This is the third volume of the re-mastered “stereo
set” of Klemperer’s Beethoven symphonies. Unlike the budget
EMI Classics set (10 CDs - 4 04275 2) which nevertheless is a great
bargain, these transfers come from pristine LPs. The sound, as I discussed
when reviewing
Volume
2 is notable for its superior bass. It sounds like top rate vinyl,
which many older collectors may prefer. Unlike the
Mahler
set where EMI have re-mastered and, in the case of the
Resurrection
restored the correct length, the EMI re-mastering is from the 1990s.
This is a missed opportunity although not all recent re-masters are
an improvement.
The stereo
Seventh has, like the
Eroica and the
Fifth been generally, unfavourably compared to the mono recordings
of 1955. The mono
Seventh
was last released separately (it is also in the 10 CD set, referred
to above) and my colleague Christopher Howell had reservations. The
first time I heard the 1955 CD in its stereo version (recorded in secret,
along with the mono) in 1988 I was impressed but have since found it
too slow. The first movement compares very unfavourably with Beecham
on EMI and others. Five years later, the first movement is much slower
than the norm but is powerful in its own way. The sound of the orchestra
is excellent. One key point from Klemperer was that like many conductors
of the old school (not Stokowski) was that he divided first and second
violins. This gives an antiphonal effect that is vital in these works.
The slow movement makes a terrific impact, one of the strongest I’ve
heard. This power and conviction continues during the Presto and the
finale although I did find the latter rather lumbering. I recalled Beecham’s
comment about yaks dancing, these yaks seem fairly geriatric.
The sound of the orchestra is excellent and how well the Philharmonia
play. I enjoyed this recording much more than I expected; on its own
terms it’s quite a performance. In addition to the two EMI studio
recordings there are at least four live recordings for those who cannot
get enough of this work under Klemperer; for those enthusiasts may I
direct you to the Naxos Music Library.
The
Eighth is a fine “heavy-weight” recording,
made concurrently with the RFH concerts. It certainly shows this work
is not a little symphony. Many of the points I have made referring the
Seventh apply here to a work which Klemperer clearly does not
see as a throwback to the first two symphonies. Whilst there is some
humour here, the performance does not have the joy others, such as Beecham,
have brought to this lovely work. The wind playing, particularly during
the Minuet is delightful and comes over very well in this re-mastering.
All in all, well worth hearing if by no means the only version to have.
When we come to the
Ninth we are dealing with one of the
first stereo recordings of the Choral Symphony. It garnered excellent
reviews on its release in 1959 and has always been held in high regard
as has the live recording, made by the same forces on
Testamenta
week earlier.
I had not heard this performance for a very long time but was very impressed
right from the start. Klemperer really understands the first movement
in a way few others do, taking us through every part with clear detail
and purpose. The second movement “Scherzo” has been criticized
for its steady tempo but it is very evolving and engaging and credit
must be given to the Philharmonia and the producer Walter Legge. A few
nights ago we listened to the BBC Proms and Valery Petrenko conducting
the work where this movement in particular felt too hard-driven. The
third movement “adagio” is simply superb with everything
in place; the pace just right. Again we hear wonderful wind and string
playing. I thought there was too big a pause between the end of the
“adagio” and the “finale” but when we’re
into the “presto” all is good again and the playing is just
superb. There was some criticism, at the time, of Hans Hotter’s
singing but to my ears the soloists and chorus are first rate. It’s
a tribute to Walter Legge and the engineers as well as to Pristine that
the sound totally belies its 55 years. There is a real sense of the
special occasion, which I find very moving. There were comments, on
its original release, of the virtues of stereo and this is reinforced
in the final part. This is a
Ninth that certainly
deserves to be heard and enjoyed.
These three recordings, despite a few reservations, are of the highest
order and ones I will return to with great pleasure, especially the
Choral. Allow me, however, to look elsewhere for more
spirited yaks in the
Seventh.
David R Dunsmore
