later recordings, the live performance at
the Royal Festival Hall in 1988 on the Testament label.
Ultimately, Tennstedt’s conception of how music from the Central
European tradition should be played is all of a piece: he favours
a massive solidity, unfailingly beautiful orchestral tone and
a constant sense of spiritual profundity. In this, he reminds
me very much of Karajan. Just as that conductor has no shortage
of detractors, Tennstedt may be criticised for the very features
which are virtues to some and flaws to others. I am puzzled
by reviewers elsewhere who first confirm Tennstedt’s stature
in the pantheon of twentieth Century conductors then go on either
flatly to excoriate or at least damn with faint praise the bulk
of the recordings here. Just as Karajan’s insistence upon rich
tone from his orchestra was condemned as “superficial”, “bland”
and “smooth”, Tennstedt’s direction of the LPO and the Berlin
Philharmonic may be dismissed as prizing “pure sound” above
interpretative novelty; certainly, I was newly struck by the
virtuosity of the playing here and its sheer beauty as sound.
Time and again when listening to these discs I found myself
warming to Tennstedt’s sincerity of utterance. Not everything
here is in marmoreal vein: his “Also sprach Zarathustra” is
thrilling and takes its place among my preferred versions alongside
Karajan and Maazel, while the “A Night on a Bare Mountain” is
similarly electric. I have long known and loved the thrust and
drive of his 1978 analogue recording of Schumann’s mini-masterpiece
the “Konzertstück” for four horns and orchestra.
You may alight on any of the big symphonies in this collection
and find yourself swept along by Tennstedt’s power and conviction,
although I would particularly commend his energised versions
of the two Schumann symphonies and the marvellously fluid and
flexible performance of Dvorák’s “New World”. Bruckner’s grand
gestures also ideally suit this most Romantic of conductors.
However, I can understand doubts about the live Mahler symphony.
This extends some five or six minutes beyond the norm – although
some of that is vociferous applause at the end. Tennstedt uses
the extra time to underline a coarser, more menacing mood than
he evoked in his more delicate 1978 recording, yet the climax
of the fourth movement is heroic, giving full scope to the Chicago
brass, and the audience reaction is appropriately enthusiastic.
This account by no means bored me and I suspect its measured
majesty will grow on me with time. The Beethoven symphonies,
however, could be termed conventional in the same way that Günter
Wand’s Beethoven can seem faceless to some and faithful to others.
I find them to be direct and unfussy. The “Eroica” is a live
recording from a 1991 performance in the Royal Festival Hall
and presses all the right buttons. Both the “Pastoral” and the
Eighth are studio recordings: the former is light, sprung and
joyful, the latter weighty in traditional mode. Similarly, I
find no fault with the overtures which seem to me to be models
of concentrated propulsion.
The “Tannhäuser” overture on the second Wagner disc of
orchestral excerpts is especially thrilling and powerful; indeed
that disc of overtures and preludes is markedly more exciting
than the disc of orchestral excerpts from the “Ring”. The playing
in the latter is sometimes a tad stodgy, just as Tennstedt’s
accompaniments to Jessye Norman’s Wagner recital album of the
same era were uninspired and as such constitute one of this
set’s few comparative failures, rather as the Mahler Nine on
the comparable bargain Mahler box set failed to lift off. The
Berlin Philharmonic is for once hardly on form: the strings
in “Wotan’s Farewell” are decidedly edgy, orchestral tone is
often rather coarse and blatty, there are blips in the brass
playing and ensemble occasionally goes awry. To compound the
disappointment, whoever typeset or proofread the booklet text
thinks Wagner wrote something called “Forest Murmers”.
The recording quality on this set is not perhaps the finest;
apart from two Schumann items in analogue sound most here are
early digital and hence rather opaque, yet still too bright
when the sound peaks, with too great a contrast between loud
and soft. Nonetheless, the sound is very acceptable, if not
on the same level even as the recent spate of bargain box sets
in analogue sound from Sony/RCA which are exceptionally full
and vivid.
We have the standard EMI bargain box packaging: cardboard sleeves
and a booklet containing timing and location details plus a
biographical article about the conductor.
Ralph Moore
Full contents list
CD 1 [73:41]
Ludwig van BEETHOVEN (1770-1827)
Symphony No. 3 in E flat Op.55 ‘Eroica’
Overtures:-
The Creatures of Prometheus Op.43
Coriolan Op.62
Egmont Op.84
CD 2 [76:13]
Symphony No.6 Op.68 'Pastoral'
Symphony No.8 in F Op.93
Fidelio – Overture Op.72b
CD 3 [76:06]
Johannes BRAHMS (1833-1897)
Symphony No.1 in C minor Op.68
Ein Deutsches Requiem Op.45 beginning
CD 4 [71:06]
Ein Deutsches Requiem Op.45 conclusion
Schicksalslied Op.53
CD 5 [70:28]
Anton BRUCKNER (1824-1896)
Symphony No.4 in E flat ‘Romantic’
CD 6 [75:33]
Symphony No.8 in C minor
CD 7 [60:55]
Gustav MAHLER (1860-1911)
Symphony No.1 in D
CD 8 [64:19]
Robert SCHUMANN (1810-1856)
Symphony No.3 in E flat Op.97 ‘Rhenish’
Symphony No.4 in D minor Op.120
CD 9 [79:46]
Richard STRAUSS (1864-1949)
Also sprach Zarathustra Op.30
Don Juan Op.20
Tod und Verklärung Op.24
CD 10 [44:34]
Richard WAGNER (1813-1883)
Die Walküre – Ride of the Valkyries
Götterdämmerung – Dawn and Siegfried’s Rhine Journey
Götterdämmerung – Siegfried’s Death and Funeral March
Das Rheingold – Entry of the Gods into Valhalla
Siegfried – Forest Murmurs
Die Walküre – Wotan’s Farewell and Magic Fire Music
CD 11 [52:55]
Tannhäuser – Overture
Rienzi – Overture
Lohengrin – Act 1: Prelude
Lohengrin – Act III: Prelude
Die Meistersinger von Nürnberg Act 1: Prelude
CD 12 [77:01]
Felix MENDELSSOHN (1809–1847)
Symphony No.4 in A Op.90 ‘Italian’
Franz SCHUBERT (1797-1828)
Symphony No.9 in C D944 ‘Great’
CD 13 [57:35]
Modest MUSSORGSKY (1839–1881)
A Night on a Bare Mountain
Zoltán KODÁLY (1882-1967)
Háry János
Sergei PROKOFIEV (1891-1953)
Lieutenant Kijé – Suite
CD 14 [74:38]
Ludiwg van BEETHOVEN
Leonora No.3 – Overture Op.72a
Robert SCHUMANN
Konzertstück for four horns in F Op.86
Antonin DVORÁK (1841-1904)
Symphony No.9 in E minor Op.95 ‘From the New World’
All recordings with the London Philharmonic Orchestra except:-
Bruckner Symphony No.4, Schumann Symphony No.4 and Konzertstück,
all Wagner, Mendelssohn Symphony No.4, Schubert Symphony No.9
and Dvorák Symphony No.9 - Berliner Philharmoniker
Mahler Symphony No.1 – Chicago Symphony Orchestra
Brahms Requiem: Jessye Norman (soprano); Jörma Hynninen (baritone);
London Philharmonic Choir; BBC Symphony Chorus
Schumann Konzertstück: Norbert Hauptmann, Manfred Klier, Christopher
Kohler, Gerd Seifert (horns)
Conductor: Klaus Tennstedt
rec. live, 26 September and 3 October Royal Festival
Hall, London (Beethoven: Symphony No. 1); 11-12 May 1984, No.1
Studio, Abbey Road, London (Beethoven: Prometheus, Coriolan,
Egmont); 15, 16 and19 November 1986 and 27 March 1986, No.1
Studio, Abbey Road, London (Beethoven: Symphony Nos.6 and 8);
11-12 May 1984, No.1 Studio, Abbey Road, London (Beethoven:
Fidelio Overture); 21-22 November 1983, No.1 Studio, Abbey Road,
London (Brahms: Symphony No.1); 19-20 and 23-25 August 1984,
No.1 Studio, Abbey Road, London (Brahms: Ein deutsches Requiem);
2 May 1985, No.1 Studio, Abbey Road, London (Brahms: Schicksalslied);
13, 15 and 16 December 1981, Philharmonie, Berlin (Bruckner:
Symphony No.4); 24-26 November 1982, No.1 Studio, Abbey Road,
London (Bruckner: Symphony No.8); 31 May – 4 June 1990, Orchestral
Hall, Chicago (Mahler Symphony No.1); 17-18 October 1978, Philharmonie,
Berlin (Schumann: Symphony No.3); 18-20 and 22 April 1980, Philharmonie,
Berlin (Schumann: Symphony No.4); 28-29 March 1982, No.1 Studio,
Abbey Road, London (Strauss: Zarathustra, Don Juan, Tod und
Verklärung); 6, 8 and 9 October, Philharmonie, Berlin (Wagner:
Ring excerpts); 15 December 1982 and 16-17 April 1983, Philharmonie,
Berlin (Wagner: Overtures and Preludes); 20 and 22 April 1980,
Philharmonie, Berlin (Mendelssohn: Symphony No.4); 21-22 April
1983, Philharmonie, Berlin (Schubert: Symphony No.9); 10 May
1990, No.1 Studio, Abbey Road, London (Mussorgsky); 22, 23 and
26 November 1983, No.1 Studio, Abbey Road, London (Kodály and
Prokofiev); 11-12 May 1984, No.1 Studio, Abbey Road, London
(Beethoven: Leonora No.3); 17-18 October 1978, Philharmonie,
Berlin (Schumann: Konzertstück); 14-15 March 1984, Philharmonie,
Berlin (Dvorák).
Various orchestras/Klaus Tennstedt 
