Потребителски вход

Запомни ме | Регистрация
14.06.2010 08:25 - Erich Kleiber - by Cesar A. Dillon (1990)
Автор: kleiber Категория: Музика   
Прочетен: 3182 Коментари: 2 Гласове:

Последна промяна: 18.03.2014 23:29

Erich Kleiber was born in Vienna, a hundred-twenty years ago, on August 5th, 1890. His sudden death at early age of 65, on January 27, 1956, deprived the world of one of the most distinguished conductors. Our sense of  loss in creases every day as the years go by. We feel he was still too young , and many years of music making could be expected from him. On that fateful day – Mozart’s Bicentenary – he was not conducting, but surely, he must have been thinking about his beloved composer. His was the music he had conducted at the WDR a week earlier, which proved to be his last concert. Later in the year, he was coming back to the Teatro Colon after seven years absence, to conduct both Don Giovanni and Le nozze di Figaro, as well as Der Rosenkavalier with a hand picked cast: Nilsson, Della Casa, Loose… But 1955 had been a difficult year. He had lost his illusion of a musically reunited Berlin. The war had ended ten years before, but men were not yet ready to accept his death. He had also serious problems in Vienna, his native city. John Russell in his superb portrayal of Erich Kleiber put it bluntly: “two months later, Kleiber was dead”.

  It has been said, that Berlin and Vienna didn’t mourn him. But Buenos Aires did! We remember the shock caused by the announcement of his death relayed over loudspeakers to the audience, who were listening to Mozart’s Bicentennial open air concert the night of January 27, 1956 in Buenos Aires. The programme for this concert was carrying the news of his return to the Teatro Colon. Erich Kleiber had given us many years of his life and many lessons. A sad fact is, that many of these were forgotten.

 Although, the recording career of Kleiber spanned a full thirty years, from acoustic 78s in 1923, to a single example of stereo long-play in 1955, his recorded output was meager compared with his wide repertoire which ranged from Bach and Mozart, to Berg and Dallapiccola. He left us four complete operas, eleven symphonies, two dozen overtures, a few symphonic poems, a handful of waltzes, short pieces and excerpts. It has been said, that he was not happy in the recording studio, but he kept coming back during the 78 rpm era to remake some of his previous recordings. And there is written evidence, that he liked his earliest records made for Vox label. However, the sad fact is that many facets of his concerts and operatic repertoire remain undocumented. He obviously preferred Mozart, Schubert and Beethoven symphonies to those of Brahms and Mahler (which he did conduct in the twenties and thirties), there are no Haydn, Schumann or Mendelssohn symphonies on record. Even after the war, he recorded Beethoven’s Eroica and Pastoral within a few years. There were new set of Freischutz, Salome, Zauberflote and Don Giovanni, when Decca label was building up a library of opera on long play records in the early fifties, with some excellent conductors, but we are left wondering what extra touch of genius Kleiber could have put on them. These were opportunities missed and lost. Beethoven’s Fidelio and Missa Solemnis were next in his line of Decca recordings.

 Year ago on a rainy day in Zurich, I went up the Honggerberg to visit Kleiber’s resting place, this work only pretends to be a humble hommage to him, the man and musician…


Buenos Aires, August 1990.


Тагове:   erich kleiber,


1. kleiber - Making copies for non-commercial use is permitted!
14.06.2010 08:27
Making copies for non-commercial use is permitted!
2. kleiber - Erich Kleiber's Exhibition in Sofia, Bulgaria
07.03.2011 16:00
Check the link:

Вашето мнение
За да оставите коментар, моля влезте с вашето потребителско име и парола.

За този блог
Автор: kleiber
Категория: Музика
Прочетен: 508305
Постинги: 72
Коментари: 86
Гласове: 42
«  Юни, 2023