Testament
Vienna Symphony Orchestra - Symphony No. 4 Testament Klassisk - Import CD
Vienna Symphony Orchestra - Symphony No. 4 Testament Klassisk - Import CD
CD
Classical Music
Symphony
June 30, 2026
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: SBT1397
JAN/ISBN: 749677139728
Number of Discs: 1
Country/Region of Manufacture: Import
Credits:
Vienna Symphony Orchestra
Description:
Following the highly acclaimed Beethoven: Symphonies Nos. 4 and 5, “Fate” [SBT1387], here is another urgent release from Klemperer! Mahler’s Symphony No. 4, performed with tenderness, reflects the joy of life that remains steadfast even in the midst of adversity. The close relationship between Klemperer and Mahler. The well-known story of Mahler’s direct guidance and high praise regarding the conducting of the “Banda” section in Symphony No. 2 is just as true for Symphony No. 2, “Resurrection,” with the Philharmonia Orchestra. From the day Mahler praised him with “Well done,” Klemperer’s dream became to work with Mahler. Klemperer went to ask Fried, the conductor of the “Resurrection” premiere, how he could capture Mahler’s interest. The answer was this: “There is only one thing in the world that can capture Mahler’s interest. That is his own music.” Upon hearing this, Klemperer reportedly sat down at the piano immediately and began writing a piano arrangement of “Resurrection.” Following the performance of the “Banda,” Mahler wrote a letter of recommendation for Klemperer. Its contents are as follows: “Gustav Mahler recommends Mr. Klemperer. He is a young but remarkably talented musician, destined for success as a conductor with ample experience. I guarantee that he will produce the best results in any trial as a Kapellmeister. I am also happy to provide further information regarding him.” Klemperer himself wrote the following about this letter of recommendation: “This letter of recommendation opened every door for me. Mahler is, in effect, my creator.” Despite this close relationship, however, Klemperer did not blindly adore Mahler’s music. “I’m not a fool like an excited child. I don’t like everything Mahler wrote,” he asserted to Hayward. He showed almost no interest in Symphony No. 3, and in the scherzo and adagietto of Symphony No. 5 (which are very good, but gradually start to resemble salon music). He conducted Symphony No. 1, “Titan,” only once before abandoning it (he simply could not stand the final movement). He never conducted Symphony No. 6 (which, to be honest, I cannot understand at all). Although he seemed to take a great interest in Symphony No. 8 in his later years, it was arguably too late.
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