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Johann Sebastian BACH (1685 - 1750) Bist du bei mir BWV 508, arr. Klemperer [3:28] (1)
Air from Suite no.3 BWV 1068 [6:24] (2)
Magnificat in D BWV 243 [29:16] (3)
Brandenburg Concerto no.5 in D BWV 1050 [20:42](4)
Anna Báthy (soprano) (3), Judit Sándor (soprano) (3), Magda Tiszay (contralto) (3), Lajos Somogyvári (tenor) (3), Grörgy Littasy (bass) (3), Oliver Nagy (continuo) (3), Sandor Margittay (organ) (3), Tibor Ney (violin) (4), János Szebenyi (flute) (4), Annie Fischer (piano) (4), Budapest Chorus (3), Los Angeles Philharmonic Orchestra (1, 2), Budapest Radio Symphony Orchestra (3, 4)/Otto Klemperer
rec. live, 11 February 1945 (1), 16 December 1945 (2), 13 January 1950 (3, 4), Los Angeles (1, 2), studios of Radio Budapest (3, 4)
GUILD GHCD 2360 [60:38]
Amidst a swathe of recent Klemperer releases — new and old,
studio and live — comes this rather tangential affair from Guild.
I say tangential, not because of any inherent peculiarity, or
irrelevance, but because the performances derive from rather
under-documented periods of Klemperer’s peripatetic life. These
are covered in the booklet notes, which are written by Claudio
von Foerster who also seems to have provided the master material,
though someone should surely have tidied up his approximate
We open in Los Angeles in 1945. Bist du bei mir is a
famous ‘non-Bach’ Bach piece, buried in Anna Magdalena Bach’s
Notebook. Klemperer has the strings of the local orchestra at
hand to present a languorous arrangement (his own) seemingly
out to out-Stoky Stokowski. Klemperer was on record as having
hugely admired the string tone Stokowski managed to produce
with the Philadelphia, so maybe it was his aim to attempt likewise.
What he can’t replicate however is Stokowski’s sense of vitality
and intensity in Bach, however it was achieved and despite the
liberties he took. By contrast the Air from the Third
Suite is an unmitigated mistake, taken at a terribly slow tempo,
lacking variety of articulation and any semblance of animation.
At this point we leave LA, and return to Europe for 1950 performances
from Budapest. A number of Hungarian live recordings have circulated
over recent years that do something to illustrate the breadth
of his performance life in the city. There’s a certain amount
of Wagner, for instance. Here there is more Bach and it does,
at least, consolidate the disc with stronger evidence of his
affinities with the composer — affinities that were later to
be explored more fully, and deeply, in London with the Philharmonia.
His tempos for the Magnificat in D are vigorous and sometimes
even bracing; similar to the kind of tempos Hermann Scherchen
was taking in Bach, but without quite Scherchen’s sense of purpose.
He has a rather uneven line up of solo vocalists and a rather
ragged chorus; also a piano continuo. It’s probably best to
concentrate the high points of the performance—which means glossing
something like the choral Fecit potentiam — and admire
instead the felicitous flautists, the laudable, if taxed tenor,
the decent sopranos and the neat bass. The Brandenburg Concerto
that follows is much better. The Budapest Radio Symphony Orchestra
is on good form; violinist Tibor Ney is only so-so for some
of the time, and his intonation comes under pressure. I wonder
if János Szebenyi was one of the flautists in the Magnificat.
I assume so; he’s very good, once again. The real star though
is Annie Fischer who plays beautifully, and commandingly, throughout.
There isn’t the sense of chamber intimacy in the central movement
that others have cultivated, but that’s probably not the intention.
What emerges is a good performance, well performed (mostly)
and very decently transferred.
I can’t say this is an especially compelling release for most
listeners. For Klemperer stalwarts it fills in geographical
and temporal gaps, perhaps, but on stylistic and interpretative
grounds needs to be approached with a degree of caution.
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