Klemperer: Compl Brahms Syms - Angel (4LP box, stereo)

$

45

ITEM DESCRIPTION:

This handsome and rather uncommon 4LP box slipcase set from Angel (3614 D, US pressing, red semi-circle Angel label, stereo, original inner sleeves and booklet included) features Otto Klemperer and the Philharmonia Orchestra's complete cycle of the Brahms Symphonies, plus the Tragic and Academic Festival Overtures, landmark performances captured in superlative sound.

In fact, this set gather's together nearly all of Klemperer's Columbia Brahms recordings (the only omissions being the Alto Rhapsody Op. 53 and the Variations on a Theme by Haydn Op. 56b and the German Requiem Op. 45).

A note on this US Angel pressing: The outer red cloth box is open at one end, much like a jacket, to allow a second cardboard slipcase to slid in and out. This slipcase hold the four conventional paper sleeves (originals all), the four LPs, and the booklet.

The 8-page, nearly full-size booklet contains extensive notes on the music by San Francisco Chronicle Music Critic Alfred Frankenstein. One curious note: the booklet also contains a striking impromptu photo of Klemperer that, at least I for one, have never seen before: he is seen at the moment he has just struck a match to light a cigarette.

Even in Klemperer's vast discography, these recordings remain quite special, marked by a nobility and unforced majesty that is quite breath-taking, and showing the Philharmonia to be, quite possibly, the finest orchestra anywhere before the public at that time – stunning!

This is quite an attractive lavish issue, featuring a heavy red cloth box with a pull-out grey slipcase holding the four inner sleeves/LPs and booklet.

Included then are the following works of Brahms:

Symphony No. 1 in C minor Op. 68 – rec. 1956

Symphony No. 2 in D Major Op. 73 – rec. 1956

Symphony No. 3 in F Major Op. 90 – rec. 1957

Symphony No. 4 in E minor Op. 98 – rec. 1957

Academic Festival Overture in C minor Op. 80 – rec. 1957

Tragic Overture Op. 81 – rec. 1957

All sessions were held in the fabled acoustics of Kingsway Hall, London and supervised by Walter Legge. They sound absolutely magnificent hear: warm, rich, and spacious.

Wrote T.H. in the May 1971 issue of The Gramophone: "I listened to all this Brahms in one morning, even though I was not so pressed for time that I had to. This was not as mad as it may seem, for I wanted to get an overall impression of Klemperer's Brahms while each symphony was fresh in my mind. It had another result, rather less expected. I found myself with no sort of Brahms indigestion, even really wanting to go on and hear more, such is the compelling power of these interpretations. Of course, there were things I wanted to question: and even one or two quirks of interpretation I find difficult to justify. But no matter. As WSM wrote in his review of No. 4 (and not an adulatory notice) Klemperer's interpretation "reveals more than most of us dreamed of perceiving". That is well said: and it goes for everything on these four records. Another thing my session made clear is that if the idea still exists that Klemperer is an 'intellectual', ponderous conductor, mostly taking slow speeds, this notion is on this evidence totally untrue. (Have you ever heard a faster, more dashing, account of the finale of No. 2?) The overall impression is of enormous vitality and even, when appropriate, vivacity; and when he does set out at a slow tempo he compels you to think whether it is justified. (The first movement of No. 2 is an example, where speeds vary so greatly that you want to play it again to try to understand his view.)

"Readers who have already collected all these records will be kicking themselves that they didn't wait for this bargain offer, working out at only L1.45 a record. They must console themselves that they have already had a great deal of pleasure. For those who have not, this is surely a `must'. Several fine conductors have recorded all Brahms's symphonies : yet none, I think, with quite as much mature insight as Klemperer (excepting only Toscanini, whose readings complement these but are not comparable in sound). The playing of the Philharmonia, I need hardly say, is superb. Recordings are in general very good indeed."

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the box is EXCELLENT++. There is slight bumping at corners, as well as a few nicks and minor evidence of shelfwear. However, there are no seamsplits, bends, or other owners' markings and the whole remains solid, bright, glossy, and striking appearance, the lettering bright and legible. All-in-all, a superb collector's copy.

The condtion of the 8-page, nearly full-size liner booklet is near-MINT. The pages are crisp and bright. The notes are provided in English only – an excellent collector's copy.

The condition of the 4 LPs is EXCELLENT++ throughout. Although the surfaces are not always CD silent, in general the playback is superb – overall, fine collector's copies.