Klemperer often used very brisk tempi in his early recordings. My mom was a teenager when he conducted the LA Phil in the late 1930s, attended every concert she could, and remarked on the "high energy". That he evolved into such a deeply introspective musician is remarkable. His Bruckner 6th was my favorite performance, 3 minutes longer than most and the deeply satisfying. Then I heard Celibidache's, even slower by an additional 4 minutes.
Los Angeles always had great instrumentalists, especially after the mass exodus from Nazi Germany. Hollywood, then featuring orchestral soundtracks, offered many jobs and top pay. The Philharmonic was always a potentially truly great orchestra, but for some reason never had a permanent conductor of immense stature. I saw Solti conduct several times in the ’60s, when I was a teenager. He agreed to be main conductor, and I attended his first concert as new leader. Before the program started, the Manager came onstage and announced that Solti had cancelled. However, a new conductor would step in — Zubin Mehta. Beethoven’s 7th was the main piece.
Solti was apparently so insulted he cancelled his contract, and Mehta inherited the podium.
I veered a bit off-topic, sorry — this is about Otto.
Los Angeles always had great instrumentalists, especially after the mass exodus from Nazi Germany. Hollywood, then featuring orchestral soundtracks, offered many jobs and top pay. The Philharmonic was always a potentially truly great orchestra, but for some reason never had a permanent conductor of immense stature. I saw Solti conduct several times in the ’60s, when I was a teenager. He agreed to be main conductor, and I attended his first concert as new leader. Before the program started, the Manager came onstage and announced that Solti had cancelled. However, a new conductor would step in — Zubin Mehta. Beethoven’s 7th was the main piece.
Solti was apparently so insulted he cancelled his contract, and Mehta inherited the podium.
I veered a bit off-topic, sorry — this is about Otto.