Klaus Tennstedt – The Great EMI Recordings (14 CD box set, APE)

Conductor: Klaus Tennstedt
Audio CD
Number of Discs: 14 CD box set
Format: APE (image+cue)
Label: EMI Classics
Size: 3.77 GB
Recovery: +3%
Scan: no

Disc 01
01. I. Allegro con brio. – Symphony No. 3 in E flat, ‘Eroica’ Op.55
02. II. Marcia funebre (Adagio assai). – Symphony No. 3 in E flat, ‘Eroica’ Op.55
03. III. Scherzo (Allegro vivace). – Symphony No. 3 in E flat, ‘Eroica’ Op.55
04. IV. Allegro molto – Poco andante – Presto. – Symphony No. 3 in E flat, ‘Eroica’ Op.55
05. Overture. – Der Geschöpfe des Prometheus Op. 43
06. Coriolan – Overture Op. 62
07. Overture. – Egmont Op. 84

Disc 02
01. I. Allegro ma non troppo (Awakening of cheerful feelings on arriving in the country). – Symphony No. 6 in F Op. 68, ‘Pastoral’
02. II. Andante molto moto (Scene by the brook). – Symphony No. 6 in F Op. 68, ‘Pastoral’
03. III. Allegro (Merry gathering of the country folk) -. – Symphony No. 6 in F Op. 68, ‘Pastoral’
04. IV. Allegro (Storm and tempest) -. – Symphony No. 6 in F Op. 68, ‘Pastoral’
05. V. Allegretto (Shepherds’ Song. Happy and thankful feelings after the storm). – Symphony No. 6 in F Op. 68, ‘Pastoral’
06. I. Allegro vivace e con brio. – Symphony No. 8 in F Op. 93
07. II. Allegretto scherzando. – Symphony No. 8 in F Op. 93
08. III. Tempo di menuetto. – Symphony No. 8 in F Op. 93
09. IV. Allegro vivace. – Symphony No. 8 in F Op. 93
10. Fidelio – Overture

Disc 03
01. I. Un poco sostenuto – Allegro. – Symphony No. 1 in C minor Op. 68
02. II. Andante sostenuto. – Symphony No. 1 in C minor Op. 68
03. III. Un poco allegretto e grazioso. – Symphony No. 1 in C minor Op. 68
04. IV. Adagio – Allegro non troppo ma con brio. – Symphony No. 1 in C minor Op. 68
05. I. Selig sind, die da Leid tragen (Zemlich langsam). – Ein deutsches Requiem Op. 45
06. II. Denn alles Fleisch es ist wie Gras (Langsam, marschmässig). – Ein deutsches Requiem Op. 45

Disc 04
01. III. Herr, lehre doch mich (Andante moderato). – Ein deutsches Requiem Op. 45
02. IV. Wie lieblich sind deine Wohnungen (Mässig bewegt). – Ein deutsches Requiem Op. 45
03. V. Ihr habt nun Traurigkeit (Langsam). – Ein deutsches Requiem Op. 45
04. VI. Denn wir haben hie keine bleibende Statt (Andante). – Ein deutsches Requiem Op. 45
05. VII. Selig sind die Toten (Feierlich). – Ein deutsches Requiem Op. 45
06. Schicksalslied Op. 54

Disc 05
01. I. Bewegt, nicht zu schnell. – Symphony No. 4 in E flat ‘Romantic’
02. II. Andante quasi allegretto. – Symphony No. 4 in E flat ‘Romantic’
03. III. Scherzo (Bewegt) & Trio (Nicht zu schnell). – Symphony No. 4 in E flat ‘Romantic’
04. IV. Finale (Bewegt, doch nicht zu schnell). – Symphony No. 4 in E flat ‘Romantic’

Disc 06
01. I. Allegro moderato. – Symphony No. 8 in C minor (ed. Nowak)
02. II. Scherzo (Allegro moderato) & Trio (Langsam). – Symphony No. 8 in C minor (ed. Nowak)
03. III. Adagio (Feierlich langsam, doch nicht schleppend). – Symphony No. 8 in C minor (ed. Nowak)
04. IV. Finale (Feierlich, nicht schnell). – Symphony No. 8 in C minor (ed. Nowak)

Disc 07
01. I. Langsam. Schleppend – Immer sehr gemächlich. – Symphony No. 1 in D
02. II. (Scherzo) Kräftig bewegt, doch nicht zu schnell – Trio. Recht gemächlich. – Symphony No. 1 in D
03. III. Feierlich und gemessen, ohne zu schleppen – Sehr einfach und schlicht wie eine Volksweise – Wieder etwas bewegter, wie im Anfang. – Symphony No. 1 in D
04. IV. Stürmisch bewegt – Langsam – Wieder wie zu Anfang. Stürmisch bewegt – Sehr landgam – Tempo I. – Symphony No. 1 in D

Disc 08
01. I. Lebhaft. – Symphonie No. 3 in E flat Major, Op. 97 – “Rheinische” (1986 Digital Remaster)
02. II. Scherzo (Sehr mäßig). – Symphonie No. 3 in E flat Major, Op. 97 – “Rheinische” (1986 Digital Remaster)
03. III. Nicht schnell. – Symphonie No. 3 in E flat Major, Op. 97 – “Rheinische” (1986 Digital Remaster)
04. IV. Feierlich. – Symphonie No. 3 in E flat Major, Op. 97 – “Rheinische” (1986 Digital Remaster)
05. V. Lebhaft. – Symphonie No. 3 in E flat Major, Op. 97 – “Rheinische” (1986 Digital Remaster)
06. I. Ziemlich langsam – Lebhaft. – Symphony No. 4 in D minor, Op. 120
07. II. Romanze (Ziemlich langsam). – Symphony No. 4 in D minor, Op. 120
08. III. Scherzo (Lebhaft) & Trio. – Symphony No. 4 in D minor, Op. 120
09. IV. Lebhaft – Schneller – Presto. – Symphony No. 4 in D minor, Op. 120

Disc 09
01. Opening. – Also sprach Zarathustra, Op. 30
02. Von den Hinterweltern. – Also sprach Zarathustra, Op. 30
03. Von den grossen Sehnsucht. – Also sprach Zarathustra, Op. 30
04. Von den Freuden und Leidenschaften. – Also sprach Zarathustra, Op. 30
05. Das Grablied. – Also sprach Zarathustra, Op. 30
06. Von der Wissenschaft. – Also sprach Zarathustra, Op. 30
07. Der Genesende. – Also sprach Zarathustra, Op. 30
08. Das Tanzlied. – Also sprach Zarathustra, Op. 30
09. Don Juan Op. 20
10. Tod und Verklärung Op. 24

Disc 10
01. Walkürenritt (The Ride of the Valkyries) (Act III). – Die Walküre
02. Siegfrieds Rheinfahrt (Siegfried’s Rhine Journey), Vorspiel. – Götterdämmerung
03. Siegfried’s Death and Funeral March. – Götterdämmerung
04. Entry of the Gods into Valhalla. – Das Rheingold
05. Forest Murmurs. – Siegfried
06. Wotan’s Farewell and Magic Fire Music. – Die Walküre

Disc 11
01. Overture. – Tannhauser
02. Overture. – Rienzi
03. Prelude Act I. – Lohengrin
04. Prelude Act III. – Lohengrin
05. Prelude to Act I. – Die Meistersinger von Nürnberg

Disc 12
01. I. Allegro vivace – Più animato. – Symphony No. 4 in A, Op.90 ‘Italian’
02. II. Andante con moto. – Symphony No. 4 in A, Op.90 ‘Italian’
03. III. Con moto moderato. – Symphony No. 4 in A, Op.90 ‘Italian’
04. IV. Saltarello (Presto). – Symphony No. 4 in A, Op.90 ‘Italian’
05. I. Andante – Allegro ma non troppo. – Symphony No. 9 ‘Great C major’ D 944
06. II. Andante con moto. – Symphony No. 9 ‘Great C major’ D 944
07. III. Scherzo (Allegro vivace) & Trio. – Symphony No. 9 ‘Great C major’ D 944
08. IV. Finale (Allegro vivace). – Symphony No. 9 ‘Great C major’ D 944

Disc 13
01. A Night on the Bare Mountain
02. Prelude. – Háry János Op. 15
03. Viennese Musical Clock. – Háry János Op. 15
04. Song. – Háry János Op. 15
05. Battle and Defeat of Napoleon. – Háry János Op. 15
06. Intermezzo. – Háry János Op. 15
07. Entrance of the Emperor and his court. – Háry János Op. 15
08. 1. Birth of Kijé. – Lieutenant Kijé Op. 60
09. 2. Romance. – Lieutenant Kijé Op. 60
10. 3. Kijé’s Wedding. – Lieutenant Kijé Op. 60
11. 4. Troika. – Lieutenant Kijé Op. 60
12. 5. Burial of Kijé. – Lieutenant Kijé Op. 60

Disc 14
01. Leonore Op. 72
02. I. Lebhaft. – Konzertstück in F major Op. 86 (1992 Digital Remaster)
03. II. Romanze (ziemlich langsam, doch nicht schleppend). – Konzertstück in F major Op. 86 (1992 Digital Remaster)
04. III. Sehr lebhaft. – Konzertstück in F major Op. 86 (1992 Digital Remaster)
05. I. Adagio – Allegro molto. – Symphony No. 9 in E minor B178 (Op. 95), ‘From the New World’
06. II. Largo. – Symphony No. 9 in E minor B178 (Op. 95), ‘From the New World’
07. III. Scherzo (Molto vivace). – Symphony No. 9 in E minor B178 (Op. 95), ‘From the New World’
08. IV. Allegro con fuoco. – Symphony No. 9 in E minor B178 (Op. 95), ‘From the New World’

A bargain set showcasing a great conductor

At this price, this bargain set of 14 CDs could be recommended as a superb introduction for the novice to some of the cornerstones of the Romantic classical canon, embracing as it does seminal Beethoven symphonies through Schubert, Mendelssohn, Schumann, Brahms, Dvorak, Wagner, Bruckner and Mahler to Strauss. Obviously, these are all in the Austro-Germanic school at the core of Tennstedt’s repertoire, although Mussorgsky, Prokofiev and Kodaly also get a look in on these well-filled discs. The more seasoned collector will want them as a memento of one whom some would call the last great conductor – with all due respect to Abbado, Gergiev and Temirkanov.

Although occasionally patchy and inconsistent, Tennstedt’s greatness is clearly revealed by these recordings; it helps that he is directing some of the finest orchestras of his or any day in the Chicago Symphony Orchestra, the Berlin Philharmonic and, of course, his beloved London Philharmonic Orchestra. It has often been said that Tennstedt was best live. Two symphonies here are live recordings; otherwise EMI has made a judicious selection from the studio recordings. For someone who had to be coaxed into the recording studio, Tennstedt was mighty busy for EMI in the mid 80’s. I drew attention in my recent review of his similarly packaged and equally impressive Complete Mahler Symphonies EMI box set to what I might call his tectonic quality; whatever he is conducting is moulded and shaped in function of his overview of the music’s structural integrity. Very often, one begins by thinking that Tennstedt has undercooked the tempo and tension a piece requires, only to be ultimately convinced, if not seduced, by the aptness of his pacing; Tennstedt delivers climactic release in his own time.

His beat is not in fact by any means extreme in the Celibadache fashion, although amongst the most daringly slow items here is the Brahms Requiem, which takes risks with etiolated tempi but stays this side of the stodginess that mars Rattle’s account with the BPO. I think it’s a grand interpretation, far preferable to Gardiner’s perkiness and in the tradition of Klemperer, Previn and – my favourite versions – Karajan. As is so often the case with Tennstedt, the metronome will tell you that the speeds are abnormally slow yet he injects momentum and tension when required. A key point for me is “Aber des Herrn Wort” which takes off as it should and the contribution of the two soloists is superb: both Jorma Hynninen and Jessye Norman have big, V8 voices whose majesty and might suit Tennstedt’s sepulchral conception. Brahms’ First Symphony is played on a comparably large scale. It is not so much slower than my favourite interpretation, which is one of Karajan’s later recordings, the live performance at the Royal Festival Hall in 1988 on the Testament label.

Ultimately, Tennstedt’s conception of how music from the Central European tradition should be played is all of a piece: he favours a massive solidity, unfailingly beautiful orchestral tone and a constant sense of spiritual profundity. In this, he reminds me very much of Karajan. Just as that conductor has no shortage of detractors, Tennstedt may be criticised for the very features which are virtues to some and flaws to others. I am puzzled by reviewers elsewhere who first confirm Tennstedt’s stature in the pantheon of Twentieth Century conductors then go on either flatly to excoriate or at least damn with faint praise the bulk of the recordings here. Just as Karajan’s insistence upon rich tone from his orchestra was condemned as “superficial”, “bland” and “smooth”, Tennstedt’s direction of the LPO and the Berlin Philharmonic may be dismissed as prizing “pure sound” above interpretative novelty; certainly, I was newly struck by the virtuosity of the playing here and its sheer beauty as sound.

Time and again when listening to these discs I found myself warming to Tennstedt’s sincerity of utterance. Not everything here is in marmoreal vein: his “Also sprach Zarathustra” is thrilling and takes its place among my preferred versions alongside Karajan and Maazel, while the “Night on a Bald Mountain” is similarly electric. I have long known and loved the thrust and drive of his 1978 analogue recording of Schumann’s mini-masterpiece the “Konzertstück” for four horns and orchestra.

You may alight on any of the big symphonies in this collection and find yourself swept along by Tennstedt’s power and conviction, although I would particularly commend his energised versions of the two Schumann symphonies and the marvellously fluid and flexible performance of Dvorak’s “New World”. Bruckner’s grand gestures also ideally suit this most Romantic of conductors. However, I can understand doubts about the live Mahler symphony. This extends some five or six minutes beyond the norm – although some of that is vociferous applause at the end. Tennstedt uses the extra time to underline a coarser, more menacing mood than he evoked in his more delicate 1978 recording, yet the climax of the fourth movement is heroic, giving full scope to the Chicago brass, and the audience reaction is appropriately enthusiastic. This account by no means bored me and I suspect its measured majesty will grow on me with time. The Beethoven symphonies, however, could be termed conventional in the same way that Gunter Wand’s Beethoven can seem faceless to some and faithful to others. I find them to be direct and unfussy. The “Eroica” is a live recording from a 1991 performance in the Royal Festival Hall and presses all the right buttons. Both the “Pastoral” and the Eighth are studio recordings: the former is light, sprung and joyful, the latter weighty in traditional mode. Similarly, I find no fault with the overtures which seem to me to models of concentrated propulsion.

The “Tannhäuser” overture on the second Wagner disc of orchestral excerpts is especially thrilling and powerful; indeed that disc of overtures and preludes is markedly more exciting than the disc of orchestral excerpts from the “Ring”. The playing in the latter is sometimes a tad stodgy, just as Tennstedt’s accompaniments to Jessye Norman’s Wagner recital album of the same era were uninspired and as such constitutes one of this set’s few comparative failures, rather as the Mahler Nine on the comparable bargain Mahler box set failed to lift off. The Berlin Philharmonic is for once hardly on form: the strings in “Wotan’s Farewell” are decidedly edgy, orchestral tone is often rather coarse and blatty, there are blips in the brass playing and ensemble occasionally goes awry. To compound the disappointment, whoever typeset or proofread the booklet text thinks Wagner wrote something called “Forest Murmers”.

The recording quality on this set is not perhaps the finest; apart from two Schumann items in analogue sound most here are early digital and hence rather opaque, yet still too bright when the sound peaks, with too great a contrast between loud and soft. Nonetheless, the sound is very acceptable, if not on the same level even as the recent spate of bargain box sets in analogue sound from Sony/RCA which are exceptionally full and vivid.

We have the standard EMI bargain box packaging: cardboard sleeves and a booklet containing timing and location details plus a biographical article about the conductor.