Carlos Kleiber/VPO: New Year's Day 1989 - CBS (2LP set)

$

100

ITEM DESCRIPTION:

This outstanding 2LP gatefold set – a fine collector’s copy – from CBS Masterworks (M2X 45564, Dutch pressings, blue/red sash label, DDD stereo, original inner sleees included) features Carlos Kleiber’s now legendary New Year’s Day concerts with the Vienna Philharmonic Orchestra, recorded in the Grosser Saal of the Musikverein, Vienna on 31 December 1988 and 1 January 1989

Included are the following works:

J. Strauss I: Accelerationen—Walzer Op, 234 by J. Strauss Jr.

Bauern-Polka Op. 276 by J. Strauss Jr.

Bei uns z'Haus—Walzer Op. 361 by J. Strauss Jr.

Die Libelle (Polka mazur) Op. 204 by Josef Strauss

Die Fledermaus—Overture by J. Strauss Jr.

Künstlerleben—Walzer, Op. 316 by J. Strauss Jr.

Moulinet (Polka) Op. 57 by Josef Strauss

Eljen a Magyar (Ungarische Polka schnell) Op. 332 by J. Strauss Jr.

Im Krapfenwaldl—Franzosische Polka Op. 336 by J. Strauss Jr.

Frühlingsstimmen—Walzer, Op. 410 by J. Strauss Jr.

Pizzicato-Polka by J. Strauss Jr. & Josef Strauss

Ritter Pásmán: Csárdás by J. Strauss Jr.

PIappermäulchen—Polka schnell Op. 245 by Josef Strauss

Jokey-Polka— Polka schnell Op. 278 by Josef Strauss

An der schönen, blauen Donau—Walzer Op. 314 by J. Strauss Jr.

RadetzkyMarch Op. 228 by J. Strauss Sr.

Wrote the veteran critic Edward Greenfield in his review for the July 1989 issue of The Gramophone: “Even the Vienna Philharmonic have rarely played Strauss waltzes and polkas with such transparency and refinement as in this live recording of the latest New Year's Day Concert in Vienna. Over the last few years Maazei, Karajan and Abbado have in turn put their individual stamp on the remarkably sophisticated art of conducting Strauss at this unique annual event, but Carlos Kleiber goes a degree further than the others in giving the old favourites a new look. His DG recording of Fledermaus might have warned us, for though he allows all the rhythmic flexibility a traditionalist could want, and sometimes more, his pursuit of knife-edged precision and with it an ear-catching clarification of textures and inner detail too often prevents the result from sounding relaxed enough. The Fledermaus overture here, for example, brings a stunning performance, taut and electric, with all sorts of beauties brought out that you never normally register, and with astonishingly crisp articulation at high speed in the coda, but as in Kleiber's recording of the complete opera fun and sparkle are largely missing.

“Equally in the delicious polka, Im Krapfenwald'l, the cheeky cuckoo-calls which punctuate the main theme, usually sounding irresistibly comic, here are rather beautiful, not even rusticsounding. It is the same too when the bird-whistle enters. The clear benefit of Kleiber's keen control comes in such a passage as the hushed opening of the Blue Danube waltz which in its extra refinement had a rare sensuousness.

“What I have found fascinating has been to assess the response of the audience to all this from the subtly different timbre and texture of the applause after each item. It is consistently warm and enthusiastic, but the moment of hesitation after such a fun number as Josef Strauss's Flappermaulchen ("Little Chatterbox") gives me the impression that the Viennese listeners also were wondering whether too much of the fun was missing. But then the exuberance and high spirits of Kleiber's reading of the Hungarian polka, Eljen a Magyar! ("Hai) to Hungary!"), prompting loud cheers as well as applause, are clear indications of total joy. The Ritter Pbs,nán Csárdás polka is another item that similarly hits the jackpot, rightly so in its ever-mounting excitement, and I much enjoyed Josef Strauss's little polkamazurka—or Polka-mazur as it becomes in Viennese shorthand—Die Libelle, ("The dragonfly"). It is very delicately done in its crisp 3/4 rhythm, though even there Kleiber could be more relaxed, more Viennese.

”The one novelty for me, not otherwise listed in the catalogue, is the Bauern-Polka which has a few passages of vocal 'la-la-ing', presumably from the players, but even those singing are more controlled than you would expect. Paradoxically when the orchestra are kept under such a taut rein, the audience are more undisciplined than usual in the traditional clapping for the Radetzky March. For me it is Karajan's 1987 recording of the New Year's Day Concert which stands as the model, when quite apart from the fun of the occasion deeper emotions were implied, and the Radetzky March brought a masterly example of Karajan in control.”

And wrote the eminent critic A.M.L. in his review for the February 1991 issue of The Gramophone: “Reviewing the original release, EG seemed to find it lacking something in fun and sparkle, but for me this reissue heartwarmingly recaptures the special frisson that Kleiber's conducting seemed to engender in orchestral players and audience alike on New Year's Day 1989.

“Kleiber extracts from the orchestra playing that is variously exhilaratingly exciting (the conclusion of the Fledermaus Overture and the Ellen a Magyar! Polka, for instance) or hauntingly delicate (e.g. the opening of Kiinstlerleben). He never simply follows set notions of how these pieces should go, and yet his variations of tempo (4'41" into the Fledermaus Overture, 3'04" into Frithlingssammen, for instance) never seem other than natural. In the accompanying booklet Franz Endler fascinatingly describes Kleiber's work at rehearsals for the concert, and I fully share Endler's emotional response to a Strauss concert that has a unique place in my affections.“

Incidentally, included with this issue is a 6-page full-color catalog of Karajan’s other recordings on the yellow label, displaying the jackets and catalog numbers, and it is in perfect condition.

The cover art is credited to H. Wolter/K. Strindberg. The liner notes on the reverse side of the album are provided in English and Italian (by Mosco Carner), as well as in German and French (by Arnold Werner-Jensen).

CONDITION:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the gatefold jacket is EXCELLENT++. There is minor bumping at corners, but that is all. Otherwise, the jacket appears almost as new – a superb collector's copy.

The condition of the 2 LPs is near-MINT throughout and the playback in both is outstanding – overall, truly fine collector's copies.