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48 of 53 people found the following review helpful
5.0 out of 5 stars A truly Great Recording of the XX. Century
If a recording truly does honour to EMI's "Great Recordings of the Century" collection it is certainly this one. Although not made without problems --Walter Legge's original Philharmonia Orchestra started to fall appart in mid-recording and so a portion of the work was actually played by what came to be known for over a decade as the "New Philharmonia" orchestra, a fact...
Published on 27 Jun 2003 by Plaza Marcelino

versus
2.0 out of 5 stars Off the mark even in 1962, remorselessly repackaged and overhyped since, get it for Klemperer's understanding of this work
The early primitive multi tracking (bouncing down tracks from several four track machines into one two track master, utilising a maximum of 12 tracks) sounds distinctly hand made and crude, while the melodramatic stereo effects come straight from Capitol's Full Dimensional Sound (FDS) bag of tricks where the strings seem to be disembodied from the rest of the orchestra,...
Published 1 month ago by david


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48 of 53 people found the following review helpful
5.0 out of 5 stars A truly Great Recording of the XX. Century, 27 Jun 2003
By 
Plaza Marcelino (Caracas Venezuela) - See all my reviews
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This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
If a recording truly does honour to EMI's "Great Recordings of the Century" collection it is certainly this one. Although not made without problems --Walter Legge's original Philharmonia Orchestra started to fall appart in mid-recording and so a portion of the work was actually played by what came to be known for over a decade as the "New Philharmonia" orchestra, a fact that was noticeable in the original LP album labels but apparently forgotten in subsequent re-issues-- their effect --if any-- are unpercievable, such is the degree of concentration in spite of the interruptions in the recording process represented by the orchestra's disputes with their founder. Who knows, perhaps because of that the recording came out so perfectly done, as if the musicians were thinking to teach Legge a lesson in that this would embody the perfect legacy of one of the best orchestral ensembles ever assembled in London, of whose permanence in time no one was sure at he time (the orchestra survived, as we now know, and always among the top London orchestras, first as the "New Philharmonia" and from the end of the 70's on again with their original name, but not with that golden qualities of the late 50's and early 60's). The Klemperer way with the work is, as is to be expected, severe, objective and very much to the point, his concern for clarity of articulation (derived from coaxing clarity from the players themselves and not the result of engineering trickery) yielding miracles in our understanding of the inner construction of the piece, a "modernistic" Mahler 180 removed from more expressive conductors (more on this later), his habitual orchestral seating arrangement an additional bonus (violins split left and right of the conductor, horns and related family back left, trumpets and trombones back right). The much-lamented Fritz Wunderlich proves an ideal and wise choice, and Ludwig rose magnificently to the ocasion in spite of her reputed dislike of, or indifference with, the results (she is reported to prefer her remake of some years later with Bernstein and the Israel Philharmonic). A work like this deserves to be considered from more than a single point of view, though. This Klemperer recording is magnificent, mind you, and in no way will you go wrong if you purchase it, but I'd recommend to any person interested in this odd mixture of a symphony and a song cycle to also try another view, one that exploits its many emotional facets. Walter's readings provide an interesting alternative to Klemperer's severity (either the 1952 mono Decca made in Vienna or the stereo CBS made in New York City with a top-form NY Philharmonic, both with a fabulous singer -Ferrier in Vienna, Haefliger in NY- and a so-so one), but if you want to go the full monty buy the Decca Bernstein, made in Vienna in 1966 with James King and Dietrich Fischer-Dieskau essaying the male voice alternative to the alto voice. The depths achieved by Bernstein and Fischer-Dieskau in "Der Abschied" get as close to the bare bones of the true soul of this work as no other recording I know of, legal or pirate. Bernstein can go into excesses alright, but in the end and in its very own way, isn't this about excess? So my final recommendation: buy both, as in their peculiar ways they belong inextricably with each other.
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17 of 19 people found the following review helpful
5.0 out of 5 stars Two great recordings!, 26 May 2006
By 
Keith Mitchell "keith9452" (Wiltshire, England) - See all my reviews
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This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
Yes - two! Wunderlich with the Philharmonia in Kingsway Hall, and Ludwig with New Philharmonia in Abbey Road, 29 months later. But you'd never know. Sound quality is excellent, although Wunderlich is somewhat forward. Wonderful singing and evocative, haunting playing. Simply the best...
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36 of 42 people found the following review helpful
5.0 out of 5 stars A Great Recording of the 20th-Century, 16 Oct 2001
This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
This excellent recording of Gustav Mahler's Das Lied von der Erde was released in 1998 by EMI in the Great Recordings of the Century series: its place as one of the great recordings of the 20th Century is well-deserved.
Gustav Mahler (1860 - 1911) called Das Lied von der Erde (1907- 1909) as his most personal composition. It compiles six songs to poems from Hans Bethge's Die Chinesische Flöte (The Chinese Flute). The songs are sung alternately by the mezzo-soprano and the tenor.
This large orchestral song cycle was recorded in the early 1960s by internationally reknowed artists: Christa Ludwig (Mezzo-Soprano), Fritz Wunderlich (Tenor), the Philharmonia Orchestra conducted by Otto Klemperer. The remastering by EMI is remarkable and therefore the sound quality equals any contemporary recording.
Musically, particularly the interpretation of both singers is outstanding, with a very clear German diction and a sensitive vocal expression. This recording was done when Fritz Wunderlich's international career reached its climax, having built a reputation as singer of Lieder and interpretations of roles in Mozart operas. This recording adds perfectly in the collection for Wunderlich-lovers, whose career was cut short by a tragic fatal accident in 1966.
The balance between orchestra and the soloists is another point of excellence in this recording. Otto Klemperer, who reached the height of his conducting career, leads the orchestra well-balanced and with a transparent sound-layer as an ideal accompanying "instrument". Nevertheless, all the orchestral nuances are brought out support all heights and lows of emotions, expressed by the singers. It should be added that Klemperer had recorded this work twice; this recording was made after his legendary Beethoven cycle (1957 - 1959) with the same orchestra.
This recoding is definitely one of the best recordings available on CD, and reasonably priced.
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2 of 2 people found the following review helpful
4.0 out of 5 stars A solid classic - highly recommendable, 8 Jan 2012
This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
There are many fine recordings of Das Lied von der Erde out there, but only several truly special ones. You will often find that a recording will have much going for it, only to be spoiled by a weak link in the chain - perhaps one of the soloists not being on quite the same high level as the other, or indeed an orchestra that plays on automatic pilot instead of getting inside the music. No such reservations here however. Klemperer, with his unrivaled experience as a Mahler conductor, conveys an impression of solidity, utter conviction and guides the listener through the work by revealing many instrumental details that are often missing in other accounts. The Philharmonia play with a rich, warm sound - those famous strings sounding positively Germanic - and the woodwind playing with an impressive palate of colours.

The orchestra launches into the opening song with enormous vitality and weight (the listener is in no doubt that this is a drinking song!). Both Fritz Wunderlich and the Philharmonia convey the delirious state in such an impressive manner - the conception here is extremely solid and technically flawless. Wunderlich is magisterial in this demanding part, especially when it comes to the frenzied climax describing the howling ape!

When we come to Der Einsame im Herbst, the mood and atmosphere has altered completely - here we enter a sombre, autumnal world of half-light and loneliness. Ludwig is masterful at communicating this sense of longing and weariness, her rich voice comes across with an intelligent sense of phrasing and great attention to the word setting. Klemperer paces this song very well indeed (perhaps a touch slower than you normally hear) but there is a constant pulse which runs through it and never flags. Perhaps the only thing I would wish for is a sound from the oboe and strings which is a bit more ethereal - in his attempt to convey the structure of the music so well Klemperer tends to paint in pastel colours, meaning that occasionally you might lose some mystery which you find in other recordings.

Now when we come to the 3rd, 4th and 5th songs, Klemperer's choice of pacing is the one element that might put some people off. In Von der Jugend, instead of skipping along with the lightest touch (like you normally hear), Klemperer holds back a bit and injects more poise and space into the music. Wunderlich of course adapts to this approach extremely well - the one advantage being that you can hear the words more clearly - but for some it might just be a bit too deliberate. However, in the fourth song Klemperer is magnificent in the delicate and sweet outer sections, the mood is caught to perfection and Ludwig is completely at ease. One might wish for a bit more abandon in the central galloping section, but Klemperer's more considered approach does pay dividends.

Wunderlich is in his element again as the Drunkard in Spring, swaying to and fro with the orchestra - they really are connected so well here. The various colours and dynamic nuances are brought out particularly well by the Philharmonia strings.

Finally we come to Der Abschied. Here we can fully appreciate the fantastic quality of the recording - the bass rumblings and delicate wind orchestration is caught in great sound, you can really hear all the details. Christa Ludwig is even better in this final song than in the previous ones, moving from distant introspection at the opening to the final passionate farewell with consummate ease. The one thing I love about Klemperer's conception of this final song is that when we reach 'Die liebe Erde' there is a huge release of energy as though everything has suddenly moved onto another, higher plane - not the slow, meditative conclusion you often hear - but one of ecstatic rapture.

So why only 4 stars I hear you ask? Well, if I could I would give it 4 and a half stars. It is without doubt one of the finest accounts of Mahler's Das lied on record - there is no weak link in the line-up at all. We have two top-flight singers, a fantastic orchestra and a master craftsman at the helm. Yet for all that, it will not be to everybody's taste. For some listeners Klemperer's more stately approach in the inner songs might prove too much and that's perfectly understandable. For those who wish to hear a recording of Das Lied with more mystery (and a lighter-handed approach in the middle songs) I would perhaps turn to recordings by Bruno Walter, Horenstein, Kubelik or Haitink. Of course one can never have too many interpretations to savour and I would not be without Klemperer's recording for the world.
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2.0 out of 5 stars Off the mark even in 1962, remorselessly repackaged and overhyped since, get it for Klemperer's understanding of this work, 9 Aug 2014
This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
The early primitive multi tracking (bouncing down tracks from several four track machines into one two track master, utilising a maximum of 12 tracks) sounds distinctly hand made and crude, while the melodramatic stereo effects come straight from Capitol's Full Dimensional Sound (FDS) bag of tricks where the strings seem to be disembodied from the rest of the orchestra, and no clear three dimensional space is recreated. The sound is very similar to early binaural recordings using a single twin capsule microphone suspended over the centre of the orchestra but with extra dubbing as indicated. It is phoney - not true stereo.

Given this was one of the last recordings the great Walter Legge - discriminating and sensitive himself - had a hand in prior to his abrupt resignation from a record label managed by successive generations of public school boy, musically dead philistines on the Board of Directors... his philosophy of seeking the utmost realism in his recordings using a natural sounding stereo seems to have been completely abandoned at some stage in this project. Indeed a "make do and mend" attitude prevailed in order to get the recording completed.

One of the causes was the protracted turmoils and events in the background which led to a disjointed recording sessions. But beneath these symptoms lay the all too familiar story of a branch of British manufacturing failing miserably in the 1950s and 1960s to modernise and invest or lift its game to the level of its international competitors.

The advent of stereo disc cutting in 1956 patented by Bell and Westrex in the USA, completely cut the ground beneath EMI's tentative patents of the basic concept, developed by their inhouse engineer Blumlein in the 1930s. Similarly, Blumlein's theoretical papers and demonstrations of stereo at that time could not be advanced due to failures in the recording technology in both the UK and the USA. In effect, two separate recordings had to be made in order to convey the illusion of binaural sound with obvious problems of synchronising the two machines. EMI and the BBC were still recording on metal wire and solid steel strips, while Neumann and Siemens in Germany were developing high fidelity recording on magnetic tape with extended frequency response. When these ex-Nazi machines fell into the hands of the allies in 1944, EMI copied the German technology and rebadged them as BTRs - British Tape Recorders! In the USA, Ampex developed the German decks into 2 track and for professional use 3 track stereo tape recorders.

Similarly, EMI continued its inhouse development of its own electronics and mixing decks - mostly to avoid paying licences and royalties on foreign equipment, but also to bolster its own hardware business - in complete isolation from best practice in the rest of the world which were utilising the latest German microphones, amplifiers and basing their studio recordings on the onward march of technological advances in Hollywood and the movies where the real advances in stereo and multi channel sound were being made. The result was that a recording such as this Das Lied for the time it was produced - when companies such as Westminster, Mercury, Everest, to name just a few, were turning out demonstration quality discs and had been since 1958 - was off the pace.

Today, record collectors who can see beyond its sheer sentimental value, part of which is in being led by the great father figure of Klemperer (the nearest thing to Sir Edward Elgar who actually christened Abbey Road with its first recording the public could get in the 1950s) this recording is based on sound values that are backward and quaint. The high level of distortion on certain instruments in the critical middle or voice frequencies to which the ear is most sensitive is excruciating. I noticed the ART re-mastering has skillfully reduced this problem by digital means. But EMI has been remorselessly repackaging this product for years ad nauseum.

Anybody who takes issue with my comments and assessment of the EMI company that produced this record, offering a flabby exaggerated sound instead of clarity and a clear aural space, need to reflect on where EMI is NOW - basically a minor operation with a catalogue which is a wasting asset. And a huge legal department intent on stripping the last ounce of royalty payments and copyright protection from that wasting asset in order to refund the hedge fund buyout. The present company has no creative impact upon the current music industry but seeks only to apply ever more draconian penalties against downloaders and internet "piracy" and to make the sharing of music between individuals (part of growing up and society for generations) by digital serialisation and anti-copying codes illegal and prohibited. EMI and its bankers are in the vanguard of legal attempts to ring fence their "property" by criminalising sharing and to shore up the balance sheet by extending their copyrights by a further 50 years. When all purchased music does become digital via the internet - as is imminent - dinosaurs such as EMI will be able to control use of their catalogue down to the point where purchases will be time limited. In effect your purchase will be a rental with strict conditions you cannot share it with anybody else or even make a single copy. This is not entirely the fault of EMI, the whole conglomerate music industry is behind it, along with point of sale vendors such as Amazon Digital and iTunes, but certainly EMI by instinct and preference are shrill in their support. These qualities were detectable in the company in the 50s and 60s.

Thus EMI mindset in 1962 and its long cruise to oblivion on the back of the Beatles - plus this substandard engineering courtesy of Douglas Larter - he of the 1940s mono years - with inhouse equipment designed to avoid paying royalties to other companies - is stamped all over this recording. They features to be derided and evaluated for what they are - cheapskate, insular and thoroughly regressive - not celebrated and raved over such as in the numerous five star reviews of this recording. I am astounded how easily led some listeners are. Of course we all cherish our early vinyl collection and leap for joy when it is reincarnated in another format - but really - this recording is no where near as good as the consensus makes out. More discernment is required.

Any objective review can only give Klemperer's Das Lied for sound quality 2 or at most 3 out of 10. What gives it a (3) I suggest is its sheer quaintness.

What of the conducting itself? Klemperer's almost unique understanding of the form and structure of this work enables it to materialise, like no other version, as symphonic music with voices. There is an inevitability in the way he shapes passages and whole sections. His tempi are perfect. The Philharmonia, or whatever, play like angels for him...sure there are plenty of orchestras on different records which do as much - even better, listen to the oboist in the Scottish National Orchestra for Alexander Gibson compared with this - but overall everything sounds right for Klemperer. Experience, wisdom, an internal clock and tremendous discipline and temperament must give the conducting on this record 9 out of 10.

Which is why - in relation to Fritz Wunderlich's contribution - Klemperer's dictum to Fischer Dieskau in the Brahms Requiem "You give too much." there is a deep irony. Never in my view has a tenor given so much but achieved so little in this work. You can take the boy out of the operetta but you can't take the operetta out of the boy. Those familiar with his work in this vsriety and his rendition of "Granada" will understand when at times I expected a line from " O sole mio" to be interpolated into Mahler's text. Such was the similarity in delivery. I am not arguing about his great voice. That is irrelevant. The vocal endowment is a starting point, but what we have here is highly mannered Italianate singing where every syllable and consonant is given undue emphasis that on repeated listenings becomes obstructive of the melodic line and meaning. Wunderlich had a beautiful flexible voice, he could sing: but he was not a great communicator. His last, tragically, lieder recitals did see some progress in the area of interpretation and depth...but the singing on this recording is a long way off. Nevertheless, there are still moments when the sun breaks through: "Das Firmament blaut ewig, und die Erde..." is an all too isolated example of where Wunderlich gets everything right - and gives us a glimpse of what might have been if he had been given the chance to re-record this work at a later stage. We will never know. Tenor, 5 out of 10.

Christa Ludwig has a vocal range and a technique that can accommodate Mahler's music. Her performances as here are remarkable for evenness of tone, ability to open up from the quietest pianissimo to the loudest forte and vice versa, and being able to hold a note. But she is not the most expressive of singers. There are long periods when she seems to be singing on auto pilot the voice having little or no connection with the brain. There is none of the sharply intelligent inflection or intuition that Anna Reynolds brings to her performance under Krips, or the searching deeply involved singing of her Berlin compatriot Fischer Dieskau. One could not call Ludwig's performance bland. It is vocally too powerful for that. But there is a significant lack. Also in the quieter sections, especially in Im Herbst (which has a completely different voice and sound stage quality from Der Abschied due to the prolonged disjointed recording dates) Ludwig has a breathiness to her singing which is distracting and annoying. Mezzo: 5/10

So overall, better, due to Klemperer, than the other EMI traversals, namely Kletzki (a throwaway contract fulfilment job, DFD hopelessly too young, Dickie completely submerged, and Kletzki severely under recorded) and Gibson (only serviceable conducting, but very good singing by Mitchinson - better than Wunderlich - though Hodgson less vocally secure than Ludwig) and relentlessly over hyped and repackaged for copyright by the mother load.

And why did Klemperer sign up to EMI. On the legal side, the Directors were already setting out their table by offering substantially higher royalties over longer periods of time than any other record companies. For musicians like Klemperer where their savings had been wiped out and income had fallen to zero after the war, this prospect was irresistable. Elevated very rapidly to cult status Klemperer gave us magnificent if old fashioned sounding recordings of Wagner, Beethoven and Brahms and others, produced by the same team. It is a shame EMI did not invest similarly in the technological side of their business at the time. But then....that's the story of British Leyland too, the British domestic audio and electronics industry....

Therefore I find this recording very much indicative, a snapshot, of a certain time in British postwar manufacturing history. It has some fine aspects and beautiful moments, but overall it is a sad reflection on one particular part of this country's postwar managed decline.
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3 of 4 people found the following review helpful
5.0 out of 5 stars Doubt If You Hear Anything Better Than This!, 13 Nov 2010
By 
E. A. Redfearn "eredfearn2" (Middlesbrough) - See all my reviews
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This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
Although I have been a great admirer of Mahler's music since I first heard Bernstein's CBS Recordings of his symphonies during the 1960s, I was never a fan of this work even though I had a LP of Fritz Reiner's recording with the Chicago Symphony; Maureen Forrester and Richard Lewis being the soloists. This was released in 1969 on the RCA Victrola label. Consequently, I rarely played it despite the fact that it is an excellent recording with fine performances. To this day, I regret ignoring this work, and since my musical tastes have matured over the years, I have now come to realise that "Das Lied von der Erde" is indeed a masterpiece.

Mahler composed this work after suffering a period of profound depression when he was diagnosed with a heart defect. Fearing that his life was coming to an end, he composed some of his most profoundly moving and emotional music, as his final testament by composing the 9th Symphony, Das Lied von der Erde and the unfinished 10th symphony between the years 1908 and his death in 1911.

Although Das Lied has been recorded many times over the years, with some fine performances and recordings being available, this version here must be considered as ONE of the finest ever. Otto Klemperer maintains a wonderful tempi throughout, with some fine singing from both tenor and soprano. I particularly like the sound balance too, although in some of the quieter moments, I did turn up the volume a little, particular during the Abschied movement which contains some of Mahler's finest music.

I am sure that many Mahlerians will have their own particular recordings of this sublime work, but I am also sure that they will have a copy of this recording too. A fine recording.
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5.0 out of 5 stars A most beautiful CD, 12 July 2014
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This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
A absolutely beautiful CD, both voices are a joy to listen to.I am usually not a fan of Lieder, but this is just something so wonderful and I listen to them over and over again. Klemperer and his orchestra play with such sensitivity ...I can't stress enough how much joy this CD has given me.
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5.0 out of 5 stars Marvelous Mahler, 21 Jun 2014
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This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
It was with some trepidation that I approached this CD after an absence of 30 years when I had it on vinyl last.As it turns out I need not have worried. I purchased the disc as I read that EMI had remastered the original tapes so I wondered what it would sound like.
Would Wunderlich still be as clear and melodious , would Ludwig sill retain that spine tingling tone in her lower register and would Klemperer's magic still be there in his dealings with the orchestra. As i do all my listening with headphones now I had prepared myself for some differences with my listening experience.The first thing I noticed on playing was how clean it was, on the first song
his voice was like cut crystal and the CD became involving from that song onwards.My one niggle up until I came to the last song was a lack of very deep bass, or was I just becoming confused as the last time I had listened to it was in a warm analogue glow through massive monitors ? By der Abscheid Ludwig's glorious lower register and Mahler took over and it became one of my most
rewarding experiences on CD. You must do yourself a favour and buy this CD for yourself. You will be rewarded with one of the greatest Mahler collaborations of last century. When first playing the disc be prepared for your tear ducts leaking as Ludwig sings the last farewells though. This is a marvelous recording very well remastered.
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5.0 out of 5 stars Brilliant, 1 July 2012
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This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
This is a very good recording. The artists are as one would expect are first class. If Mahler is a favourite composer, this should be in your record library
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5 of 7 people found the following review helpful
4.0 out of 5 stars Great recording indeed, but..., 8 Dec 2008
By 
Scriabinmahler (UK) - See all my reviews
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This review is from: Mahler: Das Lied Von Der Erde - Ludwig, Wunderlich, Klemperer (Audio CD)
In my search for great recordings of Das Lied, I've long avoided this one because I knew critics and listeners alike praise it to the skys. That means it stays in print for long time, and meanwhile I could search for more elusive great recordings. I've come across many sublime recordings on the way - Ormandy, Reiner, Tennstedt, Kubelik (live version), Karajan, Horenstein, Giulini...

And now when I finally listened to the celebrated Klemperer/Ludwig recording, I was very impressed by the vivid and beautifully sculpted reading by Klemperer and by Ludwig's outstanding singing, but I was not as moved as some of the above accounts. Great recording as it may be, Klemperer's account lacks something more which takes the music on a higher realm. Personally, I think Reiner, Ormandy, Horenstein, Tennstedt, and Kubelik's live recording have that transcendental quality.
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