Klemperer Beethoven ~ Symphonies: Any thoughts?

Dear Kuma

Klemperer was clear about it.

He called a stereo, "A fake," and in the same interview referred to splicing tape as a "Schwindle!"

When asked to play a few bars to cover a slip he would ask the orchestra to play the whole movement again!

He was one of the few conductors that even Walter Legge was diplomatic with!

Dear Siss,

It seems the technical note on the Studio Series stereo CD is actually at odds with the note in the CD set you have. I refrained from buying the mono CD and kept to the LPs for reasons of price!

ATB from George

Thank you for your replies!

Sounds like *Uncle Klemps* was with the Beatles. ( stereo haters )

Another vocal stereo hater was Glenn Gould.

as was Phil Spector 

Sister xx

That is because stereo is not about music, but only about hifi. My opinion only, but widely shared before stereo became the usual means of music recording.

A good mono will always have a better balance musically than two imperfectly balanced channels, even if mono gives no sense of directionality.

But if directionality was an important issue for great music then there would be big debates about the layout of orchestras. There is no such widespread debate!

ATB from George

There's a lot to be said for mono,

Sister xx

George,

I am not sure if there is a debate, but the layout of orchestra seems to be at conductor's discretion to get the best balance.

I've read that Reiner experimented a lot with placement of musicians at CSO. ( to accommodate a specific acoustics of the Orchestra Hall )

I think that the mono recordings get kicked around because there are many poorly recorded monos. But I agree particularly from the 50s, well recorded monos are marvelous.

Like this Telefunken reissue of '53 Decca mono recording.

I wish many of my RCA Toscanini monos from just a year earlier sound this good.

Dear Kuma,

Both Otto Klemperer and Boult kept to the Beethovenian layout with the first and second violins at the front on the left and right to make the balances better. but it had absolutely nothing to do with making a directional point, but rather to keep the double basses and cellos behind so as to keep the bright tones of the violins clear amid the middle and low voices of the orchestra.

It was Stokowsky in Philadelphia who pioneered the idea of the second violins being behind the firsts on the left to allow for better ensemble, but this always meant that the cello and basses were on the right, and led to an over-prominence of the bass-line, and a lot of recording people and audience rather liked an over prominent bass.

For some reason an over-prominent bass is regarded as being a good thing.

And as you know I ought to like the sound of the bass-line as I used and still occasionally do play the orchestral bass. But it should be clear and never drown everything else!

ATB from George

PS: I have those Decca recordings of Erich Kleiber: Eroica, Fifth, and Pastoral on extremely fine [full-priced] Decca CDs, and they are wonderful as performances, and well served by the engineers. Splendid in every way.

I am not familliar with his 5th with Philly but I've yet to figure out Stokowski's work.

I sort of put him in the same basket as Ormandy musically but married rather well.

But at age 86, he's tack SHARP!

Got lucky and picked up the original Columbia 33CX pressing ( altho this one is made in Neatherland not UK ).

So far this original mono vinyl is the best souding Klemperer's Eroica by a wide margin.

Great find Kuma. I am sure George would be very keen to hear further impressions.