I like how you point out Mozart's love of wind instruments. I'm a horn player and one thing I've said many times is that I'm so thankful Haydn and Mozart loved wind instruments because I think they set the 'tone' for symphonic composers to follow.
I have a friend who is an English horn player, and he doesn't like Mozart and Haydn that much compared to his affiliation with Berlioz, Wagner, Dvorak, and Cesar Franck. Nevertheless, I think that he could join you in your appreciation of Viennese Classics, at least in Haydn's 22nd Symphony.
I have long been a fan of Klemperer and, since you started these videos, a fan of yours. Thanks a million. Though “granitic” is so often the first-choice word, I think you really hit the Klemperer on the head with what you praised here, his warmth, generosity and sense that something important is happening. Amen to that. You pointed out similar qualities in his Matthew Passion many months ago. May I add one more thing? By taking Papageno’s music a tad slower than most, OK actually makes it more characterful and even funnier. Thanks again for this one.
I have same cd set and now am listening them again with referring your guidance. I can reassure the attractiveness of the set. No.39’s is splendid indeed. I like Klemperer’s instrumental distribution in which violins are separated right and left
Viewers will probably know the earlier of these recordings (mono ones) were reissued on Testament almost 20 years (?) ago. I got them ages ago and have been absolute favourites of mine for ages. That finale of 39! Oh yes. Fabulous.
Such a magnificent conductor thanks Dave for highlighting this. Dave, have you come across the 20th century maestros 40 cd box set from the early 2000s which had a host known and less well known conductors. It was from the label History . I have been listening to them for the last the 20 years the quality of the audio is quite good and more importantly the music covered is a good range of composes. It is an import ser I bought in Japan, so finding it is hard. It certainly helped me get familiar with the old masters which granted weent always masters . Cheers
Klemperer's interpretation of the Prague Symphony shows him at his best. Whoever tends to criticize his slow tempi should seriously reconsider his/her opinion after listening to this one.
My favourite Schubert 5th and 8th with the Philharmonic Orchestra and Klemperer. It has a majesty and mystery to it. Really! The second movement of the 5th has never been bettered. Regarding Mozart, I quite like the Bohm recordings and they are beefy sounding too...though I love the Pinnock too. Different flavours I know...depends on my mood....when it comes to Mozart Piano works, I just love the poetry of Murray Perahia and that's not on a period pianoforte...beefier too...but it's the interpretation, poise and touch that's important.
I always liked Klemperer's Mozart though I haven't listened to these records for ages. I have 2 CD'S of Mozart symphonies issued on Testament. Can someone tell what is the difference between them and those of EMI?
Z I Netanel: You would have to read the details of the recordings to see if the Testament recordings were live and in mono vs. studio and stereo or if Testament was releasing recordings that the label wasn’t releasing. A great number of Testament recordings are those that EMI decided not to re-release or remaster them and Testament released them. In addition, some of the EMI studio recordings brought singers together who never performed in the opera house with the assigned conductor so live performances were done as a form of final rehearsal and those performances have been released because, as the case with Beethoven’s 9th symphony, the live performance was better than the released studio one.
@@DavesClassicalGuide I will certainly listen for that going forward. Haydn delights me more (consistently), no doubt about it. But I find Mozart so I dunno reassuring; plus I love the singability factor.
I love most of that box; at its frequent best, Klemperer's Mozart is incredibly transparent and articulate. I take issue, however, with regards to the wind serenades: his Gran Partita is, to me, rather heavy-handed and charmless. Klemperer *can* charm in Mozart, and often does -- but, to my ears, not in the Gran Partita, nor, for that matter, in either of his versions of the Symphony No. 29. It's disappointing precisely because so much of the rest of his Mozart is so wonderful -- e.g., his Paris, his Prague, and his No. 39.
Curiously, I found very few performances of the Mozart symphonies on period instruments that I'd place as a top choice. It's strange, because I *love* period instruments in Mozart's concerti (all of them, for whatever instruments), operas, sacred music, chamber music... but somehow, even the period-instrument conductors I absolutely adore in Mozart's concerti etc. (or in Haydn's symphonies, and even Beethoven's), somehow miss the mark to my ears in his symphonies. Gardiner is a prime example -- I love all of his Mozart *except* the symphonies.
@@DavesClassicalGuide OK was one of a kind. As I recall, he referred to Bruno Walter as a "moralist" and himself as an "immoralist," perhaps indicating his unorthodox approach of highlighting parts in a score that had not been done before, like the woodwinds in Mozart, as you mentioned.
@@annakimborahpa Dr. Klemperer’s “moralist/immoralist” comment was made in reference to their conducting and interpretations of Mahler who employed and mentored both of them.
I like how you point out Mozart's love of wind instruments. I'm a horn player and one thing I've said many times is that I'm so thankful Haydn and Mozart loved wind instruments because I think they set the 'tone' for symphonic composers to follow.
I have a friend who is an English horn player, and he doesn't like Mozart and Haydn that much compared to his affiliation with Berlioz, Wagner, Dvorak, and Cesar Franck. Nevertheless, I think that he could join you in your appreciation of Viennese Classics, at least in Haydn's 22nd Symphony.
I have long been a fan of Klemperer and, since you started these videos, a fan of yours. Thanks a million. Though “granitic” is so often the first-choice word, I think you really hit the Klemperer on the head with what you praised here, his warmth, generosity and sense that something important is happening. Amen to that. You pointed out similar qualities in his Matthew Passion many months ago. May I add one more thing? By taking Papageno’s music a tad slower than most, OK actually makes it more characterful and even funnier. Thanks again for this one.
Easily my favourite interpreter of the Mozart symphonies. I can listen to these performances all day.
I have same cd set and now am listening them again with referring your guidance. I can reassure the attractiveness of the set. No.39’s is splendid indeed. I like Klemperer’s instrumental distribution in which violins are separated right and left
Viewers will probably know the earlier of these recordings (mono ones) were reissued on Testament almost 20 years (?) ago. I got them ages ago and have been absolute favourites of mine for ages. That finale of 39! Oh yes. Fabulous.
These are all CLASSICAL performances, that's how the works SHOULD be played.
Such a magnificent conductor thanks Dave for highlighting this. Dave, have you come across the 20th century maestros 40 cd box set from the early 2000s which had a host known and less well known conductors. It was from the label History . I have been listening to them for the last the 20 years the quality of the audio is quite good and more importantly the music covered is a good range of composes. It is an import ser I bought in Japan, so finding it is hard. It certainly helped me get familiar with the old masters which granted weent always masters . Cheers
No, I never saw it, unfortunately.
Klemperer's interpretation of the Prague Symphony shows him at his best. Whoever tends to criticize his slow tempi should seriously reconsider his/her opinion after listening to this one.
My favourite Schubert 5th and 8th with the Philharmonic Orchestra and Klemperer. It has a majesty and mystery to it. Really! The second movement of the 5th has never been bettered. Regarding Mozart, I quite like the Bohm recordings and they are beefy sounding too...though I love the Pinnock too. Different flavours I know...depends on my mood....when it comes to Mozart Piano works, I just love the poetry of Murray Perahia and that's not on a period pianoforte...beefier too...but it's the interpretation, poise and touch that's important.
I have found it hard to get the 1957 recording of Klemperer's Brahms 3rd...
I always liked Klemperer's Mozart though I haven't listened to these records for ages. I have 2 CD'S of Mozart symphonies issued on Testament. Can someone tell what is the difference between them and those of EMI?
Z I Netanel: You would have to read the details of the recordings to see if the Testament recordings were live and in mono vs. studio and stereo or if Testament was releasing recordings that the label wasn’t releasing. A great number of Testament recordings are those that EMI decided not to re-release or remaster them and Testament released them. In addition, some of the EMI studio recordings brought singers together who never performed in the opera house with the assigned conductor so live performances were done as a form of final rehearsal and those performances have been released because, as the case with Beethoven’s 9th symphony, the live performance was better than the released studio one.
Hi , have you ever tougth on doing a video about czerny’s simphonyes ?
Not very seriously, but now that you mention it...
@@DavesClassicalGuide thanks for considering doing it
I have all these little boxes but i will buy the big one anyway. Original jackets + remastered from original master tapes are enough to buy it.
As with most of Klemperer's recordings, the wealth of detail (winds etc), coupled with an iron clad inner tension, is most compelling.
Two boxes are coming. One orchestral and one vocal and choral. Each abour 90 CDs. Orchestral in may I think and choral in October.
Aha. Thanks.
Yes it is precisely Mozart's muscularity that distinguishes him from Haydn, I think.
Haydn is far more "muscular," which is why those moments when Mozart flexes HIS deltoids are so important.
@@DavesClassicalGuide I will certainly listen for that going forward. Haydn delights me more (consistently), no doubt about it. But I find Mozart so I dunno reassuring; plus I love the singability factor.
I love most of that box; at its frequent best, Klemperer's Mozart is incredibly transparent and articulate. I take issue, however, with regards to the wind serenades: his Gran Partita is, to me, rather heavy-handed and charmless. Klemperer *can* charm in Mozart, and often does -- but, to my ears, not in the Gran Partita, nor, for that matter, in either of his versions of the Symphony No. 29. It's disappointing precisely because so much of the rest of his Mozart is so wonderful -- e.g., his Paris, his Prague, and his No. 39.
Curiously, I found very few performances of the Mozart symphonies on period instruments that I'd place as a top choice. It's strange, because I *love* period instruments in Mozart's concerti (all of them, for whatever instruments), operas, sacred music, chamber music... but somehow, even the period-instrument conductors I absolutely adore in Mozart's concerti etc. (or in Haydn's symphonies, and even Beethoven's), somehow miss the mark to my ears in his symphonies. Gardiner is a prime example -- I love all of his Mozart *except* the symphonies.
Dave, are you a 'Klemptomaniac'? You ought to be for Otto. Everything he conducts becomes Eine 'Klempe' Nachtmusic.
No, but I like him very much most of the time.
@@DavesClassicalGuide OK was one of a kind. As I recall, he referred to Bruno Walter as a "moralist" and himself as an "immoralist," perhaps indicating his unorthodox approach of highlighting parts in a score that had not been done before, like the woodwinds in Mozart, as you mentioned.
@@annakimborahpa Dr. Klemperer’s “moralist/immoralist” comment was made in reference to their conducting and interpretations of Mahler who employed and mentored both of them.
@@johnpickford4222 "Wherefore I abhor myself and repent in dust and ashes" (Job 42: 6, KJV)