Clemens Krauss: Complete Decca Recordings
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Label: Australian Eloquence
Cat No: ELQ4841704
Format: CD
Number of Discs: 16
Release Date: 4th March 2022
Contents
Works
Fidelio, op.72Leonore Overture no.2, op.72a
Leonore Overture no.3 in C major, op.72b
Piano Concerto no.2 in B flat major, op.19
Piano Concerto no.4 in G major, op.58
Piano Concerto no.5 in E flat major, op.73 'Emperor'
Academic Festival Overture, op.80
Alto Rhapsody, op.53
Hungarian Dances (21), WoO1
Slavonic Dances: Series I, op.46 B83
Agyptischer Marsch (Egyptian March), op.335
An der schonen blauen Donau (On the beautiful blue Danube), op.314
Annen-Polka, op.117
Auf der Jagd (At the Hunt), op.373
Bei uns z'Haus (At Home), op.361
Der Zigeunerbaron (The Gypsy Baron)
Die Fledermaus
Eljen a Magyar, op.332
Fruhlingsstimmen (Voices of Spring), op.410
Geschichten aus dem Wienerwald (Tales from the Vienna Woods), op.325
Im Krapfenwald'l (Cuckoo Polka), op.336
Kunstlerleben (Artists' Life), op.316
Morgenblatter Waltz, op.279
Perpetuum mobile, op.257
Ritter Pasman (Knight Pasman), op.441
Vergnugungszug, op.281
Strauss II, Johann (with Josef Strauss)
Pizzicato Polka, op.234Radetzky March, op.228
Auf Ferienreisen, op.133
Die Libelle: Polka mazur, op.204
Dorfschwalben aus Osterreich, op.164
Feuerfest!, op.269
Jokey Polka, op.278
Mein Lebenslauf ist Lieb' und Lust, op.263
Moulinet, op.57
Ohne Sorgen, op.271
Plappermaulchen, op.245
Spharenklange Walzer, op.235
Also sprach Zarathustra, op.30
Aus Italien, op.16 TrV147
Der Rosenkavalier, op.59
Don Quixote, op.35
Ein Heldenleben (A Hero's Life), op.40
Le Bourgeois Gentilhomme, op.60 (suite)
Salome, op.54
Sinfonia domestica, op.53 TrV209
Till Eulenspiegels lustige Streiche, op.28
Tod und Verklarung (Death and Transfiguration), op.24
Rigoletto
Artists
Rosette Anday (mezzo-soprano)Wilhelm Backhaus (piano)
Erna Berger (soprano)
Franz Bierback (bass)
Hans Braun (baritone)
Anton Dermota (tenor)
Karl Donch (bass-baritone)
Kathleen Ferrier (contralto)
Pierre Fournier (cello)
Christel Goltz (soprano)
Hilde Gueden (soprano)
August Jaresch (tenor)
Margareta Kenney (mezzo-soprano)
Tiana Lemnitz (soprano)
Steffi Leverenz (contralto)
Wilma Lipp (soprano)
Emmy Loose (soprano)
Ernst Morawec (viola)
Julius Patzak (tenor)
Alfred Poell (baritone)
Kurt Preger (baritone)
Paul Schoffler (bass-baritone)
Viorica Ursuleac (soprano)
Sieglinde Wagner (contralto)
Hilde Zadek (soprano)
London Philharmonic Choir
Wiener Staatsopernchor
London Philharmonic Orchestra
London Symphony Orchestra
National Symphony Orchestra
Orchester der Staatsoper Berlin
Orchestra del Teatro alla Scala
Wiener Philharmoniker
Conductor
Clemens KraussWorks
Fidelio, op.72Leonore Overture no.2, op.72a
Leonore Overture no.3 in C major, op.72b
Piano Concerto no.2 in B flat major, op.19
Piano Concerto no.4 in G major, op.58
Piano Concerto no.5 in E flat major, op.73 'Emperor'
Academic Festival Overture, op.80
Alto Rhapsody, op.53
Hungarian Dances (21), WoO1
Slavonic Dances: Series I, op.46 B83
Agyptischer Marsch (Egyptian March), op.335
An der schonen blauen Donau (On the beautiful blue Danube), op.314
Annen-Polka, op.117
Auf der Jagd (At the Hunt), op.373
Bei uns z'Haus (At Home), op.361
Der Zigeunerbaron (The Gypsy Baron)
Die Fledermaus
Eljen a Magyar, op.332
Fruhlingsstimmen (Voices of Spring), op.410
Geschichten aus dem Wienerwald (Tales from the Vienna Woods), op.325
Im Krapfenwald'l (Cuckoo Polka), op.336
Kunstlerleben (Artists' Life), op.316
Morgenblatter Waltz, op.279
Perpetuum mobile, op.257
Ritter Pasman (Knight Pasman), op.441
Vergnugungszug, op.281
Strauss II, Johann (with Josef Strauss)
Pizzicato Polka, op.234Radetzky March, op.228
Auf Ferienreisen, op.133
Die Libelle: Polka mazur, op.204
Dorfschwalben aus Osterreich, op.164
Feuerfest!, op.269
Jokey Polka, op.278
Mein Lebenslauf ist Lieb' und Lust, op.263
Moulinet, op.57
Ohne Sorgen, op.271
Plappermaulchen, op.245
Spharenklange Walzer, op.235
Also sprach Zarathustra, op.30
Aus Italien, op.16 TrV147
Der Rosenkavalier, op.59
Don Quixote, op.35
Ein Heldenleben (A Hero's Life), op.40
Le Bourgeois Gentilhomme, op.60 (suite)
Salome, op.54
Sinfonia domestica, op.53 TrV209
Till Eulenspiegels lustige Streiche, op.28
Tod und Verklarung (Death and Transfiguration), op.24
Rigoletto
Artists
Rosette Anday (mezzo-soprano)Wilhelm Backhaus (piano)
Erna Berger (soprano)
Franz Bierback (bass)
Hans Braun (baritone)
Anton Dermota (tenor)
Karl Donch (bass-baritone)
Kathleen Ferrier (contralto)
Pierre Fournier (cello)
Christel Goltz (soprano)
Hilde Gueden (soprano)
August Jaresch (tenor)
Margareta Kenney (mezzo-soprano)
Tiana Lemnitz (soprano)
Steffi Leverenz (contralto)
Wilma Lipp (soprano)
Emmy Loose (soprano)
Ernst Morawec (viola)
Julius Patzak (tenor)
Alfred Poell (baritone)
Kurt Preger (baritone)
Paul Schoffler (bass-baritone)
Viorica Ursuleac (soprano)
Sieglinde Wagner (contralto)
Hilde Zadek (soprano)
London Philharmonic Choir
Wiener Staatsopernchor
London Philharmonic Orchestra
London Symphony Orchestra
National Symphony Orchestra
Orchester der Staatsoper Berlin
Orchestra del Teatro alla Scala
Wiener Philharmoniker
Conductor
Clemens KraussAbout
He began recording for Decca in 1947 – three sessions of Brahms in London including a famous account of the Alto Rhapsody which found Kathleen Ferrier in glorious voice – allowing for less than eight years of activity in the studio before the conductor’s untimely death from a heart attack in May 1954, hours after conducting a concert in Mexico City.
In that time, however, Decca secured Krauss in much of the repertoire for which he was renowned as a peerless interpreter. A Richard Strauss series captured all the major symphonic poems except the Alpine Symphony, plus a complete Salome with Christel Goltz, and, for Polydor (Deutsche Grammophon) the rapturous final Trio from Der Rosenkavalier recorded in pre-war Berlin with his wife, the soprano Viorica Ursuleac, as the Marschallin. Unlike many later recordings, these are not performances which pull out the modernist strands in Strauss’s form and harmony. Rather they place the composer in a lineage of lyricists and musical dramatists stretching back to Mozart. Strauss himself apparently regarded Krauss as the supreme conductor of his generation, supporting the younger man’s rise to a succession of top jobs of 1930s and 40s Austria and Germany.
During the war, Krauss founded the tradition of New Year’s Day concerts in Vienna, and Decca capitalised on their popularity with three albums which have become touchstones of interpretation in the music of the Strauss family – ‘by turns committed and distanced, never pasteurized or bent on proving anything’, as Carlos Kleiber remarked of the Decca recording of Die Fledermaus, which became a library choice for the work as soon as it was released in January 1951.
The trio of Beethoven concertos with Backhaus has also been a perennial favourite among collectors; much less familiar is the album of Leonore/Fidelio overtures which marked the premature end to Krauss’s Decca career, charged with visceral intensity and elevated by needle-point rhythmic detail. Sleeves feature the original Decca covers and the booklet includes a survey of Krauss’s remarkable life and times by Peter Quantrill.
“[There is] the pleasure of Backhaus’s muscular and tender versatility and the lovely, lingering environment supplied by the conductor’s affectionate understanding.” – High Fidelity, April 1952 (Beethoven - Piano Concerto no.4)
“The performance is on a high level. The subtlety and variety of Clemens Krauss’s conducting of waltzes (and of course the rest of the score) is a delight, as is the playing of the orchestra. Patzak gives a performance of wonderful subtlety and charm.” – Opera, April 1952 (J Strauss II - Der Zigeunerbaron)
“The singing is sumptuous and exquisite. Miss Ferrier is at her best in the more serious Alto Rhapsody, where she receives splendid support … A Brahms disc of distinction, and another living memorial to a great lady who left us too soon.” – High Fidelity, June 1954
“A remarkably fluent, perceptive and altogether compelling performance … Matching the performance is the truly superb sound Decca has produced, particularly brilliant in the rousing final movement, a riot of orchestral sound.” – High Fidelity, August 1954 (R Strauss - Aus Italien)
“A pleasing piece of romantic music, recommended by a splendid performance and recording.” – The Record Guide, 1955 (R Strauss - Aus Italien)
Casts:
Salome
- Herod: Julius Patzak (tenor)
- Herodias: Margareta Kenney (mezzo-soprano)
- Salome: Christel Goltz (soprano)
- Jochanaan: Hans Braun (baritone)
- Narraboth: Anton Dermota (tenor)
Die Fledermaus
- Gabriel von Eisenstein: Julius Patzak (tenor)
- Rosalinde: Hilde Gueden (soprano)
- Dr. Falke: Alfred Poell (baritone)
- Adele: Wilma Lipp (soprano)
- Prinz Orlofsky: Sieglinde Wagner (contralto)
- Frank: Kurt Preger (baritone)
- Alfred: Anton Dermota (tenor)
- Dr. Blind: August Jaresch (tenor)
Der Zigeunerbaron
- Graf Peter Homonay: Alfred Poell (baritone)
- Conte Carnero: Karl Dönch (bass-baritone)
- Sándor Barinkay: Julius Patzak (tenor)
- Kálman Zsupán: Kurt Preger (baritone)
- Arsena: Emmy Loose (soprano)
- Mirabella: Steffi Leverenz (contralto)
- Ottokar: August Jaresch (tenor)
- Czipra: Rosette Anday (mezzo-soprano)
- Saffi: Hilde Zadek (soprano)
- Pali: Franz Bierback (bass)
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