Joseph Keilberth - The Romantic Aspect in German & Australian Classics (Live) [10CD] (2018)
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BAND/ARTIST: Joseph Keilberth
- Title: The Romantic Aspect in German & Australian Classics (Live)
- Year Of Release: 2018
- Label: Profil
- Genre: Classical
- Quality: flac lossless +booklet
- Total Time: 10:08:59
- Total Size: 2.8 gb
- WebSite: Album Preview
Tracklist
CD1
01. Der Freischütz, Op. 77, J. 277: Overture
02. Oberon, J. 306: Overture
03. Die Zauberflöte, K. 620: Overture (Live)
04. Ariadne auf Naxos, Op. 60, TrV 228a: Overture-Dance Scene
05. Coriolan Overture, Op. 62
06. Fidelio, Op. 72: Overture
07. Der fliegende Holländer, WWV 63: Overture (Live)
CD2
01. Rosamunde, D. 797: Overture
02. Symphony No. 8 in B Minor, D. 759 "Unfinished: I. Allegro moderato
03. Symphony No. 8 in B Minor, D. 759 "Unfinished: II. Andante con moto
04. Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude. Allegro moderato
05. Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio
06. Violin Concerto No. 1 in G Minor, Op. 26: III. Finale. Allegro energico
CD3
01. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Theme. Andante grazioso
02. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 1, Più andante
03. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 2, Allegretto con grazia
04. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 3, Vivace
05. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 4, Poco vivace
06. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 5, Andante sostenuto
07. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 6, Tempo di minuetto
08. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 7, Presto
09. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 8, Andante con moto
10. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 9, Allegro con spirito
11. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 10, Allegro appassionato
12. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 11, Andante con moto
13. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Fugue. Allegro moderato
14. 4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 1, Der geigende Eremit
15. 4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 2, Im Spiel der Wellen
16. 4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 3, Die Toteninsel
17. 4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 4, Bacchanal
18. Serenade in G Major Italienische (Arr. M. Reger for Chamber Orchestra)
CD4
01. Symphony No. 2 in D Major, Op. 73: I. Allegro non troppo
02. Symphony No. 2 in D Major, Op. 73: II. Adagio non troppo-L'istesso tempo, ma grazioso
03. Symphony No. 2 in D Major, Op. 73: III. Allegretto grazioso (Quasi andantino)-Presto ma non assai
04. Symphony No. 2 in D Major, Op. 73: IV. Allegro con spirito
05. Academic Festival Overture, Op. 80
06. Tragic Overture, Op. 81
CD5
01. Piano Concerto in A Minor, Op. 54: I. Allegro affettuoso (Live)
02. Piano Concerto in A Minor, Op. 54: II. Intermezzo. Andantino grazioso (Live)
03. Piano Concerto in A Minor, Op. 54: III. Allegro vivace (Live)
04. Symphony No. 4 in D Minor, Op. 120: I. Andante con moto-Allegro di molto (Live)
05. Symphony No. 4 in D Minor, Op. 120: II. Romanza. Andante (Live)
06. Symphony No. 4 in D Minor, Op. 120: III. Scherzo. Presto (Live)
07. Symphony No. 4 in D Minor, Op. 120: IV. Finale. Largo-Allegro vivace (Live)
CD6
01. Symphony No. 6 in F Major, Op. 68 "Pastoral: I. Awakening of Cheerful Feelings upon Arrival in the Country. Allegro ma non troppo
02. Symphony No. 6 in F Major, Op. 68 "Pastoral: II. Scene by the Brook. Andante molto mosso
03. Symphony No. 6 in F Major, Op. 68 "Pastoral: III. Merry Gathering of Country Folk. Allegro
04. Symphony No. 6 in F Major, Op. 68 "Pastoral: IV. Thunderstorm. Allegro
05. Symphony No. 6 in F Major, Op. 68 "Pastoral: V. Shepherd's Song. Happy and Thankful Feelings After the Storm. Allegretto
06. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Theme. Andante grazioso
07. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 1, L'istesso tempo
08. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 2, Poco agitato
09. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 3, Con moto
10. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 4, Vivace
11. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 5, Quasi presto
12. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 6, Sostenuto [Quasi adagietto]
13. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 7, Andante grazioso
14. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 8, Molto sostenuto
15. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Fugue. Allegretto grazioso
CD7
01. Palestrina, WoO 17: Prelude to Act I. Ruhig
02. Palestrina, WoO 17: Prelude to Act III. Langsam, sehr getragen
03. Piano Concerto in E-Flat Major, Op. 31: I. Pomphaft mit Kraft und Schwung (Live)
04. Piano Concerto in E-Flat Major, Op. 31: II. Heiterer Satz. Ziemlich schnell, in einheitlich atemlosem Zeitmaß (Live)
05. Piano Concerto in E-Flat Major, Op. 31: III. Äußerst ruhig, versonnen, schwärmerisch (Live)
06. Piano Concerto in E-Flat Major, Op. 31: IV. Rasch, ungeschlacht launig (Live)
CD8
01. Der Widerspenstigen Zahmung: Overture
02. Der Barbier von Bagdad: Overture
03. 21 Hungarian Dances, WoO 1 (Excerpts Orch. J. Brahms): No. 3 in F Major
04. 21 Hungarian Dances, WoO 1 (Excerpts Orch. J. Brahms): No. 10 in E Major
05. 21 Hungarian Dances, WoO 1 (Excerpts Orch. J. Brahms): No. 1 in G Minor
06. Eine Ballettsuite in D Major, Op. 130: I. Entrée
07. Eine Ballettsuite in D Major, Op. 130: II. Colombine
08. Eine Ballettsuite in D Major, Op. 130: III. Harlequin
09. Eine Ballettsuite in D Major, Op. 130: IV. Pierrot und Pierette
10. Eine Ballettsuite in D Major, Op. 130: V. Valse d'amour
11. Eine Ballettsuite in D Major, Op. 130: VI. Finale
CD9
01. Lohengrin, WWV 75: Prelude to Act I
02. Lohengrin, WWV 75: Prelude to Act III
03. Tannhäuser, WWV 70: Overture (Live)
04. Tannhäuser, WWV 70: Prelude to Act III (Live)
05. Die Meistersinger von Nürnberg, WWV 96: Prelude
06. Die Walküre, WWV 86B: Ride of the Valkyries (Live)
07. Siegfried, WWV 86C: Prelude (Live)
08. Siegfried, WWV 86C: Waldweben (Live)
09. Götterdämmerung, WWV 86D: Siegfried's Funeral March (Live)
CD10
01. Symphony No. 9 in D Minor, WAB 109 (Ed. A. Orel): I. Feierlich, misterioso [Live]
02. Symphony No. 9 in D Minor, WAB 109 (Ed. A. Orel): II. Scherzo. Bewegt, lebhaft-Trio. Schnell, Scherzo da capo [Live]
03. Symphony No. 9 in D Minor, WAB 109 (Ed. A. Orel): III. Adagio. Langsam feierlich [Live]
Born into a musical family, Joseph Keilberth studied music in his native city of Karlsruhe, joined the Karlsruhe Opera as a répétiteur in 1925, and became its chief conductor in 1935. During the late 1930s he also conducted frequent opera broadcasts for Stuttgart Radio, became chief conductor of the German Philharmonic Orchestra of Prague in 1940, and during World War II also conducted at the opera houses of Hamburg and Berlin (the Staatsoper). Following the end of the war he was appointed chief conductor in 1945 of the Dresden State Opera and of its orchestra the Dresden Staatskapelle, remaining with them until 1951. He assisted with the foundation of the Bamberg Symphony Orchestra, which was based upon the membership of his old orchestra the German Philharmonic Orchestra of Prague, and was the orchestra’s chief conductor between 1950 and 1968. He toured extensively with this orchestra, throughout Europe and to North and South America, also becoming conductor of the Hamburg Philharmonic Orchestra in 1950 and first conductor at the Munich State Opera in 1951.
During the 1950s Keilberth enjoyed a busy career. Having made his debut at the Bayreuth Festival in 1952, conducting Der Ring des Nibelungen, he appeared there annually until 1956: his Festival accounts of Lohengrin in 1954 and of Der fliegende Holländer in 1955 were recorded and published by Decca. In 1952 he also appeared with great success at the Edinburgh Festival, conducting performances of Der Freischütz and Der Rosenkavalier with the Hamburg State Opera. On the concert platform he was a frequent guest conductor with the Berlin Philharmonic and Cologne Radio Symphony Orchestras, and at the Salzburg and Lucerne Festivals. Keilberth succeeded Ferenc Fricsay as chief conductor of the Munich State Opera in 1959, playing a key role in the artistic development of the newly rebuilt National Theatre, the home of this opera company. Like his predecessor at Munich, the conductor Felix Mottl, he died on the podium, while conducting a performance of Tristan und Isolde.
Keilberth was an excellent example of the German conducting tradition, in which a straightforward and dynamic presentation of the work in question was achieved with limited subjective intervention. As the ever-increasing number of his broadcast and live recordings clearly demonstrates he was a highly proficient opera conductor throughout his career, while his recordings of the symphonic repertoire have an appropriateness that is most rewarding. He first recorded commercially for the Telefunken label during World War II and remained with this label after the war, conducting a wide repertoire with the Bamberg Symphony, Berlin Philharmonic and Hamburg Philharmonic Orchestras. Of his orchestral recordings, his sterling accounts of the Symphonies Nos 3 ‘Eroica’ and 7 of Beethoven are typical, as is his fine reading of Bruckner’s Symphony No. 6, and his numerous recordings of symphonies by Mozart, such as those of No. 38 ‘Prague’ and of No. 39. Keilberth was attracted to the music of the late-Romantic German composers, and his recordings of Hans Pfitzner’s cantata Von deutscher Seele and of Reger’s Hiller and Mozart Variations are highly sympathetic, as are his accounts of scores by Hindemith, such as Nobilissima Visione and the Symphonic Metamorphosis on Themes of Carl Maria von Weber.
However it is Keilberth’s recordings of the Austro-German operatic repertoire by which he is most likely to be remembered. The Decca recordings made at Bayreuth, and especially that of Der fliegende Holländer, are theatrical and exciting, and his accounts of the Ring, of which the cycles performed in 1952, 1953 and 1955 (in stereo) have been released on disc, are similarly solid and dramatic. The re-opening of the National Theatre in Munich in 1963 was marked with a performance conducted by Keilberth of Die Meistersinger von Nürnberg, which was recorded and released commercially. Other live performances from Munich which have appeared include Richard Strauss’s Die ägyptische Helena and Der Rosenkavalier, both of which emphasise the musico-dramatic aspect of these works, and stirring accounts of Arabella and Die Frau ohne Schatten. A recording of Salome, made in Dresden and released in the early days of LP, shows the high standard of performance that Keilberth achieved during his time there. Finally an excellent studio account made with the Cologne Radio Symphony Orchestra of Mozart’s La Clemenza di Tito fully demonstrates Keilberth’s strengths as a Mozart interpreter.
CD1
01. Der Freischütz, Op. 77, J. 277: Overture
02. Oberon, J. 306: Overture
03. Die Zauberflöte, K. 620: Overture (Live)
04. Ariadne auf Naxos, Op. 60, TrV 228a: Overture-Dance Scene
05. Coriolan Overture, Op. 62
06. Fidelio, Op. 72: Overture
07. Der fliegende Holländer, WWV 63: Overture (Live)
CD2
01. Rosamunde, D. 797: Overture
02. Symphony No. 8 in B Minor, D. 759 "Unfinished: I. Allegro moderato
03. Symphony No. 8 in B Minor, D. 759 "Unfinished: II. Andante con moto
04. Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude. Allegro moderato
05. Violin Concerto No. 1 in G Minor, Op. 26: II. Adagio
06. Violin Concerto No. 1 in G Minor, Op. 26: III. Finale. Allegro energico
CD3
01. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Theme. Andante grazioso
02. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 1, Più andante
03. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 2, Allegretto con grazia
04. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 3, Vivace
05. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 4, Poco vivace
06. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 5, Andante sostenuto
07. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 6, Tempo di minuetto
08. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 7, Presto
09. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 8, Andante con moto
10. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 9, Allegro con spirito
11. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 10, Allegro appassionato
12. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Var. 11, Andante con moto
13. Variations & Fugue on a Theme of J.A. Hiller, Op. 100: Fugue. Allegro moderato
14. 4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 1, Der geigende Eremit
15. 4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 2, Im Spiel der Wellen
16. 4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 3, Die Toteninsel
17. 4 Tondichtungen nach Arnold Böcklin, Op. 128: No. 4, Bacchanal
18. Serenade in G Major Italienische (Arr. M. Reger for Chamber Orchestra)
CD4
01. Symphony No. 2 in D Major, Op. 73: I. Allegro non troppo
02. Symphony No. 2 in D Major, Op. 73: II. Adagio non troppo-L'istesso tempo, ma grazioso
03. Symphony No. 2 in D Major, Op. 73: III. Allegretto grazioso (Quasi andantino)-Presto ma non assai
04. Symphony No. 2 in D Major, Op. 73: IV. Allegro con spirito
05. Academic Festival Overture, Op. 80
06. Tragic Overture, Op. 81
CD5
01. Piano Concerto in A Minor, Op. 54: I. Allegro affettuoso (Live)
02. Piano Concerto in A Minor, Op. 54: II. Intermezzo. Andantino grazioso (Live)
03. Piano Concerto in A Minor, Op. 54: III. Allegro vivace (Live)
04. Symphony No. 4 in D Minor, Op. 120: I. Andante con moto-Allegro di molto (Live)
05. Symphony No. 4 in D Minor, Op. 120: II. Romanza. Andante (Live)
06. Symphony No. 4 in D Minor, Op. 120: III. Scherzo. Presto (Live)
07. Symphony No. 4 in D Minor, Op. 120: IV. Finale. Largo-Allegro vivace (Live)
CD6
01. Symphony No. 6 in F Major, Op. 68 "Pastoral: I. Awakening of Cheerful Feelings upon Arrival in the Country. Allegro ma non troppo
02. Symphony No. 6 in F Major, Op. 68 "Pastoral: II. Scene by the Brook. Andante molto mosso
03. Symphony No. 6 in F Major, Op. 68 "Pastoral: III. Merry Gathering of Country Folk. Allegro
04. Symphony No. 6 in F Major, Op. 68 "Pastoral: IV. Thunderstorm. Allegro
05. Symphony No. 6 in F Major, Op. 68 "Pastoral: V. Shepherd's Song. Happy and Thankful Feelings After the Storm. Allegretto
06. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Theme. Andante grazioso
07. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 1, L'istesso tempo
08. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 2, Poco agitato
09. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 3, Con moto
10. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 4, Vivace
11. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 5, Quasi presto
12. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 6, Sostenuto [Quasi adagietto]
13. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 7, Andante grazioso
14. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Var. 8, Molto sostenuto
15. Variations & Fugue on a Theme of Mozart, Op. 132 (Version for Orchestra): Fugue. Allegretto grazioso
CD7
01. Palestrina, WoO 17: Prelude to Act I. Ruhig
02. Palestrina, WoO 17: Prelude to Act III. Langsam, sehr getragen
03. Piano Concerto in E-Flat Major, Op. 31: I. Pomphaft mit Kraft und Schwung (Live)
04. Piano Concerto in E-Flat Major, Op. 31: II. Heiterer Satz. Ziemlich schnell, in einheitlich atemlosem Zeitmaß (Live)
05. Piano Concerto in E-Flat Major, Op. 31: III. Äußerst ruhig, versonnen, schwärmerisch (Live)
06. Piano Concerto in E-Flat Major, Op. 31: IV. Rasch, ungeschlacht launig (Live)
CD8
01. Der Widerspenstigen Zahmung: Overture
02. Der Barbier von Bagdad: Overture
03. 21 Hungarian Dances, WoO 1 (Excerpts Orch. J. Brahms): No. 3 in F Major
04. 21 Hungarian Dances, WoO 1 (Excerpts Orch. J. Brahms): No. 10 in E Major
05. 21 Hungarian Dances, WoO 1 (Excerpts Orch. J. Brahms): No. 1 in G Minor
06. Eine Ballettsuite in D Major, Op. 130: I. Entrée
07. Eine Ballettsuite in D Major, Op. 130: II. Colombine
08. Eine Ballettsuite in D Major, Op. 130: III. Harlequin
09. Eine Ballettsuite in D Major, Op. 130: IV. Pierrot und Pierette
10. Eine Ballettsuite in D Major, Op. 130: V. Valse d'amour
11. Eine Ballettsuite in D Major, Op. 130: VI. Finale
CD9
01. Lohengrin, WWV 75: Prelude to Act I
02. Lohengrin, WWV 75: Prelude to Act III
03. Tannhäuser, WWV 70: Overture (Live)
04. Tannhäuser, WWV 70: Prelude to Act III (Live)
05. Die Meistersinger von Nürnberg, WWV 96: Prelude
06. Die Walküre, WWV 86B: Ride of the Valkyries (Live)
07. Siegfried, WWV 86C: Prelude (Live)
08. Siegfried, WWV 86C: Waldweben (Live)
09. Götterdämmerung, WWV 86D: Siegfried's Funeral March (Live)
CD10
01. Symphony No. 9 in D Minor, WAB 109 (Ed. A. Orel): I. Feierlich, misterioso [Live]
02. Symphony No. 9 in D Minor, WAB 109 (Ed. A. Orel): II. Scherzo. Bewegt, lebhaft-Trio. Schnell, Scherzo da capo [Live]
03. Symphony No. 9 in D Minor, WAB 109 (Ed. A. Orel): III. Adagio. Langsam feierlich [Live]
Born into a musical family, Joseph Keilberth studied music in his native city of Karlsruhe, joined the Karlsruhe Opera as a répétiteur in 1925, and became its chief conductor in 1935. During the late 1930s he also conducted frequent opera broadcasts for Stuttgart Radio, became chief conductor of the German Philharmonic Orchestra of Prague in 1940, and during World War II also conducted at the opera houses of Hamburg and Berlin (the Staatsoper). Following the end of the war he was appointed chief conductor in 1945 of the Dresden State Opera and of its orchestra the Dresden Staatskapelle, remaining with them until 1951. He assisted with the foundation of the Bamberg Symphony Orchestra, which was based upon the membership of his old orchestra the German Philharmonic Orchestra of Prague, and was the orchestra’s chief conductor between 1950 and 1968. He toured extensively with this orchestra, throughout Europe and to North and South America, also becoming conductor of the Hamburg Philharmonic Orchestra in 1950 and first conductor at the Munich State Opera in 1951.
During the 1950s Keilberth enjoyed a busy career. Having made his debut at the Bayreuth Festival in 1952, conducting Der Ring des Nibelungen, he appeared there annually until 1956: his Festival accounts of Lohengrin in 1954 and of Der fliegende Holländer in 1955 were recorded and published by Decca. In 1952 he also appeared with great success at the Edinburgh Festival, conducting performances of Der Freischütz and Der Rosenkavalier with the Hamburg State Opera. On the concert platform he was a frequent guest conductor with the Berlin Philharmonic and Cologne Radio Symphony Orchestras, and at the Salzburg and Lucerne Festivals. Keilberth succeeded Ferenc Fricsay as chief conductor of the Munich State Opera in 1959, playing a key role in the artistic development of the newly rebuilt National Theatre, the home of this opera company. Like his predecessor at Munich, the conductor Felix Mottl, he died on the podium, while conducting a performance of Tristan und Isolde.
Keilberth was an excellent example of the German conducting tradition, in which a straightforward and dynamic presentation of the work in question was achieved with limited subjective intervention. As the ever-increasing number of his broadcast and live recordings clearly demonstrates he was a highly proficient opera conductor throughout his career, while his recordings of the symphonic repertoire have an appropriateness that is most rewarding. He first recorded commercially for the Telefunken label during World War II and remained with this label after the war, conducting a wide repertoire with the Bamberg Symphony, Berlin Philharmonic and Hamburg Philharmonic Orchestras. Of his orchestral recordings, his sterling accounts of the Symphonies Nos 3 ‘Eroica’ and 7 of Beethoven are typical, as is his fine reading of Bruckner’s Symphony No. 6, and his numerous recordings of symphonies by Mozart, such as those of No. 38 ‘Prague’ and of No. 39. Keilberth was attracted to the music of the late-Romantic German composers, and his recordings of Hans Pfitzner’s cantata Von deutscher Seele and of Reger’s Hiller and Mozart Variations are highly sympathetic, as are his accounts of scores by Hindemith, such as Nobilissima Visione and the Symphonic Metamorphosis on Themes of Carl Maria von Weber.
However it is Keilberth’s recordings of the Austro-German operatic repertoire by which he is most likely to be remembered. The Decca recordings made at Bayreuth, and especially that of Der fliegende Holländer, are theatrical and exciting, and his accounts of the Ring, of which the cycles performed in 1952, 1953 and 1955 (in stereo) have been released on disc, are similarly solid and dramatic. The re-opening of the National Theatre in Munich in 1963 was marked with a performance conducted by Keilberth of Die Meistersinger von Nürnberg, which was recorded and released commercially. Other live performances from Munich which have appeared include Richard Strauss’s Die ägyptische Helena and Der Rosenkavalier, both of which emphasise the musico-dramatic aspect of these works, and stirring accounts of Arabella and Die Frau ohne Schatten. A recording of Salome, made in Dresden and released in the early days of LP, shows the high standard of performance that Keilberth achieved during his time there. Finally an excellent studio account made with the Cologne Radio Symphony Orchestra of Mozart’s La Clemenza di Tito fully demonstrates Keilberth’s strengths as a Mozart interpreter.
Year 2018 | Classical | Discography | FLAC / APE
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