Klemperer Mahler 2 on SACD

[Prospero]

On November 28 an SACD only remastering of the Klemperer studio Mahler 2 was issued under the EMI label in Japan. I ordered a copy because of my previous admiration for the grandeur of the performance.

I would judge that this is the finest CD/SACD version of this important performance to date. While the Esoteric Barbirolli Mahler 5 seems to me the best of the current high definition classic Mahler reissues, with the Klemperer Das Lied von der Erde on Esoteric not far behind, I find this SACD Klemperer Mahler 2 to gain in depth and weight over previous issues. As has been often retold Klemperer conducted the off-stage ensemble in the final movement of the Mahler 2 in Berlin in 1905 with Oscar Fried conducting under Mahler's direct instruction, and Mahler's praise was instrumental in Klemperer's career. Klemperer carried a card of Mahler's recommendation from 1907 of his talents to the end of his long, if troubled life.

What strikes me most is the weight and commitment of the Philharmonia Orchestra, now revealed in great resonance and detail in this issue.

The chief characteristic of Klemperer's performance is his belief in the profundity and human need expressed in the score. While I like the urgency of Jurovsky's LPO live version, and the excitability of Bernstein (I heard him live in a M2 at Tangelwood), Klemperer seems here to offer a Biblical sense of the symphony and Mahler's vision that I have not heard elsewhere.

I would mention briefly the intense and nuanced cries of the trumpet at the end of the first movement. And also the massed eloquence of the strings.

At the very least, this is a notable edition of a legendary performance.

[John Kim]

Thanks for the detailed report.

I will definitely get this SACD as I too am an avid fan of this monumental recording.

Personally, Klemperer's was the very FIRST recording I ever heard of the Resurrection Symphony so it bears a very special stamp on my memory. It has always been and will be the finest Resurrection in my book.

I notice that the Toshiba/EMI is also planning to reissue M4th and M9th on SACD.

John

[barry guerrero]

"The chief characteristic of Klemperer's performance is his belief in the profundity and human need expressed in the score".

To try to put that in more objective terms, the chief characteristics are a fast and furious first movement; a second movement that doesn't dilly-dally; a slower than normal scherzo that brings out the humor, irony and ironic-humor that's so central to the Wunderhorn song that the scherzo is based upon; a slower than normal 'march' passage in the finale; excellent choral work and a dramatic ending with sufficient organ  (and with somewhat overly 'splashy' sounding Paiste tam-tams).

Personally, I prefer the 'live' one that EMI issued from Munich (1965, I think) with Janet Baker.  But both are certainly very good. The one I never cared for is the REALLY fast one that Klemp' made in mono from Amsterdam.

[Prospero]

On objectivity versus the emotional and imaginative sources of Mahler's art, I recommend looking at the facsimiles of the 2nd and 10th symphonies. Mahler's revisions, impulses, reflections, and leaps of inspiration and sometimes despair can be seen in the Kaplan reproduction of his M2 manuscript. And, famously, Mahler's outpouring of grief and hope in either of the M10 facsimiles reveal what I take to be "profundity and human need."

I find Klemperer, while less of a subjective conductor than, say, Bernstein, to have a compelling understanding of why the M2 is important to us.

Best to all,

Tom in Vermont

[barry guerrero]

The problem with going the purely subjective route is that somebody's, "belief in the profundity and human need expressed in the score", could just easily be somebody else's, "yeah, it's OK. I've heard one or two I've liked better". It's making an assumption that everybody hears, feels and reacts the same way to any given thing.

It's also kind of presuming that other conductors don't believe in profundity and human need. That's obviously not the case, unless they're only taking up conducting to avoid being a plumber or janitor.

Regardless, I share your enthusiasm for Klemperer's M2. His is about the only 'historical' one I care to bother with. That's just me.

[waderice]

An orchestral player I knew, a Horn player, now deceased, reacted to Klemperer's M2 recording as "convincing", despite his not following the score.  I tended to agree with him, but unfortunately cannot remember to what extent and in what places Klemperer was "convincing".

I would be interested in knowing if there is a definite sound improvement on the SACD issue compared to the regular CD one, which definitely would be a factor in my deciding whether or not to purchase it.

Wade

[akiralx]

I would be interested in knowing if there is a definite sound improvement on the SACD issue compared to the regular CD one, which definitely would be a factor in my deciding whether or not to purchase it.

These two seems to think so:

http://www.sa-cd.net/showthread/95733//y?page=first

[barry guerrero]

Sure commands some serious coin, though!

[Prospero]

One could always buy a bottle of mediocre California Cabernet Sauvignon in a restaurant instead. The effects might last an hour and a half or so.

[barry guerrero]

.   .   and depending on which Ca. Cab you buy, it might not be all that bad either. I'd want to know just how much better such an expensive pressing is over the standard EMI one before I plunked down that kind of money. You may not feel that way, and that's why there are choices in the world.

[waderice]

.   .   and depending on which Ca. Cab you buy, it might not be all that bad either. I'd want to know just how much better such an expensive pressing is over the standard EMI one before I plunked down that kind of money. You may not feel that way, and that's why there are choices in the world.

I agree with this reasoning.  I spent over fifty bucks for the Japanese SACD issue of Bernstein's Sony/Columbia Masterworks NYPO M2, which I personally consider my desert island performance of this symphony, and couldn't hear all that much difference between the domestic regular CD issue in the large Carnegie Hall box version and the Japanese SACD version.  Disappointing.

About the only real significant difference I can hear between regular CD vs. SACD issues of the same recording are in the RCA Red Seal series of recordings from the 'fifties and 'sixties by conductors/orchestras such as Reiner/CSO and Munch/BSO.

Wade

[Prospero]

It depends on taste, quality of transfer, and one's audio choices and experience over the years.

There are a few sublime SACD classic remasterings. I would put the Esoteric Klemperer Das Lied at the top with their Barbirolli M5 almost equal in sonic terms. The EMI SACD of the Klemperer M2 as well as the Klemperer Brahms Requiem and Beethoven Missa Solemnis likewise reveal even deeper and more moving performances of classic importance.

On the other had the Barbirolli EMI SACD M6 seems like a minor disaster to me.

I find the Japanese Bernstein Mahler SACDs to be better than the standard CDs, though the original recordings are not, in my view, on the level of the best original EMIs.

For what it's worth I listen to Wayne Piquet rebuilt Quad ESL 57s with a Lavardin IS Reference integrated amplifier and a Cary 306 Pro CD/SACD player. And I hear significant additional naturalness of tone and space on excellent SACD remasterings over comparable CD versions that I know.

Some would say there is no difference between different equipment or remasterings, though those who have played music and attend live performances will think differently.

Let each enjoy music as fully and genuinely as possible.

Tom in Vermont

[Prospero]

PS

CD Japan lists the Klemperer M2 at $43.22 plus shipping.

If that is considered extravagant for a fine version of a classic performance (or a California Cabernet--I would prefer an Oregon Pinot noir), so be it.