Johann Strauss II (1825-1899) The Waltzes by Erich Kleiber / Remastered 🎧 Qobuz bit.ly/3vLfsFL Deezer bit.ly/3WB4fmQ 🎧 Amazon Music amzn.to/3YTnfP3 Tidal bit.ly/3jEksJt 🎧 Spotify spoti.fi/3vrKp1n RU-vid Music bit.ly/3jFXlhB 🎧 Apple Music - SoundCloud - 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … 00:00 Die Fledermaus, Overture- 07:43 Accelerationen, Op. 234, Walzer 16:07 Wein, Weib und Gesang, Op. 333, Walzer 23:40 Kaiserwalzer, Op. 437 32:32 Künstlerleben, Op. 316, Walzer 40:50 Der Zigeunerbaron, Overture 48:18 Der Rosenkavalier, Walzer (Richard Strauss, arr. Singer) 57:07 Du und Du, Op. 367, Walzer 1:04:02 An der Schönen Blauen Donau, Op. 314, Walzer 1:12:41 Die Schönbrunner, Op. 200, Walzer (Joseph Lanner) 1:20:47 Wein, Weib und Gesang, Op. 333, Walzer 1:28:12 Accelerationen, Op. 234, Walzer 1:36:25 Kaiserwalzer, Op. 437 1:45:00 Der Opernball, Overture (Richard Heuberger) 1:51:30 Der Zigeunerbaron, Overture 1:58:44 Die Fledermaus, Overture 2:06:17 Dorfschwalben aus Österreich, Op. 164, Walzer (Josef Strauss) 2:14:35 An der Schönen Blauen Donau, Op. 314, Walzer Invitation to the Dance, Op. 65, Rondo (Carl Maria von Weber, arr. Berlioz) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xWWKBELJVDw.html Berliner Philharmoniker Wiener Philharmoniker Conductor: Erich Kleiber Recorded in 1929-34 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Mention the name Kleiber to a music-lover today and he will probably think first of the great conductor Carlos Kleiber. But to a previous generation, the name of Carlos's father Erich was just as well known. A stocky, pugnacious character with a bald, bullet-like head, Erich Kleiber hit the opera houses of his time like a ballistic missile. "When there is no trouble in the theatre, I make it!' was his watchword; he did not hesitate to walk out if his artistic demands were not met. This uncompromising attitude led him to play an important role in raising orchestral and operatic standards in the first half of the 20th century, but it also took him into the wilderness for a dozen years when he should have been at the peak of his career. Erich Kleiber was born into a music-loving family on 5 August 1890 in the Kettenbrückengasse, Vienna, opposite the house where Schubert had died 62 years earlier. By 1896 he and his sister were orphans; they were cared for by their maternal grandparents in Prague until 1900 when Erich went to live with an aunt in Vienna. He was no prodigy musically but became a competent violinist; his closest friend was the composer Hans Gál, and he made some attempts at composition himself. In his mid-teens, after hearing a performance of Lortzing's Der Waffenschied, he was determined to become a musician. He also became addicted to The Merry Widow and often heard Mahler conduct more serious fare at the Court Opera. By 1906 his ambition was to become a conductor. From 1908 to 1912 he returned to Prague to study music at the Conservatory, doing odd jobs as repetiteur and assistant conductor at the German Theatre and working as accompanist to singers such as Alfred Piccaver. On 1 October 1911 he made his conducting debut at the Darmstadt Court Theatre, and the following year moved there permanently as third conductor. In 1919 he moved to the city now known as Wuppertal as first conductor. In 1921 he went to Düsseldorf, followed by Mannheim in 1922, and finally in 1923 to the Berlin State Opera in Unter den Linden as Generalmusikdirector. Of his eleven seasons there which were perhaps the most brilliant period in the theatre's history, the highlight was the world premiere in 1925 of Wozzeck for which Kleiber called 34 orchestral rehearsals. In 1926 Kleiber made his debut at the Teatro Colòn in Buenos Aires, and in 1934 he went to Argentina after his patience with Hitler's new regime in Germany finally snapped. Although he appeared regularly in Amsterdam during the 1930s Kleiber was heavily committed to Central and South America until 1949. After the war he resumed his European career and took back his old job at the Berlin State Opera in 1954 - typically resigning quite soon over political interference. He died suddenly in Zurich on 27 January 1956, the 200th anniversary of Mozart's birth. Although his career was intimately bound up with the opera house, Kleiber was a superb symphonic conductor, popular with many of the great orchestras. As already noted he loved the lighter side of music and with his Viennese background knew exactly how the waltzes of the Strauss family should go. Most of the recordings were made with the Berlin Philharmonic, in those days second string to Kleiber's own State Opera Orchestra. But under Furtwängler the Philharmonic had made great strides. Two of the pieces included here were made with the incomparable Vienna Philharmonic which Kleiber conducted regularly from 1923 and with which he toured Germany in 1925. Artist's Life in particular displays his superb ear for balance and texture, and his resilient rhythm. None of the music requires much comment though it is worth noting that the waltz Du und Du is based on themes from Die Fledermaus. The overture to The Gypsy Baron is a reminder that Kleiber staged this operetta with great success at the Unter den Linden house in the composer's centenary year. Village Swallows was one of his favourites (he also recorded it with the Vienna Philharmonic) and the programme's last item was a foretaste of the magnificent complete Der Rosenkavalier which he would record in Vienna in 1954. "Gentlemen, I consider these waltzes to be symphonic poems. This variation is merely a stroke of genius on the part of the composer. So, once mote please, at the first repeat you know, if you have ever lain in the grass in the Viennese Woods near the Danube in summer the air trembles, doesn't it? that's what the violins should sound like at the beginning of the Blue Danube waltz - so, once more, gentlemen". These remarks, which were made during a rehearsal by the conductor Erich Kleiber, who was born in Vienna in 1890, show how much the waltz - so thoroughly typical of his native Austria - meant to him. We now tend to think of Erich Kleiber first and foremost as the conductor who in 1925 gave the first performance in Berlin of Alban Berg's Wozzeck, the archetypal twentieth-century opera. However, Berg's Wozzeck and Johann Strauss's Der Zigeunerbaron - the avant-garde of the Second Viennese School and the easy grace of nineteenth-century Vienna - represent the two opposite poles of his life's work, both of which Kleiber always treated with the same respect. However, Kleiber's predilection for the music of his native land was in evidence not only on the operatic stage, but also in the concerts he gave in Berlin. As a guest conductor with the Berlin Philharmonic, his "Viennese Evening" became an established institution, and, in addition to a "Russian Evening" or an all-Beethoven programme, was repeated on several occasions. Kleiber liked to end his Viennese evenings, which included music by Schubert, Haydn and Mozart, with a waltz by Johann Strauss, and the listeners went away thrilled and happy. He began sporadically to confront Berlin audiences and the press with first performances of contemporary works by composers such as Schoenberg or Busoni. How ever, he also liked to throw down the gauntlet to the critics in a rather more diverting manner. "Waltzes!" In May 1924, in the midst of the deepest recession, when Kleiber had decided to perform some of Mozart's German dances, waltzes by Beethoven and Johann Strauss's An der schönen blauen Donau, a journalist fumed with rage. "Waltzes in this city! At such a time as this!" Be that as it may, in 1930 Darius Milhaud was enraptured by Kleiber's waltz evenings and congratulated the conductor on his "exquisite nonchalance". In Prussia Erich Kleiber never sought to disguise his Viennese dialect. He remained Viennese at heart, and this came out in his performances. Thus his friend and schoolmate, the composer Hans Gål, commented: "Vienna was an important formative influence, as was the Vienna Opera in the glorious age of Mahler, and the whole Viennese atmosphere, in which some of the best traditions of musicmaking continued to survive. This was reflected in his incomparably sensitive attitude to rhythm, which gave his performances their weightless quality, their buoyant cheerfulness and grace". It is not surprising that Mozart was one of Kleiber's favourite composers, nor that he was considered to be one of the best conductors of Der Rosenkavalier, the opera of "Viennese masquerade" (Hofmannsthal) with which Kleiber had achieved his breakthrough in Darmstadt in 1916 when he deputized for another conductor at short notice. Kleiber's special affection for his native city may have been the reason why operettas and Viennese waltzes were just as much part of his standard repertory as Tannhäuser, Die Zauberflöte, the symphonies of Beethoven, or Wozzeck, both in Berlin and later in South American exile, where his waltz evenings conjured up memories of Austria for the Viennese refugees. The enchantment of the Viennese waltz accompanied him throughout his life. Strauss Family PLAYLIST (reference recordings): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xlgMItAnGpM.html
Mention the name Kleiber to a music-lover today and he will probably think first of the great conductor Carlos Kleiber. But to a previous generation, the name of Carlos's father Erich was just as well known. A stocky, pugnacious character with a bald, bullet-like head, Erich Kleiber hit the opera houses of his time like a ballistic missile. "When there is no trouble in the theatre, I make it!' was his watchword; he did not hesitate to walk out if his artistic demands were not met. This uncompromising attitude led him to play an important role in raising orchestral and operatic standards in the first half of the 20th century, but it also took him into the wilderness for a dozen years when he should have been at the peak of his career. Erich Kleiber was born into a music-loving family on 5 August 1890 in the Kettenbrückengasse, Vienna, opposite the house where Schubert had died 62 years earlier. By 1896 he and his sister were orphans; they were cared for by their maternal grandparents in Prague until 1900 when Erich went to live with an aunt in Vienna. He was no prodigy musically but became a competent violinist; his closest friend was the composer Hans Gál, and he made some attempts at composition himself. In his mid-teens, after hearing a performance of Lortzing's Der Waffenschied, he was determined to become a musician. He also became addicted to The Merry Widow and often heard Mahler conduct more serious fare at the Court Opera. By 1906 his ambition was to become a conductor. From 1908 to 1912 he returned to Prague to study music at the Conservatory, doing odd jobs as repetiteur and assistant conductor at the German Theatre and working as accompanist to singers such as Alfred Piccaver. On 1 October 1911 he made his conducting debut at the Darmstadt Court Theatre, and the following year moved there permanently as third conductor. In 1919 he moved to the city now known as Wuppertal as first conductor. In 1921 he went to Düsseldorf, followed by Mannheim in 1922, and finally in 1923 to the Berlin State Opera in Unter den Linden as Generalmusikdirector. Of his eleven seasons there which were perhaps the most brilliant period in the theatre's history, the highlight was the world premiere in 1925 of Wozzeck for which Kleiber called 34 orchestral rehearsals. In 1926 Kleiber made his debut at the Teatro Colòn in Buenos Aires, and in 1934 he went to Argentina after his patience with Hitler's new regime in Germany finally snapped. Although he appeared regularly in Amsterdam during the 1930s Kleiber was heavily committed to Central and South America until 1949. After the war he resumed his European career and took back his old job at the Berlin State Opera in 1954 - typically resigning quite soon over political interference. He died suddenly in Zurich on 27 January 1956, the 200th anniversary of Mozart's birth. Although his career was intimately bound up with the opera house, Kleiber was a superb symphonic conductor, popular with many of the great orchestras. As already noted he loved the lighter side of music and with his Viennese background knew exactly how the waltzes of the Strauss family should go. Most of the recordings were made with the Berlin Philharmonic, in those days second string to Kleiber's own State Opera Orchestra. But under Furtwängler the Philharmonic had made great strides. Two of the pieces included here were made with the incomparable Vienna Philharmonic which Kleiber conducted regularly from 1923 and with which he toured Germany in 1925. Artist's Life in particular displays his superb ear for balance and texture, and his resilient rhythm. None of the music requires much comment though it is worth noting that the waltz Du und Du is based on themes from Die Fledermaus. The overture to The Gypsy Baron is a reminder that Kleiber staged this operetta with great success at the Unter den Linden house in the composer's centenary year. Village Swallows was one of his favourites (he also recorded it with the Vienna Philharmonic) and the programme's last item was a foretaste of the magnificent complete Der Rosenkavalier which he would record in Vienna in 1954. "Gentlemen, I consider these waltzes to be symphonic poems. This variation is merely a stroke of genius on the part of the composer. So, once mote please, at the first repeat you know, if you have ever lain in the grass in the Viennese Woods near the Danube in summer the air trembles, doesn't it? that's what the violins should sound like at the beginning of the Blue Danube waltz - so, once more, gentlemen". These remarks, which were made during a rehearsal by the conductor Erich Kleiber, who was born in Vienna in 1890, show how much the waltz - so thoroughly typical of his native Austria - meant to him. We now tend to think of Erich Kleiber first and foremost as the conductor who in 1925 gave the first performance in Berlin of Alban Berg's Wozzeck, the archetypal twentieth-century opera. However, Berg's Wozzeck and Johann Strauss's Der Zigeunerbaron - the avant-garde of the Second Viennese School and the easy grace of nineteenth-century Vienna - represent the two opposite poles of his life's work, both of which Kleiber always treated with the same respect. However, Kleiber's predilection for the music of his native land was in evidence not only on the operatic stage, but also in the concerts he gave in Berlin. As a guest conductor with the Berlin Philharmonic, his "Viennese Evening" became an established institution, and, in addition to a "Russian Evening" or an all-Beethoven programme, was repeated on several occasions. Kleiber liked to end his Viennese evenings, which included music by Schubert, Haydn and Mozart, with a waltz by Johann Strauss, and the listeners went away thrilled and happy. He began sporadically to confront Berlin audiences and the press with first performances of contemporary works by composers such as Schoenberg or Busoni. How ever, he also liked to throw down the gauntlet to the critics in a rather more diverting manner. "Waltzes!" In May 1924, in the midst of the deepest recession, when Kleiber had decided to perform some of Mozart's German dances, waltzes by Beethoven and Johann Strauss's An der schönen blauen Donau, a journalist fumed with rage. "Waltzes in this city! At such a time as this!" Be that as it may, in 1930 Darius Milhaud was enraptured by Kleiber's waltz evenings and congratulated the conductor on his "exquisite nonchalance". In Prussia Erich Kleiber never sought to disguise his Viennese dialect. He remained Viennese at heart, and this came out in his performances. Thus his friend and schoolmate, the composer Hans Gál, commented: "Vienna was an important formative influence, as was the Vienna Opera in the glorious age of Mahler, and the whole Viennese atmosphere, in which some of the best traditions of musicmaking continued to survive. This was reflected in his incomparably sensitive attitude to rhythm, which gave his performances their weightless quality, their buoyant cheerfulness and grace". It is not surprising that Mozart was one of Kleiber's favourite composers, nor that he was considered to be one of the best conductors of Der Rosenkavalier, the opera of "Viennese masquerade" (Hofmannsthal) with which Kleiber had achieved his breakthrough in Darmstadt in 1916 when he deputized for another conductor at short notice. Kleiber's special affection for his native city may have been the reason why operettas and Viennese waltzes were just as much part of his standard repertory as Tannhäuser, Die Zauberflöte, the symphonies of Beethoven, or Wozzeck, both in Berlin and later in South American exile, where his waltz evenings conjured up memories of Austria for the Viennese refugees. The enchantment of the Viennese waltz accompanied him throughout his life. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Espléndida manera de cerrar el año con los valses, polcas y oberturas de la Familia Strauss y sus contemporáneos, rumbo al concierto de año nuevo en Viena, adoro estas piezas, estas grabaciones de Erich Kleiber son de lujo y se oyen bien para la época en que fueron grabadas, cómo muchos ya aclararon aquí él fue padre del excelente director Carlos Kleiber quien también dio algunos de los mejores conciertos de año nuevo. FELIZ Y PRÓSPERO 2023, saludos desde Caracas, Venezuela.
Erich Kleiber dirigierte ohne sentimental zu werden, gerade bei Walzern, die zu süßlich werden können, ist das eine Gefahr! Er verstand es dieser Gefahr aus dem Weg zu gehen. Gutes Timing und gutes Feeling und sehr virtuos-für diesen Komponisten genau richtig!
Amazing music for the New Year, my best wishes for your Chanel with health love ❤ glory in peace for uploading this kind of music. I'm wishing you Happy and prosperous New Year, all the best.
Superbe. Je viens juste d'écouter sur ma chaîne TV payante(classica) une émission "A Tribute to Vienna" de 2011, café Sperl à Vienne. L'orchestre philharmonique de Vienne ( une partie) Votre envoi tombe bien. Bonne année, bonne santé, merci pour tte votre belle musique et salutations sincères de Montréal, Qc, Canada
