A rediscovery of a conductor who nowadays is considered an insider’s tip: having fled fascism and Stalinism, Paul Kletzki arrived in Switzerland in 1939 and advanced to become one of the leading conductors after the Second World War. This Lucerne live recording shows Kletzki at the height of his art: exciting interpretations, characterised by expressiveness and a stupendous sense of musical architecture.more
A rediscovery of a conductor who nowadays is considered an insider’s tip: having fled fascism and Stalinism, Paul Kletzki arrived in Switzerland in 1939 and advanced to become one of the leading conductors after the Second World War. This Lucerne live recording shows Kletzki at the height of his art: exciting interpretations, characterised by expressiveness and a stupendous sense of musical architecture.
A rediscovery of a master: a leading podiumstar during his lifetime, Paul Kletzki, born Paweł Kleckiin the Polish city of Łódź on 21 March 1900, nowadays is considered an insider's tip amongconnoisseurs. Volume 9 in the LUCERNEFESTIVAL Historic Performances series presents a live recording from thesummer of 1946 as a first release. It shows Kletzki at the height of his art:on the podium of the Swiss Festival Orchestra he realises excitinginterpretations of Brahms' Fourth Symphony, Schubert's Unfinished and Beethoven's LeonoreOverture No 3 - expressive and with a stupendous sense of musicalarchitecture.
Paul Kletzki fled as many as threetotalitarian regimes - initially Nazi Germany, where he had established himselfas a composer and conductor since the 1920s, and where Wilhelm Furtwängler hadchampioned him; later on, Stalin's Soviet Union; and finally fascist Italy -before settling in Switzerland in 1939. Here, he became a regular guest at theInternationale Musikfestwochen Luzern, today's LUCERNE FESTIVAL, and began hisinternational career which led him to work with all the important orchestras,whilst he also became chief conductor of the symphony orchestras at Liverpool,Dallas, Bern, as well (as Ernest Ansermet's successor) as the Orchestre de laSuisse Romande. This live recording documents a charity concert which Kletzkiconducted following studio recordings made in Lucerne for EMI: the first ever recordingmade by a Swiss orchestra for the international record market. The Neue Zürcher Zeitung wrote aboutKletzki's performance that the "works [...] were interpreted with a brilliantperfection of intellectual excitement and spiritual fulfilment as it is to beexperienced only extremely rarely".
This live recording from 1946 is one of theoldest recordings in the audite catalogue. It is based on the originalrecording which was made using acetate discs, each with a duration of c.4minutes. Despite their old age and the particular technical challengespresented by the remastering process, Kletzki's impressive dynamics have beenfully preserved.
In cooperation with audite, LUCERNEFESTIVAL presents outstanding concert recordings of artists who have shaped thefestival throughout its history. The aim of this CD edition is to rediscovertreasures - most of which have not been released previously - from the firstsix decades of the festival, which was founded in 1938 with a special galaconcert conducted by Arturo Toscanini. These recordings have been madeavailable by the archives of SRF Swiss Radio and Television, which hasbroadcast the Lucerne concerts from the outset. Carefully re-mastered andsupplemented with photos and materials from the LUCERNE FESTIVAL archive, theyrepresent a sonic history of the festival.
Despite their old age and the particular technical challenges presented by the remastering process, Kletzki’s impressive dynamics have been fully preserved. Mehr lesen
L’orchestre montre parfois certaines fragilités (vents !), mais la tension imposée par le chef galvanise les musiciens. En conclusion, on tient un concert d’un grand intérêt au service de la mémoire d’un chef trop oublié. Le travail de remasterisation des bandes d’origine est exceptionnel en dépit des limites techniques inhérentes à l’âge de la captation.Mehr lesen
Schuberts Unvollendete und Beethovens dritte «Leonore-Ouvertüre», dokumentieren nicht weniger eindrücklich, auf welch hohem Niveau damals das Festspielorchester stand, auch wenn die Tonqualität deutlich historisch ist.Mehr lesen
This is a particularly interesting broadcast concert, recorded 7 September 1946 with an ad hoc orchestra which the Vienna-bound Walter Legge had justMehr lesen
Paul Kletzki was born in 1900 and died two weeks short of his 73rd birthday. A native of Poland, he moved to Germany in 1921 with the intention ofMehr lesen
The hand of the master is equally evident in Brahms’ Fourth, where he shapes the contours of the music to perfection, emphasizing both the architectural strength and the expressive beauty of this work. Mehr lesen
After the end of the Second World War, at a time when EMI’s Walter Legge was re-establishing continental European contacts, Paul Kletzki became aMehr lesen
An interesting Paul Kletzki release from Audite reproduces a 1946 concert performance of an interpretation that may be familiar to some readers as aMehr lesen
Es ist eine der spannendsten und zwingendsten Aufführungen der Vierten von Brahms, die ich je gehört habe, noch geballter und stringenter als die berühmten Referenzen von Klemperer und Toscanini. Vor allem in den beiden Ecksätzen kombiniert Kletzki strukturelle Dichte und emotionales Feuer zu gebündelten Energieschüben, die das späte Opus fast als Fanal jugendlicher Leidenschaft und so gar nicht als abgeklärtes Alterswerk erscheinen lassen.Mehr lesen
Der Schweizer Dirigent Paul Kletzki (1900-1973), ehemaliger Chefdirigent in Liverpool, Dallas, Bern und beim ‘Orchestre de la Suisse Romande’,Mehr lesen
De récentes publications remettent à l’honneur deux chefs nés auMehr lesen