Search - Gustav Mahler, Richard [1] Strauss, Otto Klemperer :: Mahler: Symphony No. 9; Strauss: Metamorphosen; Tod und Verklärung

One of the classic recordings

L. Johan Modée | Earth | 03/09/2007

(5 out of 5 stars)

"Otto Klemperer's interpretation of Mahler's ninth symphony has always had a special place, even in the growing catalogue of ninths. In its previous remastered incarnation (1999), it was relesed in the EMI "Klemperer Legacy" series. Now we have it in a new remastered edition (2007), in the EMI Great Recordings series.



It is not famous for orchestral perfection. New Philharmona Orchestra was simply not in its best shape when this recording was made. So there are some flaws here and there, for instance in the climax of the final movement: some crazy flute sounds are clearly and painfully audible.



But what makes this recording so special is Klemperer's unique, powerful interpretation, which, in terms of its deeply felt and perfectly consistent interpretational insights, has few (if any) rivals on disc. If you used to other, smoother interpretations, Klemp's towering and tormented vision will shake your foundations. Even the climax in the final, when playing is a bit shaky, makes sense: this is the ultimate musical tragedy, it is to take music to its very limits as communicated expression.



This recordings deserves five stars and beyond. Sound is quite good for its age - the 2007 remaster is clearly superior to the one from 1999 - and the interpretation is second to none. Or, in other words, we need to consider it as an essential account together with those other incredible Mahler ninths that we have from Ancerl, Barbirolli, and Walter...



Klemp's very fine, austere interpretation of Richard Strauss' "Metamorphosen for 23 solo strings" and his insightful version of "Tod und Verklärung" are worthy fill-ups.



Warmly recommended.

"

A Classic! Absolutely!

Sungu Okan | Istanbul, Istanbul Turkey | 03/31/2007

(5 out of 5 stars)

"Klemperer, who one of the greatest Mahler performers of Past Ages, conducted marvellous that "Farewell Symphony" by Mahler. Klemperer made the recs. of 2 (Resurrection, which is really terrific perf.) - 4 (with Christa Ludwig) - 7 - 9 and "Das Lied". But his favourites are: 2nd and 9th. With his famous orchestra "New Philharmonia", they made a "classic" account of that symphony.



In my opinion, there are two landmark recs. of Mahler 9:



1. Bruno Walter (not Wiener Phil. but with Columbia Symp. rec: 1961)



2. Otto Klemperer (this rec. made in 1967)



In Klemperer, there is a awesome steadiness, that is a most famous sign of a Klemperer performance, and it is noble, it is strong as a statue made from a granite marble. Especially, the first movement, which Alban Berg found it the most impressive music by Mahler, performed so impressive, the atractiveness of Mahlerian tension is fascinating. However, in Bruno Walter, who is really contrary to Klemperer (as you know, in a conversation Klemperer said: "Walter is a very romantic and very good conductor, he is a moralist, but I'm a immoralist!"), Walter performed it, really romantic and so drammatic. It performed as a "Swan Song" of Mahler, but it is impressive too, because, in fact, this is a "Farewell to the World".



Both of recs are highly recommended, but this Klemperer, if you want a strong, sound with tension up, more deep performance, you need to this one.



By the way, the couplings of Strauss are magnificent. Especially, pathetique "Metamorphosen" performed "philosophic" and the sounds of "Philharmonia" strings are really touching.



Highly recommended."

Klemperer's Mahler and Strauss are both austere

Santa Fe Listener | Santa Fe, NM USA | 02/24/2008

(4 out of 5 stars)

"I'm bucking the tide of raves here, but nobody seems to have accurately described Klmeperer's approach to the Mahler Ninth. The Gramophone says that this Ninth wears a hair=shirt, which is to say that it is very austere, even grim.



I'm a bit mystified why so many reviewers bow to Klemperer's way with this piece. They find excuses for his lackluster slow readings of the two middle movements. They gloss over his disregard for Mahler's score, which contains hundreds of precise instructions to the conductor. They accept as revelatory a version of Mahler with litle mystery, orgasmic explosiveness, or universal tenderness and yearning.



We mostly get a straight-ahead, unswerving approximaiton of Mahler's dazzling soundscape. There's integrity to it, but Mahler wanted to take us to a visionary world, and I don't think Klemperer comes very close. His austerity works better in the two Strauss works, particularly Death and Transfiguration, a performance that wipes away the last hint of glibness and sleazy harmonies in the score -- the confrontation with dying and its aftermath becomes totally believable.



Klemperer's solemn Metamorphosen has been has been criticized for being hard-driven, which is to say that Karajan's luxuriance i nowhere in sight. I don't hear that at all. Given the conductor's integirty and the beauty of the Philharmonia strings circa 1960 -- six years before the Mahler, which was recorded with the reconstituted and somewhat demoralized New Philharmonia -- I feel that fives stars are deserved."