Bruckner 1824 – 1896

ANTON BRUCKNER 1824 – 1896

71:01 Symphony No. 4 in E flat ‘Romantic’ (Haas Edition)

01 20:41 Ruhig bewegt (Allegro molto moderato) 02 17:11 Andante 03 10:29 Scherzo: Bewegt 04 22:15 Finale: Mässig bewegt bruckner symphony no. 4 in e flat ‘ROMANTIC’ KLAUS TENNSTEDT conductor London Philharmonic Orchestra David Nolan leader klaus tennstedt conductor Recorded live at Royal Festival Hall London LONDON PHILHARMONIC ORCHESTRA

LPO – 0014 A BBC recording Passion and Pain: Klaus Tennstedt in London of Abbey Road Studios. ‘One day we had some spare session time’ recalls Willan, ‘and Klaus ‘You have to have taken some blows in life John Willan knew Klaus Tennstedt better than decided to record some Prokofiev. Here was in order to understand the great composers’ most. Willan produced most of the conductor’s a man with no technique and no precision, Klaus Tennstedt once said, in words that celebrated studio recordings for EMI, managed wanting to record Prokofiev. We all thought it a pre-empted the tragedy that beset his own the London Philharmonic Orchestra as it complete joke – staff, producers and musicians. life towards its conclusion. During these final flourished under Tennstedt’s baton; and cared And of course, the result was brilliant. From years of his career in the late 80s and early personally for the musician in the final days then on I knew that we’d been wrong about 90s – conducting the London Philharmonic of his illness. With a career straddling the this guy. I knew he was going to be fantastic.’ Orchestra at the Royal Festival Hall whilst contrasting worlds of commercial recording struggling with illness and seeming to and live concert promotion, Willan is better In fact, he was fantastic enough to unite reflect the great Romantic struggle with placed than many to reflect on the realities the notoriously factious London orchestral his own – there arose a legend around this of the ‘Tennstedt effect’ – to explore just scene as critics, agents, artists, managers particular musician which has endured long how much of this conductor’s reputation and audiences joined unanimously in respect and travelled far since his death in 1998. was forged on the anvil of his tragic life and for a clumsy, outspoken East German whose offbeat appearance, and how much of it was English was as awkward as his company The story is the same whoever one asks: commanded by an extraordinary musical mind. could be. ‘When he was conducting the Tennstedt’s concerts with the London London Philharmonic Orchestra, it was simply Philharmonic Orchestra were so infused ‘Initially at EMI we had no idea who he untouchable’ says Willan. ‘He knew how with the conductor’s emotion and the was’ says Willan. ‘In came this man who the Orchestra worked. We were aware that audience’s empathy that they reached an had no tact, no social graces, and who was he wasn’t the most precise conductor. In a College of Anton Bruckner Music, (Royal London) unprecedented plane of expression. Framed completely unknown in the West. There was a detailed passage he wouldn’t conduct every semi-quaver like some would – but those On Thursday 14 December 1989 the Orchestra by the tragedies of exile, self-doubt and reluctant attitude about him – he was seen as presented a performance of Bruckner’s illness, Tennstedt gave performances which something of a risk and the German wing of passages were always spot on because he knew how these instrumentalists listened Fourth Symphony (coupled with Beethoven’s seemed astonishingly frank and impassioned the company thought we were mad for taking First) at the Royal Festival Hall as part of its to audiences – the affectionately nicknamed him on.’ But whilst the men in the control and moved together. He’d played in orchestras himself and knew their intensity and nerves, International Concert Series – a performance ‘demented stork’ appearing so drained at rooms were still to be convinced that Tennstedt which was carried live on BBC Radio 3. In a concert’s conclusion that he could barely was the kind of musician whose portrait would knew their instincts. The Orchestra and Klaus understood each other completely. He had Bruckner’s often mysterious and silhouetted acknowledge the thunderous applause one day adorn the corridors of EMI, Willan soon musical language (in this case a reflection which brought even ushers and critics forged a strong partnership with the conductor respect and admiration for every single one of them, and they for him. They were one unit.’ of the allegorical romanticism of Austrian at the Royal Festival Hall to their feet. through a mutual sense of humour, a similarly terrain) Tennstedt shone. Admiration and direct approach to work and colleagues, and a commitment is apparent from the symphony’s common quest for nicotine in the quiet corners Passion and Pain: Klaus Tennstedt in London of Abbey Road Studios. ‘One day we had some spare session time’ recalls Willan, ‘and Klaus ‘You have to have taken some blows in life John Willan knew Klaus Tennstedt better than decided to record some Prokofiev. Here was in order to understand the great composers’ most. Willan produced most of the conductor’s a man with no technique and no precision, Klaus Tennstedt once said, in words that celebrated studio recordings for EMI, managed wanting to record Prokofiev. We all thought it a pre-empted the tragedy that beset his own the London Philharmonic Orchestra as it complete joke – staff, producers and musicians. life towards its conclusion. During these final flourished under Tennstedt’s baton; and cared And of course, the result was brilliant. From years of his career in the late 80s and early personally for the musician in the final days then on I knew that we’d been wrong about 90s – conducting the London Philharmonic of his illness. With a career straddling the this guy. I knew he was going to be fantastic.’ Orchestra at the Royal Festival Hall whilst contrasting worlds of commercial recording struggling with illness and seeming to and live concert promotion, Willan is better In fact, he was fantastic enough to unite reflect the great Romantic struggle with placed than many to reflect on the realities the notoriously factious London orchestral his own – there arose a legend around this of the ‘Tennstedt effect’ – to explore just scene as critics, agents, artists, managers particular musician which has endured long how much of this conductor’s reputation and audiences joined unanimously in respect and travelled far since his death in 1998. was forged on the anvil of his tragic life and for a clumsy, outspoken East German whose offbeat appearance, and how much of it was English was as awkward as his company The story is the same whoever one asks: commanded by an extraordinary musical mind. could be. ‘When he was conducting the Tennstedt’s concerts with the London London Philharmonic Orchestra, it was simply Philharmonic Orchestra were so infused ‘Initially at EMI we had no idea who he untouchable’ says Willan. ‘He knew how with the conductor’s emotion and the was’ says Willan. ‘In came this man who the Orchestra worked. We were aware that audience’s empathy that they reached an had no tact, no social graces, and who was he wasn’t the most precise conductor. In a College of Anton Bruckner Music, (Royal London) unprecedented plane of expression. Framed completely unknown in the West. There was a detailed passage he wouldn’t conduct every semi-quaver like some would – but those On Thursday 14 December 1989 the Orchestra by the tragedies of exile, self-doubt and reluctant attitude about him – he was seen as presented a performance of Bruckner’s illness, Tennstedt gave performances which something of a risk and the German wing of passages were always spot on because he knew how these instrumentalists listened Fourth Symphony (coupled with Beethoven’s seemed astonishingly frank and impassioned the company thought we were mad for taking First) at the Royal Festival Hall as part of its to audiences – the affectionately nicknamed him on.’ But whilst the men in the control and moved together. He’d played in orchestras himself and knew their intensity and nerves, International Concert Series – a performance ‘demented stork’ appearing so drained at rooms were still to be convinced that Tennstedt which was carried live on BBC Radio 3. In a concert’s conclusion that he could barely was the kind of musician whose portrait would knew their instincts. The Orchestra and Klaus understood each other completely. He had Bruckner’s often mysterious and silhouetted acknowledge the thunderous applause one day adorn the corridors of EMI, Willan soon musical language (in this case a reflection which brought even ushers and critics forged a strong partnership with the conductor respect and admiration for every single one of them, and they for him. They were one unit.’ of the allegorical romanticism of Austrian at the Royal Festival Hall to their feet. through a mutual sense of humour, a similarly terrain) Tennstedt shone. Admiration and direct approach to work and colleagues, and a commitment is apparent from the symphony’s common quest for nicotine in the quiet corners opening ‘Alpine landscape’. The Orchestra’s is only a studio session”. And as with the best utterly extraordinary in London. ‘Of course, KLAUS TENNSTEDT conductor then Principal Horn Nicholas Busch (himself, performers, the role of producer was made what was special about Klaus was in many as the Orchestra’s Chairman, responsible easy. There was no way in which I interfered ways indefinable, very much an ‘x’ factor. Born in East Germany, Klaus Tennstedt studied for Tennstedt’s appointment as Principal with the end product of a recording – it was He was unique: clumsy and unassuming, at the Leipzig Conservatory and conducted Conductor in 1983) initiating a remarkable all Klaus. I was just there to make sure that yet concurrently imposing and impressive. throughout his native land, but it was not finesse of tone and quiet intensity at the the conditions were right, and the most I But it was the music that made him special, until he moved to the West in 1971 that work’s opening that is reflected soon after would do was suggest he come into the and that’s one reason why he has such a he started to achieve world recognition. He by the strings and thence the ensemble as control room and listen to something. Like broad appeal.’ Willan truly believes that for made his American debut with the Boston a whole (alongside an altogether other- the best artists, he knew what he wanted.’ all the character curiosity, astute audiences Symphony Orchestra in 1974 and his debut worldly solo from Busch in the Finale). around the world recognised that Tennstedt with the London Philharmonic Orchestra in By the time of this performance, produced by was foremost a great musician. ‘This was a 1977. He had an instant rapport with the But Tennstedt is remembered for his the BBC’s Misha Donat, Tennstedt had resigned man who gave many thousands of people London Philharmonic Orchestra which resulted intensity; his galvanizing of up to a hundred as Principal Conductor due to increasing frailty. a great deal of pleasure and excitement’ in return invitations and his appointment musicians into one voice; his extraordinary His appearances in London were sporadic and Tennstedt’s former friend and colleague as the Orchestra’s Principal Conductor and ability to conjure an atmosphere – heard subject to cancellation; an adoring public says, ‘and we’re extremely fortunate that so Music Director in 1983. This developed into in the exuberance of the symphony’s clambering to witness his performances as many recordings exist. They are tremendous a unique and remarkable relationship until towering Finale. ‘He had a lot of feeling for if any could be his last. But amidst the hype yardsticks and they still have huge relevance. illness finally brought it to a premature end Bruckner’ says Willan; the brass avalanches there was a consistent bedrock of quality All the great qualities we talk about are some ten years later. Klaus Tennstedt died in of the Ruhig bewegt and unpredictable musicianship. ‘Inevitably Klaus’s illness and present in them. They’re unmistakable.’ 1998. Tennstedt was particularly renowned for eccentricities of the Scherzo are full of his struggle fed into his performances to some Andrew Mellor his performances of the German repertoire, Tennstedt’s trademark character and colour extent. We’re gruesome as human beings, we particularly Mahler whose symphonies he and demonstrate that innate feeling for and like a spectacle’ says Willan, ‘but I’m certain conducted regularly at the Royal Festival Hall faithfulness to Bruckner (the Haas edition that if he hadn’t been ill, if he had continued and on disc for EMI to huge public acclaim. heard here has largely rendered previous to appear every couple of months with the His energy, musicianship and emotional unfaithful editions of Bruckner’s symphony Orchestra, then he’d still have been a draw, he’d involvement combined with a rare humility obsolete), whose self-critical struggle to still have sold out and he’d still have drawn endeared him to audiences and musicians alike. revise and eventually complete his work in exceptional performances from the ensemble. 1880 was doubtless in Tennstedt’s mind. He was the most tremendous catalyst on and off stage, and it led to success all round.’ ‘Klaus was at his best when performing live’ is Willan’s opinion, ‘he’d even approach a studio Decades on and Tennstedt is still spoken about recording as if it were a live performance. You – a man who was unknown in the West until couldn’t say to him, “Klaus, calm down, this his mid-forties but who achieved something Klaus Tennstedt at EMI Studios, Abbey Road, London opening ‘Alpine landscape’. The Orchestra’s is only a studio session”. And as with the best utterly extraordinary in London. ‘Of course, KLAUS TENNSTEDT conductor then Principal Horn Nicholas Busch (himself, performers, the role of producer was made what was special about Klaus was in many as the Orchestra’s Chairman, responsible easy. There was no way in which I interfered ways indefinable, very much an ‘x’ factor. Born in East Germany, Klaus Tennstedt studied for Tennstedt’s appointment as Principal with the end product of a recording – it was He was unique: clumsy and unassuming, at the Leipzig Conservatory and conducted Conductor in 1983) initiating a remarkable all Klaus. I was just there to make sure that yet concurrently imposing and impressive. throughout his native land, but it was not finesse of tone and quiet intensity at the the conditions were right, and the most I But it was the music that made him special, until he moved to the West in 1971 that work’s opening that is reflected soon after would do was suggest he come into the and that’s one reason why he has such a he started to achieve world recognition. He by the strings and thence the ensemble as control room and listen to something. Like broad appeal.’ Willan truly believes that for made his American debut with the Boston a whole (alongside an altogether other- the best artists, he knew what he wanted.’ all the character curiosity, astute audiences Symphony Orchestra in 1974 and his debut worldly solo from Busch in the Finale). around the world recognised that Tennstedt with the London Philharmonic Orchestra in By the time of this performance, produced by was foremost a great musician. ‘This was a 1977. He had an instant rapport with the But Tennstedt is remembered for his the BBC’s Misha Donat, Tennstedt had resigned man who gave many thousands of people London Philharmonic Orchestra which resulted intensity; his galvanizing of up to a hundred as Principal Conductor due to increasing frailty. a great deal of pleasure and excitement’ in return invitations and his appointment musicians into one voice; his extraordinary His appearances in London were sporadic and Tennstedt’s former friend and colleague as the Orchestra’s Principal Conductor and ability to conjure an atmosphere – heard subject to cancellation; an adoring public says, ‘and we’re extremely fortunate that so Music Director in 1983. This developed into in the exuberance of the symphony’s clambering to witness his performances as many recordings exist. They are tremendous a unique and remarkable relationship until towering Finale. ‘He had a lot of feeling for if any could be his last. But amidst the hype yardsticks and they still have huge relevance. illness finally brought it to a premature end Bruckner’ says Willan; the brass avalanches there was a consistent bedrock of quality All the great qualities we talk about are some ten years later. Klaus Tennstedt died in of the Ruhig bewegt and unpredictable musicianship. ‘Inevitably Klaus’s illness and present in them. They’re unmistakable.’ 1998. Tennstedt was particularly renowned for eccentricities of the Scherzo are full of his struggle fed into his performances to some Andrew Mellor his performances of the German repertoire, Tennstedt’s trademark character and colour extent. We’re gruesome as human beings, we particularly Mahler whose symphonies he and demonstrate that innate feeling for and like a spectacle’ says Willan, ‘but I’m certain conducted regularly at the Royal Festival Hall faithfulness to Bruckner (the Haas edition that if he hadn’t been ill, if he had continued and on disc for EMI to huge public acclaim. heard here has largely rendered previous to appear every couple of months with the His energy, musicianship and emotional unfaithful editions of Bruckner’s symphony Orchestra, then he’d still have been a draw, he’d involvement combined with a rare humility obsolete), whose self-critical struggle to still have sold out and he’d still have drawn endeared him to audiences and musicians alike. revise and eventually complete his work in exceptional performances from the ensemble. 1880 was doubtless in Tennstedt’s mind. He was the most tremendous catalyst on and off stage, and it led to success all round.’ ‘Klaus was at his best when performing live’ is Willan’s opinion, ‘he’d even approach a studio Decades on and Tennstedt is still spoken about recording as if it were a live performance. You – a man who was unknown in the West until couldn’t say to him, “Klaus, calm down, this his mid-forties but who achieved something Klaus Tennstedt at EMI Studios, Abbey Road, London Also available from the London Philharmonic Orchestra LONDON PHILHARMONIC ORCHESTRA For more information or to purchase CDs telephone +44 (0)20 7840 4242 or visit www.lpo.org.uk The London Philharmonic Orchestra has March 2003, succeeding Kurt Masur as the long established a high reputation for its Orchestra’s Principal Conductor in 2007. LPO-0001 LPO-0013 LPO-0003 versatility and artistic excellence. These are evident from its performances in the The London Philharmonic Orchestra has concert hall and opera house, its many been resident symphony orchestra at the award-winning recordings, its trail-blazing Royal Festival Hall since 1992 and there international tours and its pioneering it presents its main series of concerts education work. Kurt Masur was appointed between September and May each year. the Orchestra’s Principal Conductor in In summer, the Orchestra moves to September 2000, extending the line of Sussex where it has been the resident distinguished conductors who have held symphony orchestra at Glyndebourne positions with the Orchestra since its Festival Opera since the early 1960s. foundation in 1932 by Sir Thomas Beecham. The Orchestra also performs at venues LPO-0004 LPO-0005 LPO-0006 These have included Sir Adrian Boult, Sir around the UK and has made numerous John Pritchard, Bernard Haitink, Sir Georg tours to America, Europe and Japan, and Solti, Klaus Tennstedt and Franz Welser- visited India, Hong Kong, China, South Möst. Vladimir Jurowski was appointed the Korea, Australia and South Africa. Orchestra’s Principal Guest Conductor in

LPO-0007 LPO-0008 LPO-0010

The London Philharmonic Orchestra with Klaus Tennstedt Also available from the London Philharmonic Orchestra LONDON PHILHARMONIC ORCHESTRA For more information or to purchase CDs telephone +44 (0)20 7840 4242 or visit www.lpo.org.uk The London Philharmonic Orchestra has March 2003, succeeding Kurt Masur as the long established a high reputation for its Orchestra’s Principal Conductor in 2007. LPO-0001 LPO-0013 LPO-0003 versatility and artistic excellence. These are evident from its performances in the The London Philharmonic Orchestra has concert hall and opera house, its many been resident symphony orchestra at the award-winning recordings, its trail-blazing Royal Festival Hall since 1992 and there international tours and its pioneering it presents its main series of concerts education work. Kurt Masur was appointed between September and May each year. the Orchestra’s Principal Conductor in In summer, the Orchestra moves to September 2000, extending the line of Sussex where it has been the resident distinguished conductors who have held symphony orchestra at Glyndebourne positions with the Orchestra since its Festival Opera since the early 1960s. foundation in 1932 by Sir Thomas Beecham. The Orchestra also performs at venues LPO-0004 LPO-0005 LPO-0006 These have included Sir Adrian Boult, Sir around the UK and has made numerous John Pritchard, Bernard Haitink, Sir Georg tours to America, Europe and Japan, and Solti, Klaus Tennstedt and Franz Welser- visited India, Hong Kong, China, South Möst. Vladimir Jurowski was appointed the Korea, Australia and South Africa. Orchestra’s Principal Guest Conductor in

LPO-0007 LPO-0008 LPO-0010

The London Philharmonic Orchestra with Klaus Tennstedt ANTON BRUCKNER 1824 – 1896

71:01 Symphony No. 4 in E flat ‘Romantic’ (Haas Edition)

LPO – 0014 A BBC recording