Klaus Tennstedt

Biography

Born: June 6, 1926; Merseburg, Germany   Died: January 11, 1998; Kiel, Germany  
A man who had thought life held no greater challenge than could be provided by a smaller theater or second-tier orchestra somewhere in Central Europe, conductor Klaus Tennstedt found himself propelled into the celebrity spotlight following several acclaimed guest appearances. His frail psyche and unstable health eventually broke under the weight of these responsibilities and he was obliged to all but retire from active conducting. Nonetheless, Read more those all-too-few years of international productivity revealed an intense, revelatory approach to familiar Romantic period scores and the rapturous applause he received from audiences and players alike was entirely deserved.

Tennstedt began his musical training with his father, violinist Hermann Tennstedt. After studies in violin and conducting at the Leipzig Hochschule für Musik, young Tennstedt was engaged as orchestra leader at the Halle Stadttheater in 1948. Forced by a growth on his left hand to abandon the violin, Tennstedt redirected his energies to piano and conducting and he made his debut as conductor at Halle in 1952. Beginning in 1954, he was appointed a concertmaster at the opera in Chemnitz and in 1958, he became general music director at the Dresden Staatsoper, a position he held until 1962. From 1962 to 1971, Tennstedt was general music director at the Mecklenburg Staatsoper in Schwerin, a period that afforded him time for guest appearances with the Dresden Staatskapelle and Leipzig Gewandhaus orchestras, among other ensembles in Eastern European and Soviet bloc cities. When directing a 1971 concert in Sweden, Tennstedt elected to defect and thereafter began a period of work with the Swedish Radio Orchestra. Another position as general music director opened for him in 1972, this time at Kiel, and he remained in that post until 1976.

Meanwhile, a life-altering event for Tennstedt occurred in 1974. Invited to Canada to conduct the Toronto Symphony Orchestra in Bruckner's Symphony No. 7, the conductor's performance was greeted with such thunderous acclamation that word began to travel around the world. A Boston Symphony Orchestra appearance shortly thereafter brought international interest and Tennstedt's direction of Bruckner's Symphony No. 8 was the stuff from which legends are born. Invitations came from New York, Cleveland, Chicago, and Philadelphia, the other "big five" American orchestras. The amazed conductor made his British debut with the London Symphony Orchestra in 1976, prompting additional engagements with the Berlin Philharmonic, the Vienna Philharmonic, and the Paris Orchestra. Tennstedt was honored by becoming the first German conductor to conduct the Israel Philharmonic in 1978 and a year later was engaged by Hamburg's NDR Symphony Orchestra as principal conductor, a position he held until 1981. In 1979, he also became principal guest conductor with the Minnesota Orchestra and, from 1980, he held the same title with the London Philharmonic Orchestra. In 1983, Tennstedt was appointed music director of the London Philharmonic, leading the orchestra in recordings and on tours abroad that won adulatory reviews. In 1983, he made his debut with the Metropolitan Opera, leading impressive performances of Fidelio despite less than fully satisfactory singers.

Eventually, the burdens of celebrity exacted an immense toll. Two hip replacements, radiation treatment for throat cancer, and increasing numbers of cancellations hounded his work. Self-doubt crippled his ability to continue working at the level that had brought him fame. Doctors ordered extended periods of rest, but to little lasting benefit. When he collapsed at a rehearsal in 1987, Tennstedt resigned his post with the LPO, conducting the orchestra infrequently thereafter as conductor laureate. Read less

Biography

Born: June 6, 1926; Merseburg, Germany   Died: January 11, 1998; Kiel, Germany  
A man who had thought life held no greater challenge than could be provided by a smaller theater or second-tier orchestra somewhere in Central Europe, conductor Klaus Tennstedt found himself propelled into the celebrity spotlight following several acclaimed guest appearances. His frail psyche and unstable health eventually broke under the weight of these responsibilities and he was obliged to all but retire from active conducting. Nonetheless, Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
I. Awakening of Cheerful Feelings Upon Arrival in the Country: Allegro ma non troppo
II. Scene by the Brook: Andante molto mosso
III. Merry Gathering of Country Folk: Allegro
IV. Thunderstorm: Allegro
V. Shepherd's Song: Happy and Thankful Feelings after the Storm: Allegretto
I. Un poco sostenuto - Allegro
II. Andante sostenuto
III. Un poco allegretto e grazioso
IV. Adagio - Piu andante - Allegro non troppo ma con brio
I. Poco moderato
II. Allegro vivo - Trio: Moderato - Allegro vivo
III. Largo
IV. Poco allegro
I. Un poco sostenuto - Allegro
II. Andante sostenuto
III. Un poco allegretto e grazioso
IV. Adagio - Piu andante - Allegro non troppo ma con brio
I. Allegro con brio - Un poco sostenuto
II. Andante
III. Poco allegretto
IV. Allegro - Un poco sostenuto
I. Allegro con spirito
II. Largo
III. Menuet: Allegretto
IV. Finale: Presto
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): I. Frühling (Hesse)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): II. September (Hesse)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): III. Beim Schlafengehen (Hesse)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): IV. Im Abendrot (Eichendorff)
Violin Concerto in D, Op.77: I. Allegro non troppo
Violin Concerto in D, Op.77: II. Adagio
Violin Concerto in D, Op.77: III. Allegro giocoso, ma non troppo vivace
Háry János Op. 15: Prelude
Háry János Op. 15: Viennese Musical Clock
Háry János Op. 15: Song
Háry János Op. 15: Battle and Defeat of Napoleon
Háry János Op. 15: Intermezzo
Háry János Op. 15: Entrance of the Emperor and his court
Part I, Veni, creator spiritus: Veni, creator spiritus -
Part I, Veni, creator spiritus: Imple superna gratia -
Part I, Veni, creator spiritus: Infirma nostri corporis -
Part I, Veni, creator spiritus: Tempo I: Allegro, etwas hastig -
Part I, Veni, creator spiritus: Infirma nostri corporis -
Part I, Veni, creator spiritus: Accende lumen sensibus -
Part I, Veni, creator spiritus: Veni, creator spiritus -
Part I, Veni, creator spiritus: Gloria sit Patri Domino
Part II, Final Scene from Faust: Poco adagio -
Part II, Final Scene from Faust: Piu mosso: Allegro moderato -
Part II, Final Scene from Faust: Waldung, sie schwankt heran -
Part II, Final Scene from Faust: Ewiger Wonnebrand -
Part II, Final Scene from Faust: Wie Felsenabgrund mir zu Fussen -
Part II, Final Scene from Faust: Gerettet ist das edle Glied - Hande verschlinget euch -
Part II, Final Scene from Faust: Jene Rosen, aus den Handen -
Part II, Final Scene from Faust: Uns bleibt ein Erdenrest -
Part II, Final Scene from Faust: Ich spur' soeben nebelnd um Felsenhoh' - Hier ist die Aussicht frei - Freudig empfangen wir -
Part II, Final Scene from Faust: Hochste Herrscherin der Welt! -
Part II, Final Scene from Faust: Dir, der Unberuhrbaren - Du schwebst zu Hohen der ewigen Reiche -
Part II, Final Scene from Faust: Bei der Liebe, die den Fussen -
Part II, Final Scene from Faust: Bei dem Bronn, zu dem schon weiland -
Part II, Final Scene from Faust: Bei dem hochgeweihten Orte -
Part II, Final Scene from Faust: Neige, neige, du Ohnegleiche -
Part II, Final Scene from Faust: Er uberwachst uns schon - Vom edlen Geisterchor umgeben -
Part II, Final Scene from Faust: Komm! Hebe dich zu hohern Spharen! - Blicket auf zum Retterblick, alle reuig Zarten -
Part II, Final Scene from Faust: Alles Vergangliche ist nur ein Gleichnis
I. Allegro maestoso
III. In ruhig fliessender Bewegung
IV. Urlicht: Sehr feierlich, aber schlicht
V. Finale: Im Tempo des Scherzos
V. Im Tempo des Scherzo: Langsam - Misterioso
V. Im Tempo des Scherzo: Etwas bewegter
I. Allegro energico, ma non troppo. Heftig, aber markig
II. Scherzo: Wuchtig
III. Andante moderato
IV. Finale: Allegro moderato - Allegro energico
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace
III. Adagio molto e cantabile - Andante moderato
IV. Finale: Presto - Allegro assai
Symphony No. 4 in A, Op.90 'Italian': I. Allegro vivace - Più animato
Symphony No. 4 in A, Op.90 'Italian': II. Andante con moto
Symphony No. 4 in A, Op.90 'Italian': III. Con moto moderato
Symphony No. 4 in A, Op.90 'Italian': IV. Saltarello (Presto)
Symphony No. 9 in C Major, D.944 'Great': I. Andante - Allegro ma non troppo
Symphony No. 9 in C Major, D.944 'Great': II. Andante con moto
Symphony No. 9 in C Major, D.944 'Great': III. Scherzo (Allegro vivace) & Trio
Symphony No. 9 in C Major, D.944 'Great': IV. Finale (Allegro vivace)
Symphony No. 8 in F, Op.93: I. Allegro vivace e con brio
Symphony No. 8 in F, Op.93: II. Allegretto scherzando
Symphony No. 8 in F, Op.93: III. Tempo di menuetto
Symphony No. 8 in F, Op.93: IV. Allegro vivace
Symphony No. 6 in F, Op.68 'Pastoral': I. Allegro ma non troppo (Awakening of cheerful feelings on arriving in the country)
Symphony No. 6 in F, Op.68 'Pastoral': II. Andante molto moto (Scene by the brook)
Symphony No. 6 in F, Op.68 'Pastoral': III. Allegro (Merry gathering of the country folk) -
Symphony No. 6 in F, Op.68 'Pastoral': IV. Allegro (Storm and tempest) -
Symphony No. 6 in F, Op.68 'Pastoral': V. Allegretto (Shepherds' Song. Happy and thankful feelings after the storm)
Symphony No. 4 in E Flat 'Romantic': I. Bewegt, nicht zu schnell
Symphony No. 4 in E Flat 'Romantic': II. Andante quasi allegretto
Symphony No. 4 in E Flat 'Romantic': III. Scherzo (Bewegt) & Trio (Nicht zu schnell)
Symphony No. 4 in E Flat 'Romantic': IV. Finale (Bewegt, doch nicht zu schnell)
Symphony No. 8 in C Minor: I. Allegro moderato
Symphony No. 8 in C Minor: II. Scherzo (Allegro moderato) & Trio (Langsam)
Symphony No. 8 in C Minor: III. Adagio (Feierlich langsam, doch nicht schleppend)
Symphony No. 8 in C Minor: IV. Finale (Feierlich, nicht schnell)
Symphony No. 3 in E Flat, Op.55 'Eroica': I. Allegro con brio
Symphony No. 3 in E Flat, Op.55 'Eroica': II. Marcia funebre (Adagio assai)
Symphony No. 3 in E Flat, Op.55 'Eroica': III. Scherzo (Allegro vivace)
Symphony No. 3 in E Flat, Op.55 'Eroica': IV. Allegro molto - Poco andante - Presto
Symphony No. 8 in F, Op.93: I. Allegro vivace e con brio
Symphony No. 8 in F, Op.93: II. Allegretto scherzando
Symphony No. 8 in F, Op.93: III. Tempo di menuetto
Symphony No. 8 in F, Op.93: III. Tempo di menuetto
Symphony No. 8 in F, Op.93: IV. Allegro vivace
Symphony No. 8 in F, Op.93: IV. Allegro vivace
Fidelio, Op.72 - Overture
Fidelio, Op.72 - Overture
Symphony No. 4 in G: I. Heiter, bedächtig. Nicht eilen
Symphony No. 4 in G: II. In gemächlicher Bewegung. Ohne Hast
Symphony No. 4 in G: III. Ruhevoll
Symphony No. 4 in G: IV. Sehr behaglich [with soprano solo]
Symphony No. 8 in E flat, Part I: Veni, Creator Spiritus
Symphony No. 8 in E flat, Part I: Imple superna gratia
Symphony No. 8 in E flat, Part I: Infirma nostri corporis
Symphony No. 8 in E flat, Part I: Accende lumen sensibus
Symphony No. 8 in E flat, Part I: Veni, Creator Spiritus
Symphony No. 8 in E flat, Part I: Gloria Patri Domino
Symphony No. 8 in E flat, Part II: Waldung, sie schwankt heran (Holy Anchorites)
Symphony No. 8 in E flat, Part II: Ewiger Wonnebrand (Pater Ecstaticus)
Symphony No. 8 in E flat, Part II: Wie Felsenabgrund mir zu Füssen (Pater Profundus)
Symphony No. 8 in E flat, Part II: Gerettet ist das edle Glied (Choir of Angels, Choir of Blessed Boys)
Symphony No. 8 in E flat, Part II: Uns bleibt ein Erdenrest (The More Perfect Angels, Choir of Blessed Boys)
Symphony No. 8 in E flat, Part II: Hier ist die Aussicht frei (Doctor Marianus)
Symphony No. 8 in E flat, Part II: Höchste Herrscherin der Welt (Doctor Marianus, Chorus)
Symphony No. 8 in E flat, Part II: Dir, der Unberührbaren (Chorus, A Penitent)
Symphony No. 8 in E flat, Part II: Bei der Liebe, die den Füssen (Magna Peccatrix, Mulier Samaritana, Maria Aegyptiaca)
Symphony No. 8 in E flat, Part II: Neige, neige, du Ohnegleiche (A Penitent, Choir of Blessed Boys, Mater Gloriosa)
Symphony No. 8 in E flat, Part II: Blicket auf zum Retterblick (Doctor Marianus, Chorus)
Symphony No. 8 in E flat, Part II: Alles Vergängliche (Mystic Choir)
I. Bewegt, nicht zu schnell
II. Andante quasi allegretto
III. Scherzo: Bewegt
IV. Finale: Bewegt, doch nicht zu schnell
No. 1. Wenn mein Schatz Hochzeit macht
No. 2. Ging heut' morgen ubers Feld
No. 3. Ich hab' ein gluhend Messer
No. 4. Die zwei blauen Augen
I. Langsam, schleppend
II. Kraftig bewegt, doch nicht zu schnell
III. Feierlich und gemessen, ohne zu schleppen
IV. Sturmisch bewegt
Part I: Die Vorstellung des Chaos (The Representation of Chaos) (Raphael, Uriel, Chorus)
Part I: Nun schwanden vor dem heiligen Strahle (Now vanish before the holy beams) (Uriel, Chorus)
Part I: Und Gott machte das Firmament (And God made the firmament) (Raphael)
Part I: Mit Staunen sieht das Wunderwerk (The marv'lous work beholds amaz'd (Gabriel)
Part I: Und Gott sprach: Es sammle sich das Wasser (And God said: Let the waters under the heaven) (Raphael)
Part I: Rollend in schaumenden Wellen (Rolling in foaming billows) (Raphael)
Part I: Und Gott sprach: Es bringe die Erde Gras hervor (And God said: Let all the earth bring forth grass) (Gabriel)
Part I: Nun beut die Flur das frische Grun (With verdure clad the fields appear) (Gabriel)
Part I: Und die himmlischen Heerscharen (And the Heav'nly host proclaimed the third day) (Uriel)
Part I: Stimmt an die Saiten (Awake the harp) (Chorus)
Part I: Und Gott sprach: Es seien Lichter an der Feste des Himmels (And God said: Let there be lights in the firmament of heaven)
Part I: In vollem Glanze steiget jetzt die Sonne (In splendour bright is rising now the sun) (Uriel)
Part I: Die Himmel erzahlen die Ehre Gottes (The heavens are telling the glory of God) (Gabriel, Uriel, Raphael, Chorus)
Part II: Zu dir, o Herr, blickt alles auf (Trio)
Part III: Aus Rosenwolken (In rosy mantle appears) (Uriel)
Part III: Von deiner Gut', o Herr und Gott (By thee with bliss, O bounteous Lord) (Eve and Adam, Chorus)
Part III: Nun ist die erste Pflicht erfullt (Our duty we performed now) (Adam and Eve)
Part III: Holde Gattin! (Graceful consort!) (Adam and Eve)
Part III: O glucklich Paar (O happy pair) (Uriel)
Part III: Singt dem Herren alle Stimmen (Sing the Lord, ye voices all!)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): I. Frühling (Hesse)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): II. September (Hesse)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): III. Beim Schlafengehen (Hesse)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): IV. Im Abendrot (Eichendorff)
Symphony No. 5 in C sharp minor (2001 Digital Remaster): I. Trauermarsch (In gemessenen Schritt. Streng. Wie ein Kondukt)
Symphony No. 5 in C sharp minor (2001 Digital Remaster): II. Stürmisch bewegt. Mit grosser Vehemenz
Symphony No. 5 in C sharp minor (2001 Digital Remaster): III. Scherzo (Kräftig, nicht zu schnell)
Symphony No. 5 in C sharp minor (2001 Digital Remaster): IV. Adagietto. Sehr langsam
Symphony No. 5 in C sharp minor (2001 Digital Remaster): V. Rondo-Finale (Allegro)
Symphony No. 3 in D minor: Kräftig
Symphony No. 3 in D minor: Tempo di menuetto
Symphony No. 3 in D minor: Scherzando
Symphony No. 3 in D minor: Sehr langsam: 'O Mensch! Gib acht'
Symphony No. 3 in D minor: Lustig im Tempo: 'Es sungen drei Engel'
Symphony No. 4 in G: I. Heiter, bedächtig. Nicht eilen
Symphony No. 4 in G: II. In gemächlicher Bewegung. Ohne Hast
Symphony No. 4 in G: III. Ruhevoll
Symphony No. 4 in G: IV. Sehr behaglich [with soprano solo]
Symphony No. 1 in D (2000 Digital Remaster): I. Langsam. Schleppend - Immer sehr gemächlich
Symphony No. 1 in D (2000 Digital Remaster): II. (Scherzo) Kräftig bewegt, doch nicht zu schnell - Trio: Recht gemächlich
Symphony No. 1 in D (2000 Digital Remaster): III. Feierlich und gemessen, ohne zu schleppen - Sehr einfach und schlicht wie eine Volksweise - Wieder etwas bewegter, wie im Anfang
Symphony No. 1 in D (2000 Digital Remaster): IV. Stürmisch bewegt - Langsam - Wieder wie zu Anfang. Stürmisch bewegt - Sehr landgam - Tempo I
Symphony No. 4 in G: I. Heiter, bedächtig. Nicht eilen
Symphony No. 4 in G: II. In gemächlicher Bewegung. Ohne Hast
Symphony No. 4 in G: III. Ruhevoll
Symphony No. 4 in G: IV. Sehr behaglich [with soprano solo]
Also Sprach Zarathustra Op.30: Einleitung (Opening)
Also Sprach Zarathustra Op.30: Von der Hinterweltlern (Of the Backworldsmen)
Also Sprach Zarathustra Op.30: Von der grossen Sehnsucht (Of the Great Longing)
Also Sprach Zarathustra Op.30: Von der Freuden und Leidenschaften (Of Joys and Passions)
Also Sprach Zarathustra Op.30: Das Grablied (Grave-song)
Also Sprach Zarathustra Op.30: Von der Wissenschaft (Of Science)
Also Sprach Zarathustra Op.30: Der Genesende (The Convalescent)
Also Sprach Zarathustra Op.30: Das Tanzlied (The Dance-Song)
Also Sprach Zarathustra Op.30: Das Nachtwandlerlied (the Night-Wanderer's Song)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): I. Frühling (Hesse)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): II. September (Hesse)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): III. Beim Schlafengehen (Hesse)
Vier letzte Lieder (Four Last Songs) AV150 (Op. posth): IV. Im Abendrot (Eichendorff)
Symphony No. 4 in A 'Italian' Op. 90: I. Allegro vivace - Più animato
Symphony No. 4 in A 'Italian' Op. 90: II. Andante con moto
Symphony No. 4 in A 'Italian' Op. 90: III. Con moto moderato
Symphony No. 4 in A 'Italian' Op. 90: IV. Saltarello (Presto)
Violin Concerto in D, Op.61: I. Allegro ma non troppo
Violin Concerto in D, Op.61: II. Larghetto -
Violin Concerto in D, Op.61: III. Rondo (Allegro)
Violin Concerto No. 1 in G Minor, Op.26: I. Vorspiel (Allegro moderato) -
Violin Concerto No. 1 in G Minor, Op.26: II. Adagio
Violin Concerto No. 1 in G Minor, Op.26: III. Finale (Allegro energico)


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