Otto Klemperer: The Remastered Edition

[gradus]

This might be relevant - https://en.wikipedia.org/wiki/RIAA_equalization#History

Chances are that many people had cheap turntable/amp combinations, so rather than putting in proper compensation curves to correct for the recording pre-emphasis, both equipment manufacturers and record producers relied on users adjusting the treble and bass balance to suit themselves. It doesn't necessarily follow that Decca's pre-emphasis was incorrect. Earlier I mentioned hearing a Decca recording played back on high quality (well, higher than mine anyway) equipment and I think that included a Decca ffss pickup and arm. One reason it might have sounded so good could have been that it matched the recordings better than other equipment would have done. Other kit might have matched recordings from other recording studios better.

Good quality pre-amps in the sixties and early seventies had switchable equalisation to take account of the adjustments made to the recorded sound as part of the transfer to disc from master tape. I had a Rogers master pre amp that had, I think, five separate replay characteristic settings as well as the usual RIAA.

[Barbirollians]

Comparing Klemperer with Walter reminds me of OK's famous remark on 'Face to Face':

'Bruno Walter is a very good conductor, a very romantic conductor, but he is also, not to misunderstand, he is a moralist. I am an immoralist. Absolutely!'

Although Walter's position as a Mahler interpreter is unique, his later recordings do seem to me to have a little reverential nostalgia about them which I don't think Mahler would approve . I often think Klemperer gets closer to Mahler the questing intellectual.

I am not sure I agree with that . His late 1,2 and 9 are outstanding - Klemperer’sNinth is in the same league -not sure about his Resurrection albeit I dislike his soloists rather. The live Bavarian account with Harper and Baker and the 1951 with Jo Vincent and that wonderful Urlicht from Ferrier move me much more.

I am just glad both of them recorded so much Mahler even if there is the odd real misfire - The late Walter Das Lied with Mildred Miller and OK’s interminable Mahler 7

[Lordgeous]

Good quality pre-amps in the sixties and early seventies had switchable equalisation to take account of the adjustments made to the recorded sound as part of the transfer to disc from master tape. I had a Rogers master pre amp that had, I think, five separate replay characteristic settings as well as the usual RIAA.

Quad too (and I think Leak). I have two HQ phono preamps (no selectable RIAA curves) and my vinyls sound quite different on each. Impossible to tell which might be more 'correct' as either would be acceptable. I do have commercial pressings made from masters I recorded, and still have, but I never got round to running a comparison between disc and tape. Would be interesting, but life's too short now!

[smittims]

Point taken, Barbirollians, though I do think Walter got slower in his last years, if you compare him with the fiery 1930s recordings.

Re the soloists in the Klemperer Mahler 2 I suppose you mean the Columbia recording. I think Schwarzkopf was more or less wished on him as she was married to the producer, but he asked for Hilde Rossl-Majdan, who sadly wasn't in such good voice as she is in the 1951 Vienna S.O. recording; even better is the live concert version released by Testament.

Later he preferred Harper/Baker, whom he came to admire ; as well as the Bavarian version there's a Testament from the Festival Hall which is very good (SBT2 1348 if it's still available).

[richardfinegold]

Point taken, Barbirollians, though I do think Walter got slower in his last years, if you compare him with the fiery 1930s recordings.

Re the soloists in the Klemperer Mahler 2 I suppose you mean the Columbia recording. I think Schwarzkopf was more or less wished on him as she was married to the producer, but he asked for Hilde Rossl-Majdan, who sadly wasn't in such good voice as she is in the 1951 Vienna S.O. recording; even better is the live concert version released by Testament.

Later he preferred Harper/Baker, whom he came to admire ; as well as the Bavarian version there's a Testament from the Festival Hall which is very good (SBT2 1348 if it's still available).

First off, I second Barb’s comments about our good fortune in having the late Mahler recordings of Mahler by Walter and OK. Would that they have done 5 and 6.
Regarding Smittens comment about Walter slowing down, that had been my general impression but as I listened through the big Walter box, but it generally wasn’t supported by the evidence. There are a few outliers, such as the New World, but his Mozart sounds positively zippy compared to Karl Bohm, for example

[Barbirollians]

First off, I second Barb’s comments about our good fortune in having the late Mahler recordings of Mahler by Walter and OK. Would that they have done 5 and 6.
Regarding Smittens comment about Walter slowing down, that had been my general impression but as I listened through the big Walter box, but it generally wasn’t supported by the evidence. There are a few outliers, such as the New World, but his Mozart sounds positively zippy compared to Karl Bohm, for example

I think John McClure in an appreciation for Gramophone just after he died said that Walter was planning to re-record Mahler 4 before the Grim Reaper intervened. Also planned were the Schumann Symphonies , Bruckner 8 , a stereo Brahms Requiem and Fidelio .

[smittims]

Fidelio would have been welcome. Many listeners to Walter's published discography may be unaware that , before the Anschluss, his major work was in the opera houses.

[Dave2002]

Fidelio would have been welcome. Many listeners to Walter's published discography may be unaware that , before the Anschluss, his major work was in the opera houses.

https://www.amazon.co.uk/Beethoven-F.../dp/B000031WH0

[Dave2002]

First off, I second Barb’s comments about our good fortune in having the late Mahler recordings of Mahler by Walter and OK. Would that they have done 5 and 6.
Regarding Smittens comment about Walter slowing down, that had been my general impression but as I listened through the big Walter box, but it generally wasn’t supported by the evidence. There are a few outliers, such as the New World, but his Mozart sounds positively zippy compared to Karl Bohm, for example

It appears that Bruno Walter thought that Mahler 6 was too depressing, so wouldn't do that one, and OK didn't like Mahler 5. I didn't realise that the lack of recordings of these was deliberate by the conductors.

[Barbirollians]

It appears that Bruno Walter thought that Mahler 6 was too depressing, so wouldn't do that one, and OK didn't like Mahler 5. I didn't realise that the lack of recordings of these was deliberate by the conductors.

No Mahler 3 from either too. I think Klemperer was quoted as saying he would have recorded Mahler 8 but nobody ever asked him ?

[Dave2002]

No Mahler 3 from either too. I think Klemperer was quoted as saying he would have recorded Mahler 8 but nobody ever asked him ?

Did those two never perform Mahler 3 either?

You may correct me, but didn't Barbirolli do them all - with the possible exception of 10? At least performances - if not recordings.

[Petrushka]

Did those two never perform Mahler 3 either?

You may correct me, but didn't Barbirolli do them all - with the possible exception of 10? At least performances - if not recordings.

The Vienna Philharmonic concert archive reveals that Bruno Walter performed the Mahler 3 in Vienna on April 6 & 7 1935 and again in Salzburg on August 19 1936.

Michael Kennedy in his biography of JB confirms that Barbirolli did perform all of the symphonies plus Das Lied and the 10th Adagio.

[Barbirollians]

The Vienna Philharmonic concert archive reveals that Bruno Walter performed the Mahler 3 in Vienna on April 6 & 7 1935 and again in Salzburg on August 19 1936.

Michael Kennedy in his biography of JB confirms that Barbirolli did perform all of the symphonies plus Das Lied and the 10th Adagio.

Barbirolli recorded 1,5,6,& 9 in the studio.

Concert recordings of 2,3,4,7 have emerged as well as Das Lied with Ferrier . No recording of him performing the 8th appears to exist.

[gradus]

I hope the engineers tidy up the existing poor-ish digital rendition of the Missa Solemnis - the original LP's sound better ime.

[Petrushka]

I hope the engineers tidy up the existing poor-ish digital rendition of the Missa Solemnis - the original LP's sound better ime.

I agree about the Missa Solemnis recording which sounds unpleasant and congested in the GROC issue that I have. If the evidence of the orchestral set is anything to go by the opera/choral box due out in November should put it all right.