As I say, he was working as a kind of vessel, an intermediary between whatever it is that makes this music what it is, putting his actual willpower in some kind of invisible energy. Because at the time a 16-mm film magazine could not film more than ten minutes in a row, we had installed a second camera with remote control in a small space high up against the ceiling to serve as substitute whenever the film magazine of the first camera had to be exchanged. His music reflected his bipolar personality: in Budapest (1948) he forced an impossibly fast tempo on his Don Giovanni for his champagne aria, in Sydney (1950) he conducted the fastest, in London (1971) the slowest Mahler Second Symphony of all time. Welcome to the website dedicated to one of the greatest conductors of all time: Otto Klemperer. Noch im gleichen Jahr emigrierte er in die USA, wo er Dirigent beim Los Angeles Philharmonic Orchestra wurde. His art had nothing in common with Furtwängler’s pathos or Walter’s sentimentalism. Kurt Weill – Kleine Dreigroschenmusik, Thanks for advice to: It was to create one of the richest episodes in British, if not European musical life. His mother was Lutheran. Dr. Philippe Olivier-Achard The two films on dvd, including the complete Klemperer The Last Concert on two cd’s ánd a 250 page book full of previously unreleased Klemperer material in a beautiful cardboard cover: buy it here. For the concert, I wasn’t even allowed to bring a camera into the Royal Festival Hall itself: I filmed everything through a small window in one of the side boxes. He had a younger sister named Lotte (1923–2003).His father was Jewish by birth; he converted to Catholicism but later returned to Judaism. Peter Heyworth (1921–1991) We mainly took out superfluous images and introduced more liberal pauses, so the film is largely identical with the 1984 version, but now enjoys the natural flow that had escaped me earlier. Klemperer would return the favour. In Philo Bregstein’s film Otto Klemperer’s Long Journey Through His Times-restored, re-edited and finally after 20 years available again-you can follow Germany’s trip to the United States, Klemperer’s back to Hungary, and finally to London. His Life and Times, Vol. Among his colleagues, he was considered the leading exponent of the “New Objectivity” movement. The Klemperer family emigrated to the United States in 1935, settling in Los Angeles, where Otto Klemp… 92 (Oxford) Gustav Mahler – Symphony No. In the same symphony, after a particularly rugged entry, Clark asked: “Dr. He died on July 6, 1973 in Zurich, Switzerland. Authenticity is further provided by the participation of several of Klemperer’s long-standing friends and close colleagues from the Weimar Republic years, foremost among them the philosopher Ernst Bloch, the composer Paul Dessau and the art historian and Kroll dramatist Hans Curjel. On first hearing of the introductory chorus one is struck by the basic tempo, which seems apathetically slow and lethargic. Bruckner’s Seventh was scheduled instead for January 1972. Klemperer is a German-language occupational surname literally meaning "tinker".It is suggested that in the case of the conductor's immediate family the original name was Klopper - one who knocks on doors to get people to go to Synagogue - and was later changed to the better sounding Klemperer which rhymes with Emperor. KLEMPERER THE LAST CONCERT: THE BACKGROUND STORY by Philo Bregstein. Sie entstand unter der Regie von Kai Wessel und Andreas Kleinert nach dem Drehbuch von Peter Steinbach. Bestuur Bert Hogenkamp (Voorzitter) René Mendel (Penningmeester) Philo Bregstein (Secretaris) Beleidsplan / Verslag uitgeoefende activiteiten 2018 Films explaining the fate of the German-Jewish conductor Otto Klemperer (1885-1973), one of the greatest conductors of all time. Gareth Morris (1920–2007) Rehearsal and Concert, London, 1971: ): Gespräche mit Klemperer. Even as a young man in his early 20s, he was beset by severe depression during his first engagement in Prague. As Klemperer’s star began to rise in the wake of his regular guest performances in Berlin, it was primarily due to his interpretations of Bach that he established himself as a modern antithesis to the conservative Wilhelm Furtwängler. Lotte Klemperer (1923–2003) Franz Beidler (1901–1981) Here the current managing director of the Philharmonia Orchestra, David Whelton, traces the main outlines of Klemperer’s turbulent career and recounts the eventful twenty year long history of the conductor’s intensive collaboration with the Phiharmonia, again highlighting Klemperer’s significance for a public unfamiliar with his name. ), https://de.wikipedia.org/w/index.php?title=Otto_Klemperer&oldid=205481650, Komponist klassischer Musik (20. Klemperer reduced the size of the orchestra to chamber music proportions, thus revealing the polyphonic interplay between the individual voices. The latter was the soloist for one of his piano concertos, conducted by Klemperer himself. Two years ago, after they had been hibernating for more than 25 years in the vaults of production companies, I finally had the chance to bring my Klemperer documentaries back to life. Charles Osborne: Otto Klemperer – Sagen Sie doch einfach Otto. At the instigation of Moscow, ballet performances began replacing opera, Klemperer was prevented from programming Schoenberg because his music did not respond to the ideology of Socialist Realism, and when he put on Mozart’s Don Giovanni he was officially attacked for staging a “feudal and immoral” work. Munich: Prestel-Verlag, 1975. Hans Curjel (1896–1974) Concert recordings from the Royal Albert Hall London, May / June 1970. At the Hungarian State Opera his demands were met unconditionally, resulting, here too, in legendary performances. Skizzen. Andante Depending on when they were born, they are clearly less influenced than their parents and grandparents were by the Germanic tradition represented by Herbert von Karajan, the American school of thought of Leopold Stokowski and Leonard Bernstein, the Russian expressiveness of Yevgeny Mravinsky and Gennady Rozhdestvensky, the Czech refinement of Václav Neumann or the French style incarnated by Pierre Monteux, Charles Munch and Paul Paray. However, over the years the focus of his interpretations shifted to the inner structure of the composition itself. Embedded in a landscape of European renown, full of natural beauty and of culture, our hotel has provided inspiration to many and continues to do so; prominent artists and intellectuals have been coming here since we first opened our doors. Klemperer, Otto, Klemperer on Music. Though Klemperer’s repertoire as a conductor barely contained any French music – aside from Auber’s Fra Diavolo, Bizet’s Carmen, Offenbach’s The Tales of Hoffmann and Darius Milhaud’s Le pauvre matelot – he had nonetheless orchestrated harpsichord pieces penned by Jean-Philippe Rameau. He concentrated primarily on the major classical composers and, working with the Philharmonia Orchestra in London (in 1964 reconstituted as the New Philharmonia), embarked on a series of studio recordings, many of which count as benchmark performances of the classical repertoire until today. What does keep coming through also here is the relentless nature of Klemperer’s creative will. Otto Klemperer (gebürtig Otto Nossan Klemperer; * 14. Obwohl Klemperer weniger als Komponist bekannt wurde, schrieb er doch eine Vielzahl eigener Werke, darunter sechs Sinfonien, eine Messe, neun Streichquartette, ungefähr hundert Lieder und eine Oper mit dem Titel Das Ziel. The thematic of Otto Klemperer’s Long Journey through his Times extends beyond the portrait of a great conductor. Mai Otto Klemperer: 80. © 2016 NEWLY REMASTERED BY WERNER UNGER / archiphon. Fleeing Hitler in 1933, he became a guest conductor on four continents over the next 30 years, despite suffering from a brain tumor and stroke at the height of his career. In this piece he managed to not only create a catchy theme, but to also provide this theme with a distinct counterpart, forming an inseparable unity. Hungarian composer and conductor, closely associated with Klemperer during his Budapest years; in 1954 appointed pedagogue, then musical director of the Budapest National Theatre. Beautifully documented with many details and archive material. Gesine Schröder: Bruckners Achte – Klemperer – Leichtentritt Typical also is a passage Klemperer wanted to be played with ‘half the strings’, which is not written in the score, but which allowed him to obtain a truly pianissimo violin sound. Ed. Otto Klemperer, one of the century's great masters of the German musical repertory, died Friday at his home in Zurich, according to wire services. Klemperers letzte Aufführung ging 1970 in der Londoner Royal Festival Hall an der Seite des New Philharmonia Orchestra über die Bühne. In spite of all that, even in these later years when, as Peter Beavan tells us, “during rehearsals we would sometimes wonder how the performance could possibly hold together, Klemperer would summon up incredible reserves of concentration and at the concert there would be once again the familiar feeling of power and overall command.” Antony Beaumont, who had joined the second violins for the concert as substitute player, gives a striking description towards the end of Last Concert (54:15): There was something – as I say, I can’t put it into words either – but there was something I never experienced with any other conductor at any other time, something that was telling me, and the whole orchestra, what he wanted. This is exemplified by his legendary recording of Johann Sebastian Bach’s St. Matthew Passion, which was made in 1960/61. Peter Heyworth nannte ihn deshalb in seiner späteren Biographie „Dirigent der Republik“. The ffilm opens with a depiction of cultural life in Germany at the beginning of the 20th century. In 1946, Klemperer returned to Europe for his first concert tour after the War, and the following year finally found permanent engagement again as musical director of the Hungarian State Opera House in Budapest. Few re-issues on DVD in recent years have given such cause for outright celebration as these two legendary films about Otto Klemperer (1885-1973) by Dutch filmmaker and author Philo Bregstein! Otto Ernst Heinrich Klemperer (1899–1987) was a physicist expert in electron optics.He was granted his doctorate by the Humboldt-Universität zu Berlin in 1923. 2 Cello of the Philharmonia Orchestra, London In his introducture notes to the Last Concert Philo Bregstein vividly describes how far from optimal the conditions were for his film team had to work with. 3 was filmed and edited with the help of OTTO FREUDENTHAL, personal and musical assistant to Otto Klemperer from 1961 until 1971 Excerpts taken from the film OTTO KLEMPERER IN REHEARSAL AND CONCERT 1971 were edited in 1974 by MICHÈLE MULLER, together with PHILO BREGSTEIN and OTTO FREUDENTHAL. As a classical music lover and amateur pianist, I had always been rather critical of the usual music films one sees on television. Klemperer delved into, among others, Ernst Bloch and Georg Simmel. When, against all warnings, he programmed Mahler’s Second Symphony with the New York Philharmonic in December 1935, the concerts were a success with the critics but proved a financial disaster for the orchestra’s management. Munich: Richard Boorberg Verlag GmbH & Co., 2012. 5.0 out of 5 stars OTTO KLEMPERER: Spellbinding Film Portrait of the Iconic Conductor's Life and Times. by Stephan Stompors; Berlin: Henschel Verlag, 1993 (German ed. His “odd” appearance after that was marked by the partial paralysis on the left side of his face and of his right arm the operation had left him with. And the musicologist Antony Beaumont, who recently produced a scholarly edition of a large selection of Klemperer’s letters in German, recounts how, as a young “telephone violinist”, he found himself playing under Klemperer for the only time in his life when he was asked to jump in for an indisposed member of the orchestra for both the dress rehearsal and what became Klemperer’s “Last Concert”. Too many close-ups of the musicians and sophisticated cinematic effects hamper one’s ability to stay focussed on the music. However, for the way it intruded upon his artistic credo Klemperer inevitably began to clash with the communist state repression that descended on Hungarian life. As long as one remains stuck on “early” Klemperer, one will fail to recognise what emerges as new in his “late” interpretations. In Philo Bregstein’s film Otto Klemperer’s Long Journey Through his Times – restored, re-edited and finally after 20 years available again – you can follow Klemperer from his trips to the United States and London and return to Hungary. “He let you play your instrument and produce sounds: he gave you time to play,” violinist Gillian Eastwood told Mike Ashman. This is one of the accusations made by critics who had either not listened closely enough, or who were unable to distinguish sentimentality from genuine feelings – and thus wrongly judged Klemperer’s music to be lacking in sensuality due to its lack of overt emotionality. Aufgrund seiner aufsehenerregenden Aufführungen in der Zeitspanne zwischen 1918 und 1933 erwarb sich Klemperer einen Ruf als einer der ganz großen Dirigenten des Deutschen Reichs. Thanks to the PURCELL SCHOOL FOR YOUNG MUSICIANS, Bushey, for the opportunity to film the interview with Vladimir Ashkenazy. német karmester és zeneszerző.A 20. század egyik legnagyobb karmesterének tartják. THANKS FOR THEIR AMICABLE HELP TO ALL PHOTOGRAPHERS AND ARCHIVES. Translation: Christopher Smith, OTTO KLEMPERER: DISCOGRAPHY by Werner Unger & Dick Bruggeman, OTTO KLEMPERER: BIBLIOGRAPHY by Dick Bruggeman. Klemperer, who knew both men personally, considered them the two peaks of twentieth-century music. Over the following years, the octogenarian would travel to Basel to observe conducting classes imparted by Boulez. London: Victor Gollancz, 1973; revised ed. Peter Beavan again: “Underlying it all was a foundation of rocklike rhythm and spiritual awareness that, for me at least, lifted a work such as Beethoven’s Missa Solemnis into a realm far beyond earthly music making.” Gareth Morris, principal flutist with the Philharmonia Orchestra from 1948 until 1972, recounting his first concert under Klemperer in 1949: “I felt at once I was in the presence of somebody supremely out of the ordinary who was lost in the music.
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