Composer: Erich Kleiber
Works: Franz Schubert – Symphony No. 5 in B flat, D. 485; Ludwig van Beethoven – Symphony No. 6 in F, op. 68 – “Pastoral”; Wolfgang Amadeus Mozart – Symphony No. 40 in G minor, K. 550; Richard Strauss – Till Eulenspiegels lustige Streiche, op. 28; Antonín Dvořák – “Carnival” – Concert Overture, op. 92; Josef Strauss – Sphärenklänge, op. 235; Johann Strauss II – Der Zigeunerbaron: Overture; Du und Du, op. 367
Performers: Czech Philharmonic Orchestra; Sinfonieorchester des Norddeutschen Rundfunks; London Philharmonic Orchestra; Vienna Philharmonic Orchestra
Recording: Live performances from various venues, including Hamburg, Prague, London, and Vienna from 1929 to 1955
Label: EMI Classics
Erich Kleiber occupies a notable position in the pantheon of 20th-century conductors, often regarded as a pivotal figure who bridged the traditions of the Austro-German conducting style and the evolving sound of orchestral music. His interpretations, characterized by precision and clarity, are often scrutinized for their lack of emotional warmth, which can lead to debates regarding his status as one of the greats. This collection, “Great Conductors of the Twentieth Century 9: Erich Kleiber,” offers a varied selection of works that allows listeners to evaluate not just his technical prowess but also the interpretative choices that define his legacy.
The first disc opens with Schubert’s Symphony No. 5, a work that requires both vigor and delicacy. Kleiber’s interpretation is brisk, yet he skillfully avoids the common pitfall of sounding rushed. The orchestral execution, while not flawless, possesses a charming buoyancy that reflects the youthful spirit of the composition. Kleiber’s flexible phrasing in the first movement, which dances lightly upon the rhythm, contrasts with the more somber tonalities of the minor excursions, creating a nuanced palette. The Andante con moto is particularly striking, as Kleiber’s ability to shape the melodic lines with warmth and affection reveals an aspect of his artistry that transcends mere technicality.
The “Pastoral” Symphony by Beethoven, another highlight of this collection, showcases Kleiber’s deep understanding of the work’s narrative and emotional arc. While the first movement feels somewhat unsettled, it is in the subsequent movements where Kleiber truly shines. His meticulous attention to detail in the slow movement allows the orchestral textures to emerge with clarity, bringing to life the natural imagery inherent in Beethoven’s score. The storm sequence is a dramatic tour de force, marked by a ferocity that is both thrilling and illuminating. Here, the orchestra under Kleiber’s command does not simply produce sound; they narrate a story, with each dynamic fluctuation contributing to the overall drama.
A comparative analysis with other notable recordings reveals Kleiber’s unique interpretative voice. For instance, while many conductors might rush the final allegro of the “Pastoral,” Kleiber’s measured pacing leads the listener through a profound sense of serenity, culminating in a heartfelt hymn to nature. This instinct for pacing, however, is not always consistent; in his rendition of Mozart’s Symphony No. 40, recorded in 1949, there are moments where the energy feels somewhat restrained. The clarity of the recording contrasts sharply with the more muddled sound of the live performances, showcasing the advantages of studio recordings. Here, Kleiber’s approach is serious and compelling, but it lacks the vibrant engagement found in more emotionally resonant interpretations by conductors such as Bruno Walter.
The Strauss selections, particularly “Till Eulenspiegels lustige Streiche,” exhibit Kleiber’s capacity for both brilliance and tenderness. However, the recording quality of these tracks does detract from the overall impression. The lack of depth and presence undermines even the lively playing of the North-West German Radio Symphony Orchestra, leading to a performance that, while technically proficient, may not fully resonate with listeners accustomed to the lushness of the Czech Philharmonic’s sound in the “Pastoral.”
this collection serves as a testament to Kleiber’s artistry while also highlighting the limitations imposed by the sound quality of some recordings. While there are indeed moments of brilliance that affirm his greatness, the unevenness in emotional engagement and technical execution across the works presented may leave some listeners questioning whether he fully merits a place among the very greatest conductors. Those familiar with his operatic achievements, particularly in works like “Figaro” and “Rosenkavalier,” may find a more definitive expression of his interpretative genius than what this compilation offers. The set is a fine introduction to Kleiber’s style, though it invites further exploration into his more celebrated opera recordings to fully appreciate the depth of his contributions to the canon.
