Beethoven: Symphonies & Overtures

I own Klemperer's EMI Beethoven cycle in every - almost! - incarnation: vinyl, original Eighties CD releases, EMI Klemperer Edition releases and the "Complete Symphonies and Piano Concertos", purple box-set - late Nineties release. I didn't bother purchasing the early 2000s Klemperer Legacy - "art" remasters - releases, as the discs in the purple box-set includes the "art" - Abbey Road Technology - remasters. The purple box-set included Barenboim's brilliant cycle of Beethoven's piano concertos, but this Warner set contains only the symphonies and overtures - and it includes every Beethoven symphony Klemperer recorded for Columbia/EMI.That means all of the mono recordings and the "problematic" Sixties Seventh with its glacial tempi - my personal favourite - are included in this Warner box-set. The purple EMI box-set replaced the marmoreal Sixties Seventh with Klemperer's Fifties, early stereo, recording which made no sense - a cycle ought to remain intact, in my opinion. Whatever, Klemperer's Beethoven towers above all others, and that includes Karajan's Beethoven. Karajan's digitally recorded Deutsche Grammophon "Eroica" and Ninth Symphony are the equal of Klemperer's recordings, in my opinion. But Klemperer's recordings of the "Pastoral", Seventh Symphony and Fifth Symphony are decidedly superior. As Beethoven Symphony cycles go, Klemperer is King.The Philharmonia Orchestra is absolutely magnificent, and under Klemperer's baton the orchestra sounds more Teutonic than any German or Austrian orchestra, I can tell you. This is uncompromising, heavyweight, monumental, dark-hued, granite-hewn Beethoven performance which will terrify the limp-wristed, "historically Informed performance" brigade. Klemperer succeeded Karajan at the helm of the Philharmonia Orchestra. Karajan's departure cleared the way for Otto Klemperer - Karajan had business to attend in Berlin, of course, with the Berlin Philharmonic Orchestra. Record producer, Walter Legge was in possession of certain qualities for which we must be thankful. Legge's astuteness, business acumen and impeccable taste in music were instrumental in Klemperer being appointed principal conductor of Legge's Philarmonia Orchestra. And doubtless Legge's "management skills" were put to the test... Klemperer could be very "difficult" - he was a law unto himself. Otto Klemperer's glorious Indian Summer at Columbia/EMI is well-documented and is the stuff of legend.Purchase this Beethoven/Klemperer box-set and be a part of the legend. Experience Beethoven in all his true magnificence, might and majesty; Klemperer's vintage Beethoven is unaffected by the half-baked politics of today's misguided HIP performance lobby and arrives full-strength, sans emasculation, to teach a younger generation of musicians and listeners a lesson in the true art of Beethoven conducting and performance. The passage of time only reinforces the importance of Klemperer's position as perhaps the greatest conductor of 'em all, and fails to diminish the cultural significance of his recorded legacy - his art and artistry. Klemperer's Beethoven remains uber alles… in fact, most of Klemperer's recordings remain uber alles.

Otto Klemperer was one of the great conductors of the twentieth century: furthermore, he had both an interesting and difficult life. Forced to flee Europe when the Nazis came to power (Klemperer was born Jewish), he made his way to the USA where he was passed over for appointments he probably should've had. Removal of a brain tumour in 1939 left him partially paralysed: he also suffered recurring bouts of mental illness at a time when a correct diagnosis and suitable treatment were impossible.So, as a proud Englishman, I found it immensely satisfying to learn that his career was resurrected in London in the 1950s. Walter Legge, a record producer for EMI and founder of the Philharmonia Orchestra, appointed Klemperer to the position of principal conductor and oversaw some of the greatest recordings in history.Which brings me to this wonderful boxed set. Anyone who loves the music of Beethoven (if you don't, why are you reading this? And what's wrong with you?!) MUST buy it: I can't put it much more forcefully than that. These recordings are essential - and don't worry about the fact that they were recorded in the late 'fifties: apart from some barely noticeable tape hiss, the sound quality is phenomenally good.Being more familiar with symphonies 3, 5, 6, 7 and 9, I listened to the Eroica first. Klemperer was known for his slow tempi and yes, compared to Herbert von Karajan or Leonard Bernstein (hitherto my "go to" conductors when I want to listen to Beethoven - though I own recordings by many others.) it seemed a little slow. However, by the time I got to the finale, my ears and brain had recalibrated themselves to the extent that I now believe that Klemperer was absolutely right: this is how the Eroica should sound.As with the 3rd, so with the 5th and 7th: slower than I was used to, but "right". The first movement of the 5th (possibly the most well-known beginning of any piece of music, ever) in particular has so much more meaning, nuance and gravitas when played at a more relaxed tempo: Leonard Bernstein came to a similar conclusion, most other conductors sound like they've a train to catch!The word "slow" has some unattractive meanings: sluggish, lazy, boring. It also has some positive meanings: stately, solemn, measured, serene and majestic. Being a republican (UK meaning!) I want to find another word, but I can't think of a better one: Klemperer's Beethoven is exalted, sublime, deeply satisfying but, above all, majestic.The "one exception" referred to in my headline is the second movement of the 9th. This is not just a little slower than other conductors take it, it's half as long again and, to my ears and brain, it just doesn't work. I've persevered but, several listenings later, sorry Herr Klemperer, it's far too slow. This is a great shame, because the first, third and fourth movements are as close to perfect as I've heard.But I've saved the best 'til last. Maybe it's just me (I've noticed that other reviewers haven't mentioned it) but Klemperer's recording of the Pastoral......... well, words are failing me. Whatever it is in the human psyche that music touches, whatever buttons it presses........ it has touched and pressed mine to an extent that I didn't think was possible. It's not the first time that listening to music has reduced me to tears; and it's not the first time that listening to music has left me awestruck: but it's the first time that both have happened simultaneously. I hope - given that I'm trying to describe something essentially indescribable - that makes some sort of sense.Anyway, returning to Earth, if you're new to Beethoven, this probably isn't the place to start. With a few misgivings, I'd probably go for von Karajan's 1977 cycle and take it from there. If, however, you consider yourself to be an aficionado and don't own these recordings, you MUST buy them. I can guarantee - for the Pastoral alone - it'll be the best £20 you'll ever spend.