It has been a bit of a sentimental journey listening to Pristine Audio’s latest release. Thanks to a $20 gift certificate to The Wherehouse a friend gave me on my 18th birthday, these recordings, albeit in a now long out-of-print compilation from the defunct Pearl label, were my gateway to Willem Mengelberg and historical recordings about 20 years ago. What dazzled me then continues to now: The crisp, tart sound of the Concertgebouw Orchestra; and the marshalling of its musicians into feats of seemingly spontaneous virtuosity by their music director with the shock of red hair that matched his temper.

Of course, these recordings hardly need another recommendation. The just over 100 sides that Mengelberg and the Concertgebouw Orchestra cut with English Columbia represent some of the finest things ever preserved on records. Their glittering reading of the once popular Anacréon overture by Cherubini is a capsule demonstration of the best qualities of this artistic partnership: Vibrant tone color that is skillfully blended and offset as needed, flexibility of phrasing held together by steely ensemble unanimity; all of it embodying a belief in musical performance not as ossified ritual, but as a living act of the moment. Then there is their flashy strut through Beethoven’s “Turkish March” from The Ruins of Athens, which with its sly charm and play of color gives Sir Thomas Beecham a run for his money. Best of all, arguably, is the June 1929 recording of Liszt’s Les préludes, a swashbuckling symphonic drama in miniature approached by very few other conductors and surpassed by none.

Only the fallible (and cut) recordings of Mendelssohn and Berlioz stumble, but even giants must trip every now and again.

Some of this repertoire was re-recorded for Telefunken (or captured in live broadcasts) a few years later, but by then interpretive bloat and a perceptible drop in the orchestra’s near-superhuman standards crept in. It is in these recordings made between 1926 – 1931 where Mengelberg and the Concertgebouw can be heard at their staggering prewar peak; a partnership which combined interpretive verve, orchestral color, precision, and flexibility of response that was equaled perhaps only by Leopold Stokowski and the Philadelphia Orchestra.

The second volume of that aforementioned Pearl set had been fetching handsome sums on the second-hand market for years, which alone makes this new and inexpensive recompilation from Pristine something to celebrate. Better still, these discs now sound better than ever thanks to fresh transfers by Mark Obert-Thorn (who also transferred that earlier set, as well as selections of this material for Naxos Historical). Much has changed since the 1990s and that era’s preferences for taming as much as possible the inevitable “bacon fry” that 78 RPM records make as the needle drags through their shellac grooves. The unavoidable trade-offs, however, were often fuzzy sounding instrumental attacks, tubby bass, and a glassy treble. Some collectors continue to have their sleep disturbed by the horrific, chalky, over-CEDARed nightmares produced by the likes of Grammofono 2000 and Iron Needle (“Rusty Needle” would have been more fitting). These present transfers are discreetly noisier than their predecessors, but gain over them considerably in depth and presence.

Compare the opening attack of Mengelberg’s dramatic recording of Beethoven’s Coriolan with previous iterations. The articulative bite of the Dutch strings finally comes through with an arresting immediacy and sharpness, underlining the surface gloss with a sense of danger. Tuttis cut through, rather than thump; textures sound taut. Or listen to their joyous romp through Weber’s Euryanthe overture, a deceptively tricky score with overlapping and contrasting layers that shift with dizzying speed. For once, listeners hear the immaculately etched lines that Mengelberg (and Weber) surely intended, rather than runny pastels.

“I study the score daily and continue to discover new things,” Mengelberg once admonished his orchestra who was languishing under one of his infamously intensive rehearsals of a work they knew well. Garrulous though he may have been in life, these stunning series of recordings are a poignant testament to a time when the language of Bach, Beethoven, Weber, Mendelssohn, were a living lingua franca, not dusty relics codifying rituals in a dead language.

(A previous Pristine compilation of Mengelberg’s Tchaikovsky for Columbia and Odéon can be found here.)

Latest release from Pristine Audio: The first of a two-part compilation of maestro-auteur Willem Mengelberg and “his” Concertgebouw Orchestra’s recordings for Columbia.

Two of the most tempestuous decades of history, personal and global, had passed by the time Otto Klemperer returned to conduct the Philadelphia Orchestra in 1962. Militarism, World War II, and the resulting seismic political and cultural shifts had left the world vastly changed from the one that existed at the time of his previous visit in 1936, when he aspired to succeed Leopold Stokowski.

In 1939 Klemperer was diagnosed with a right-sided acoustic neuroma—a brain tumor the size of a small apple sitting upon the nerve that transmits hearing and balance. The operation to remove it was a success; recovery less so. He suffered a permanent facial droop on his right side, partial atrophy of his tongue, and a years long manic episode that exasperated his family and colleagues. Thomas Mann noted that he appeared “unbalanced,” “noisy,” and “rather terrible.” His behavior soon became too much to bear for the Los Angeles Philharmonic, whose board terminated his contract in 1941.

“In the following years things went very bad for us financially,” he recalled. “I conducted very, very little. No one invited me.”

His erratic conduct worsened to the degree that he was considered unemployable, at least in the United States. Disillusioned, he eagerly returned to Europe as soon as the war ended, settling on the Soviet side of the Iron Curtain in Hungary. His increasingly vociferous anti-Americanism stoked the suspicions of the FBI; his ironic skepticism of “socialist realism” irked Russian authorities.

Finally in 1951 he earned the international breakthrough he and his family had so dearly been seeking. At the second of that year’s Festival of Britain concerts in London, Walter Legge—EMI’s producer-generalissimo—heard Klemperer’s performance of the Mozart “Jupiter” from the wings of the Royal Albert Hall. The rest, as they say, is history.

Eleven years later, Klemperer made his final appearances stateside, now as a celebrated elder statesman of the baton. To Eugene Ormandy, whom he privately excoriated over his thwarted Philadelphia ambitions in 1936, he cordially wrote that he looked forward to his forthcoming engagement with his orchestra. They almost did not come to pass.

Trouble was afoot. After a consultation, his psychiatrist in his new home in Zurich recommended that Klemperer cancel the concerts—advice that was duly ignored. He was at the beginning of a depressive spell that influenced his decision-making. Most regrettable for posterity was the collapse of recording plans with the Philadelphia Orchestra for Columbia, which hinged on not upsetting EMI in England, to whom he was contracted. Despite his initial enthusiasm for the project, as well as the personal involvement of Ormandy in its negotiations, Klemperer refused to accommodate these conditions and revise his programs of Bach, Mozart, Beethoven, Schumann, and Brahms; he even scrapped plans to perform and record his own Symphony No. 2.

On the eve of his performances, Klemperer was suffering from an unusually bad case of stage fright. As soon as he arrived with his daughter Lotte in New York City, he sealed himself off in his rented room and refused all visitors, save for his son Werner and a select group of close friends. He experienced a precipitous drop in weight and persistent insomnia.

Nevertheless, Legge continued to believe that Klemperer’s circumstances were a “fortunate state of affairs [that] almost guaranteed him a triumph with the Philadelphia Orchestra.” This turned out to not quite be the case. As had occurred twenty-five years earlier, audiences thrilled to Klemperer, but American musical critics—still under the sway of Arturo Toscanini, who had only passed away five years before—remained dismissive.

“There has been in England recently the same excitement about Klemperer. . . as there used to be about Toscanini. . . This talk was contradicted by the performances I heard in Carnegie Hall. . . Klemperer’s disregard of Beethoven’s directions and character produced strange slow-motion performances,” opined B. H. Haggin, longtime keeper of the late Maestro’s flame, before adding with a palpable disapproving sneer that these “somnolent performances. . . excited the audience to cheers.”

Others were more circumspect, if still cool. “Tempi were a bit slower and a shade more deliberate than those to which audiences in this country are accustomed,” was the guarded appraisal of the Philadelphia Inquirer. “[His concerts] had the aura. . . of a religious rite,” said Eric Salzman of the New York Times. “The public was awe-struck, the critics mainly skeptical.”

Although his planned series of recordings for Columbia fell through, broadcasts of Klemperer’s final Philadelphia Orchestra engagements have survived, and in decent sound besides. Whatever reservations that critics of that time may have had are hard to discern now that the high tide of the Toscanini cult has ebbed. Far from being “somnolent,” Klemperer’s performances are muscular; drawing from Ormandy’s Philadelphians an uncharacteristically manly, craggy sound.

“A conductor must know how to hold attention,” Klemperer would muse near the end of his life. In these broadcasts he succeeds in that task, well after he and all those he loved in life have passed on into the eternity of history.

(This essay will be included as liner notes in a future Japanese release of Klemperer’s Philadelphia concerts.)

He did it his way: Otto Klemperer rehearsing the Philadelphia Orchestra, 1962.