MOZART Symphonies: Nos. 29 in A, K 201; 35 in D, K 385 “Haffner”; 38 in D, K 504, “Prague”; 39 in E♭, K 543; 40 in g, K 550; 41 in C, K 551 “Jupiter” • Otto Klemperer, cond; Philharmonia O • EMI 45815 (2 CDs: 154: 29)

With the exception of the “Haffner” Symphony, these stereo accounts comprise re-makes that the conductor recorded a few years earlier for EMI with the same orchestra. The earliest of the later versions, that of No. 39, from 1956, is virtually identical to Klemperer’s superb mono account from two years earlier: vital, transparent, and right on target in capturing the music’s blend of lyric grace and imperious thrust. Conversely, these later accounts of the “Prague” and “Jupiter” Symphonies (both recorded in 1962) lack the fire and thrust of their single-channel predecessors, both of which can be heard in fine Testament transfers (SBT 1093 and 1094). In fact I still consider Klemperer’s 1956 account of the “Prague” as fine as any ever recorded—a reading that conveys not only the grandeur and stature of the work, but also ways in which it suggests Mozart’s music might have developed had he lived longer. Not having Klemperer’s earlier account of No. 40 available, I can’t be sure of how this later 1957 stereo version—rather lethargic and understated—compares. Despite its freedom from mannerisms, its breadth simply works against the Sturm und Drang character of the work. And this 1965 stereo No. 29 (like its 1954 predecessor, Testament 1093) disappoints in its failure to convey the animation and occasional agitation that lie beneath the music’s polished surface. Interestingly, though, Klemperer takes pains to play grace notes on the beat. As for this 1960 “Haffner,” it is straightforward, rock steady in rhythm, and reasonably transparent, considering its big orchestra sonority. Yet it somehow seems wanting in commitment, a fault that lies partly in a failure to clarify contrasting emotional planes with differentiated dynamics and accents. It is certainly not a bad performance; it simply seems cumulatively lifeless.

Shortcomings notwithstanding, these are historically important reissues, filling out the profile of Klemperer’s last years. All the performances are well transferred and—save for their slightly quieter background—indistinguishable from the fine sound of my excellent German-LP pressings.

FANFARE: Mortimer H. Frank