Klemperer (Was Split from: Haitink CSO)

[John Kim]

Otto Klemperer would have done it at over 120min!

John,

[Leo K]

Otto Klemperer would have done it at over 120min!

John,

I would love to hear a Klemperer version of the 3rd 

[John Kim]

Otto Klemperer would have done it at over 120min!

John,

I would love to hear a Klemperer version of the 3rd 

Perhaps you could get a glimpse by listening to his M7th??

John,

[barry guerrero]

Keep in mind that Klemperer also has the fastest "Resurrection" on record - the one he did in the early '50s at the Concertgebouw.   

Some of his M4s were rather quick as well.

[Leo K]

Otto Klemperer would have done it at over 120min!

John,

I would love to hear a Klemperer version of the 3rd 

Perhaps you could get a glimpse by listening to his M7th??

John,

Klemperer's M7 is in my "M7 Top 4" actually.  It sits alongside Horenstein's, Scherchen's (in Toronto)  and Haenchen's accounts.  It is radical, it is a mutant and I love it!!!! 

[barry guerrero]

"mutant" is a good description, and I just can't listen to it. I've tried! Actually, Klemp. doesn't bother me so much in the earlier movements, but I just can't concieve of the last two movements going that slowly. We know that Mahler didn't conduct it that way, and Klemperer was there in Prague with him. Some say that Klemp. was literally falling asleep at the podium. Very strange.

[Leo K]

"mutant" is a good description, and I just can't listen to it. I've tried! Actually, Klemp. doesn't bother me so much in the earlier movements, but I just can't conceive of the last two movements going that slowly. We know that Mahler didn't conduct it that way, and Klemperer was there in Prague with him. Some say that Klemp. was literally falling asleep at the podium. Very strange.

I'm actually amazed it got released.  I read Klemp once told a concerned producer (concerned over the slow tempos of another recording) that "you vill get used to it!"...obviously, not many folks have got used to it!!

I sometimes feel Klemp unconsciously (or through illness) crossed over into the avant garde "conceptual" movement that was real big in the 60's.   Of course, in conceptual art the idea was more important than the actual product or final execution.  Klemp seemed to create 'happenings' or 'performance-art' rather than conventional performances where the musical narrative is more important.  Klemp reminds me of Glenn Gould, another musician who makes me think of conceptual art.  Actually, Charles Ives is another 'conceptual' musician. 

I may not even be making sense here!!!

[barry guerrero]

Wow! - that's a very interesting thought; not one that would have crossed my mind. I think you may really be on to something there.

[barry guerrero]

Leo,

As evidence for your argument , Klemperer supposedly liked to watch his son on "Hogan's Heros", where Werner Klemperer played Colonel Klink. Not THAT'S truly "performance art"!

[Leo K]

Leo,

As evidence for your argument , Klemperer supposedly liked to watch his son on "Hogan's Heros", where Werner Klemperer played Colonel Klink. Not THAT'S truly "performance art"!

 

[Leo K]

(someone posted this anectote on the M-List)

1961, Otto recording Bach's St. Matthew Passion for EMI. All the
solo singers and half the chorus are complaining that Klemperer's
tempi are too slow for them to sing, they're running out of breath,
so they elect Dietrich Fischer-Dieskau to talk to him.

DFD: Dr. Klemperer?

OK: Ja, Fischer?

DFD: Last night I had a dream. Bach came to me and said, "I'm glad
that you're singing in my St. Matthew Passion, but why so slow?"

OK: You know, it's funny. Last night I had a dream, too. Bach came
to me and said, "I'm glad you're recording my St. Matthew Passion,
but - who is this Fischer?"


 

[Leo K]

Again...saw this on the M-list:

Harold C. Schonberg in his book The Great Conductors related a couple
more Klemperer stories. Once Klemperer actually said "Good" to a
player, such a rare event that the orchestra broke into applause.
Then Klemp growled, "It was not THAT good."

Another time toward the end of a rehearsal Klemperer was apparently
aware only of the music. The concertmaster looked at his watch; he
looked again, making a production out of it; finally he nearly waved
it under Klemperer's nose. The maestro asked, "Is it going?"