Klemperer in Bach may seem to be a recipe for outdated, old-fashioned styles
of performance, but the buoyant and bubbly effervescence of these early 1954
Suites may win over more studiously stuck-up converts. Although the full
body of strings and occasionally over-plush phrasing may point to an older
school of Bach performances, there is no denying the effect Klemperer gets
out of his gifted players. These Suites are basically lengthy French overtures
with short dance movements rounding off proceedings in the form of a ballet.
Klemperer is sound and studious in the first overture and the clear recordings
come up quite well for their vintage. Indeed one listens to wind and strings
in perfect delineation whilst the delicate harpsichord is a constant though
occasionally unnerving companion. The Second suite contains much similar
music with a slightly longer overture, similarly scored for strings and winds
without percussion.
The Philharmonia play with plush romantic sensitivity but the ultra-slow
tempi sound a mite too ponderous here. However I enjoyed the Menuet and Badinerie
that conclude the suite in typical Bachian fashion. With the Third and Fourth
Suites we are on more pompous and grand ground, something which suited
Klemperer's grave and portentous manner no end. The Overtures to theses works
include timpani and they make a wonderfully celebratory sound, vindicating
the use of modern instruments for Bach works. I have to take Klemperer to
task for playing the Air at 6'08, but surely isn't he allowed a bit of a
lingering over this lovely music?
Although the Fourth Suite is less well known, I would definitely place it
at the top of the pile, as it is also a personal favorite. Grand manner dominates
the imposing Overture whilst the shorter movements contain much that is pensive
and beautiful. Klemperer's tortoise like-way with the music may not appeal
to some, but as an expert Bachian, his interpretation is definitely one to
savour. Alan Sanders mentions that Klemperer's reverence for Handel was of
a much lesser degree than that lavished on Bach and it is understandable
that this Concerto Grosso would be slightly unconvincing. It reminded me
of Karl Richter's similarly old-fashioned accounts on Archiv and is thus
included for curiosity purposes only. The indifferent early stereo EMI studio
recording does not help matters either.
Another composer who occasionally featured in Klemperer's concerts was Jean
Philippe Rameau, indeed the conductor had a marked preference for the Gavotte
with 6 variations and he himself orchestrated it and recorded it in 1969,
at the twilight of his life. This nostalgic and historical performance comes
through with sentimental pangs of humorism and one marvels at the flair and
wit of these variations.
Spirited performances of Gluck's 'Iphigenie en Aulide' and Cherubini's 'Anacreon'
conclude this baroque package. The latter is an unpublished recording and
thanks to some skilful editing a previous blemish has been removed, thus
making the recording ripe for reissue! A mixed bag then but definitely worth
investigating if you are on the curious side and have an affection for the
past.
Reviewer
Gerald Fenech
Philhrmonia Orchestra/New
Philharmonia Orchestra Otto Klemperer.
