Paul Kletzki
rc...@netxn.com
everything it's advertised to be: fresh, spontaneous-sounding,
delightful.
Also on the collection was the Adagietto of Mahler 5, Schubert
Rosamunde overture, some Rimsky-Korsakov and his Sibelius 2. These
were all highly enjoyable.
Kletzki had a way of getting inspired performances from his players,
and I particularly like his gauging of crescendoes and climaxes. He
really lets the orchestra have its way, but seems to know exactly when
to do it. Really full-blooded orchestral sound. Played with feeling
and sweep.
My question: what else did Kletzki record and how was it received? Is
there any more of the Mahler 5 besides that one movement? Guess I'm
interested in knowing more about the man and his career.
Looking forward to the ensuing discussion . . .
Richard Chon
MWKluge
>
>Kletzki had a way of getting inspired performances from his players,
>and I particularly like his gauging of crescendoes and climaxes. He
>really lets the orchestra have its way, but seems to know exactly when
>to do it. Really full-blooded orchestral sound. Played with feeling
>and sweep.
>
>My question: what else did Kletzki record and how was it received? Is
>there any more of the Mahler 5 besides that one movement? Guess I'm
>interested in knowing more about the man and his career.
>
>
No more to the Mahler 5, but he did record No. 1 (with at least one cut in the
Finale, IIRC), No. 9 (again with a cut, this time in the second movement) and
Das Lied, for which the Adagietto was a filler. He also did several Sibelius
Symphonies, Brahms Symphonies, Borodin 1 & 2, Tchaikovsky 4 & 6, and some
concerto accompaniments for Johanna Martzy (all EMI). There was a Melodiya disc
with Schubert's Eighth, Brahms's Tragic Overture, and Weber's Oberon Overture,
in excellent performances, and a Genesis disc had Othmar Schoeck's Sommernacht.
For Decca, he did the Rachmaninoff Second and Third Symphonies, Hindemith's
Mathis, Lutoslawski's Concerto for Orchestra, and Nielsen's Fifth, all in fine
performances around 1970 with the less-than-virtuoso Suisse Romande. A friend
says that he found his interpretations rather dull in some Chicago Symphony
guest performances in the early '60s, but that he did get a ripe Germanic sound
from the orchestra. I also know a conductor who studied with Kletzki and
admired him very much. He generally received good reviews for his recordings.
I hope someone can provide more biographical details.
Mark K.
Tony Movshon
rc...@netxn.com writes:
> I just bought a cut-out of Paul Kletzki's Mahler Fourth, and it is
> everything it's advertised to be: fresh, spontaneous-sounding,
> delightful.
>
> there any more of the Mahler 5 besides that one movement? Guess I'm
> interested in knowing more about the man and his career.
Kletzki recorded Mahler 1 with the VPO, and this has been available on
Royal Classics. It is to be avoided at all costs -- it is quite a
capable performance for 3.5 movements, and then Kletzki takes a huge
hideous disfiguring cut in the finale which wrecks the whole thing.
He also made a good Sibelius 1 and 3 now available on Testament
(mono). And I think I recall but cannot now document that he did a
fine recording for Decca of Hindemith's Mathis der Maler symphony with
the Orchestre de la Suisse Romande.
I believe that the liner notes in the set you bought (EMI Artist
Profile series) describe his career.
Tony Movshon mov...@nyu.edu
Center for Neural Science New York University
Marc Perman
>I just bought a cut-out of Paul Kletzki's Mahler Fourth, and it is
>everything it's advertised to be: fresh, spontaneous-sounding,
>delightful.
>
>Also on the collection was the Adagietto of Mahler 5, Schubert
>Rosamunde overture, some Rimsky-Korsakov and his Sibelius 2. These
>were all highly enjoyable.
>
>Kletzki had a way of getting inspired performances from his players,
>and I particularly like his gauging of crescendoes and climaxes. He
>really lets the orchestra have its way, but seems to know exactly when
>to do it. Really full-blooded orchestral sound. Played with feeling
>and sweep.
>
>My question: what else did Kletzki record and how was it received? Is
>there any more of the Mahler 5 besides that one movement? Guess I'm
>interested in knowing more about the man and his career.
A valuable Kletzki disc is Testament's pairing of Tchaikovsky's
Manfred Symphony with Borodin's 2nd. He also conducted an excellent
Mahler Das Lied, currently on an EMI Rouge et Noir with Barbirolli and
Tennstedt conducting other Mahler song cycles.
Marc Perman (who has recently discovered two other excellent Mahler
4ths: Inoue and Kubelik)
Deryk Barker
: I just bought a cut-out of Paul Kletzki's Mahler Fourth, and it is
: everything it's advertised to be: fresh, spontaneous-sounding,
: delightful.
:
: Also on the collection was the Adagietto of Mahler 5, Schubert
: Rosamunde overture, some Rimsky-Korsakov and his Sibelius 2. These
: were all highly enjoyable.
For me his Sibelius 2 is right up there and his Rosamunde overture
perhaps the most exciting I know.
--
|Deryk Barker, Computer Science Dept. | Music does not have to be understood|
|Camosun College, Victoria, BC, Canada| It has to be listened to. |
|email: dba...@camosun.bc.ca | |
|phone: +1 250 370 4452 | Hermann Scherchen. |
David M. Cook
>My question: what else did Kletzki record and how was it received? Is
His Borodin 2 with the Philharmonia is lovely, though I haven't heard the CD
transfer on Testament.
Dave Cook
na...@alphalink.com.au
He did a fine Scheherazade with the Philharmonia, now on EMI Classics for
Pleasure I believe.
Naun.
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Curtis Croulet
Supraphon. They were available on LP in the USA from the Musical Heritage
Society. I think I've seen some of them them on Supraphon CDs. In the
1950s he did the Schumann symphonies with the Israel Phil for EMI. The
Schumanns were mono only, I believe.
Alan Cooper
>A valuable Kletzki disc is Testament's pairing of Tchaikovsky's
>Manfred Symphony with Borodin's 2nd.
^^^^^^^^^^^
This is a *great* performance, but I really detest the Manfred
Symphony.
>Marc Perman (who has recently discovered two other excellent Mahler
>4ths: Inoue and Kubelik)
Has he discovered Van Beinum, far superior to either of those, IMO?
;-)
AC
The Melsons
following Walter Hendl and preceding Georg Solti (who presided over
the orchestra for only one season, 1961-62) . Unfortunately, there
were no Kletzki-DSO recordings.
Mark Melson
..
On Fri, 01 Jan 1999 22:04:42 GMT, rc...@netxn.com wrote:
>I just bought a cut-out of Paul Kletzki's Mahler Fourth, and it is
>everything it's advertised to be: fresh, spontaneous-sounding,
>delightful.
>
>Also on the collection was the Adagietto of Mahler 5, Schubert
>Rosamunde overture, some Rimsky-Korsakov and his Sibelius 2. These
>were all highly enjoyable.
>
>Kletzki had a way of getting inspired performances from his players,
>and I particularly like his gauging of crescendoes and climaxes. He
>really lets the orchestra have its way, but seems to know exactly when
>to do it. Really full-blooded orchestral sound. Played with feeling
>and sweep.
>
>My question: what else did Kletzki record and how was it received? Is
>there any more of the Mahler 5 besides that one movement? Guess I'm
>interested in knowing more about the man and his career.
>
David Grayshan
let me just add that he recorded prolifically in the late '40's/early
'50's on 78rpm with the Philharmonia Orchestra under Legge's auspices.
This included Schnabel's "Variations for Orchestra" and Sibelius' "En
Saga". I would love to have Kletzki's 78rpm legacy available.
This was in the days when Legge still held the ideal that the Orchestra
was his primary "product", not the conductor, so he simply recruited the
best available conductors in Europe to record with them, trusting in the
quality of the players and his leadership to maintain quality. So we got
conductors such as Dobrowen, Galliera, Serafin, von Matacic and of course
Kletzki himself.
IMO all of these conductors could wipe the floor with von Karajan
musically (I stress, MUSICALLY) even then, let alone later.
I guess that, being a secret totalitarian himself, he just could not
resist the "charms" of another totalitarian. He chose to produce records
instead of music. He made some of the greatest records ever but IMO none
of them, musically, with Karajan.
So there.
David Grayshan.
na...@alphalink.com.au
amco...@ix.netcom.com (Alan Cooper) wrote:
> per...@mindspring.com (Marc Perman) wrote:
> >Marc Perman (who has recently discovered two other excellent Mahler
> >4ths: Inoue and Kubelik)
>
> Has he discovered Van Beinum, far superior to either of those, IMO?
Don't get me wrong, I like the Van Beinum a lot - it's musicianly to the
core, and the Concertgebouw made more gorgeous sounds for him than probably
for anybody else - but there are recordings which I find even more idiomatic,
not to mention recordings which have a better soprano soloist in the last
movement. (Although I don't guarantee that these will be the *same*
recordings.) I might mention the 1955 VPO/Bruno Walter and the second (1983)
Concertgebouw/Haitink as two performances that hold the piece together
beautifully and bring out the character of the piece strongly without
resorting to caricature.
But speaking of Van Beinum, what is his Bruckner 7th like? I notice it has
just resurfaced in Japan.
Alrod
wrote:
The Beethoven cycle is to be avoided - to my mind they are the only
bad recordings Kletzki ever made. Everything else is first class.
I heard him guest with the Detroit Symphony in the early 70s - the
best damn Pictures at an Exhibition I ever heard live.
Alrod
Marc Perman
>per...@mindspring.com (Marc Perman) wrote:
>
>>A valuable Kletzki disc is Testament's pairing of Tchaikovsky's
>>Manfred Symphony with Borodin's 2nd.
> ^^^^^^^^^^^
>This is a *great* performance, but I really detest the Manfred
>Symphony.
>
>>Marc Perman (who has recently discovered two other excellent Mahler
>>4ths: Inoue and Kubelik)
>
>Has he discovered Van Beinum, far superior to either of those, IMO?
>;-)
Haven't. Is it available in the US? BTW, do you detest Manfred
generally or just Kletzki's?
MP
Marc Perman
>On Fri, 01 Jan 1999 22:04:42 GMT, rc...@netxn.com <rc...@netxn.com> wrote:
>
>>My question: what else did Kletzki record and how was it received? Is
>
>His Borodin 2 with the Philharmonia is lovely, though I haven't heard the CD
>transfer on Testament.
Excellent sounding disc, though I haven't heard the LP.
Marc Perman
Tony Movshon
per...@mindspring.com (Marc Perman) writes:
> amco...@ix.netcom.com (Alan Cooper) wrote:
> >per...@mindspring.com (Marc Perman) wrote:
> >
> >>A valuable Kletzki disc is Testament's pairing of Tchaikovsky's
> >>Manfred Symphony with Borodin's 2nd.
> >This is a *great* performance, but I really detest the Manfred
> >Symphony.
> BTW, do you detest Manfred
> generally or just Kletzki's?
Alan detests Manfred generally, which is a sure sign of a discriminating
music-lover. IIRC, he once memorably described it as "flatulent".
flo...@my-dejanews.com
but Kletzki cinducted one of the best Berg Violin concertos ever recorded with
Andre Gertler and the Philharmonia Orchestra. He also did a complete Beethoven
cycle with the Czech Phil for Supraphone.
Regards
Thomas Floegel
Simon Roberts
: Alan detests Manfred generally, which is a sure sign of a discriminating
: music-lover. IIRC, he once memorably described it as "flatulent".
Yes; but I'm not sure that usefully distinguishes it from the others....
Simon
Alan Cooper
>I haven奏 read all the mail concerning Paul Kletzki, so maybe I'm repetitive,
>but Kletzki cinducted one of the best Berg Violin concertos ever recorded with
>Andre Gertler and the Philharmonia Orchestra.
Yes, indeed. The Berg Concerto is one of my favorite pieces, but over
the years I have found only four really satisfactory recorded
performances. This is one of them (the others are
Szigeti/Mitropoulos, Krasner/Webern, and--my favorite--Ferras/Pretre).
Gertler/Kletzki may still be available cheap from Berkshire on a
Hungaroton CD.
AC
Alan Cooper
Well, let's say that Manfred moves beyond the mere borborygmus of the
others to the level of genuine flatulence ;-)
Alan [not an irredeemable Tchaikovsky-basher; I listened with great
pleasure to the "Souvenir of Florence" yesterday]
Tony Movshon
In article <76nrah$ra8$3...@netnews.upenn.edu>,
si...@dept.english.upenn.edu (Simon Roberts) writes:
> Tony Movshon (to...@cns.nyu.edu) wrote:
>
> : Alan detests Manfred generally, which is a sure sign of a discriminating
> : music-lover. IIRC, he once memorably described it as "flatulent".
>
> Yes; but I'm not sure that usefully distinguishes it from the others....
Sure it does. Only #4 is in the same category for me.
Alrod
>>but Kletzki cinducted one of the best Berg Violin concertos ever recorded with
>>Andre Gertler and the Philharmonia Orchestra.
>
>Yes, indeed. The Berg Concerto is one of my favorite pieces, but over
>the years I have found only four really satisfactory recorded
>performances. This is one of them (the others are
>Szigeti/Mitropoulos, Krasner/Webern, and--my favorite--Ferras/Pretre).
No Grumiaux/Markevitch?
Alrod
Alan Cooper
>>>I haven‘t read all the mail concerning Paul Kletzki, so maybe I'm repetitive,
Too sweet and not edgy (neurotic?) enough. Beautifully played, of
course.
AC
Gregory Emery
Alan Cooper wrote:
>
> >No Grumiaux/Markevitch?
>
> Too sweet and not edgy (neurotic?) enough. Beautifully played, of
> course.
>
And what's about Frank Peter Zimmermann/Gelmetti.
Greg
Alan Cooper
na...@alphalink.com.au
Gem...@sc2a.unige.ch wrote:
>
>
> Alan Cooper wrote:
>
> >
> > >No Grumiaux/Markevitch?
> >
> > Too sweet and not edgy (neurotic?) enough. Beautifully played, of
> > course.
> >
>
> And what's about Frank Peter Zimmermann/Gelmetti.
I happen to like this one a lot - as I do the Grumiaux - but it's not as if
I've heard dozens of performances of the piece.
Naun.
gggg gggg
> I just bought a cut-out of Paul Kletzki's Mahler Fourth, and it is
> everything it's advertised to be: fresh, spontaneous-sounding,
> delightful.
> Also on the collection was the Adagietto of Mahler 5, Schubert
> Rosamunde overture, some Rimsky-Korsakov and his Sibelius 2. These
> were all highly enjoyable.
> Kletzki had a way of getting inspired performances from his players,
> and I particularly like his gauging of crescendoes and climaxes. He
> really lets the orchestra have its way, but seems to know exactly when
> to do it. Really full-blooded orchestral sound. Played with feeling
> and sweep.
> interested in knowing more about the man and his career.
> Looking forward to the ensuing discussion . . .
> Richard Chon
"Great Conductors of the 20th Century (27): Paul Kletzki (21/03/1900 – 05/03/1973)"