Gustav Mahler (1860-1911) Symphony No.9 *Click to activate the English subtitles for the presentation* (00:00-04:00) 00:00 Andante comodo 28:15 Im Tempo eines gemächlichen Ländlers / Etwas täppisch und sehr derb 46:55 Rondo - Burleske 1:02:16 Adagio New Philharmonia Orchestra Conducted by Otto Klemperer Recorded in 1967, at London New mastering in 2020 by AB for CMRR Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr Otto Klemperer. It was as a supreme interpreter of the German Classical masterpieces, from Haydn to Richard Strauss, that concert audiences chiefly admired Otto Klemperer in the years between about 1951 and his retirement in 1972, the period to which most of his records belong. Klemperer seems always to have approached the classics in that unostentatious, selfless manner. His monumental, quite unsentimental reading of Bruckner's Eighth Symphony stirred a cheering, astonished London audience to its feet, in 1930 when Bruckner's music was supposed not to suit British tastes. And those were the days when Klemperer was outraging the Old Guard, and delighting others, with the new music that he was championing in Berlin and the old operas that he staged and conducted there so controversially. He began as a disciple and apprentice of Mahler, and always remained faithful to the music of his great mentor, though his approach to it was quite unlike the fulsome style of Bruno Walter, Mahler's bestknown protégé. First in German opera houses from 1907, then in America from 1933, and in Budapest during the years after the Second World War, Klemperer built up a vast repertory: his records give us a Idng lifetime's considered appreciation of the masterpieces to which he had given deepest attention. Haydn - Symphonies 88,92,95,98,100,101,102,104 Oxford, Military, Clock, London P (reference recording: Otto Klemperer) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_f08qXxqzZY.html Gustav Mahler PLAYLIST (reference recordings) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-8LEdpkvZDe4.html
The main problem with growing up with Klemperer's recordings is that he set the standard so high it's sometimes difficult to accept other performances, particularly of course with the Germanic Romantic/early 20th c. period.
I remember listening to Klemperer's Mahler 9 years ago on LP and thought it was okay. But now I've listened to this remastering and can't believe the difference. It's as if the old technology buried Klemperer's ideas in a fog while this new technology brings his ideas forward with brilliance and immediacy. I'm glad there seems to be a resurgence of interest in the Mahler 9. I recently listened to an old live recording of it by Rafael Kubelik and the New York Philharmonic. Different from Klemperer, but equally magnificent. I should also point out another astounding performance by Myung Whun Chung and the Concertgebouw Orchestra. Music making right up there with Klemperer and Kubelik, but seeing Chung in action conducting it is a revelation unto itself.
The recordings conducted respectively by Benjamin Zander and Claudio Abbado are more congruent with the "extremes" set forth in the score, but K's achievement here does really get to one's nerve endings and, as always, has much to teach us along the way. Great playing by the Orchestra too!
Otto Klemperer. It was as a supreme interpreter of the German Classical masterpieces, from Haydn to Richard Strauss, that concert audiences chiefly admired Otto Klemperer in the years between about 1951 and his retirement in 1972, the period to which most of his records belong. Klemperer seems always to have approached the classics in that unostentatious, selfless manner. His monumental, quite unsentimental reading of Bruckner's Eighth Symphony stirred a cheering, astonished London audience to its feet, in 1930 when Bruckner's music was supposed not to suit British tastes. And those were the days when Klemperer was outraging the Old Guard, and delighting others, with the new music that he was championing in Berlin and the old operas that he staged and conducted there so controversially. He began as a disciple and apprentice of Mahler, and always remained faithful to the music of his great mentor, though his approach to it was quite unlike the fulsome style of Bruno Walter, Mahler's bestknown protégé. First in German opera houses from 1907, then in America from 1933, and in Budapest during the years after the Second World War, Klemperer built up a vast repertory: his records give us a Idng lifetime's considered appreciation of the masterpieces to which he had given deepest attention. Haydn - Symphonies 88,92,95,98,100,101,102,104 Oxford, Military, Clock, London P (reference recording: Otto Klemperer) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_f08qXxqzZY.html
My favorites... Bruno Walter in Vienna (Walter never liked the result of this recording)) and Columbia, Mitropoulos (Vienna) Ancerl, Barbirolli, Klemperer, Karajan (live), Ozawa, Haitink, Chailly and Bernstein (New York and Concertgebouw).
Wunderschöne und tiefempfundene Interpretation dieser spätromantischen und großartigen Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt echt idyllisch und auch erfreulich. Der erfahrene und unvergleichliche Dirigent leitet das ausgezeichnete Orchester im gut phrasierten Tempo und mit künstlerisch kontrollierter Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als eine originale Aufnahme von dreiundfünfzig Jahren vor. Alles ist wundervoll!
@@Abic__ My other all-time favorite recordings are definitely: 1) Bruno Walter, Vienna Philharmonic Orchestra, 1938 (formerly on EMI "Références" series, now on Naxos). 2) Herbert von Karajan, Berlin Philharmonic Orchestra, Live Recording from the 1982 Berlin Festival (Deutsche Grammophon).
Why do you say "probably"? "Two or three" is already unspecific; adding "probably" turns your assessment almost into a double negative. "Probably" would apply if you were citing this as **the** single greatest recording of the symphony; that would justify the unsure use of "probably". But having "probably" **and** "two or three" nullifies whatever you're trying to convey. Maybe you could clarify what you mean? I have a feeling you either mean "It's the greatest recording of the symphony ever made" or "It's one of the greatest recordings ever made of the symphony". I just wish you would choose one of those.
it’s amazing how fantastic the orchestra sounds when given the time to unwrap everything. The waltz is so grotesque at this tempo (I love it) and the transition back into the final ländler can actually be heard and it’s beautiful. It always disappears under the baton of other conductors. Klemp actually lets it be heard. Finally. Nice to hear an adagio that can be equally terrifying as serene, or whatever you want it to be. Really enjoyable.
Es hermoso, sobrecogedor, terrible, desesperante, apacible, nostálgico, pero muy por encima de todo esto conserva una idea sublime de la realidad. Es como perderse en un camino y encontrar progresivamente que conocemos esos árboles, edificios rostros, o como perder la razón por el infortunio de encontrarse frente a los abismos de la eternidad y de un momento a otro hallarse pleno, resignado, tranquilo, y con el pensamiento apuntalado en la cordura, en la aceptación del cuerpo y lo efimero, de la vida, lo cotidiano, la luz, las sombras, el frío, la tibieza, formando parte de esas mismas interrogantes que agobian pero se asimilan. Realmente esto es un viaje, una novela, una vida en el pentagrama.
Ruthlessly free of sentimentality, the nostalgia for Austria downplayed, and instead rigour and counterpoint full of fresh interest, great structuring and unity in the first movement; compelling underlying pulse and continuously freshly thought through, always his own interpretation with minimal influence from others However the superbly clearheaded stoicism means loss of emotional character and creates a modernist monochrome effect looking to Schoenberg’s _Pelleas_ and Webern’s _Passacaglia_ and _Six Pieces_ and misconceiving the music- the constant interest in the phrasing and rhythms then undermines the various natural structural points and crunching resolutions. The great scherzo is equally well considered but the emotional bevelling, rather than just being unaffected playing, allows others to get more involving results. The finale is highly organized and coherent and again of gripping interest.
The most terrifying performance of the great climax near the end of the Andante comodo. Many other passages sound haunted and dreamlike. A musical landscape, charted by great artists (composer and conductor). And that's just the first movement. Klemperer leads us through to the end with total mastery. An essential recording of Mahler 9
This is a gem of a performance. It’s so great to hear different view of this piece. I’m not sure this is the definitive performance but I’m not sure what is! On the other hand this is a performance that is worthy of being in everyone’s library. Almost everything goes right in this performance. Klemperer knew what he was doing and found a way to transmit his ideas to this fantastic orchestra, full of splendid musicians each in their own right.
While it may not be my favorite recording overall, the first movement delivered here is unmatched! The middle movements are slow, yes, but help to give the performance a kind of unity of vision. The Ländler, which in other performances sounds rustic with some dark undertones, here sounds just as infernally tormented as the Rondo Burlesque! I have never heard the movement played to such a disturbing effect.
I once said that the 3rd mvmt is the greatest piece (or perhaps example) of orchestral writing, ever. It was a long time ago. I'm having a hard time disagreeing with myself.
Toutes les autres interprétations que j'ai pu entendre me semblent infiniment inférieures. Mr Klemperer avait vraiment Mahler dans les "tripes". C'est beau à pleurer. Mais j'en rajoute pour les mélomanes convertis qui ce sont exprimés avant moi.
Stunning Mahler 9 by a great maestro I was once told he was too slow and plodding! But this performance blows that statement out of the water I’m a man used to Karajan and Abbado ‘ 9th but this beats them all I would believe this is a re-mastered recording.
Lovely pacing/tempi and superb handling of dynamic/dramatic/lyrical contrasts and so on within and between musical phrases (e.g. c.03.00.) and the different 'voices' of the orchestra (e.g. after 29.00). Moving and exciting by turns. One of the greatest symphonies that sounds as if it knows it in this recording. Makes complete sense of the music. Interesting contrast with, for instance, Horenstein and Barbirolli, as well as Walter. Burlesque less sardonic than some. Adagio chokingly beautiful.
@@juanadrianarquinegogomez3610 Klemperer nunca lo interpretó la tercera, si lo hubiera hecho.. Que gran ejecución sería. Además de Karajan, Chailly también interpretó magistralmente (El último movimiento de la novena, está clara que es muy parecida al movimiento final de la tercera. Además el tercer movimiento del último cuarteto de cuerdas de Beethoven)
One of the most beautifl and clear (!) performace of this masterwork. However there are several mistakes, the most sensational six bars before the end (1h25'34"), the wrong entry not by one or two first violins but many of them playing, so must be a Klemperer mistake. Of course it can happen, but is difficult to understand technicians and recording director choice to leave it (and others mistakes)... Thanks for posting
The mistakes should have been corrected. But his live VPO performance from June 1968 has even more inexplicable mistakes from the orchestra that gave the work it's world premiere performance!
@@remomazzetti8757 Re: mistakes. There is something unethical about "fixing" a live performance. As for the Philharmonia recording's mistakes, K was reportedly opposed to touching up spots, or redoing short sections. If there was a necessary re-do, he insisted on nothing shorter than an entire movement. More troubling about the conclusion is K's cheating the value of long notes and rests.. Perhaps the composer's way here seemed too sentimental for him. That the final sound is not made to die away affectedly but rather in a normal sort of diminuendo may serve to support that contention.
