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Artist:CLICK RIGHT ARROW > FOR CONDITION,OTTO KLEMPERER,Berlin State Opera Orchestra
Format:Record
Material:Shellac
Genre:Classical,Opera
Record Label:Parlophone
Record Size:12″
Style:Allemande,Ballet,Cantata,Caprice,Ceremonial,Character Piece,Concerto,Educational,Elegy,Fanfare,Fantasia,Film Score/Soundtrack,France & Belgium,German music,Instrumental,Italian Music,Military Music,North American Music,Northern European music,Overture,Prelude,Rhapsody,Rondo,Russian Music,Serenade,Sinfonia,Swiss Music,Symphonic,Symphony,Western European Music
Speed:78 RPM
Release Title:FRA DIAVOLO OVERTURE
Catalog Number:P 9406,P.9406
Shipping: All items will be packed safely in a sturdy package for safe shipping.We ship internationally and offer combined shipping for multiple purchases. Expedited, Priority Mail and FedEx shipping available Once payment is received, we ship your item on the next business day.INTERNATIONAL BUYERS: Pls check the shipping tab. Ebay does not display cheapest shipping on top of the listing. Over 1000 Records available. If you plan to buy several records: Click the “ADD TO CART” button. Once you have selected all the records you want, go to Cart and check out. COMBINED SHIPPING will be applied automatically. If shipping seems high: In Cart click REQUEST TOTAL, and I will send you an invoice. A series of great Orchestra Records by great conductors on 78 rpm recordsClick on this link to see more great Conductors and Orchestral Records! OTTO KLEMPERER, Hans v Buelow pupil and famous hothead of the avantgarde at the Berlin Krolloper, here in his first recordings with the Berlin State Opera Otto Klemperer State Opera Orchestra, Berlin Auber: Fra Diavolo OvertureStaatskapelle BerlinOtto KlempererRecorded: 1929Recording Venue: Berlin, Germany Original Issue German Parlophon 12″ 78 rpm record Condition:EXCELLENT MINUS light rubs, 3 tiny 2mm scratches on 1, plays very quiet light hiss few ticks and pops on 1 A GREAT COPYOtto Klemperer (May 14, 1885 û July 6, 1973) was a German-born conductor and composer. He is widely regarded as one of the greatest conductors of the 20th century.[ BiographyKlemperer was born in Breslau, then in Prussia, now Wroclaw, Poland. He took United States citizenship in 1937 and Israeli citizenship in 1970. He was the father of Hogan’s Heroes actor Werner Klemperer and cousin to Victor Klemperer. Klemperer studied music first at the Hoch Conservatory in Frankfurt, and later in Berlin under Hans Pfitzner. In 1905 he met Gustav Mahler while conducting the off-stage brass at a performance of Mahler’s Symphony No. 2, ‘Resurrection’. The two became friends, and Klemperer became conductor at the German Opera in Prague in 1907 on Mahler’s recommendation. Mahler wrote a short testimonial, recommending Klemperer, on a small card which Klemperer kept for the rest of his life. Later, in 1910, Klemperer assisted Mahler in the premiere of his Symphony No. 8, Symphony of a Thousand. Klemperer went on to hold a number of conducting posts, in Hamburg (1910-1912); in Barmen (1912-1913); the Strasbourg Opera (1914-1917); the Cologne Opera (1917-1924); and the State Opera in Wiesbaden (1924-1927). From 1927 to 1931, he was conductor at the Kroll Opera in Berlin. In this post he enhanced his reputation as a champion of new music, playing a number of new works, including LeoÜ Janßcek’s From the House of the Dead, Arnold Sch÷nberg’s Erwartung, Igor Stravinsky’s Oedipus Rex, and Paul Hindemith’s Cardillac. In 1933, once the Nazi Party had reached power, Klemperer, who was Jewish, left Germany and moved to the United States. Klemperer had previously converted to Catholicism, but eventually returned to Judaism. In the U.S. he was appointed Music Director of the Los Angeles Philharmonic Orchestra; there, also, he began to concentrate more on the standard works of the Germanic repertoire that would later bring him greatest acclaim, particularly the works of Beethoven, Brahms and Mahler, though he gave the Los Angeles premieres some of fellow Los Angeles resident Arnold Schoenberg’s works with the Philharmonic. He also visited other countries, including England and Australia. While the orchestra responded well to his leadership, Klemperer had a difficult time adjusting to Southern California, a situation exacerbated by repeated manic-depressive episodes, reportedly as a result of severe cyclothymic bipolar disorder. Then, after completing the 1939 Los Angeles Philharmonic summer season at the Hollywood Bowl, Klemperer was visiting Boston and was incorrectly diagnosed with a brain tumor, and the subsequent brain surgery left him partially paralyzed. He went into a depressive state and was placed in institution; when he escaped, The New York Times ran a cover story declaring him missing, and after being found in New Jersey, a picture of him behind bars was printed in the Herald Tribune. Though he would occasionally conduct the Philharmonic after that, he lost the post of Music Director.[2] Furthermore, his erratic behavior during manic episodes made him an undesirable guest to US orchestras, and the late flowering of his career centered in other countries. Following the end of World War II, Klemperer returned to Continental Europe to work at the Budapest Opera (1947-1950). Finding Communist rule in Hungary increasingly irksome, he became an itinerant conductor, guest conducting the Montreal Symphony Orchestra, WDR Orchestra Koln, Concertgebouw Orchestra, and the Philharmonia of London. He settled in Switzerland and became the first principal conductor of the Philharmonia in 1959. He also worked at the Royal Opera House Covent Garden, sometimes stage-directing as well as conducting, as in a 1963 production of Richard Wagner’s Lohengrin. Klemperer is less well known as a composer, but he wrote a number of pieces, including six symphonies, a Mass, nine string quartets and the opera Das Ziel. He seldom performed any of these himself and they have been almost entirely forgotten since his death. A severe fall during a visit to Montreal forced Klemperer subsequently to conduct seated in a chair. A severe burning accident further paralyzed him; it was caused by his smoking in bed with a glass of whisky. Despite this, he continued conducting until his retirement in 1971. His career was turned around in 1954 by London-based producer Walter Legge, who recorded Klemperer in Beethoven, Brahms and much else with his hand-picked orchestra, the Philharmonia, for the premium EMI label. The tireless and unwavering support and assistance of Klemperer’s daughter Lotte was crucial to the maestro’s success. His son, Werner Klemperer, was an actor and became known for his portrayal of Colonel Klink on Hogan’s Heroes. Klemperer died in Znrich, Switzerland in 1973, aged 88, and was buried in the Israelitischer Friedhof-Oberer Friesenberg in that city. [edit] Klemperer’s EroicaMany listeners associate Klemperer with slow tempi, but recorded evidence now available on compact disc shows that in earlier years his tempi could be quite a bit faster; the late recordings give a misleading impression. For example, one of Klemperer’s most noted performances was of Beethoven’s Symphony No. 3, the Eroica. Eric Grunin’s Eroica Project contains tempo data on 363 recordings of the work from 1924-2007, and includes 10 by Klemperer – some recorded in the studio, most from broadcasts of live concerts. The earliest Klemperer performance on tape was recorded in concert in K÷ln in 1954 (when he was 69 years old); the last was in London with the New Philharmonia Orchestra in 1970 (when he was 85). The passing years show a clear trend with respect to tempo: as Klemperer aged, he took slower tempi. In 1954, his first movement lasts 15:18 from beginning to end; in 1970 it lasts 18:41. In 1954 the main tempo of the first movement was about 135 beats per minute, in 1970 it had slowed to about 110 beats per minute. In 1954, the Eroica second movement, “Funeral March” , had a timing of 14:35; in 1970, it had slowed to 18:51. Similar slowings took place in the other movements. Similar, if less extreme, reductions in tempos can be noted in many other works for which Klemperer left multiple recordings, at least in recordings from when he was in his late 70s and his 80s. For example: (a) the Symphony No. 38 (“Prague”) of Mozart, another Klemperer specialty. In his concert recording from December 1950 (when he was 65 years old) with the RIAS Berlin Orchestra the timings are I. 9:45 (with repeat timing omitted; the performance actually does take the repeat); II. 7:45; and III. 5.24. In his studio March, 1962 recording of the same work with the Philharmonia (recorded when he was 77 years old), the timings are notably slower: I. 10:53 (no repeat was taken); II. 8.58; III. 6:01. Unlike the late Eroica, the 1962 Prague is not notably slow; rather, the 1950 recording is much faster than most recordings of the work, even by “historically informed” conductors. (b) The Anton Bruckner Symphony no. 4 (Haas edition with emendations). A 1947 concert recording with Concertgebouw has timings of I. 14:03; II. 12:58; III. 10:11; and IV. 17.48. The studio recording with the Philharmonia from 1963 has timings of I. 16:09; II; 14:00; III. 11.48; IV. 19:01. Again, the 1963 is not a notably slow performance, but the 1947 was quick. Regardless of tempo, Klemperer’s performances often maintain great intensity. Eric Grunin, in a commentary on the “opinions” page of his Eroica Project, notes: “….The massiveness of the first movement of the Eroica is real, but is not its main claim on our attention. That honor goes to its astonishing story (structure), and what is to me most unique about Klemperer is that his understanding of the structure remains unchanged no matter what his tempo… ” More Great Records on sale right now: CLICK ON THIS LINK TO SEE MORE GREAT RECORDS CLICK ON THIS LINK TO SEE ALL ITEMS – VINTAGE BOOKS, VICTROLA and TURNTABLE ITEMS, CDs, Books and DVDs http://shop.ebay.com/carsten_sf/m.html ==== A Quick NOTE ON GRADING AND SHIPPING: As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS. If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING. Quick note on grading: The Grade (Excellent to Poor, I don’t give Mint) refers to the WEAR of the record. Any other defects are stated separately When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.”EXCEPTIONALLY QUIET” is close to noiseless, like a vinyl pressing.”VERY QUIET” is an above average quiet record for a given pressing.”Quiet” is a record that is a great example with some noise. These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment. Multiple item shipping: I am happy to combine items for shipment in one parcel. Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment. Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost. I charge actual postage plus a small handling fee for packing materials As always, I guarantee your satisfaction. If you don’t like the item, just return it, and I will refund the full purchase price. If you are in the San Francisco area, I welcome pick-up in person. I am very happy to ship records worldwide. Please use the EBAY shipping cost as a guideline. As always, I would appreciate any suggestions and corrections from you, pls contact me with any question. Thank you very much, and enjoy these great records!!! Powered by SixBit’s eCommerce Solution
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