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issued a press statement announcing that "after the fulfilment of its present commitments the activities of the
Philharmonia Orchestra will be suspended for an indefinite period." Klemperer said that Legge had not warned him beforehand of the announcement, although Legge later maintained that he had done so. With Klemperer's strong support the players refused to be disbanded and formed themselves into a self-governing ensemble as the New Philharmonia Orchestra (NPO). They elected him as their president. He remained in the position until his retirement eight years later.
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1509:, "carried through unfalteringly to the end.") Between then and 1972 he conducted the orchestra, and its successor, the New Philharmonia, in recordings of nearly two hundred different works. With the original Philharmonia they included more Mozart symphonies, complete symphony cycles of Beethoven and Brahms, symphonies by Berlioz, Mendelssohn, Schubert, Schumann, Bruckner, DvoĆĂĄk, Tchaikovsky and Mahler, and other orchestral works by, among others, Bach,
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757:, although the composer complained that Klemperer did not perform his works more often. Klemperer insisted that the local public was not ready for such demanding music; Schoenberg did not bear a grudge and, as Klemperer always aspired to compose as well as to conduct, Schoenberg gave him composition lessons. Klemperer considered him "the greatest living teacher of composition, although ... he never mentioned the
1204:, "Sadly, he got a bit deaf and shaky. You'd be thinking 'poor old Klemperer', then suddenly the veil of infirmity would drop and he'd be wonderfully vigorous again." Klemperer continued to conduct and record with the New Philharmonia until the last concert of his career â at the Festival Hall on 26 September 1971 â and his final recording session two days later. The programme for the concert was Beethoven's
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which he achieved of its dramatic, epic, and lyrical elements. Here, indeed, is a musician whose emotional intensity is wonderfully matched by an impressive intellectual force â the very combination which the classical
Beethoven demands of his interpreter. ... Throughout the concert the orchestra met every demand of its inspired and inspiring conductor.
780:, was in Europe and Klemperer took charge of the opening concerts of the season. The New York concert-going public was deeply conservative but despite Judson's warning that programming Mahler would be highly damaging at the box-office, Klemperer insisted on giving the Second Symphony. The notices praised the conducting â Oscar Thompson wrote in
675:, director of the State Opera, told him that it was not, as Klemperer supposed, anti-Semitism that had worked against him: "No, that is not so important. It's your whole political and artistic direction they don't like." Klemperer's contract obliged him to transfer to the main State Opera, where, with such conductors as
422:, who became an actor, and Lotte, who became her father's assistant and eventually, his caregiver. Johanna continued her operatic career, sometimes in performances conducted by her husband. She retired from singing by the mid-1930s. The couple remained close and mutually supportive until her death in 1956.
510:, the influential head of the Prussian Ministry of Culture, proposed Klemperer as its first director. Klemperer was offered a ten-year contract and accepted it on condition that he would be allowed to conduct orchestral concerts in the theatre, and that he could employ his chosen design and stage experts.
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said of the 1951 recording of the Missa solemnis, "it is seldom that we hear in the concert hall a performance so clear, so fervent and so musical as that which
Klemperer has achieved ... the impression of sublimity achieved by this splendid performance." Of his contemporaneous recording of the
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recording group in the UK. As EMI paid for the rehearsals for recordings, Legge's concerts tended to feature works he had recorded immediately beforehand, so that the orchestra was fully rehearsed at no cost to him. This suited
Klemperer, who though he disliked making recordings enjoyed the luxury of
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that the performance was the best he had heard since Mahler conducted the work in New York in 1906 â but the ticket sales were as poor as Judson had predicted, and the orchestra had a deficit of $ 5,000 from the concert. When
Toscanini resigned from the Philharmonic the following year, he recommended
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In 1973 Lotte
Klemperer presented the Royal Academy of Music with a collection of her father's books and marked-up scores, together with a portrait and some of his batons. This is now known as the Otto Klemperer Collection. One of the academy's two named professorships in conducting is the Klemperer
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Klemperer said, "I am mainly a conductor who also composes. Naturally, I would be glad to be remembered as a conductor and as a composer." German conductors of his generation began their careers when it was rare for a conductor not to compose: composition was seen as part of the traditional training
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Klemperer left the
Budapest post in 1950, frustrated by the political interference of the communist regime. He held no permanent conductorship for the next nine years. In the early 1950s he freelanced in Argentina, Australia, Austria, Britain, Canada, France, Germany and elsewhere. In London in 1951
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conducted, and
Klemperer was given charge of the off-stage orchestra. He later made a piano arrangement (now lost) of the symphony, which he played to the composer in 1907 when visiting Vienna. In the interim he made his public debut as a conductor in May 1906, taking over from Fried after the first
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The following
January, after flying from ZĂŒrich to London to conduct Bruckner's Seventh Symphony, Klemperer announced the day before the concert that he could no longer cope with the strain of public performances. He hoped to be able to go on making recordings, as he felt he might be able to manage
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In his later years
Klemperer returned to the Jewish faith, and was a strong supporter of the state of Israel. He visited his younger sister, who lived there, and while in Jerusalem in 1970 he accepted the offer of Israeli citizenship, though continuing to retain his German citizenship and permanent
1083:, with Beethoven as its centre and crown. ... London heard the superb, heaven-storming Beethoven cycles conducted by Klemperer in the 1950s, a series memorable particularly for spacious, perfectly proportioned architecture, strength and intensity and inner radiance of sonority, majesty of line.
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Rare indeed are the occasions when great music is allied to a performance that can claim to have taken its measure fully and unquestionably. Such an occasion was at the Festival Hall last night. ... Mr. Klemperer's grasp of the music's innermost significance was evident from the perfect fusion
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When Klemperer was four the family moved from Breslau to Hamburg, where Nathan earned a modest living in commercial posts and his wife gave piano lessons. It was decided quite early in Klemperer's life that he would become a professional musician, and when he was about five he started piano lessons
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At the Hamburg Opera Klemperer came to international attention for the first time, but not for musical reasons: the husband of one the singers of the company attempted to horsewhip him during a performance. Klemperer jumped off the podium and came at his assailant with bare fists. The incident was
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A typical example occurred in late 1956, when Legge scheduled three Brahms symphonies for recording by Klemperer and the Philharmonia days before their live performances of the same works at the Festival Hall, so that the rehearsals paid for by Columbia for the recording sessions were effectively
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wrote, "There is a gritty quality about much of Klemperer's fast music sharp-edged unison passages ... but give Klemperer a slow tempo and he will melt with amazing rapidity ... the slow movement is astonishingly sweet, with one passage â clarinet over pizzicato strings â recalling the
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From the Los Angeles years there is only one purpose-made studio recording but several transcriptions of live radio broadcasts, ranging from symphonies by Beethoven, Bruckner and DvoĆĂĄk to excerpts from operas by Gounod, Massenet, Puccini and Verdi. There are no commercial studio recordings from
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During the early 1960s Legge became disenchanted with the orchestral music scene. His freedom to programme what he pleased was hampered by new committees at the Festival Hall and EMI, and his orchestra was less in demand in the studios. In March 1964, with no advance warning to the orchestra, he
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health enough to conduct again. On Klemperer's return to the Philharmonia, Legge stood before the orchestra and appointed him conductor for life â the Philharmonia's first principal conductor. Klemperer's concerts in the 1960s included more works from outside the core German repertory, including
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group since 1927 â as a permanent ensemble. He held auditions in Pittsburgh and, more fruitfully, in New York, and after three weeks of intensive rehearsal the orchestra was ready for the opening concerts of the season, which he conducted. The results were highly successful, and he was offered a
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at Bayreuth, but neither plan was realised, because Klemperer suffered a further physical setback: in October 1958 while smoking in bed he set his bedclothes alight. His burns were life-threatening, and his recovery slow. It was not for nearly a year, until September 1959, that he recovered his
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describes the conductor's tenure at the Kroll as "of crucial significance in his career and the development of opera in the first half of the 20th century". In both concert and operatic performances, Klemperer introduced much new music. Asked later which were the most important of the operas he
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and appeared composed. A doctor who examined him said he was "temperamental and unstrung" but not dangerous, and he was released. The board of the Los Angeles Philharmonic terminated his contract, and his subsequent appearances were few, and seldom with prestigious ensembles, in Los Angeles or
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Gustav Mahler recommends Herr Klemperer as an outstanding musician, who despite his youth is already very experienced and is predestined for a conductor's career. He vouches for the successful outcome of any probationary appointment and will gladly provide further information personally.
227:. By that time better known for his readings of the core German symphonic repertoire than for experimental modern music, he gave concerts and made almost 200 recordings with the Philharmonia and its successor, the New Philharmonia, until his retirement in 1972. His approach to
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In 1939, Klemperer began to suffer from serious balance problems. A potentially fatal brain tumour was diagnosed and he travelled to Boston for an operation to remove it. The operation was successful, but left him lame and partly paralysed on his right side. He had long had
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After the players reconstituted themselves as the New Philharmonia in 1964 Klemperer worked extensively with them in the studios, recording eight symphonies by Haydn, three by Schumann, four by Bruckner and two by Mahler. A complete Beethoven piano concerto cycle featured
1817:, said, "It took a Klemperer to throw fresh light on Beethoven, and I found his Beethoven cycles marvellous. I mean, I don't want to play Beethoven with any other conductor", and a colleague from the orchestra said, "It's as though Beethoven himself were standing there."
870:(in the parlance of the time he was "manic depressive") and after the operation he went through an intense manic phase of the illness, which lasted for nearly three years and was followed by a long spell of severe depression. In 1941, after he walked out of a mental
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in Prague in 1908 changed Klemperer's compositional ideas. He later viewed the music he composed after that as his first mature works. He continued to write songs, both orchestral and with piano â there were about 100 in all â and in about 1915 he wrote two operas,
1161:, only a few hundred yards from his home. He battled with entrenched interests in the ZĂŒrich orchestra to secure the best players, but he succeeded and the performances were well received. At Covent Garden he later directed and conducted two more new productions:
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As Klemperer aged, his concentration and control of the orchestra declined. At one recording session he dozed off while conducting, and he found his hearing and eyesight under strain from concentrating for the length of a concert. One of his players told
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During his time with the orchestra Klemperer won the affection of the players to a degree unprecedented in his career. The ready wit that lurked behind his forbidding exterior gave much pleasure. After a ragged entry during a rehearsal of Beethoven's
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Klemperer gave the premiere of his First Symphony with the Concertgebouw Orchestra in Amsterdam in 1961, and that of the final version of his Second with the New Philharmonia in 1969, recording it for EMI a few weeks later. He wrote six symphonies.
216:, and after the operation he went through an intense manic phase of the illness and then a long spell of severe depression. His career was seriously disrupted and did not fully recover until the mid-1940s. He served as the musical director of the
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airport later in 1951 he slipped on ice and fell, breaking his hip. He was hospitalised for eight months. Then for a year he and his family were, as he put it, virtually prisoners in the US because of obstacles to leaving the country, following
664:. The British music critics gave the symphony a lukewarm reception, but Klemperer was widely praised for "the power of a dominating personality", "masterful control" and as "a great orchestral commander". A leading critic called for the
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Mahler wrote a short testimonial, recommending Klemperer, on a small card which Klemperer kept for the rest of his life. On the strength of Mahler's endorsement, Klemperer was appointed chorus master and assistant conductor at the
418:, a singer in the opera company, in 1919. She was a Christian, and he had converted from Judaism. He remained a practising Roman Catholic until 1967, when he left the faith and returned to Judaism. The couple had two children:
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Cardus expressed regret that Klemperer had too rarely been allowed to programme Bruckner, "whose symphonies he encompassed with a grip and a vision which saw the end of a large musical shape in the beginning". Cardus added:
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in Wiesbaden (1924â1927), a smaller theatre than others in which he had worked, but one where he had the control he sought over stagings. There he conducted new, and often modernistic, productions of a range of operas from
1768:, and they say something about it which is worth hearing." It was not only in Mozart that Klemperer's tempi attracted adverse comment: a frequent criticism in his later years was that his tempi were slow. The EMI producer
650:". The production divided critical opinion, which ranged from "A new outrage to a German masterpiece ... grotesque" to "an unusual and magnificent performance ... a fresh wind has blown tinsel and cobwebs away".
1396:(1926). Then, in between recordings of mostly German classics â including works by Brahms, Bruckner, Mendelssohn, Schubert, Richard Strauss and Wagner â he ventured into the light French repertoire with the overtures to
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From the mid-1950s, Klemperer's domestic base was in ZĂŒrich and his musical base in London, where his career became associated with the Philharmonia. It was widely regarded as the best orchestra in Britain in the 1950s:
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In 1927, a new opera company was established in Berlin to complement the State Opera, highlighting new works and innovative productions. The company, officially Staatsoper am Platz der Republik, was better known as the
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wrote that it "must take its place on the heights among the greatest recordings of our time". The Bach set divided critical opinion: Robertson called it "a spiritual experience ... a glorious achievement"; the
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Heyworth wrote that with "what promises to be our best choir our best orchestra and a great conductor", Legge had given London "a Beethoven cycle that any city in the world, be it Vienna or New York, would envy".
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was too slow. "You will get used to it." ... Every tempo of Klemperer's is carefully related to his interpretation of the whole work â you never feel that a particular tempo has been selected merely for
1743:, following Toscanini's retirement in April 1954 and FurtwÀngler's death seven months later, Klemperer was "generally accepted as the most authoritative interpreter of the central Austro-German repertory".
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or even Viennese café music." The critic Meirion Bowen wrote of the same work that it was "the product of an outstanding conductor musing on the works of composers he has championed throughout his career".
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and the Salzburg Festival; anticipating that Karajan would become unavailable to the Philharmonia, Legge built up a relationship with Klemperer, who was admired by the players, the critics and the public.
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Towards the end of his life his beat became more and more unyielding. Never a colourist, his treatment of texture tended to produce a black-and-white neutrality of tone. He almost took the schmalz out of
170:(14 May 1885 – 6 July 1973) was a German conductor and composer, originally based in Germany, and then the United States, Hungary and finally, Great Britain. He began his career as an
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In Heyworth's view, the modern approach to production at the Kroll â contrasting with conventional representational settings and costumes â exemplified in "a drastically stylised production" of
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large salary to remain as the orchestra's chief conductor. He was contractually committed to Los Angeles, but contemplated taking on the direction of both orchestras. He decided against it and
715:. The Los Angeles orchestra was not then regarded as among the finest American ensembles, and the salary was less than Klemperer would have liked, but he accepted and sailed to the US in 1935.
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observed, "It was not for him the gallant Mozart presented by Sir Thomas Beecham; far from it. Klemperer's Mozart was made of sterner stuff." Mann complained that the conductor's direction of
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in Berlin in 1931. The "Merry Waltz" from the latter is the best-known of his compositions. Of his nine string quartets, eight survive. EMI recorded the Seventh in 1970. In 1919 he composed a
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Klemperer retired to his home in ZĂŒrich, where he died in his sleep on 6 July 1973. His wife predeceased him and he was survived by their two children. He was buried in the Jewish cemetery at
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In the late 1930s Klemperer became ill with a brain tumour. An operation to remove it was successful, but left him lame and partly paralysed on his right side. Throughout his life he had
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found "Klemperer's leisured, cool, almost dispassionate view of the opera is not without its attractiveness. ... The deliberation and the poise are not what we are used to in
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as musical director; he declined the post, because he did not believe he would be given enough artistic authority over productions. The following year, he became conductor at the
185:, from 1907 Klemperer was appointed to a succession of increasingly senior conductorships in opera houses in and around Germany. Between 1929 and 1931 he was director of the
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and could no longer afford subventions on the scale of earlier years. Despite box-office constraints, Klemperer successfully introduced unfamiliar works including Mahler's
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His son, Werner, remained in the US, where he pursued a successful acting career, while remaining in close touch with his parents and sister, and visiting them in Europe.
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Klemperer as his successor, but Klemperer recognised that after "this affair of the Mahler symphony" he would not be re-engaged. Nonetheless, when the then little-known
1805:: "Klemperer treats the work as if he had just discovered its greatness, illuminating every page with a ceaseless care for detail." Mann wrote of the 1962 recording of
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FurtwÀngler died in November 1954, but protracted contractual negotiations meant that Karajan did not formally succeed him in Berlin and Salzburg until April 1956.
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was described as "traditional, unfussy, grandly conceived, and profoundly revealing", and of "deep serenity" musically. Klemperer directed and conducted another
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By 1946, Klemperer had recovered his health enough to return to Europe for a conducting tour. His first concert was in Stockholm, where he met the music scholar
997:. With the help of an accomplished lawyer, he secured temporary six-month passports in 1954, and moved with his wife and daughter to Switzerland. He settled in
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for which he directed the staging as well as the music. He had to a considerable extent moved away from the experimental stagings of the Kroll years; the 1961
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Klemperer visited Russia in 1924, conducting there during a six-week stay; he returned each year until 1936. In 1926 he made his American début, succeeding
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In exile from Germany, Klemperer found that conducting work was far from plentiful, although he secured some prestigious engagements in Vienna and at the
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The complete answer to this was provided by Klemperer himself when it was suggested to him at the recording session that the Peasants Merrymaking of the
1286:. He began composing at an early age, and started writing songs in his mid-teens. He extensively revised some of his compositions and destroyed others.
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in Budapest, invited him to become the company's musical director. Klemperer accepted, and served from 1947 to 1950. In Budapest he conducted the major
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1894:(be appalled), Klemperer offered his visitor a chair: "GrĂŒss Gott, Herr Wagner, bitte entsetzen sie sich" â Greetings, Herr Wagner, please be appalled.
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Klemperer's time in Budapest, but live performances in the opera house or on air were recorded and have been issued on CD, including complete sets of
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was not universally liked, being thought of by some as heavy, but he became widely considered the most authoritative interpreter of the symphonies of
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1593:, though conceding "the majesty of Klemperer's conception", found it "disappointing ... with plodding tempi". There were four complete operas:
324:. Klemperer followed him at each move, and later credited him with the whole basis of his musical development. Among Klemperer's other teachers was
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magazine found the Ravel "energetic, highly rhythmic and perfectly idiomatic" and the Debussy "impressive too in its insights and mastery of style"
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The Kroll Opera closed in 1931, ostensibly because of a financial crisis, although in Klemperer's view the motives were political. He said that
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1473:. During the 1950s many other live broadcasts conducted by Klemperer were recorded, and later published on CD, with orchestras including the
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Nathan. The family name had originally been Klopper, but was changed to Klemperer in 1787 in response to a decree by the Austrian Emperor
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Some mistakenly supposed Karajan to have been the orchestra's principal conductor, but from the outset Legge had resisted appointing one.
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1044:, engaged a range of prominent conductors for his concerts. By the early 1950s the one most closely identified with the orchestra was
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in Berlin, where he presented new works and avant-garde productions of classics. He was from a Jewish family, and the rise of the
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elsewhere. As her father struggled to support the family from his modest fees, Lotte worked in a factory to bring in some money.
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and Leo Blech already established, there was little important work for him. He remained there until 1933, when the rise of the
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no longer the challenging progressive one of his younger days, but centred firmly on the German classics and romantics from
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1378:. His early recordings include Beethoven symphonies and less characteristic repertoire including the first recording of
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Fifth Symphony, the same writers called it "a really individual reading", preferable to those of Toscanini, Walter or
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Having returned to Los Angeles, Klemperer conducted the orchestra's concerts there and in out-of-town venues such as
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was announced as Toscanini's successor, Klemperer wrote a vehement letter to Judson protesting at being passed over.
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Klemperer was noted for his laconic wit; a much retold story is of his backstage encounter with the composer's son,
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wrote when Klemperer died, "An age of giants has ended ... They are all gone: Toscanini, Walter, FurtwÀngler,
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s music critic hailed him as one of the world's greatest conductors, along with FurtwÀngler, Walter and Toscanini.
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nevertheless found "tonal varieties of the Schoenbergian method" used "penetratingly" in Klemperer's compositions.
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878:, the local police put out a bulletin, describing him as "dangerous and insane". He was found two days later in
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1701:. The record contained sounds and images selected as examples of the diversity of life and culture on Earth.
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much reported in foreign newspapers. The attacker's motives were not recorded at the time, but according to
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and he and Klemperer guest-conducted each other's orchestras. After a concert under Klemperer in 1936, the
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Klemperer later conceded that Barbirolli "wasn't so bad" and was badly underrated by the New York critics.
1304:(The Goal). Neither was publicly staged, although the composer conducted a private concert performance of
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in London. From Germany he held the Grand Medal of Merit with Star (1958) and the Order of Merit (1967).
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474:. He found his tenure there rewarding and fulfilling, later describing it as the happiest of his career.
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in one of his wilder moments". When the recording of the Second Symphony was issued in 1970, the critic
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in Berlin. He was awarded the Leipzig Orchestral Nikisch Prize in 1966, and held honorary degrees from
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Although he did not enjoy recording, Klemperer's discography is extensive. His first recording was an
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2661:, 13 December 1935, p. 6; and Sargeant, Withrop. "Klemperer Leads Philharmonic in Mahler Symphony",
1869:'s memoirs, the assailant's wife was Elisabeth Schumann and Klemperer was having an affair with her.
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The orchestra's finances were perilous; Clark had lost a substantial portion of his fortune in the
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In October 1954 Klemperer made the first of his many recordings with the Philharmonia: Mozart's
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caused him to leave Germany in 1933. Shortly afterwards he was appointed chief conductor of the
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said that in Britain he had been revered as the greatest of living conductors. In the view of
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praised by Legge as "grave and powerful". In the same year his broadcast performances in the
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approached Klemperer in early 1938, seeking his help in reconstituting the orchestra â an
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300:, of Sephardic descent. Both parents were musical: Nathan sang and Ida played the piano.
257:
206:
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From the choral repertoire he and the Philharmonia Chorus and Orchestra recorded Bach's
988:
After this, Klemperer's seemingly resurgent career received another severe set-back. At
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as soloist. The major choral recordings were of Beethoven's Missa solemnis and Bach's
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In March 1948, Klemperer made his first post-war appearance in London, conducting the
708:
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The Stanford Collection. A comprehensive film archive, collected by Dr Charles Barber
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272:, Poland. He was the second child and only son of Nathan Klemperer and his wife Ida,
223:
Klemperer's later career centred on London. In 1951 he began an association with the
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410:(1914â1917) as deputy to Pfitzner. From 1917 to 1924 he was chief conductor of the
213:
158:
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5172:
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described it as "an elite whose virtuosity transformed British concert life", and
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in Vienna. While he was in Salzburg, TĂłth, who had been appointed director of the
402:
made their joint débuts under his direction. His first chief conductorship was at
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The Klemperers' other children were Regina (1883â1965) and Marianne (1889â1967).
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caused him to leave for safety in Switzerland, joined by his wife and children.
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Heyworth (1996, Vol 1), pp. 264 265; and (1996, Vol 2), pp. 75, 124 125 and 258
2014:
1935:
1769:
1747:
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The first movement from Klemperer's 1959 Philharmonia recording of Beethoven's
1555:
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label Klemperer recorded several sets in Vienna in 1951, including Beethoven's
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240:
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Sadie, Stanley. "Breadth and serenity from Klemperer; the best from Britten",
2702:
Mores Jones, Isabel. "Brilliant Season Predicted for Philharmonic Orchestra",
1344:
6419:
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5911:
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Knights Commander of the Order of Merit of the Federal Republic of Germany
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The Hungarian State Opera, where Klemperer was musical director, 1947â1950
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Johnson and Koyama, p. 8; Heyworth (1985), p. 17 and (1996, Vol 1), p. 1
891:
39:
6326:
6321:
6232:
6183:
6106:
5249:
4064:
Klemperer Stories: Anecdotes, Sayings and Impressions of Otto Klemperer
3998:
2042:
1814:
1794:
It was as a Beethoven conductor that Klemperer became most celebrated.
1622:
1514:
1462:
1231:
the shorter spans of recording takes, and intended to conduct Mozart's
1076:
871:
4581:
2160:, Grove Music Online, Oxford University Press, retrieved 17 July 2014
1813:
that will not prove a disappointment." The Philharmonia's first horn,
269:
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5517:
4497:
3620:
1927:
1630:
795:
623:
587:
430:
309:
1746:
Many musicians disagreed with Klemperer's way of conducting Mozart.
1223:. The recording, with the orchestra's wind players, was of Mozart's
998:
86:
6060:
5712:
3935:(1957). "Otto Klemperer". In Keller, Hans; Donald Mitchell (eds.).
1313:
989:
485:. In his eight-week engagement with the orchestra he gave Mahler's
392:
1246:
943:, as well as works from the Italian repertory, and many concerts.
707:, about becoming the orchestra's chief conductor in succession to
4479:
1018:
452:
297:
293:
285:
265:
67:
1760:
was "didactic, humourless, tortoise-like", though his colleague
316:
and theory with Ivan Knorr. Kwast moved to Berlin, first to the
296:
city of Prague; Ida was from a more prosperous Jewish family in
6092:
3580:
McLellan, Joseph. "Klemperer â last of the conducting giants",
1882:, after the dress rehearsal of the controversial production of
810:. He and the orchestra worked with leading soloists, including
403:
197:, and guest-conducted other American orchestras, including the
3896:
Persecution and Toleration: The Long Road to Religious Freedom
3792:
The Quiet Showman: Sir David Webster and the Royal Opera House
1328:, said that the First Symphony, with its incorporation of the
747:
Symphonies, and works by Stravinsky. He programmed music from
387:
From Prague, Klemperer moved to be assistant conductor at the
3766:
Season with Solti: A Year in the Life of the Chicago Symphony
544:
171:
4365:
2286:, 29 December 1912, p. 3; "Whips Conductor in Opera House",
977:, eliciting high praise from reviewers. The music critic of
1690:
1538:. His complete opera recordings with the Philharmonia were
684:
190:
174:
conductor, but he was later better known as a conductor of
2754:
1312:
for soloists, chorus and orchestra, and also a setting of
653:
In 1929, Klemperer made his British début, conducting the
256:
Otto Nossan Klemperer was born on 14 May 1885 in Breslau,
4106:
Philharmonia Orchestra: A Record of Achievement 1945â1985
665:
3957:
Barbirolli, Conductor Laureate: The Authorised Biography
3562:"Sir Mark Elder conducts the Academy Symphony Orchestra"
3007:
Hunt and Pettitt, p. 299; and "Philharmonia Orchestra",
6486:
Jewish emigrants from Nazi Germany to the United States
3877:
Philharmonia Orchestra: Complete Discography 1945â1987
425:
In 1923, Klemperer turned down an invitation from the
6381:
4690:
1678:. In 1971 he was appointed an honorary member of the
668:
to give Klemperer a long-term appointment in London.
406:(1912â1913), after which he moved to the much larger
3571:, Royal Academy of Music. Retrieved 23 December 2022
3552:, Royal Academy of Music. Retrieved 23 December 2022
3540:, Royal Academy of Music. Retrieved 23 December 2022
2504:, 22 November 1929, p. 12; and "Music of the Week",
1040:
of British orchestras". Its founder and proprietor,
3917:. Vol. 12. New York: Oxford University Press.
3662:"As though Beethoven himself were standing there",
2294:, 29 December 1912, p. 4; "Horsewhip at an Opera",
1503:. ("Extremely impressive ... epic", commented
1005:citizenship and right of residency in Switzerland.
328:, with whom he studied composition and conducting.
4291:Beating Time: a play by Jim Grover about Klemperer
4206:
4127:
4082:
3853:
3789:
3763:
3740:
3717:
3451:"Discography", Heyworth (1996, Vol 2), pp. 440â452
3407:"Discography", Heyworth (1996, Vol 2), pp. 405â439
3373:"Discography", Heyworth (1996, Vol 2), pp. 400â417
3352:"Discography", Heyworth (1996, Vol 2), pp. 398â400
3343:"Discography", Heyworth (1996, Vol 2), pp. 395â396
3334:"Discography", Heyworth (1996, Vol 1), pp. 438â441
2755:
2472:Calvocoressi, M. D. "Music in the Foreign Press",
2026:When these early recordings were reissued in 1989
1254:Heyworth writes about the conductor's last years:
973:he conducted two Philharmonia concerts at the new
2909:Heyworth (1996, Vol 2), pp. 258, 285, 359 and 363
2860:Potts, Joseph E. "Orchestral Concerts in Paris",
1652:
1171:(1963), neither of which was as well reviewed as
776:for four weeks. The orchestra's chief conductor,
6417:
3475:. Archived from the original on 24 December 2022
3321:Sanders, Alan. "Klemperer and the Kroll Years",
3245:. Archived from the original on 24 December 2022
2967:Legge, Walter. "The birth of the Philharmonia",
2500:, 21 November 1929, p. 8; "Courtauld Concerts",
2290:, 24 January 1913, p. 13; "In Hamburg Theater",
2168:. Archived from the original on 24 December 2022
1820:
1469:, were recorded and have been issued on disc by
1141:Klemperer returned to opera in 1961, making his
339:Testimonial given to Klemperer by Mahler in 1907
209:, which he reorganised as a permanent ensemble.
4209:On and Off the Record: A Memoir of Walter Legge
3497:) CS1 maint: bot: original URL status unknown (
3267:) CS1 maint: bot: original URL status unknown (
3237:, Volume 59, Issue 232, April 2005 , pp. 56â58
2190:) CS1 maint: bot: original URL status unknown (
6521:Honorary members of the Royal Academy of Music
6516:Recipients of the Pour le MĂ©rite (civil class)
4301:portrait of Otto Klemperer and Johanna Geisler
753:by his fellow exile and Los Angeles neighbour
5984:
4760:
4676:
4567:
4481:Pittsburgh Symphony Orchestra Music Directors
4465:
4351:
4327:
3724:. Pompton Plains, New Jersey: Amadeus Press.
3382:"Discography", Heyworth (1996, Vol 2), p. 405
3312:"Discography", Heyworth (1996, Vol 1), p. 438
3294:"Discography", Heyworth (1996, Vol 1), p. 437
6098:Prelude and Fugue in C major, BWV 870, from
3818:(second ed.). London: Faber and Faber.
3038:Heyworth, Peter. "Klemperer and Beethoven",
2416:Heyworth (1996, Vol 1), pp. 200â201, and 208
1934:. The second concert had a mixed programme:
1546:. Solo singers in these recordings included
1243:for EMI, but neither plan came to fruition.
1191:Programme for Klemperer's last concert, 1971
1104:Wieland Wagner invited Klemperer to conduct
6566:American people of Sephardic-Jewish descent
4774:
3467:, Oxford University Press, 1 December 2007
2954:Rosenthal, Harold. "International Report",
2553:Heyworth (1996, Vol 2), pp. 12â13 and 14â15
5991:
5977:
4767:
4753:
4683:
4669:
4574:
4560:
4472:
4458:
4358:
4344:
4005:. Blackpool: Long Playing Record Library.
1513:, Richard Strauss, Stravinsky, Wagner and
862:was appointed as conductor in Pittsburgh.
38:
6561:Naturalized citizens of the United States
5998:
3913:Keene, Ann T. (1990). "Klemperer, Otto".
3898:. Cambridge: Cambridge University Press.
3860:. Cambridge: Cambridge University Press.
3837:. Cambridge: Cambridge University Press.
3403:
3401:
3369:
3367:
3176:
3174:
3172:
2655:Strickland, Harold A. "Music in Review",
1912:The first concert was all-Beethoven: the
1662:In 1933 Klemperer was presented with the
1029:Grove's Dictionary of Music and Musicians
493:, in their first performances in the US.
6576:American people of German-Jewish descent
6446:20th-century American conductors (music)
4367:Los Angeles Philharmonic Music Directors
4310:Newspaper clippings about Otto Klemperer
3646:Grubb, Suvi Raj. "Klemperer at Eighty",
3162:
3160:
2958:, August 1956, p. 12; and Furlong, p. 72
2265:
2263:
2261:
2259:
2257:
2255:
2152:
2150:
2148:
2146:
2144:
2142:
2140:
2138:
2136:
2134:
1245:
1186:
1012:
890:
717:
512:
282:assimilating Jews into Christian society
181:A protégé of the composer and conductor
6581:Prussian emigrants to the United States
6436:American people of Czech-Jewish descent
6067:Dark Was the Night, Cold Was the Ground
3675:Sackville-West and Shawe Taylor, p. 108
3060:Schwarzkopf, p. 187; and Pettitt, p. 96
2847:
2845:
2843:
2841:
2800:
2798:
2796:
2794:
2450:
2448:
2355:"Otto Klemperer, Conductor, Dead at 88"
2083:Heyworth (1996, Vol 1), pp. 458 and 462
1461:and Second Symphony, with the soloists
1366:set of the slow movement of Bruckner's
1065:"hav time to prepare a work properly".
772:'s invitation, Klemperer conducted the
284:. Nathan Klemperer was originally from
6506:Musicians from the Province of Silesia
6418:
3894:Johnson, Noel D.; Mark Koyama (2019).
3684:Sackville-West and Shawe Taylor, p. 81
3658:
3656:
3598:
3596:
3594:
3592:
3512:"Voyager â Music on the Golden Record"
3493:: CS1 maint: archived copy as title (
3398:
3364:
3263:: CS1 maint: archived copy as title (
3225:
3223:
3221:
3219:
3217:
3169:
2741:
2739:
2642:
2640:
2638:
2636:
2579:
2577:
2425:Levin, Bernard. "Klemperer Concerto",
2403:
2401:
2349:
2347:
2345:
2343:
2324:
2322:
2186:: CS1 maint: archived copy as title (
1609:. Soloists included, among the women,
1334:in the second movement, "sounded like
1090:, which made its debut in Beethoven's
642:in 1929 was "a decisive forerunner of
414:. During his Cologne years he married
382:
357:night of the fifty-performance run of
5972:
4748:
4664:
4555:
4453:
4339:
4326:
3875:Hunt, John; Pettitt, Stephen (2009).
3157:
2883:
2881:
2617:
2615:
2252:
2131:
1981:
1979:
1676:University of California, Los Angeles
1657:
1266:musical history", retorted Klemperer.
1157:in ZĂŒrich the following year, at the
6546:20th-century American male musicians
6451:Berlin University of the Arts alumni
6360:
4044:. New Haven: Yale University Press.
4022:(second ed.). London: Penguin.
3602:Cardus, Neville. "The Interpreter",
3454:
2838:
2791:
2776:participating institution membership
2445:
1114:, and they agreed to collaborate on
1072:, Klemperer's repertory by now was:
6571:American people of Bohemian descent
3856:Otto Klemperer: Volume 2, 1933â1973
3835:Otto Klemperer: Volume 1, 1885â1933
3653:
3589:
3550:"Semyon Bychkov discusses Mahler 2"
3214:
3211:Heyworth (1996, Vol 2), pp. 362â363
2736:
2633:
2574:
2398:
2340:
2331:
2319:
2074:Heyworth (1996, Vol 1), pp. 2 and 4
1832:
1705:Chair (currently, at 2023, held by
1017:Klemperer, left, at a rehearsal in
711:, who was leaving to take over the
657:in the first London performance of
13:
6551:Music Academy of the West founders
6074:Partita for Violin No. 3, BWV 1006
3521:, NASA. Retrieved 22 December 2022
3325:, February 1989, pp. 1346 and 1348
2878:
2612:
2594:Los Angeles Illustrated Daily News
1976:
725:gave Klemperer composition lessons
318:Klindworth-Scharwenka Conservatory
246:
147: 1919, died 1956)
16:Conductor and composer (1885â1973)
14:
6597:
6531:American male classical composers
6056:Beethoven's String Quartet No. 13
4692:Philharmonia Principal Conductors
4261:Otto Klemperer archive, 1792â1988
4228:
3937:Milein Cosman: Musical Sketchbook
3747:. Ann Arbor: UMI Research Press.
2929:, Oxford University Press, 2001.
2724:Heyworth (1996, Vol 2), pp. 91â92
2693:Heyworth (1996, Vol 2), pp. 60â61
2562:Heyworth (1996, Vol 2), pp. 20â22
2386:Heyworth (1996, Vol 2), pp. 76 77
2004:free rehearsals for his concerts.
6441:American male conductors (music)
6403:
6391:
6359:
6350:
6349:
6144:
5466:
5096:
5063:
5044:
4955:
4915:
4847:
4814:
4134:. London: Macdonald and Jane's.
3696:
3687:
3678:
3669:
3640:
3627:
3609:
3574:
3555:
3543:
3524:
3505:
3445:
3436:
3423:
3410:
3385:
3376:
3355:
3346:
3337:
3328:
3315:
3306:
3297:
3288:
3275:
3205:
3196:
3187:
3148:
2998:Previn, pp. 20, 159, 174 and 183
2684:in Heyworth (1996, Vol 2), p. 55
2156:Heyworth, Peter and John Lucas.
2035:
2020:
2007:
1387:, and "Nuages" and "FĂȘtes" from
1056:Legge was a senior producer for
739:and Second Symphony, Bruckner's
6541:20th-century American composers
6461:German male classical composers
4089:. London: Chatto & Windus.
4020:The Penguin Stereo Record Guide
3762:Furlong, William Barry (1974).
3139:
3130:
3121:
3108:
3099:
3096:Schwarzkopf, pp. 83 and 105â106
3090:
3081:
3072:
3063:
3054:
3045:
3032:
3023:
3014:
3001:
2992:
2983:
2974:
2961:
2948:
2935:
2912:
2903:
2894:
2869:
2854:
2825:
2816:
2807:
2782:
2748:
2727:
2718:
2709:
2696:
2687:
2670:
2649:
2624:
2599:
2586:
2565:
2556:
2547:
2538:
2529:
2520:
2511:
2490:
2487:Osborne and Thompson, pp. 37â38
2481:
2466:
2457:
2432:
2419:
2410:
2389:
2380:
2371:
2310:
2301:
2276:
2243:
2234:
2225:
2216:
2207:
2198:
2122:
2119:Heyworth (1996, Vol 1), pp. 5â9
1997:
1988:
1967:
1906:
1897:
1872:
1858:
1735:, Reiner, and, now Klemperer."
1276:
844:
348:at a rehearsal of the latter's
220:in Budapest from 1947 to 1950.
144:
6496:Naturalized citizens of Israel
6481:German male conductors (music)
3202:Heyworth (1996, Vol 2), p. 358
3193:Heyworth (1996, Vol 2), p. 452
3154:Heyworth (1996, Vol 2), p. 315
3078:Heyworth (1996, Vol 2), p. 293
3051:Heyworth (1996, Vol 2), p. 274
2113:
2104:
2095:
2086:
2077:
2068:
2059:
1849:
1653:Honours, legacy and reputation
1178:
690:
251:
111:(joint nationality, 1970â1973)
1:
6112:Queen of the Night aria from
5539:Arturo Benedetti Michelangeli
3959:. London: MacGibbon and Key.
2733:Heyworth (1996, Vol 2), p. 96
2571:Heyworth (1996, Vol 2), p. 21
2204:Heyworth (1996, Vol 1), p. 14
2128:Heyworth (1996, Vol 1), p. 10
2052:
1821:Notes, references and sources
1712:
1351:
1300:(meaning "labour pains") and
1234:Die EntfĂŒhrung aus dem Serail
911:at the Salzburg Festival and
703:, founder and sponsor of the
529:introduced there, he listed:
21:Otto Ernst Heinrich Klemperer
6586:19th-century Prussian people
6536:American classical composers
6511:People with bipolar disorder
4273:How to use archival material
4152:Malcolm Sargent: A Biography
3879:. London: Travis and Emery.
3816:Conversations with Klemperer
3583:Central New Jersey Home News
3391:Macdonald, Malcolm. Review,
3281:Greenfield, Edward. Review,
2804:Heyworth (1985), pp. 100â101
2101:Heyworth (1996, Vol 1), p. 2
2065:Heyworth (1996, Vol 1), p. 4
1086:In 1957, Legge launched the
7:
6456:Deutsche Grammophon artists
6215:Columbia Symphony Orchestra
6129:Songs of the Humpback Whale
4584:Montreal Symphony Orchestra
4314:20th Century Press Archives
4213:. London: Faber and Faber.
4155:. London: Hamish Hamilton.
3983:. London: Faber and Faber.
3915:American National Biography
3531:"Otto Klemperer Collection"
2745:Heyworth (1985), pp. 99â100
2478:, 1 April 1929. pp. 322â323
2463:Osborne and Thompson, p. 90
2282:"Real Drama at the Opera",
1273:, ZĂŒrich, four days later.
1250:The grave in December 2009.
1094:conducted by Klemperer. In
960:Symphony in Three Movements
886:
849:The governing board of the
483:New York Symphony Orchestra
10:
6602:
6491:Jewish classical composers
6466:German classical composers
6136:Beethoven's Symphony No. 5
6072:"Gavotte en Rondeau" from
3939:. Oxford: Bruno Cassirer.
3709:
3114:"Philharmonia Suspended",
2609:, 13 September 1936, p. 53
2583:Heyworth (1985), pp. 89â91
2544:Heyworth (1985), pp. 87â88
2407:Heyworth (1985), pp. 63â65
2045:, is the Barbirolli Chair.
2041:The other, held (2023) by
1358:Otto Klemperer discography
1355:
761:system". The musicologist
481:as guest conductor of the
312:he studied the piano with
18:
6476:German conductors (music)
6345:
6153:
6142:
6119:"Sacrificial Dance" from
6100:The Well-Tempered Clavier
6038:
6006:
5866:
5813:
5611:
5399:
5115:
4782:
4698:
4631:Rafael FrĂŒhbeck de Burgos
4590:
4487:
4373:
4333:
4328:Links to related articles
4255:
4244:
4104:Pettitt, Stephen (1985).
4081:Osborne, Richard (1998).
4018:March, Ivan, ed. (1977).
3833:Heyworth, Peter (1996) .
3465:Who's Who and Who Was Who
3429:Robertson, Alec. Review,
3416:Robertson, Alec. Review,
3180:"Klemperer stands down",
3042:, 17 November 1957, p. 14
3011:, 29 September 1956, p. 2
2945:, 16 November 1979, p. 29
2763:Oxford English Dictionary
2676:Thomson, Virgil. Review,
2667:, 13 December 1935, p. 15
2508:, 29 November 1929, p. 14
2496:"Klemperer and the LSO",
1697:, sent into space on the
1440:, all sung in Hungarian.
1225:Serenade No. 11 in E flat
1219:as soloist, and Brahms's
1008:
903:, husband of the pianist
655:London Symphony Orchestra
613:, with its libretto from
558:'s three one-act operas,
496:
364:Orpheus in the Underworld
154:
126:
118:
94:
75:
49:
37:
30:
6526:Hoch Conservatory alumni
6278:MĂŒnchener Bach-Orchester
5215:Dietrich Fischer-Dieskau
4066:. London: Robson Books.
3852:Heyworth, Peter (1996).
3743:Opera for a New Republic
3666:, 14 October 1961, p. 89
3624:, 4 February 1970, p. 14
3567:18 December 2022 at the
3231:"Klemperer the Composer"
2971:, 27 December 1975, p. 4
2360:21 December 2022 at the
2017:deputised for Klemperer.
2013:The concert went ahead;
1825:
1582:. Reviewing the former,
1548:Dietrich Fischer-Dieskau
1289:Hearing Debussy's opera
1068:According to the critic
705:Los Angeles Philharmonic
699:. He was sounded out by
304:with his mother. At the
195:Los Angeles Philharmonic
6556:German patrons of music
6273:Wolfgang Amadeus Mozart
6195:Budapest String Quartet
6080:Izlel ye Delyo Haydutin
5869:record label executives
5131:Victoria de los Ăngeles
4776:Gramophone Hall of Fame
4582:Music directors of the
4108:. London: Robert Hale.
3770:. New York: Macmillan.
3739:Cook, Susan C. (1988).
3716:Canarina, John (2003).
3536:8 December 2022 at the
3469:(subscription required)
3239:(subscription required)
3184:, 21 January 1971, p. 8
3020:Heyworth (1985), p. 123
2931:(subscription required)
2851:Heyworth (1985), p. 103
2768:Oxford University Press
2605:"Music and Musicians",
2502:The Manchester Guardian
2442:, 3 January 1926, p. 2E
2298:, 8 February 1913, p. 4
2292:The Cincinnati Enquirer
2162:(subscription required)
1884:Der fliegende HollÀnder
1603:Der fliegende HollÀnder
1475:Bavarian Radio Symphony
837:San Francisco Chronicle
639:Der fliegende HollÀnder
524:Klemperer's biographer
391:(1910â1912), where the
344:In 1905, Klemperer met
260:, in what was then the
19:For the physicist, see
6501:Musicians from WrocĆaw
6309:Philharmonia Orchestra
4721:Christoph von DohnĂĄnyi
4203:Schwarzkopf, Elisabeth
4179:Sackville-West, Edward
4149:Reid, Charles (1968).
4062:; Ken Thomson (1980).
3720:Pierre Monteux, MaĂźtre
3618:. "Fine Mozart cast",
3395:, October 1955, p. 178
3118:, 11 March 1964, p. 12
2866:, October 1951, p. 446
2706:, 5 January 1936, p. 8
2646:Heyworth (1985), p. 97
2535:Heyworth (1985), p. 84
2526:Heyworth (1985), p. 83
2438:"The World of Music",
2337:Heyworth (1985), p. 62
2316:Heyworth (1985), p. 11
2231:Heyworth (1985), p. 28
2222:Heyworth (1985), p. 29
2110:Heyworth (1985), p. 18
1758:The Marriage of Figaro
1680:Royal Academy of Music
1607:The Marriage of Figaro
1483:Cologne Radio Symphony
1251:
1192:
1022:
952:Third Orchestral Suite
950:. He conducted Bach's
948:Philharmonia Orchestra
909:The Marriage of Figaro
896:
880:Morristown, New Jersey
832:San Francisco Symphony
726:
567:Das geheime Königreich
521:
441:The Marriage of Figaro
435:Prussian State Theatre
336:
225:Philharmonia Orchestra
199:San Francisco Symphony
103:(1885â1935; 1954â1973)
6200:Johann Sebastian Bach
6000:Voyager Golden Record
5783:Mstislav Rostropovich
5355:Elisabeth Schwarzkopf
5087:Michael Tilson Thomas
4733:Santtu-Matias Rouvali
4378:Walter Henry Rothwell
3637:, 19 June 1971, p. 17
3586:, 29 July 1973, p. 61
3517:20 March 2018 at the
2831:"Mr Otto Klemperer",
2704:The Los Angeles Times
2607:The Los Angeles Times
2592:"Stage Attractions",
2269:"Dr Otto Klemperer",
1695:Voyager Golden Record
1693:for inclusion on the
1629:, and among the men,
1564:Elisabeth Schwarzkopf
1487:RIAS Symphony, Berlin
1427:The Tales of Hoffmann
1384:Alborada del gracioso
1249:
1213:Fourth Piano Concerto
1190:
1016:
917:Hungarian State Opera
894:
830:was conductor of the
774:New York Philharmonic
736:Das Lied von der Erde
721:
701:William Andrews Clark
516:
331:
218:Hungarian State Opera
203:New York Philharmonic
168:Otto Nossan Klemperer
54:Otto Nossan Klemperer
6263:Blind Willie Johnson
6205:Ludwig van Beethoven
6178:Bavarian State Opera
6048:Brandenburg Concerto
5867:Producers/engineers/
5334:Anne Sofie von Otter
4925:Nikolaus Harnoncourt
4390:Artur Rodziński
4183:Desmond Shawe-Taylor
3433:, April 1968, p. 542
2891:, 26 June 1951, p. 6
2835:, 6 March 1948, p. 2
2680:, 25 December 1935,
2664:Brooklyn Daily Eagle
2658:Brooklyn Times Union
2596:, 24 May 1935, p. 15
2440:Brooklyn Daily Eagle
2429:, 3 June 1973, p. 37
2353:Montgomery, Paul L.
2273:, 9 July 1973, p. 16
1945:Third Piano Concerto
1668:President Hindenburg
1627:Elisabeth Söderström
1376:Staatskapelle Berlin
1292:Pelléas et Mélisande
1126:, and symphonies by
551:L'Histoire du soldat
106:American (1940â1954)
6297:Early Music Consort
6188:Wolfgang Sawallisch
5857:The Tallis Scholars
5822:Alban Berg Quartett
5560:Sergei Rachmaninoff
5278:Dmitri Hvorostovsky
4946:Herbert von Karajan
4932:Christopher Hogwood
4906:Carlo Maria Giulini
4899:John Eliot Gardiner
4892:Wilhelm FurtwÀngler
4420:Carlo Maria Giulini
4250:Library of Congress
4189:. London: Collins.
4085:Herbert von Karajan
3796:. London: Collins.
3786:Haltrecht, Montague
3693:March (1967), p. 58
3606:, 9 July 1973, p. 8
3442:March (1977), p. 59
3361:Schwarzkopf, p. 178
3145:Schwarzkopf, p. 190
3105:Schwarzkopf, p. 104
2941:"Mr Walter Legge",
2900:Schwarzkopf, p. 177
2813:Schwarzkopf, p. 176
2788:Schwarzkopf, p. 175
2766:(Online ed.).
2498:The Daily Telegraph
2377:Schwarzkopf, p. 172
2368:, 8 July 1973, p. 1
2307:Schwarzkopf, p. 171
2284:London Evening News
1719:The Washington Post
1699:Voyager space craft
1590:Stereo Record Guide
1088:Philharmonia Chorus
1050:Berlin Philharmonic
1046:Herbert von Karajan
975:Royal Festival Hall
851:Pittsburgh Symphony
826:and Lotte Lehmann.
713:Cleveland Orchestra
681:Wilhelm FurtwÀngler
630:Die glĂŒckliche Hand
610:Aus einem Totenhaus
579:Das Leben des Orest
389:Hamburg State Opera
383:German opera houses
379:in Prague in 1907.
258:Province of Silesia
207:Pittsburgh Symphony
122:Conductor, composer
6304:K. P. H. Notoprojo
6134:first movement of
6122:The Rite of Spring
6045:first movement of
5843:The King's Singers
5776:Jean-Pierre Rampal
5748:Anne-Sophie Mutter
5567:Sviatoslav Richter
5464:Marc-André Hamelin
5429:Vladimir Ashkenazy
5159:Montserrat Caballé
4864:Sergiu Celibidache
4402:Alfred Wallenstein
3650:, May 1965, p. 520
3420:, July 1966, p. 71
3285:, June 1970, p. 40
2927:Grove Music Online
2887:"Festival Music",
2757:"manic depression"
2366:The New York Times
2328:Keene, pp. 790â791
2296:Geelong Advertiser
2249:Chesterman, p. 106
2240:Chesterman, p. 105
1748:Sir Neville Cardus
1741:Grove's Dictionary
1672:Occidental College
1658:Honours and legacy
1523:St Matthew Passion
1326:The New York Times
1324:, music critic of
1252:
1193:
1107:Tristan und Isolde
1023:
897:
824:BronisĆaw Huberman
727:
646:'s innovations at
522:
471:The Soldier's Tale
427:Berlin State Opera
400:Elisabeth Schumann
377:New German Theatre
322:Stern Conservatory
268:; the city is now
6379:
6378:
6373:
6372:
6166:and His Hot Seven
5966:
5965:
5957:Kenneth Wilkinson
5938:Goddard Lieberson
5657:Jacqueline du Pré
5574:Arthur Rubinstein
5483:Vladimir Horowitz
5341:Luciano Pavarotti
5073:Leopold Stokowski
5007:Yevgeny Mravinsky
4986:Charles Mackerras
4824:Leonard Bernstein
4742:
4741:
4727:Esa-Pekka Salonen
4715:Giuseppe Sinopoli
4658:
4657:
4625:Franz-Paul Decker
4595:Wilfrid Pelletier
4549:
4548:
4516:William Steinberg
4504:Antonio Modarelli
4447:
4446:
4432:Esa-Pekka Salonen
4408:Eduard van Beinum
4384:Georg Schnéevoigt
4278:
4277:
4267:
4266:
4220:978-0-57111-928-8
4141:978-0-35404-420-2
4115:978-0-70902-371-5
4096:978-0-70116-714-1
4073:978-0-86051-098-7
4051:978-0-30010-882-8
4029:978-0-14046-223-4
4003:The Great Records
3990:978-0-57114-692-5
3980:Mahler Remembered
3966:978-0-26163-336-0
3924:978-0-19520-635-7
3905:978-1-10842-502-5
3886:978-1-90685-716-5
3867:978-0-52124-488-6
3844:978-0-52149-509-7
3825:978-0-57113-561-5
3803:978-0-00211-163-8
3777:978-0-02542-000-7
3754:978-0-83571-811-0
3731:978-1-57467-082-0
3461:"Klemperer, Otto"
3087:Haltrecht, p. 252
3069:Haltrecht, p. 249
2863:The Musical Times
2774:(Subscription or
2475:The Musical Times
2288:Ottawa Free Press
2158:"Klemperer, Otto"
1954:Serenata notturna
1842:rendering of the
1458:Kindertotenlieder
1432:Die Meistersinger
1374:in 1924 with the
1340:Edward Greenfield
1196:Swiss residency.
1116:Die Meistersinger
940:Die Meistersinger
816:Emanuel Feuermann
755:Arnold Schoenberg
723:Arnold Schoenberg
697:Salzburg Festival
518:Kroll Opera House
361:'s production of
306:Hoch Conservatory
165:
164:
44:Klemperer c. 1920
6593:
6408:
6407:
6406:
6396:
6395:
6394:
6387:
6363:
6362:
6353:
6352:
6253:Anthony Holborne
6148:
6054:"Cavatina" from
5993:
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5694:
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5659:
5652:
5645:
5638:
5631:
5624:
5614:woodwind players
5604:
5597:
5590:
5583:
5576:
5569:
5562:
5555:
5553:Maurizio Pollini
5548:
5541:
5534:
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5511:Gustav Leonhardt
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5390:Fritz Wunderlich
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5285:Gundula Janowitz
5280:
5273:
5266:
5259:
5252:
5245:
5243:Nicolai Ghiaurov
5238:
5236:Angela Gheorghiu
5231:
5224:
5222:Kirsten Flagstad
5217:
5210:
5208:Kathleen Ferrier
5203:
5196:
5189:
5187:Feodor Chaliapin
5182:
5175:
5168:
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5101:
5100:
5094:Arturo Toscanini
5089:
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4995:
4993:Neville Marriner
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4873:
4871:Riccardo Chailly
4866:
4859:
4857:Benjamin Britten
4852:
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4819:
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4805:Daniel Barenboim
4800:
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4248:Music Division,
4242:
4241:
4233:
4232:
4224:
4212:
4198:
4187:The Record Guide
4174:
4145:
4133:
4119:
4100:
4088:
4077:
4060:Osborne, Charles
4055:
4033:
4014:
3994:
3975:Lebrecht, Norman
3970:
3953:Kennedy, Michael
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2213:Lebrecht, p. 204
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1890:(be seated) and
1876:
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1853:
1847:
1836:
1797:The Record Guide
1689:was selected by
1647:Nicolai Ghiaurov
1635:Gabriel Bacquier
1576:Daniel Barenboim
1467:Kathleen Ferrier
1322:Harold Schonberg
1112:Holland Festival
962:and Beethoven's
868:bipolar disorder
778:Arturo Toscanini
731:Great Depression
408:Strasbourg Opera
340:
320:and then to the
214:bipolar disorder
148:
146:
82:
63:
61:
42:
28:
27:
6601:
6600:
6596:
6595:
6594:
6592:
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6590:
6416:
6415:
6414:
6410:Classical music
6404:
6402:
6392:
6390:
6382:
6380:
6375:
6374:
6369:
6341:
6268:Kesarbai Kerkar
6243:Arthur Grumiaux
6221:Igor Stravinsky
6173:Valya Balkanska
6161:Louis Armstrong
6149:
6140:
6114:The Magic Flute
6087:Johnny B. Goode
6051:No. 2, BWV 1047
6034:
6016:Voyager program
6002:
5997:
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5950:
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5910:
5903:
5896:
5889:
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5868:
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5855:
5848:
5841:
5836:Beaux Arts Trio
5834:
5829:Amadeus Quartet
5827:
5820:
5809:
5802:
5795:
5788:
5781:
5774:
5767:
5760:
5753:
5746:
5741:Nathan Milstein
5739:
5732:
5725:
5720:Wynton Marsalis
5718:
5711:
5704:
5697:
5692:Steven Isserlis
5690:
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5676:
5671:Arthur Grumiaux
5669:
5662:
5655:
5650:Kyung Wha Chung
5648:
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5627:
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5613:
5607:
5600:
5595:Grigory Sokolov
5593:
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5457:Friedrich Gulda
5455:
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5415:Martha Argerich
5413:
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5362:Joan Sutherland
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5201:PlĂĄcido Domingo
5199:
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5178:
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5164:
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5150:
5145:Cecilia Bartoli
5143:
5136:
5129:
5122:
5111:
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5092:
5085:
5078:
5071:
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5040:
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5028:Antonio Pappano
5026:
5019:
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5005:
4998:
4991:
4984:
4977:
4970:
4963:
4951:
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4911:
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4897:
4890:
4885:Gustavo Dudamel
4883:
4876:
4869:
4862:
4855:
4843:
4836:
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4822:
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4803:
4798:John Barbirolli
4796:
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4613:Igor Markevitch
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4438:Gustavo Dudamel
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3664:Saturday Review
3661:
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3590:
3579:
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3569:Wayback Machine
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3538:Wayback Machine
3529:
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3519:Wayback Machine
3510:
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3473:"Archived copy"
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3248:
3246:
3243:"Archived copy"
3241:
3238:
3229:Walton, Chris.
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3127:Pettitt, p. 124
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2980:Osborne, p. 372
2979:
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2966:
2962:
2956:Musical America
2953:
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2940:
2936:
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2923:"Legge, Walter"
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2630:Kennedy, p. 144
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2012:
2008:
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1998:
1993:
1989:
1984:
1977:
1972:
1968:
1951:, and Mozart's
1911:
1907:
1902:
1898:
1877:
1873:
1863:
1859:
1854:
1850:
1837:
1833:
1828:
1823:
1792:
1784:
1725:Joseph McLellan
1723:s music critic
1715:
1660:
1655:
1615:Teresa Berganza
1544:The Magic Flute
1491:Vienna Symphony
1422:The Magic Flute
1405:La belle HĂ©lĂšne
1368:Eighth Symphony
1360:
1354:
1279:
1267:
1260:Eighth Symphony
1240:St John Passion
1181:
1164:Die Zauberflöte
1084:
1081:Richard Strauss
1036:called it "the
1011:
1001:, and obtained
995:new legislation
986:
958:, Stravinsky's
889:
847:
789:John Barbirolli
783:Musical America
709:Artur RodziĆski
693:
662:Eighth Symphony
634:
499:
479:Eugene Goossens
416:Johanna Geisler
385:
350:Second Symphony
342:
338:
262:Imperial German
254:
249:
247:Life and career
176:symphonic music
150:
142:
138:
135:
133:Johanna Geisler
114:
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6337:GorĆ Yamaguchi
6334:
6332:Laurie Spiegel
6329:
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6315:Otto Klemperer
6306:
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5918:Alain Lanceron
5915:
5908:
5901:
5898:C. Robert Fine
5894:
5887:
5884:Bernard Coutaz
5880:
5877:Emile Berliner
5872:
5870:
5864:
5863:
5861:
5860:
5853:
5850:TakĂĄcs Quartet
5846:
5839:
5832:
5825:
5817:
5815:
5811:
5810:
5808:
5807:
5800:
5797:Andrés Segovia
5793:
5786:
5779:
5772:
5769:Itzhak Perlman
5765:
5762:Emmanuel Pahud
5758:
5755:David Oistrakh
5751:
5744:
5737:
5734:Yehudi Menuhin
5730:
5727:Albrecht Mayer
5723:
5716:
5709:
5702:
5699:Fritz Kreisler
5695:
5688:
5685:Heinz Holliger
5681:
5678:Jascha Heifetz
5674:
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5653:
5646:
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5625:
5617:
5615:
5609:
5608:
5606:
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5602:Mitsuko Uchida
5598:
5591:
5588:Artur Schnabel
5584:
5577:
5570:
5563:
5556:
5549:
5546:Murray Perahia
5542:
5535:
5528:
5521:
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5507:
5500:
5497:Wilhelm Kempff
5493:
5486:
5479:
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5453:
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5436:Alfred Brendel
5432:
5425:
5418:
5411:
5403:
5401:
5397:
5396:
5394:
5393:
5386:
5379:
5376:Kiri Te Kanawa
5372:
5369:Renata Tebaldi
5365:
5358:
5351:
5348:Leontyne Price
5344:
5337:
5330:
5323:
5320:Birgit Nilsson
5316:
5309:
5302:
5295:
5292:Jonas Kaufmann
5288:
5281:
5274:
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5260:
5257:Thomas Hampson
5253:
5246:
5239:
5232:
5225:
5218:
5211:
5204:
5197:
5194:Joyce DiDonato
5190:
5183:
5176:
5169:
5162:
5155:
5152:Jussi Björling
5148:
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5134:
5127:
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5113:
5112:
5110:
5109:
5102:
5090:
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5076:
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5038:
5035:Trevor Pinnock
5031:
5024:
5021:Eugene Ormandy
5017:
5010:
5003:
4996:
4989:
4982:
4975:
4972:Rafael KubelĂk
4968:
4965:Otto Klemperer
4961:
4953:Carlos Kleiber
4949:
4942:
4939:Mariss Jansons
4935:
4928:
4921:
4909:
4902:
4895:
4888:
4881:
4874:
4867:
4860:
4853:
4841:
4834:
4827:
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4812:Thomas Beecham
4808:
4801:
4794:
4791:Claudio Abbado
4786:
4784:
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4779:
4772:
4771:
4764:
4757:
4749:
4740:
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4706:
4703:Otto Klemperer
4699:
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4695:
4688:
4687:
4680:
4673:
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4656:
4655:
4653:
4652:
4646:
4640:
4637:Charles Dutoit
4634:
4628:
4622:
4616:
4610:
4607:Otto Klemperer
4604:
4598:
4591:
4588:
4587:
4579:
4578:
4571:
4564:
4556:
4547:
4546:
4544:
4543:
4540:Manfred Honeck
4537:
4534:Mariss Jansons
4531:
4525:
4519:
4513:
4507:
4501:
4495:
4492:Victor Herbert
4488:
4485:
4484:
4477:
4476:
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4454:
4445:
4444:
4442:
4441:
4435:
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4423:
4417:
4411:
4405:
4399:
4396:Otto Klemperer
4393:
4387:
4381:
4374:
4371:
4370:
4363:
4362:
4355:
4348:
4340:
4334:
4331:
4330:
4321:
4320:
4307:
4305:Nickolas Muray
4298:
4293:
4288:
4282:Otto Klemperer
4276:
4275:
4269:
4268:
4265:
4264:
4257:
4253:
4252:
4246:
4238:
4237:
4230:
4229:External links
4227:
4226:
4225:
4219:
4199:
4175:
4161:
4146:
4140:
4120:
4114:
4101:
4095:
4078:
4072:
4056:
4050:
4038:Nichols, Roger
4034:
4028:
4015:
4001:, ed. (1967).
3995:
3989:
3971:
3965:
3949:
3929:
3923:
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3885:
3872:
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3849:
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3808:
3802:
3782:
3776:
3759:
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3736:
3730:
3711:
3708:
3705:
3704:
3702:Previn, p. 174
3695:
3686:
3677:
3668:
3652:
3648:The Gramophone
3639:
3626:
3608:
3588:
3573:
3554:
3542:
3523:
3504:
3453:
3444:
3435:
3431:The Gramophone
3422:
3418:The Gramophone
3409:
3397:
3393:The Gramophone
3384:
3375:
3363:
3354:
3345:
3336:
3327:
3314:
3305:
3296:
3287:
3283:The Gramophone
3274:
3213:
3204:
3195:
3186:
3168:
3166:Previn, p. 159
3156:
3147:
3138:
3136:Previn, p. 102
3129:
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3080:
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3062:
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3031:
3029:Pettitt, p. 91
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2989:Pettitt, p. 60
2982:
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2934:
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2875:Pettitt, p. 45
2868:
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2822:Pettitt, p. 36
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2048:
2047:
2043:Sir Mark Elder
2034:
2019:
2015:Charles Groves
2006:
1996:
1987:
1975:
1966:
1943:, Beethoven's
1932:Fifth Symphony
1905:
1896:
1871:
1857:
1848:
1838:Nossan is the
1830:
1829:
1827:
1824:
1822:
1819:
1789:
1774:
1770:Suvi Raj Grubb
1714:
1711:
1707:Semyon Bychkov
1687:Fifth Symphony
1659:
1656:
1654:
1651:
1595:CosĂŹ fan tutte
1584:Alec Robertson
1556:Christa Ludwig
1535:German Requiem
1511:Johann Strauss
1506:The Gramophone
1449:Missa solemnis
1437:CosĂŹ fan tutte
1356:Main article:
1353:
1350:
1278:
1275:
1256:
1221:Third Symphony
1180:
1177:
1092:Ninth Symphony
1074:
1060:, part of the
1010:
1007:
983:
888:
885:
846:
843:
828:Pierre Monteux
820:Joseph Szigeti
812:Artur Schnabel
692:
689:
644:Wieland Wagner
600:Hin und zurĂŒck
594:Neues vom Tage
531:
526:Peter Heyworth
508:Leo Kestenberg
498:
495:
489:and JanĂĄÄek's
487:Ninth Symphony
384:
381:
330:
253:
250:
248:
245:
205:and later the
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83:(aged 88)
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35:
34:
32:Otto Klemperer
31:
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6258:Kamil Jalilov
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5912:Klaus Heymann
5909:
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5905:Fred Gaisberg
5902:
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5804:John Williams
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5640:
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5622:Maurice André
5619:
5618:
5616:
5612:String/brass/
5610:
5603:
5599:
5596:
5592:
5589:
5585:
5582:
5581:AndrĂĄs Schiff
5578:
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5512:
5508:
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5504:Evgeny Kissin
5501:
5498:
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5491:
5490:Stephen Hough
5487:
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5480:
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5476:Angela Hewitt
5473:
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5422:Claudio Arrau
5419:
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5412:
5409:
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5380:
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5327:Jessye Norman
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5313:Anna Netrebko
5310:
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5300:
5296:
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5264:Marilyn Horne
5261:
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5229:Renée Fleming
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5216:
5212:
5209:
5205:
5202:
5198:
5195:
5191:
5188:
5184:
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5180:Enrico Caruso
5177:
5174:
5173:José Carreras
5170:
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5051:
5047:
5043:
5039:
5036:
5032:
5029:
5025:
5022:
5018:
5015:
5014:Riccardo Muti
5011:
5008:
5004:
5001:
4997:
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4990:
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4838:Pierre Boulez
4835:
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4709:Riccardo Muti
4707:
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4700:
4697:
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4649:Rafael Payare
4647:
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4632:
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4601:Désiré Defauw
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4162:9780800850807
4158:
4154:
4153:
4147:
4143:
4137:
4132:
4131:
4125:
4124:Previn, André
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3672:
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3659:
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3649:
3643:
3636:
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3623:
3622:
3617:
3616:Mann, William
3612:
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3004:
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2986:
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2944:
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2928:
2924:
2920:
2919:Mann, William
2915:
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2643:
2641:
2639:
2637:
2627:
2621:Keller, p. 56
2618:
2616:
2608:
2602:
2595:
2589:
2580:
2578:
2568:
2559:
2550:
2541:
2532:
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2258:
2256:
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2201:
2193:
2189:
2183:
2167:
2159:
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2151:
2149:
2147:
2145:
2143:
2141:
2139:
2137:
2135:
2125:
2116:
2107:
2098:
2089:
2080:
2071:
2062:
2058:
2044:
2038:
2031:
2030:
2023:
2016:
2010:
2000:
1991:
1982:
1980:
1970:
1963:
1961:
1956:
1955:
1950:
1946:
1942:
1941:
1937:
1933:
1929:
1925:
1923:
1918:
1916:
1909:
1900:
1893:
1889:
1886:. Punning on
1885:
1881:
1875:
1868:
1861:
1852:
1845:
1841:
1835:
1831:
1818:
1816:
1812:
1808:
1804:
1803:Erich Kleiber
1799:
1798:
1788:
1781:
1779:
1773:
1771:
1767:
1763:
1762:Stanley Sadie
1759:
1755:
1754:
1749:
1744:
1742:
1738:
1734:
1730:
1726:
1722:
1720:
1710:
1708:
1702:
1700:
1696:
1692:
1688:
1683:
1681:
1677:
1673:
1669:
1665:
1650:
1648:
1644:
1643:Nicolai Gedda
1640:
1639:Geraint Evans
1636:
1632:
1628:
1624:
1620:
1619:Mirella Freni
1616:
1612:
1608:
1604:
1600:
1596:
1592:
1591:
1585:
1581:
1577:
1571:
1569:
1565:
1561:
1557:
1553:
1552:Gottlob Frick
1549:
1545:
1541:
1537:
1536:
1532:and Brahms's
1531:
1530:
1525:
1524:
1518:
1516:
1512:
1508:
1507:
1502:
1500:
1494:
1492:
1488:
1484:
1480:
1479:Concertgebouw
1476:
1472:
1468:
1464:
1460:
1459:
1454:
1453:Concertgebouw
1450:
1446:
1441:
1439:
1438:
1433:
1429:
1428:
1423:
1419:
1415:
1409:
1407:
1406:
1401:
1400:
1395:
1394:
1390:
1386:
1385:
1381:
1377:
1373:
1369:
1365:
1359:
1349:
1346:
1341:
1337:
1333:
1332:
1327:
1323:
1317:
1315:
1311:
1307:
1303:
1299:
1294:
1293:
1287:
1285:
1284:kapellmeister
1274:
1272:
1265:
1261:
1255:
1248:
1244:
1242:
1241:
1236:
1235:
1228:
1226:
1222:
1218:
1214:
1210:
1208:
1203:
1197:
1189:
1185:
1176:
1174:
1170:
1166:
1165:
1160:
1156:
1152:
1148:
1144:
1143:Covent Garden
1139:
1137:
1134:, Mahler and
1133:
1129:
1125:
1122:
1117:
1113:
1109:
1108:
1102:
1099:
1098:
1093:
1089:
1082:
1078:
1073:
1071:
1066:
1063:
1059:
1054:
1051:
1047:
1043:
1039:
1035:
1031:
1030:
1020:
1015:
1006:
1004:
1000:
996:
991:
982:
980:
976:
970:
968:
966:
961:
957:
953:
949:
944:
942:
941:
936:
932:
931:
926:
922:
918:
914:
910:
906:
905:Annie Fischer
902:
893:
884:
881:
877:
876:Rye, New York
873:
869:
863:
861:
856:
852:
842:
840:
838:
833:
829:
825:
821:
817:
813:
809:
805:
801:
800:Santa Barbara
797:
792:
790:
785:
784:
779:
775:
771:
770:Arthur Judson
766:
764:
760:
756:
752:
751:
746:
742:
738:
737:
732:
724:
720:
716:
714:
710:
706:
702:
698:
688:
686:
682:
678:
674:
673:Heinz Tietjen
669:
667:
663:
660:
656:
651:
649:
645:
641:
640:
632:
631:
626:
625:
620:
616:
612:
611:
606:
602:
601:
596:
595:
590:
589:
585:
581:
580:
576:, as well as
575:
574:
573:Schwergewicht
569:
568:
563:
562:
557:
553:
552:
547:
546:
541:
540:
535:
530:
527:
519:
515:
511:
509:
505:
494:
492:
488:
484:
480:
475:
473:
472:
467:
466:
461:
460:
455:
454:
449:
448:
443:
442:
436:
432:
428:
423:
421:
417:
413:
412:Cologne Opera
409:
405:
401:
397:
396:Lotte Lehmann
394:
390:
380:
378:
372:
370:
366:
365:
360:
359:Max Reinhardt
355:
351:
347:
346:Gustav Mahler
341:
335:
329:
327:
326:Hans Pfitzner
323:
319:
315:
311:
307:
301:
299:
295:
291:
287:
283:
279:
275:
271:
267:
263:
259:
244:
242:
238:
234:
230:
226:
221:
219:
215:
210:
208:
204:
200:
196:
192:
188:
184:
183:Gustav Mahler
179:
177:
173:
169:
160:
157:
153:
134:
129:
125:
121:
119:Occupation(s)
117:
108:
105:
100:
99:
97:
93:
89:, Switzerland
88:
78:
74:
69:
52:
48:
41:
36:
29:
26:
22:
6314:
6291:David Munrow
6284:Karl Richter
6154:Contributors
6127:
6120:
6113:
6099:
6046:
6027:
6020:
5945:Richard Mohr
5931:Edward Lewis
5924:Walter Legge
5891:John Culshaw
5790:Jordi Savall
5706:Gidon Kremer
5664:James Galway
5643:Pablo Casals
5636:Julian Bream
5629:Dennis Brain
5525:Dinu Lipatti
5400:Keyboardists
5166:Maria Callas
5124:Thomas Allen
5106:Bruno Walter
5080:George Szell
5054:Fritz Reiner
5042:Simon Rattle
4979:James Levine
4964:
4845:Adrian Boult
4702:
4606:
4528:Lorin Maazel
4522:André Previn
4510:Fritz Reiner
4426:André Previn
4395:
4208:
4186:
4151:
4129:
4105:
4084:
4063:
4041:
4019:
4002:
3979:
3956:
3936:
3933:Keller, Hans
3914:
3895:
3876:
3855:
3834:
3815:
3791:
3765:
3742:
3719:
3698:
3689:
3680:
3671:
3663:
3647:
3642:
3634:
3629:
3619:
3611:
3604:The Guardian
3603:
3581:
3576:
3557:
3545:
3526:
3507:
3477:. Retrieved
3464:
3456:
3447:
3438:
3430:
3425:
3417:
3412:
3392:
3387:
3378:
3357:
3348:
3339:
3330:
3322:
3317:
3308:
3299:
3290:
3282:
3277:
3247:. Retrieved
3234:
3207:
3198:
3189:
3181:
3150:
3141:
3132:
3123:
3115:
3110:
3101:
3092:
3083:
3074:
3065:
3056:
3047:
3040:The Observer
3039:
3034:
3025:
3016:
3008:
3003:
2994:
2985:
2976:
2968:
2963:
2955:
2950:
2942:
2937:
2926:
2914:
2905:
2896:
2888:
2871:
2861:
2856:
2832:
2827:
2818:
2809:
2784:
2761:
2750:
2729:
2720:
2711:
2703:
2698:
2689:
2681:
2677:
2672:
2662:
2656:
2651:
2626:
2606:
2601:
2593:
2588:
2567:
2558:
2549:
2540:
2531:
2522:
2517:Reid, p. 191
2513:
2506:The Observer
2505:
2501:
2497:
2492:
2483:
2473:
2468:
2459:
2439:
2434:
2427:The Observer
2426:
2421:
2412:
2391:
2382:
2373:
2365:
2333:
2312:
2303:
2295:
2291:
2287:
2283:
2278:
2270:
2245:
2236:
2227:
2218:
2209:
2200:
2170:. Retrieved
2124:
2115:
2106:
2097:
2088:
2079:
2070:
2061:
2037:
2027:
2022:
2009:
1999:
1990:
1969:
1959:
1952:
1938:
1921:
1914:
1908:
1899:
1891:
1887:
1883:
1874:
1867:Walter Legge
1860:
1851:
1834:
1810:
1806:
1795:
1793:
1785:
1777:
1765:
1757:
1753:The Guardian
1751:
1745:
1740:
1736:
1717:
1716:
1703:
1684:
1664:Goethe Medal
1661:
1606:
1602:
1599:Don Giovanni
1598:
1594:
1588:
1580:B minor Mass
1572:
1543:
1539:
1533:
1527:
1521:
1519:
1504:
1498:
1495:
1456:
1455:of Mahler's
1442:
1435:
1431:
1425:
1421:
1417:
1413:
1410:
1403:
1397:
1391:
1382:
1361:
1336:Charles Ives
1331:Marseillaise
1329:
1325:
1318:
1305:
1301:
1297:
1290:
1288:
1280:
1277:Compositions
1268:
1263:
1253:
1238:
1232:
1229:
1207:King Stephen
1206:
1202:André Previn
1198:
1194:
1182:
1172:
1168:
1167:(1962), and
1162:
1154:
1150:
1146:
1140:
1124:Divertimento
1115:
1110:at the 1959
1105:
1103:
1097:The Observer
1095:
1085:
1070:William Mann
1067:
1055:
1042:Walter Legge
1033:
1027:
1024:
987:
978:
971:
964:
945:
938:
934:
928:
924:
913:Don Giovanni
912:
908:
898:
864:
860:Fritz Reiner
854:
848:
845:1938 to 1945
835:
793:
781:
768:In 1935, at
767:
748:
734:
728:
694:
677:Bruno Walter
670:
652:
637:
635:
628:
622:
608:
598:
592:
586:
577:
571:
565:
561:Der Diktator
559:
549:
543:
537:
523:
500:
476:
469:
463:
457:
451:
447:Don Giovanni
445:
439:
424:
386:
373:
362:
343:
337:
332:
302:
273:
255:
243:and Mahler.
222:
211:
180:
167:
166:
81:(1973-07-06)
25:
6431:1973 deaths
6426:1885 births
6313:conductor:
6282:conductor:
6248:Guan Pinghu
6238:Glenn Gould
6219:conductor:
6210:Chuck Berry
5450:Glenn Gould
5443:Emil Gilels
5383:Bryn Terfel
5306:Emma Kirkby
5271:Hans Hotter
5138:Janet Baker
5061:Georg Solti
5000:Zubin Mehta
4878:Colin Davis
4643:Kent Nagano
4619:Zubin Mehta
4414:Zubin Mehta
4236:Archives at
3999:March, Ivan
3479:24 December
3249:24 December
2172:24 December
1611:Janet Baker
1568:Jon Vickers
1560:Peter Pears
1526:, Handel's
1399:Fra Diavolo
1370:, made for
1310:Missa Sacra
1271:Friesenberg
1237:and Bach's
1217:Daniel Adni
1179:Later years
1159:opera house
1136:Tchaikovsky
1038:Rolls-Royce
956:harpsichord
923:operas and
901:AladĂĄr TĂłth
763:Hans Keller
759:twelve-tone
750:Gurrelieder
691:Los Angeles
584:Hindemith's
539:Oedipus rex
504:Kroll Opera
491:Sinfonietta
429:to succeed
369:New Theatre
354:Oskar Fried
352:in Berlin.
314:James Kwast
252:Early years
187:Kroll Opera
95:Nationality
79:6 July 1973
64:14 May 1885
6420:Categories
6327:Nick Sagan
6322:Carl Sagan
6233:Ann Druyan
6228:John Cohen
6184:Edda Moser
6107:Puspawarna
5250:Tito Gobbi
4783:Conductors
3323:Gramophone
2778:required.)
2454:Cook, p. 2
2053:References
2029:Gramophone
1930:, and the
1840:Ashkenazic
1815:Alan Civil
1713:Reputation
1623:Anja Silja
1463:Jo Vincent
1352:Recordings
1227:, K. 375.
930:TannhÀuser
872:sanatorium
659:Bruckner's
619:Schoenberg
615:Dostoevsky
534:Stravinsky
371:, Berlin.
60:1885-05-14
6398:Biography
6295:with the
6102:, Book II
6029:Voyager 2
6022:Voyager 1
5951:Ted Perry
5814:Ensembles
5532:Radu Lupu
5518:Lang Lang
4831:Karl Böhm
4498:Emil Paur
4195:500373060
4171:500563931
4130:Orchestra
4011:555041974
3814:(1985) .
3635:The Times
3621:The Times
3182:The Times
3116:The Times
3009:The Times
2969:The Times
2943:The Times
2889:The Times
2833:The Times
2271:The Times
1928:Myra Hess
1892:entsetzen
1880:Siegfried
1846:"Nathan".
1844:Sephardic
1737:The Times
1631:Theo Adam
1414:Lohengrin
1393:Nocturnes
1389:Debussy's
1343:world of
1169:Lohengrin
1145:début in
1034:The Times
979:The Times
954:from the
935:Lohengrin
808:Claremont
796:San Diego
624:Erwartung
588:Cardillac
459:Lohengrin
431:Leo Blech
310:Frankfurt
280:aimed at
278:Joseph II
264:state of
233:Beethoven
161:and Lotte
70:, Germany
6355:Category
6061:Chakrulo
6011:Contents
5713:Yo-Yo Ma
4286:AllMusic
4245:Location
4205:(1982).
4185:(1955).
4126:(1979).
4040:(2011).
3977:(1998).
3955:(1971).
3788:(1975).
3565:Archived
3534:Archived
3515:Archived
3489:cite web
3259:cite web
2358:Archived
2182:cite web
1962:Symphony
1936:Walton's
1924:Concerto
1917:Overture
1780:Symphony
1778:Pastoral
1674:and the
1501:Symphony
1489:and the
1443:For the
1408:(1929).
1364:acoustic
1314:Psalm 23
1306:Das Ziel
1302:Das Ziel
1209:overture
1121:BartĂłk's
1058:Columbia
990:Montreal
967:Symphony
887:Post-war
648:Bayreuth
536:works â
393:sopranos
294:Bohemian
241:Bruckner
155:Children
6384:Portals
6365:Commons
5116:Singers
4316:of the
4312:in the
3945:3225493
3710:Sources
1960:Jupiter
1949:Solomon
1947:, with
1940:Scapino
1926:, with
1922:Emperor
1811:Fidelio
1807:Fidelio
1791:Mahler.
1783:effect.
1772:wrote:
1729:Beecham
1540:Fidelio
1529:Messiah
1499:Jupiter
1418:Fidelio
1380:Ravel's
1372:Polydor
1264:British
1215:, with
1173:Fidelio
1155:Fidelio
1151:Fidelio
1147:Fidelio
1128:Berlioz
1021:in 1954
1019:Cologne
981:wrote:
925:Fidelio
745:Seventh
605:JanĂĄÄek
465:Elektra
453:Fidelio
367:at the
298:Hamburg
292:in the
286:Josefov
270:WrocĆaw
266:Prussia
149:
141:
137:
109:Israeli
68:Breslau
6093:Mugham
4735:(2021)
4729:(2008)
4723:(1997)
4717:(1984)
4711:(1973)
4705:(1959)
4651:(2022)
4645:(2006)
4639:(1977)
4633:(1975)
4627:(1967)
4621:(1961)
4615:(1957)
4609:(1950)
4603:(1941)
4597:(1935)
4542:(2008)
4536:(1997)
4530:(1984)
4524:(1976)
4518:(1952)
4512:(1938)
4506:(1930)
4500:(1904)
4494:(1898)
4440:(2009)
4434:(1992)
4428:(1985)
4422:(1978)
4416:(1962)
4410:(1956)
4404:(1943)
4398:(1933)
4392:(1929)
4386:(1927)
4380:(1919)
4256:Source
4217:
4193:
4169:
4159:
4138:
4112:
4093:
4070:
4048:
4026:
4009:
3987:
3963:
3943:
3921:
3902:
3883:
3864:
3841:
3822:
3800:
3774:
3751:
3728:
2682:quoted
1919:, the
1915:Egmont
1888:setzen
1766:Figaro
1211:, and
1132:DvoĆĂĄk
1009:London
1003:German
999:ZĂŒrich
965:Eroica
921:Mozart
855:ad hoc
804:Fresno
741:Fourth
617:; and
597:, and
556:Krenek
520:, 1930
497:Berlin
420:Werner
404:Barmen
290:ghetto
288:, the
237:Brahms
229:Mozart
201:, the
159:Werner
127:Spouse
101:German
87:ZĂŒrich
6182:with
6039:Sound
4042:Ravel
3235:Tempo
2772:
1826:Notes
1733:Szell
1515:Weill
1471:Decca
1345:LehĂĄr
1298:Wehen
1282:of a
685:Nazis
545:Mavra
191:Nazis
172:opera
143:(
139:
4215:ISBN
4191:OCLC
4167:OCLC
4157:ISBN
4136:ISBN
4110:ISBN
4091:ISBN
4068:ISBN
4046:ISBN
4024:ISBN
4007:OCLC
3985:ISBN
3961:ISBN
3941:OCLC
3919:ISBN
3900:ISBN
3881:ISBN
3862:ISBN
3839:ISBN
3820:ISBN
3798:ISBN
3772:ISBN
3749:ISBN
3726:ISBN
3499:link
3495:link
3481:2022
3269:link
3265:link
3251:2022
2192:link
2188:link
2174:2022
1957:and
1691:NASA
1645:and
1625:and
1605:and
1566:and
1542:and
1465:and
1434:and
1402:and
1077:Bach
937:and
806:and
743:and
627:and
570:and
532:The
468:and
456:and
398:and
76:Died
50:Born
4318:ZBW
4303:by
4284:at
1750:of
1709:).
1666:by
1445:Vox
1079:to
1062:EMI
874:in
666:BBC
621:'s
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462:to
308:in
274:née
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