dgtool 发表于 2025-6-23 22:32
豆瓣的介绍：
https: //music。douban。com/subject/27662740/

• Disc 37
• ● Bruckner: Symphony No. 8 in Minor WAB.108 [Novak version]
• Cologne Radio Symphony Orchestra
• Recording: June 7, 1957
• Recording in Cologne. Klemperer was in violence to cut the major part of the development part of the fourth movement and the third subject part of the reproduction part in the EMI session recording, but here he was playing with the uncut. Tempo was also quite late in session recording, but this is the first time in 71 minutes 53 seconds, which is quite fast.
• Disc 38
• ● Mozart: Symphony No. 29 in A major K 201 / 186a
• Cologne Gürzenich Symphony Orchestra
• Recording: September 9, 1956
• ● Mozart: Symphony No. 41 in C major, K.551 "Jupiter"
• Cologne Gürzenich Symphony Orchestra
• Recording: September 9, 1956
• ● Mozart: Serenade No. 13 "Eine Kleine Nacht Musique"
• Cologne Gürzenich Symphony Orchestra
• Recording: September 9, 1956
• Recording at the Montreux Music Festival. The Mozart Symphony No. 29 is a two year recording of EMI session recording, and the performance time is about 23 minutes 25 seconds and 1 minute 20 seconds faster than the session 24 minutes 43 seconds.
• Symphony No. 41 "Jupiter" is a recording of the first session recording of EMI two years later, the performance time is 28 minutes 53 seconds for the session and 32 minutes 53 seconds for the performance time. For the live performers I repeat the first movement presentation department. "Aene Kleine Nacht Musique" is a tempo that is a sharp tempo of 17 minutes 5 seconds, compared to the semi-annual difference of 1956 EMI session recording 17 minutes 48 seconds.
• Disc 39
• ● Beethoven: Symphony No. 4 Bloom major op. 60
• Cologne Radio Symphony Orchestra
• Recording: October 25, 1954
• ● Janacek: "Sinfonietta"
• Cologne Radio Symphony Orchestra
• Recording: February 27, 1956
• ● R. Strauss: Symphonic poem "Don · Fan" op.20
• Cologne Radio Symphony Orchestra
• Recording: February 27, 1956
• Yanagek "Sinfonietta" recorded two types of live recordings, the performance with 1951 with Concertgebouw is 23 minutes 5 seconds, the total is similar to 23 minutes 16 seconds in 1956 with Cologne Radio Symphony Orchestra, but the Cologne board Then, the second movement is 12 seconds late, the third movement is 23 seconds faster, the fifth movement is 18 seconds slower, the tempo setting is quite different.
• "Don Fan" was recorded four years ago in EMI session recording, and the performance time is 16 minutes 9 seconds and 1 minute 4 seconds faster than the session time 17 minutes 13 seconds.
• Disc 40
• ● Bach: Orchestra Suite 3rd Minute BWV. 1068
• Cologne Radio Symphony Orchestra
• Recording: October 17, 1955
• ● Brahms: Symphony No. 1 H minor op.68
• Cologne Radio Symphony Orchestra
• Recording: October 17, 1955
• Brahms was sold (believed) to believe Knapparts Bush's performance, and among the fans it was particularly famous. It has become a charm that can not be answered by shaping the whole story as frightening. It is 41 minutes 44 seconds faster than EMI session recording 44 minutes 13 seconds.
• The Bach Orchestra Suite 3 is 22 minutes 59 seconds, and the 1954 EMI session recording is close to 23 minutes 10 seconds.
• Disc 41
• ● Beethoven: Symphony No. 3 Eho Major op.55 "Hero"
• Cologne Radio Symphony Orchestra
• Recording: February 8, 1954
• ● Stravinsky: "Pulitinella" Suite
• Bayern Radio Symphony Orchestra
• Recording: September 27, 1957
• "Hero" is a much faster and more energetic finish of 47 minutes 12 seconds, whereas the famous EMI session recording performed in 1954 was 49 minutes 27 seconds.
• Disc 42
• ● Mahler: Symphony No. 4 in G major
• Elfriede Tretchel (soprano)
• Cologne Radio Symphony Orchestra
• Recording: February 21, 1954
• ● Hindemit: Suite "Noble illusion"
• Cologne Radio Symphony Orchestra
• Recording: February 8, 1954
• Total time 49 minutes 9 seconds is the fastest of all Mahler's 4th discs, but the short time is mainly due to the time of 16 minutes 52 seconds of the 3rd movement, Other movements are not so extremely fast. However, compared to the studio recording EMI board, the impression will differ greatly again because it is 5 minutes in total. The characteristic of this performance is that the enchanting scenes are continuously formed due to the fact that the tempo setting full of driving force is carried out intact image of the work and the various phrases which fly in and out . There is no atmosphere like walking down the foot like the EMI board and looking at the scenery carefully, but there is a feeling that you will sweep with a comfortable tempo and actively enjoy the scenery of each. The soprano's Tretschel is also a sophisticated song with bright and carefree singing.
• "Noble fantasy" is recorded eight months before the EMI session recording, and it is close to 20 minutes and 14 seconds for the session 20 minutes 35 seconds.
• Disc 43
• ● Beethoven: Symphony No. 1 in C major Op.21
• Cologne Radio Symphony Orchestra
• Recording: February 21, 1954
• ● Beethoven: Symphony No. 8 in C major Op.21
• Cologne Radio Symphony Orchestra
• Recording: May 28, 1955
• ● Beethoven: "Egmont" Overture op. 84
• Cologne Radio Symphony Orchestra
• Recording: May 28, 1955
• ● Mozart: Serenade's 6th Anniversary KV.239 "Serenata Nozzura"
• Cologne Radio Symphony Orchestra
• Recording: October 25, 1954
• Disc 44
• ● Bruckner: Symphony No. 4 Eho Major WAB.104 "Romantic"
• Cologne Radio Symphony Orchestra
• Recording: April 5, 1954
• ● R. Strauss: Symphonic poem "Tyr Eulen Spiegel's Funny Prank" op.28
• Cologne Radio Symphony Orchestra
• Recording: October 25, 1954
• Bruckner is a famous performance from several labels in the past, even if compared with recording with Philharmonia tube later, the tempo is shorter by 4 / 1.5 minutes overall. Novak version.
• Disc 45
• ● Mozart: Symphony No. 29 in A major K 201 / 186a
• Cologne Radio Symphony Orchestra
• Recording: February 8, 1954
• ● Mendelssohn: accompanying music accompanied by play "Midsummer Night's Dream" op. 61 (German singing)
• Kate Mailer = Gee-Perman (soprano)
• Hanna Ludwig (mezzo soprano)
• Cologne Broadcasting Chorus
• Cologne Radio Symphony Orchestra
• Recording: June 9 - 11, 1955
• Both performances are excellent features unique to Klemperer in the mid-1950's, especially Mendelssohn is a charming finish that matches the content of the work, especially the goodness of footwork with a moderate weight unique to this period.
• Disc 46
• ● Gluck: The opera "The Irisiana of Auris" Overture
• Cologne Radio Symphony Orchestra
• Recording: February 27, 1956
• ● Mozart: Symphony No. 29 in A major K 201 / 186a
• Bayern Radio Symphony Orchestra
• Recording: April 12, 1956
• ● Haydn: Symphony No. 101 in D major "Watch"
• Bayern Radio Symphony Orchestra
• Recording: October 19, 1956
• The overture of "Ariss Iphigenia" is 11 minutes and 39 seconds faster for EMI session recording than 11 minutes and 39 seconds.
• Disc 47
• ● Bruckner: Symphony No. 7 Ho Major WAB.107
• Bayern Radio Symphony Orchestra
• Recording: April 12, 1956
• Total time is a 65-minute philharmonia board in 1960, Bayern board 58 minutes fast setting through the whole movement with a fast tempo setting, rich expressions are incorporated up to the details, and the style with high tension is Klemperer Unique. Novak version.
• Disc 48
• ● Mahler: Symphony No. 4 in G major
• Elisabeth Lindermeier (soprano)
• Bayern Radio Symphony Orchestra
• Recording: October 19, 1956
• The injury caused by the fall of the Thap-lap was healed, and the performance of Klemperer's energy which was great was played out. Impression that tempo setting full of propulsive force is carried out intact image of work and fascinating scene is formed continuously by many phrases which fly in and out. There is no atmosphere like walking down the foot like the EMI board and looking at the scenery carefully, but there is a feeling that you will sweep with a comfortable tempo and actively enjoy the scenery of each. Linda Meyer of the soprano who is also the conductor conductor Mrs. Kempe also has a beautiful singing voice.
• Disc 49
• ● Bach: Orchestra Suite 3rd Minute BWV. 1068
• Swiss Romand Orchestra
• Recording: March 6, 1957
• ● Beethoven: Symphony No. 7 in A major op. 92
• Swiss Romand Orchestra
• Recording: March 6, 1957
• Disc 50
• ● Beethoven: Symphony No. 3 Eho Major op.55 "Hero"
• Berlin Radio Symphony Orchestra
• Recording: March 29, 1958
• ● Beethoven: "Egmont" Overture op. 84
• Berlin Radio Symphony Orchestra
• Recording: March 29, 1958
• Disc 51
• ● Beethoven: Symphony No. 2 in D major op.36
• Berlin Radio Symphony Orchestra
• Recording: March 29, 1958
• ● R. Strauss: Symphonic poem "Tyr Eulen Spiegel's Funny Prank" op.28
• Berlin Radio Symphony Orchestra
• Recording: January 21, 1957
• ● Hindemit: Suite "Noble illusion"
• Swiss Romand Orchestra
• Recording: March 6, 1957
• Disc 52
• ● Brahms: Symphony No. 2 major major op. 73
• Berlin Radio Symphony Orchestra
• Recording: January 21, 1957
• ● Mozart: Symphony No. 40 in G minor, KV 550
• Berlin Radio Symphony Orchestra
• Recording: January 21, 1957
• ● Mozart: Overture of "Don Giovanni"
• Residency Orchestra
• Recording: June 26, 1954
• Disc 53
• ● Mozart: Serenade's 6th Anniversary KV.239 "Serenata Nozzura"
• RIAS Symphony Orchestra
• Recording: December 21, 22, 1950
• ● Mozart: Symphony No. 25 in G minor, KV 183
• RIAS Symphony Orchestra
• Recording: December 20, 1950
• ● Mozart: Symphony No. 29 in A major KV.201
• RIAS Symphony Orchestra
• Recording: December 20, 1950
• Disc 54
• ● Mozart: Symphony No. 38 in D major, K.504 "Prague"
• Berlin RIAS Symphony Orchestra
• Recording: December 22, 23, 1950
• ● Mozart: Serenade No. 11 everyday major harmonic K.375
• Berlin RIAS Symphony Orchestra
• Recording: December 1950
• ● Hindemit: Suite "Noble illusion"
• Berlin RIAS Symphony Orchestra
• Recording: February 15, 1954
• Disc 55
• ● Haydn: Symphony No. 101 in D major "Watch"
• Berlin RIAS Symphony Orchestra
• Recording: February 12, 1956
• ● Beethoven: Symphony No. 6 in F major op.68 "Country"
• Berlin RIAS Symphony Orchestra
• Recording: February 15, 1954
• Haydn has a remarkably different approach from the relatively normal playing on the studio board, which is distinguished by the vigorous sharpness of sharpness, the shade of shade, and the strong bat philosophy.
• Disc 56
• ● Mahler: Symphony No. 4 in G major
• Elfriede Tretchel (soprano)
• Berlin RIAS Symphony Orchestra
• Recording: February 12, 1956
• ● R. Strauss: Symphonic poem "Tyr Eulen Spiegel's Funny Prank" op.28
• Turin RAI Symphony Orchestra
• Recording: December 21, 1956
• Disc 57
• ● Haydn: Symphony No. 101 in D major "Watch"
• Turin RAI Symphony Orchestra
• Recording: December 21, 1956
• ● Shostakovich: Symphony No. 9 Eho Major op.70
• Turin RAI Symphony Orchestra
• Recording: December 21, 1956
• Disc 58
• ● Beethoven: Symphony No. 7 in A major op. 92
• Berlin RIAS Symphony Orchestra
• Recording: October 1, 1954
• ● Stravinsky: "Pulitinella" Suite
• Turin RAI Symphony Orchestra
• Recording: December 21, 1956
• Disc 59
• ● Wagner: "My Staginger in Nuremberg" The 1st Prelude
• Turin RAI Symphony Orchestra
• Recording: December 17, 1956
• ● Schubert: Symphony No. 7 (8) minor D minor, D. 759 "Incomplete"
• Turin RAI Symphony Orchestra
• Recording: December 17, 1956
• ● Beethoven: Symphony No. 1 in C major Op.21
• Turin RAI Symphony Orchestra
• Recording: December 17, 1956
• After the war, Klemperer has been visiting many orchestras around the world, Italy has visited many times and several live recordings are also left, but there was also a drawback that many recordings and conditions of the orchestra are not good. Inside in 1956 the recording was blessed with conditions, "My Stagingger" is vividly depicting each part.
• Disc 60
• ● Bruckner: Symphony No. 7 Ho Major WAB.107
• Berlin Philharmonic Orchestra
• Recording: September 3, 1958
• On September 3, 1958, live recording at the Lucerne Music Festival. In the performance immediately before Klemperer's "sleeping cigarette whole body burns heavy incidents", it is characterized by a high-tension atmosphere reflecting the healthy state of health and the heavy sound of the Berlin Phil, but two years have passed since the Bayern board It seems that it may be said that it is suitable for the work that it is a somewhat calm performance other than Adagio.
• Disc 61
• ● Bruckner: Symphony No. 7 Ho Major WAB.107
• Vienna Symphony Orchestra
• Recording: February 26, 1958
• Disc 62
• ● Mahler: Symphony No. 4 in G major
• Teresa · Szig-Randall (soprano)
• Vienna Symphony Orchestra
• Recording: June 21, 1955
• ● Purcell: Suite "Fairy Queen"
• Vienna Philharmonic Orchestra
• Recording: August 24, 1947
• Disc 63
• ● Mozart: Symphony No. 29 in A major K 201 / 186a
• North Germany Radio Symphony Orchestra
• Recording: September 28, 1955
• ● Beethoven: Symphony No. 7 in A major op. 92
• North Germany Radio Symphony Orchestra
• Recording: September 28, 1955
• Beethoven 's 7th is a good piece, and the approach here is similar to the old EMI (1955), which does not do the octave raising of the first movement like the 1960' s.
• Mozart No. 29 was also a climpperr's favorite song, and the 1963 live showed a wonderful aesthetics, but in this performance the stronger and more vibrant images dominate. Horne's healthy thing is also a factor, but it seems to be more appropriate for young Mozart's works than it is to feel the propulsion force.
• Disc 64
• ● Mozart: Symphony No. 39 Eho Major K.543
• Hungarian Radio Symphony Orchestra
• Recording: April 17, 1949
• ● Bach: Orchestra Suite 4th Birthday BWV. 1069
• Hungarian Radio Symphony Orchestra
• Recording: January 17, 1949
• ● Bach: Orchestral Suite 2nd Minor BWV. 1067
• Hungarian Radio Symphony Orchestra
• Recording: June 24, 1949
• Disc 65
• ● Mahler: "Earth song"
• Yudit Shaun Doll (soprano)
• Endre wrestler (tenor)
• Budapest Symphony Orchestra
• Recording: November 2, 1948
• ● Bach: Brandenburg Concerto No. 5 in D major BWV.1050
• Hungarian Radio Symphony Orchestra
• Recording: January 13, 1950
• ● Mozart: "Funerary Music for Freemasonry"
• Hungarian Radio Symphony Orchestra
• Recording: November 2, 1948
• The first important work of Klemperer who returned to Europe after World War II was the music director of the Hungarian State Opera, performing performances that were noted in Wagner, Mozart and elsewhere. The characteristic of the performance at this time is that the tempo is fast anyway. Again here is a total of 50 minutes and 40 seconds, which is faster than the VOX recording after 3 years, which is known quickly, which is a faster performance time of two minutes, making it the fastest performance in the history of "Earth earth" history. Although it differs from the later EMI board by 13 minutes in fact, the basic interpretation has not changed, a rough sense by virtue of momentum, a powerful singing by two Hungarian singers is the original Klemperer's " Earth songs "that is also the taste of bleaking · fighting further emphasizing the aspect of pain. Although it is a live recording of 1948, the sound quality is not clear, but for Klemperer · fans I think that it can be said that it is precious recording as a material.
• Disc 66
• ● Mahler: Symphony No. 2 in C minor "Resurrection"
• Galina · Vicenevskaya (soprano)
• Hildegard, Wrestle-Maidan (Alto)
• Vienna Association of Association Choir
• Vienna Philharmonic Orchestra
• Recording: June 13, 1963
• Disc 67
• ● Mahler: Symphony No. 2 in C minor "Resurrection"
• Valda Bagnor (soprano)
• Florence Taylor (Alto)
• Haarstone Choral Society
• Sydney Symphony Orchestra
• Recording: September 1950
• The fastest in history. Broadcast recording of a concert with a great success in directing the Sydney Symphony Orchestra. After the performance, it is a legendary performance that clapping like a thunderbreak has occurred after silence, but because of the old live sound quality people are still at the same level at that time. Besides, the lyrics are in English version, but even though there are very few missing, Klemperer's interpretation itself is really wonderful with power. Its fearless form, tension and euphoria are wonderful, and the atmosphere is very similar to the famous concert bohemian of the following year.
• Disc 68
• ● Schubert: Symphony No. 7 (8) minor D minor, D. 759 "Incomplete"
• Budapest Philharmonic Orchestra
• Recording: June 18, 1948
• ● Brahms: Symphony No. 1 H minor op.68
• French National Radio Orchestra
• Recording: September 17, 1954
• Disc 69
• ● Beethoven: "Leonore" Overture No. 3 op. 72b
• Los Angeles Philharmonic Orchestra
• Recording: December 16, 1945
• ● Bach: Orchestra Suite 3rd Minor, BWV. 1068 - "Aria"
• Los Angeles Philharmonic Orchestra
• Recording: December 16, 1945
• ● R. Strauss: Symphonic poem "Don · Fan" op.20
• Los Angeles Philharmonic Orchestra
• Recording: December 16, 1945
• ● Brahms (Schoenberg): Piano Quintet No. 1 op.25
• Los Angeles Philharmonic Orchestra
• Recording: May 7, 1938
• Disc 70
• ● Berlioz: Opera "Benvenuto Cellini" Overture op.23
• Los Angeles Philharmonic Orchestra
• Recording: January 1, 1938
• ● Mozart: Symphony No. 35 in D major, K. 385 "Hafner"
• Los Angeles Philharmonic Orchestra
• Recording: January 1, 1938
• ● Debussy: "Prelude to Faun's afternoon"
• Los Angeles Philharmonic Orchestra
• Recording: January 1, 1938
• ● R. Strauss: Symphonic poem "Tyr Eulen Spiegel's Funny Prank" op.28
• Los Angeles Philharmonic Orchestra
• Recording: January 1, 1938
• ● Handel (Schoenberg): Concerto Grosso op. 6 - 7
• Los Angeles Philharmonic Orchestra
• Recording: January 6, 1938
• Disc 71
• ● Verdi: Opera "Sicily's Evening Prayer" Overture
• Los Angeles Philharmonic Orchestra
• Recording: January 1, 1935
• ● Beethoven: Symphony No. 5 in C minor op. 67 "Fate"
• Los Angeles Philharmonic Orchestra
• Recording: January 1, 1935
• ● Wagner: "My Staginger in Nuremberg" The 1st Prelude
• Los Angeles Philharmonic Orchestra
• Recording: January 1, 1935
• ● Wagner: "Rienzi" Overture
• Los Angeles Philharmonic Orchestra
• Recording: June 6, 1937
• ● Gershwin: Prelude No. 2
• Los Angeles Philharmonic Orchestra
• Recording: September 8, 1937
• ● Albéniz (Arboss version): suite "Iberia" ~ "Turiana"
• Los Angeles Philharmonic Orchestra
• Recording: June 6, 1937
• Disc 72
• ● J. Strauss: Overture of "Batsuri"
• Los Angeles Philharmonic Orchestra
• Recording: February 11, 1945
• ● Toma: Overture for opera "Mignon"
• Los Angeles Philharmonic Orchestra
• Recording: February 11, 1945
• ● Bach: "If you stay by my side" BWV 508
• Los Angeles Philharmonic Orchestra
• Recording: February 11, 1945
• ● Bruckner: Symphony No. 9 in minor WAB.109
• New York Philharmonic Orchestra
• Recording: October 14, 1934
• Bruckner was a performance performed by Klemperer who exiled to the United States, New York Philharmonic during the Toscanini era. It is about 10 minutes faster than the latest EMI board.
  

dgtool 发表于 2025-6-23 22:32
豆瓣的介绍：
https: //music。douban。com/subject/27662740/

• Disc 1-2
• ● Mozart: Symphony No. 29 in A major K 201 / 186a
• Philharmonia Orchestra
• Recording: December 19, 1963
• ● Beethoven: Symphony No. 8 in F major Op.93
• Philharmonia Orchestra
• Recording: October 14, 1963
• ● Mahler: Symphony No. 2 in C minor "Resurrection"
• Philharmonia Orchestra
• Recording: December 19, 1963
• Recording at the Royal Festival Hall in London. Mozart and Mahler are stereo, famous for FM broadcasting and others. It seems that Klemperer in the latter half of 1963 often conducted command with a comfortable level, and this tendency was noticeable also in the session recording etc. of the same period, but in this merit such characteristics are also felt in the goodness of the flow unique to the demonstration It has become a splendid finish. Mozart's 29th is 25 minutes, Mahler is 80 minutes, Beethoven is 26 minutes playing time.
• Disc 3
• ● Beethoven: Symphony No. 1 in C major Op.21
• Philharmonia Orchestra
• Recording: December 2, 1963
• ● Beethoven: Symphony No. 5 in C minor op. 67 "Fate"
• Philharmonia Orchestra
• Recording: May 31, 1960
• Symphony No. 1 is a recording at the Royal Festival Hall in London, and the performance time is about 27 minutes. Symphony No. 5 "Destiny" is a recording by Musik Feller Insard at the time of visiting Vienna. The performance time is about 35 minutes. Klemperer seemed to be in perfect condition and was leading the Beethoven 's continuous concert to a great success.
• Disc 4
• ● Beethoven: Symphony No. 9 mini op. 125 "Chorus"
• Agnes · Giebel (soprano)
• Crista · Ludwig (mezzo-soprano)
• Richard Lewis (tenor)
• Walter · berry (baritone)
• Philharmonia Orchestra & Choir
• Recording: November 27, 1961
• In the recording at the Royal Festival Hall in London, the performance time is about 68 minutes. Tempo is set faster than usual, and like "Fidelio" which was very successful in March of the same year, it is possible to enjoy rare performances that are huge and rich in propulsion while feeling a natural breathing is. It is interesting that the soloists of all four are singers who are also repertoire of Mahler. Even so, it is interesting that the ninth tenor of the existing Klemperer, of which up to 6 types are from singers known by the singing of "earth songs".
• Disc 5
• ● Beethoven: Symphony No. 8 in F major Op.93
• Philharmonia Orchestra
• Recording: June 4, 1960
• ● Beethoven: Symphony No. 6 in F major op.68 "Country"
• Philharmonia Orchestra
• Recording: June 2, 1960
• Disc 6
• ● Beethoven: Symphony No. 3 Eho Major op.55 "Hero"
• Philharmonia Orchestra
• Recording: May 29, 1960
• ● Beethoven: "Egmont" Overture op. 84
• Philharmonia Orchestra
• Recording: May 31, 1960
• ● Beethoven: "Coriolan" Overture op.62
• Philharmonia Orchestra
• Recording: June 4, 1960
• Disc 7
• ● Beethoven: Symphony No. 2 in D major op.36
• Philharmonia Orchestra
• Recording: May 29, 1960
• ● Beethoven: Symphony No. 4 Bloom major op. 60
• Philharmonia Orchestra
• Recording: May 31, 1960
• Disc 8
• ● Beethoven: Symphony No. 1 in C major Op.21
• Philharmonia Orchestra
• Recording: June 7, 1960
• ● Beethoven: Symphony No. 7 in A major op. 92
• Philharmonia Orchestra
• Recording: June 2, 1960
• ● Beethoven: "Creation of Prometheus" Overture op.43
• Philharmonia Orchestra
• Recording: June 2, 1960
• Disc 9
• ● Beethoven: Symphony No. 9 second minor op.125 "Chorus"
• Vilma Lip (soprano)
• Wolzler-Beze (Alto)
• Fritz-Wunderich (tenor)
• Franz Class (bus)
• Vienna Association of Association Choir
• Philharmonia Orchestra
• Recording: June 7, 1960
• Recording at Musik Feller Insard. For the Vienna art weekly appearance, Klemperer, who led the Philharmonia Orchestra to Philharmonia Orchestra and visited Vienna, seemed to be in perfect condition, leading Beethoven's continuous concert to a great success. On May 29th of the first day, he played "hero" who is good at it and No. 2 and others. It was a memorable day that Mahler no. 4 and "unfinished" was played by the Vienna Philharmonic Orchestra conducted by Bruno Walter during the day at the same musical association big hall on the same day, at the emotional Walter concert On the other hand, Klemperer's concert was a contrasting thing, such as 'Heroes' approaching with the scales that stands up and strength. Klemperer's success of Beethoven Zyklis at this time is said to have been brought to the end of severe practice, as can be seen in the well-known rehearsal images of the "Egmont" overture, and even though its fine elements are thoroughly The basic attitude of emphasizing the form that accurately reproduces it is well appeared. Therefore, although demonstration with increased degrees of freedom will not result in collapse of the form, a rare Beethoven statue is built that shows robust and rich information perfectly while absorbing momentum of the sound unique to the demonstration I will.
• Disc 10
• ● Beethoven: "Dedication Expression" Overture op.124
• Philharmonia Orchestra
• Recording: August 24, 1958
• ● Beethoven: Symphony No. 5 in C minor op. 67 "Fate"
• Philharmonia Orchestra
• Recording: August 24, 1958
• ● Haydn: Symphony No. 101 in D major "Watch"
• Philharmonia Orchestra
• Recording: August 24, 1958
• Recording in Usher Hall of Edinburgh. "Fate" in Scotland's Edinburgh Music Festival is a fast time of about 33 minutes with iteration of both ends movement.
• "Dedication Expression" Overture Over 11 minutes,
• Haydn's "Watch" is a playing time of 27 minutes, and the atmosphere with a high tension that Klemperer can understand that it is the performance just before the "sleeping cigarette whole body large burns heavy incidents" happens is attractive.
• Disc 11
• ● Beethoven: "Dedication Expression" Overture op.124
• Philharmonia Orchestra
• Recording: May 29, 1960
• ● Beethoven: "Egmont" Overture op. 84
• Philharmonia Orchestra
• Recording: November 3, 1957
• ● Beethoven: Symphony No. 6 in F major op.68 "Country"
• Philharmonia Orchestra
• Recording: October 7, 1958
• "Dedication ceremony" Overture is recording at Musik Feller In Saar and the playing time is 11 minutes.
• "Egmont" overture is a recording at the Royal Festival Hall in London, and the performance time is 9 minutes 17 seconds.
• "Rural" is a comfortable tempo of 42 minutes with the first and third movement iterations in recording at Usher Hall in Edinburgh. The atmosphere with a high tension that leads to "fate" of Disc 10 is attractive.
• Disc 12
• ● Beethoven: Symphony No. 2 in D major op.36
• Philharmonia Orchestra
• Recording: October 24, 1957
• ● Beethoven: Symphony No. 4 Bloom major op. 60
• Philharmonia Orchestra
• Recording: November 8, 1957
• Recording at the Royal Festival Hall in London. No. 2 is recorded about three weeks after the EMI session recording, but the performance time is the tempo of the session is 37 minutes 31 seconds, the live time is 34 minutes 21 seconds fast.
• & nnbsp; No. 4 is about two weeks later recording, the performance time is 35 minutes 40 seconds for the session, 34 minutes 17 seconds for the performance is a slightly faster tempo.
• Disc 13
• ● Beethoven: Symphony No. 5 in C minor op. 67 "Fate"
• Philharmonia Orchestra
• Recording: October 24, 1957
• ● Beethoven: Symphony No. 7 in A major op. 92
• Philharmonia Orchestra
• Recording: November 3, 1957
• Recording at the Royal Festival Hall in London. The fifth is the recording of the first session recording of EMI two years later, but the performance time is the tempo where the session is 35 minutes 2 seconds, the live is slightly faster, 34 minutes 9 seconds.
• The seventh number is recorded two years after EMI's first session recording, but the playing time is about 36 minutes 56 seconds for the session and 37 minutes 4 seconds for the live performance.
• Disc 14
• ● Beethoven: "Egmont" Overture op. 84
• Philadelphia Orchestra
• Recording: October 27, 1962
• ● Beethoven: Symphony No. 3 Eho Major op.55 "Hero"
• Philadelphia Orchestra
• Recording: October 20, 1962
• Disc 15
• ● Bach: Brandenburg Concerto No. 1 in F major BWV. 1046
• Philadelphia Orchestra
• Recording: November 3, 1962
• ● Beethoven: Symphony No. 6 in F major op.68 "Country"
• Philadelphia Orchestra
• Recording: October 20, 1962
• Disc 16
• ● Mozart: Symphony No. 41 in C major, K.551 "Jupiter"
• Philadelphia Orchestra
• Recording: November 3, 1962
• ● Brahms: Symphony No. 3 in F major op. 90
• Philadelphia Orchestra
• Recording: October 27, 1962
• Disc 17
• ● Schumann: Symphony No. 4 mini op.120
• Philadelphia Orchestra
• Recording: October 27, 1962
• ● Beethoven: Symphony No. 7 in A major op. 92
• Philadelphia Orchestra
• Recording: November 3, 1962
• Live recording when Klemperer guests guests at the Philadelphia Orchestra of the Ormandy era. There is a problem in sound quality, but it is a precious record. It is Philadelphia Orchestra which was also the stronghold of "Modern Arrangement" following Sukhovsky, Omandy, but at this time the Klemperer stayed there for two weeks or so, as the orchestra is quite unusual "Orthodox arrangement (Violin winged type) "and is playing, and it is good news that you can hear it in stereo in Egmont, Hero, Rural field, Bra 3.
• Disc 18
• ● Bruckner: Symphony No. 6 in A major, WAB 106 (Hearth version)
• Concertgebou Orchestra
• Recording: June 22, 1961
• ● Klemperer: Symphony No. 1
• Concertgebou Orchestra
• Recording: June 22, 1961
• Recording at the Concertgebouw Great Hall in Amsterdam. Bruckner No. 6 will be recorded three years before the EMI session recording, but the tempo distribution is very different. In total it is different from the session 54 minutes 55 seconds, the live 50 minutes 41 seconds is different, but for the first movement the consulting bowboard is late by 10 seconds, treatment of rhythm motive which started rashing at the beginning, continued Hugeness in the first subject, expressing while expressing numerous constitutional motives is quite like Klemperer's point, its amount of information, the power to roughness is wonderful. On the other hand, the 2nd movement is a time allocation that live is 2 minutes faster, 49 seconds in Scherzo and 1 minute 41 seconds in the finale, and it has become a style that is pretty sharp.
• My own symphonies first completed in 1960 is a compact work with 2 movements in 18 minutes. The late Romantic atmosphere is in the keynote, and it feels a collage-like fun from Hindemith, Shostakovichi, Stravinsky-like modern elements to reminiscent of the accompaniment of "Otello", and the eerie La Marseillaise Familiar music and attractive beauty of the tail. Since Klemperer did not perform session recording of this work, the existence of this recording which commanded the Concertgebouw Orchestra is precious. The sound quality is good while it is monaural.
• Disc 19
• ● Mendelssohn: Overture "Fingal's Cave" op.26
• Concertgebou Orchestra
• Recording: February 21, 1957
• ● Schubert: Symphony No. 4 in C minor D417 "Tragic"
• Concertgebou Orchestra
• Recording: February 21, 1957
• ● Stravinsky: Symphony of 3 Movement op.26
• Concertgebou Orchestra
• Recording: February 21, 1957
• ● Wagner: "My Staginger in Nuremberg" The 1st Prelude
• Concertgebou Orchestra
• Recording: February 21, 1957
• Recording at the Concertgebouw Great Hall in Amsterdam. Partial sound quality is difficult. Klemperer's Schubert Symphony No. 4 has a VOX recording of 1950 only, so conscient heavy recordings are precious. Although the playing time is similar, in the performance with the Concertgebouw, the relief is bigger and the expression becomes more dense. By the way, the first movement is VOX 6 minutes 47 seconds and Concertge Hebou 9 minutes 10 seconds because the VOX does not perform the presentation part iteration, it is 7 minutes and 2 seconds when calculating the consultation burou, it is similar feeling.
• The symphony of Stravinsky's 3 movement is 23 minutes 45 seconds for the consultation of the 1962 EMI session recording 24 minutes 27 seconds. It is a powerful performance by the expressive expression of the first movement unique to the demonstration and the size of the timpani's sound.
• "Fingal's Cave" is about 9 minutes 34 seconds faster than the 1960 EMI session recording 10 minutes 14 seconds, "My Stagingger" is 10 minutes 6 seconds and 51 seconds for the 1960 EMI session recording 10 minutes 57 seconds It is faster. Both are spacious and quiet session recording, the difference is a hot live.
• Disc 20
• ● Bruckner: Symphony No. 5 Birthstone major WAB 105
• Concertgebou Orchestra
• Recording: February 16, 1957
• Recording at the Concertgebouw Great Hall in Amsterdam. Sound quality is difficult. Klemperer's Bruckner Symphony No. 5 was a 79 minutes and 27 seconds EMM session recording in 1967, whereas this consulting heavy recording of 10 years difference was 67 minutes 37 seconds and the playing time was different for about 12 minutes It is characterized. Unfortunately the sound is not clear, but the 4th movement coda etc. is amazing.
• Disc 21
• ● Beethoven: Symphony No. 7 in A major op. 92
• Concertgebou Orchestra
• Recording: May 13, 1956
• ● Brahms: "Variations on the Theme of Haydn" op.56a
• Concertgebou Orchestra
• Recording: February 7, 1957
• ● R. Strauss: Symphonic poem "Tyr Eulen Spiegel's Funny Prank" op.28
• Concertgebou Orchestra
• Recording: February 7, 1957
• Recording at the Concertgebouw Great Hall in Amsterdam. Partial sound quality is difficult. Beethoven No. 7 who is good at Klemperer. Recording with Concertgebouw is recorded the following year of EMI's first session recording, the performance time is 36 minutes 56 seconds for the session and 37 minutes 44 seconds for the show.
• "Variations on the subject of Haydn" is 17 minutes 28 seconds late by 34 seconds compared to the 1954 EMI session recording 16 minutes 54 seconds.
• "Til Eulenspigel's pleasant prank" It is faster about 14 minutes and 13 seconds, about 48 seconds against the 1960 EMI session recording 15 minutes 1 second, and it also feels good licking to be demonstrated.
• Disc 22
• ● Beethoven: Symphony No. 2 in D major op.36
• Concertgebou Orchestra
• Recording: May 2, 1956
• ● Beethoven: "Leonore" Overture No. 3 op. 72b
• Concertgebou Orchestra
• Recording: May 2, 1956
• ● Beethoven: ballet music "Creation of Prometheus" op. 43 - Overture, Adagio, Finale
• Concertgebou Orchestra
• Recording: May 2, 1956
• Recording at the Concertgebouw Great Hall in Amsterdam. Partial sound quality is difficult. Beethoven Symphony No. 2 which is good at Klemperer. Recording with Concertgebouw is recorded the following year of EMI session recording, the performance time is 37 minutes 31 seconds for the session and 35 minutes and 59 seconds for the performance, which is one and a half minutes faster.
• "Leonore" overture number 3 is almost the same as 13 minutes 33 seconds against 1954 EMI session recording 13 minutes and 32 seconds.
• The excerpt from "Prometheus' Creation" was also recorded in EMI in 1969, but it is faster for 3 minutes, 20 minutes 34 seconds versus 23 minutes and 35 seconds. Daring overture, let unique lyricism is heard in interesting Adagio, and "hero" good diversion has been melody seems to have demonstrated the impressive finale glue to the symphony performance.
• Disc 23
• ● Beethoven: Symphony No. 4 Bloom major op. 60
• Concertgebou Orchestra
• Recording: May 9, 1956
• ● Beethoven: Symphony No. 5 in C minor op. 67 "Fate"
• Concertgebou Orchestra
• Recording: May 9, 1956
• Recording at the Concertgebouw Great Hall in Amsterdam. Partial sound quality is difficult. Recording with the Symphony No. 4 Concertgebouw is the recording of the previous year of EMI session recording, the performance time is 35 minutes 40 seconds for the session, 34 minutes 42 seconds for the live performance, one and a half minutes faster.
• Recording with the Concertgebouw of Symphony No. 5 "Fate" was recorded two years after EMI's first session recording, the performance time is 35 minutes 2 seconds for the session, 35 minutes 46 seconds for the live performance, slightly later It is getting.
• Disc 24
• ● Bach: Orchestral Suite 2nd Minor BWV. 1067
• Concertgebou Orchestra
• Recording: February 7, 1957
• ● Beethoven: Symphony No. 6 in F major op.68 "Country"
• Concertgebou Orchestra
• Recording: May 13, 1956
• Recording with Concertgebouw Orchestra Suite 2 is recorded two years after EMI session recording, the performance time is 22 minutes 33 seconds for the session, 22 minutes 54 seconds for the live performance, 21 seconds late .
• Symphony No. 6 Record of the Concertgebouw of "rural" is, in the last year of the recording of the EMI of the session recording, playing time for the session is 45 minutes 58 seconds, live has become faster with 44 minutes 28 seconds.
• Disc 25
• ● Mozart: Symphony No. 29 in A major K 201 / 186a
• Concertgebou Orchestra
• Recording: July 12, 1956
• ● Beethoven: Symphony No. 7 in A major op. 92
• Concertgebou Orchestra
• Recording: April 26, 1951
• Recording at the Concertgebouw Great Hall in Amsterdam. Sound quality is difficult. Recording with the Symphony No. 29 Concertgebouw is a recording of EMI's session recording two years later, the performance time is about 24 minutes 43 seconds for the session and about 24 minutes 08 seconds and about 35 seconds for the live performance .
• Beethoven No. 7 is 35 minutes 31 seconds and it is faster than 36 minutes 56 seconds of 1955 EMI session recording.
• Disc 26
• ● Beethoven: Symphony No. 9 mini op. 125 "Chorus"
• Gre · Browensteen (soprano)
• Annie Hermes (Alto)
• Ernst Hefliger (tenor)
• Hans Willblink (baritone)
• Amsterdam · Tonkunst Choir
• Concertgebou Orchestra
• Recording: May 17, 1956
• Recording at the Concertgebouw Great Hall in Amsterdam. Although Klemperer's 9th has been left numerous, the Concertgebouwar recording is a masterpiece known to maniacs with very well-balanced performance content and good monophonic sound quality. By the way, the EMI session recording in 1957 was 72 minutes 10 seconds, but the consultant bow has 67 minutes 21 seconds, which is close to 5 minutes.
• Disc 27
• ● Beethoven: Symphony No. 8 in F major Op.93
• Concertgebou Orchestra
• Recording: May 17, 1956
• ● Janacek: "Sinfonietta"
• Concertgebou Orchestra
• Recording: January 11, 1951
• Recording at the Concertgebouw Great Hall in Amsterdam. Symphony No. 8 is the recording of the previous year of the EMI session recording, and it is a good performance of about 26 minutes 51 seconds, one minute faster than the session 27 minutes 51 seconds.
• Sinfonietta of Janacek is is the work which Klemperer is not in session recording, Klemperer after the premiere shortly after time tells the fact that you want to play in a letter to Janacek, Germany premiere, the United States premiere, because it was carried out the Soviet premiere, to work It seems that attention was strong. Although live recording has been two bereaved, the sound of the state and the orchestra of the condition, but there is a drastic expressive of fun Cologne Radio Symphony recording listen Gotae, etc., know the change of the Concertgebouw recording also of Klemperer interpretation It is priceless for it.
• Disc 28
• ● Hindemit: Suite "Noble illusion"
• Concertgebou Orchestra
• Recording: July 7, 1955
• ● Schönberg: "Jidai" op.4
• Concertgebou Orchestra
• Recording: July 7, 1955
• ● Faria: Symphonic Impression "Night in the Garden of Spain"
• Willem Andriessen (piano)
• Concertgebou Orchestra
• Recording: January 11, 1951
• Recording at the Concertgebouw Great Hall in Amsterdam. "Noble fantasy" is the recording of the following year of the EMI session recording, which is slightly faster, 20 minutes 2 seconds compared to the session 20 minutes 35 seconds.
• "Kiyuya" is a violent and rich performance famous among fans. Klemperer was unable to perform session recording of Schönberg who was familiar with Kempeper but there is a splendid expression of the young Schönberg's passionate feeling here.
• "Spanish garden night" is also the only recording. Music, such as the symphonic poem of modern playing an active part of the piano solo, but the commander of serious injury before the Klemperer strong immediate physical trends, can be thought of as a funny alien in the performance of this piece of atmosphere approach subject.
• Disc 29
• ● Bach: Orchestral Suite 2nd Minor BWV. 1067
• Friends of Music
• Recording: December 14, 1942
• ● Mendelssohn: accompanying music accompanied by play "Midsummer Night's Dream" op.61 (excerpt) (German singing)
• Concertgebou Orchestra
• Recording: November 3, 1955
• ● Gluck: Opera "Orfeo and Euridice" ~ "Chaconne"
• Concertgebou Orchestra
• Recording: June 22, 1961
• Recording at the Concertgebouw Great Hall in Amsterdam. Sound quality is difficult.
• "Midsummer Night's Dream" (composed of 10 songs) is a tempo of 43 minutes 9 seconds faster than the 1960 EMI session recording 47 minutes 53 seconds. Scherzo etc. It is quite different. It is surprising that the finale. The introduction section by Klemperer is played for about 49 seconds at the beginning. Since we do not do this introduction part performance using material such as "marriage marching" and overture and session recording, the freedom of Klemperer in demonstration is remembered. By the way, Klemperer had made a change to replace the tail at Mendelssohn "Scotland" in Bayern in the following year, but is that the original ancestor? Although this is "addition", though.
• Gluck's "Chaconne" is the only recording of Klemperer. Prior to the war the repertoire unique to Klemperer who was ambitiously working on Gulc opera performances.
• Disc 30
• ● Mahler: Symphony No. 4 in G major
• Maria · Stader (soprano)
• Concertgebou Orchestra
• Recording: November 10, 1955
• ● Mozart: Serenade No. 13 "Eine Kleine Nacht Musique"
• Concertgebou Orchestra
• Recording: November 10, 1955
• Recording at the Concertgebouw Great Hall in Amsterdam. Mahler's symphony No. 4 is 52 minutes and 47 seconds in total and 54 minutes and 53 seconds of EMI session recording, which is about two minutes faster, but the third movement is opposite 19 minutes and 5 seconds and the session is 18 minutes 9 It is noteworthy that it is delayed by about 1 minute and seconds.
• "Aene Kleene Nacht Musique" is a tempo that is fast, 16 minutes and 8 seconds, compared to the 4th month different 1956 EMI session recording 17 minutes and 48 seconds.
• Disc 31
• ● Beethoven: Symphony No. 3 Eho Major op.55 "Hero"
• Concertgebou Orchestra
• Recording: July 7, 1955
• ● Mozart: Symphony No. 25 in G minor, K.183
• Concertgebou Orchestra
• Recording: January 18, 1951
• ● Mozart: "Funerary Music for Freemasonry" K.477
• Concertgebou Orchestra
• Recording: July 12, 1951
• Recording at the Concertgebouw Great Hall in Amsterdam. "Hero" of 1955 recording is much faster than 49 minutes 7 seconds, 52 minutes 27 seconds of EMI session recording after 5 months.
• The Mozart Symphony No. 25 is surprised at a furious speed of 16 minutes 23 seconds against the 1956 EMI session recording 19 minutes 15 seconds. Especially the first movement is intense.
• Mozart "Funerary Music for Freemason" is 4 minutes 59 seconds, compared to the 1964 EMI session recording 5 minutes 26 seconds.
• Disc 32
• ● Beethoven: Symphony No. 6 in F major op.68 "Country"
• Concertgebou Orchestra
• Recording: July 7, 1955
• ● Beethoven: Symphony No. 8 in F major Op.93
• Concertgebou Orchestra
• Recording: May 1, 1949
• Recording at the Concertgebouw Great Hall in Amsterdam. "Garden" is 42 minutes 58 seconds and it is faster than the 45 minutes 58 seconds of the 1957 EMI session recording.
• Beethoven: Symphony No. 8 is 23 minutes and 58 seconds and is significantly faster than the 1957 EMI session recording 27 minutes 51 seconds. It is a very powerful performance.
• Disc 33
• ● Mahler: Symphony No. 2 in C minor "Resurrection"
• Kathleen Ferrier (contralto)
• Joe Vincent (soprano)
• Concertgebouw Orchestra & Choir
• Recording: July 12, 1951
• Recording at the Concertgebouw Great Hall in Amsterdam. Total 71 minutes 26 seconds and the fastest performance in this work's CD. Klemperer who has left the post of Budapest National Opera and has finally gotten into full swing back in Western Europe is full of fuss. Including Felier's singing is a great content.
• Disc 34
• ● Mendelssohn: Overture "Fingal's Cave" op.26
• Concertgebou Orchestra
• Recording: December 4, 1947
• ● Bruckner: Symphony No. 4 Eho Major WAB.104 "Romantic"
• Concertgebou Orchestra
• Recording: December 4, 1947
• Recording at the Concertgebouw Great Hall in Amsterdam. "Fingal's Cave" was recorded in 1947 and the playing time was 8 minutes 42 seconds, which is considerably faster than the 10 minutes and 13 seconds of the 1960 EMI session recording. At that time, Klemperer became the music director of the Budapest Opera National Opera, it was a serious injury in 1954 and before the burn in 1958, which is a quick tempo.
• Total 53 minutes 51 seconds and 1951 VOX session recording is not about 51 minutes 20 seconds but quite fast playing. Haas version.
• Disc 35
• ● Bruckner: Symphony No. 7 Eho Major WAB.107
• BBC Symphony Orchestra
• Recording: December 2, 1955
• Disc 36
• ● Beethoven: Symphony No. 9 second minor op.125 "Chorus"
• Maria · Stader (soprano)
• Grace · Hoffman (mezzo-soprano)
• Waldemar Kumment (tenor)
• Hans · Hotter (baritone)
• Cologne Broadcasting Chorus
• Cologne Radio Symphony Orchestra
• Recording: January 6, 1958
• Recording in Cologne. From the difference between orchestra and chorus, interpretation of session recording with Philharmonia just before, interpreted the same as live recording, the point is that this one is filled with more solid strength. Two male voice soloists are in common with Philharmonia, and they are approaching with a divine powerfulness like Wotan like singing Hotter. The chorus part is powerfully confounding again, it is the impression that the style unique to Klemperer who emphasized the existence feeling rather than the mystique is more thorough.
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https: //music。douban。com/subject/27662740/

粗略对比下，华纳的大包子以60年代为主，这个大包子以50年代为主；一般认为60年的试听效果更好，但50年的往往评价更高。各有千秋