Golden Melodram GM 4.0082, 72:40 (Distrib. Albany) ****:
Live inscriptions 1954-1955 from the grandiose master Otto Klemperer (1885-1973), performances that lie stylistically between his more lyric, flexible elasticity and his later, monumental, adamantine rigor. His Bach Suite, for instance, which utilizes a harpsichord continuo, has a fine, bouncy pace in the Overture after the dotted meter of the French style. Fine trumpet and tympani work in support of the busy strings. The Air in D emanates a sense of the mystical, without distorting the musical line into molasses. Hearty energy in the Gavotte, the weights of the horns, tympani, strings, and harpsichord balanced, the impetus unmannered. Generally, the ensemble work is of a higher, more exact level than some of the guest-conducting documents we have from Klemperer’s sojourns to Budapest. A peppy Bouree leads to the Gigue, in which Klemperer allows his first trumpet to party on, imperfect intonation not withstanding.
The Till Euelspiegel gives us rare access into Klemperer’s way with wry humor in music. Excellent work from the French horn and flute, abetted by natural phrasing and clear tempo transitions make this rendition a striking addition to the catalogue. The exemplary ensemble work reminds us that Erich Kleiber, too, was tailoring some fine work with the orchestra in this same period. Klemperer works up a fierce momentum leading to Till’s execution–his neck stretched quite graphically–the pizzicati well articulated, the syncopations in good order. Klemperer’s Mozart has a heavy foot, and some may find it ponderous. The Serenade, K. 239 will remind auditors of Boehm’s style in this music, but more weighty. If the opening motif of the A Major Symphony is pesant, the line of the exposition still manages to achieve flight. An ungainly cut in the master tape proves a minor distraction. The Andante glides smoothly, warm and lyrical. This is the first cut to reveal an audience presence. A touch of mystery for the Menuetto and Trio, the music at the gallop. A determined Allegro, hefty in the bass, for the finale, winds and horns jumping. Klemperer is always fierce in Mozart’s polyphony.
A nice document of one of the self-appointed guardians of the Great German Tradition in music.
— Gary Lemco
