The Mozart is flabby and markedly less appealing than Klemperer’s two studio recordings for EMI, never mind what seems like dozens of live recordings with various forces, some already available from Testament. Besides, if you collect Klemperer Mozart 29s on principle, then you seriously need help and should stop reading and consult your mental health care provider. The Mahler resembles Klemperer’s two EMI interpretations (the Philharmonia studio recording and the Bavarian Radio live version) but has plenty of brass fluffs and the usual predictable ensemble lapses. To be frank, none of Klemperer’s recordings of this work, whether made live or in the studio, are ideal in this regard. The singers are fine, the chorus is ill-balanced toward the men, and the sonics are compressed but adequate stereo of 1964 broadcast vintage. Why on earth the families of deceased artists think they are doing their reputations any good by authorizing unnecessary releases such as this remains a mystery. Stick with Klemperer’s EMI studio versions of both works. Life is simply too short for this nonsense.
