献给卡洛斯.克莱伯（1）

fsh3702

My appreciation towards Carlos Kleiber(1)


Since my early introduction into the classical music sphere I have been wandering around different genres of conductors. The conductors represent their individual understanding of music respectively, further more they also embody the unique cultural atmosphere under which they have been nurtured up. When I fully enjoy karayan’s exact, picky and delicate conducting etiquette as well as abbodo’s commanding, overwhelming and rather seperable and irrelevant mood from the orchestre, finally I get in touch with the beloved twentith century musical legendary hero Carlos Kleiber and become very delighted to find me completely enamored by him.


Kleiber is a kind of musician who don’t generally put much trust and emphasis on the modern recording technology. He didn’t treat various media based upon different material, however I should feel lucky that he didn’t totally exclude the possibility of a perfect reappearance of the originality of music through the modern measures. So he participated into a lot of schemas and musical projects, but only a few of them are recorded. I think the reason is due to Kleiber’s earnestness to perfection and immaculate performace, he is a uncompromised figure and maybe too arrogant and fastidious. But on the contrary his recordings are all among the highly qualified, upstanding and state of art masterpieces.


Kleiber’s biggest musical feat is no doubt his Beethoven 5 and 7 symphony produced during the 1970th first issued at the LP period and later readapted again on CD. This is one of his most important and productions and also one unforgerttable work in the course of classical music history and recording archeology. Especially the Beethoven 7 symphony, a marvellous piece second to none, is one pretty highly recommendable interpretation of Beethonven 7.




His posture is almost the most natural, most fluent postures I met. His movement itself exudes a combination of clearness and correctness, which is his signature pecularity. All these quitessential elements can not be more starkly expressed than by his 1983 Beethoven 7 conducting when Kleiber seemed in his prime and most robust time, he’s outraverted, he’s energetic, he’s modestly pride-striken and never mean to reconcile with minumal defect of a single moment.


Elegance of musicality is no longer adequate for a precise description of his style. As a matter of fact, when talking about the top virtuoso as prestigious as Kleiber the mere qualitive adjectives is not precise any more. Kleiber has infused tons of fresh ideas into his Beethoven interpretation. He want to embroider his unprecedented fluency and smoothness onto a Beethoven melody cloth. Thank GOD he finally secceeded by conjuring up swarms of notes manifested in multiple layers which is overlapping each other and which rendered his authentic German-Austria indegenous Beethoven interpretation. You can hardly say he’s a inserious musical fervant, that would be a bias and unjustified judgement, but we can not deny that at the first occasion of seeing his style, you will be inevitably prone to draw the conclusion that his easiness on the stage has traumatized Beethoven symphony’s graveness and solemity. If you accidentallly also have this kind of viewpoint, then you have to only blame your shallowness and devoid of comprehension.


Under the surface of his supernatural easiness he was actually possessing a trail of significance deep inside. That significance is indescribable and saturated with tumultous moods, always in a pensive state and not easy to get a smell of it. This mood towards music can be untterly touching, it was distilled by years of instruction and improvement to constitute the core essence of German-Austria musical legacy and cultural glory.