C0116. RUDOLF KEMPE Cond. Staatskapelle Dresden, w. Malcolm Frager, Manfred Clement, Manfred Weise, Peter Damm, Peter Mirring, etc.: Richard Strauss, Vol. I. 3-EMI 64342 , w.38pp. Brochure. Long out-of-print, Final ever-so-slightly used copy! - 077776434223
“One of the great unsung conductors of the middle twentieth century, Rudolf Kempe enjoyed a strong reputation in England but never quite achieved the international acclaim that he might have had with more aggressive management, promotion, and recording. Not well enough known to be a celebrity but too widely respected to count as a cult figure, Kempe is perhaps best remembered as a connoisseur's conductor, one valued for his strong creative temperament rather than for any personal mystique. He studied oboe as a child, performed with the Dortmund Opera, and, in 1929, barely out of his teens, he became first oboist of the Leipzig Gewandhaus Orchestra. His conducting début came in 1936, at the Leipzig Opera; this performance of Lortzing's DER WILDSCHÜTZ was so successful that the Leipzig Opera hired him as a répétiteur. Kempe served in the German army during World War II, but much of his duty was out of the line of fire; in 1942 he was assigned to a music post at the Chemnitz Opera. After the war, untainted by Nazi activities, he returned to Chemnitz as director of the opera (1945-1948), and then moved on to the Weimar National Theater (1948-1949). From 1949 to 1953 he served as general music director of the Staatskapelle Dresden, East Germany's finest orchestra. He then moved to the identical position at the Bavarian State Opera in Munich, 1952-1954, succeeding the young and upwardly mobile Georg Solti. During this period he was also making guest appearances outside of Germany, mainly in opera: in Vienna (1951), at Covent Garden (1953), and at the Metropolitan Opera (1954), to mention only the highlights. Although he conducted Wagner extensively, especially at Covent Garden, Kempe did not make his Bayreuth début until 1960. As an opera conductor he was greatly concerned with balance and texture, and singers particularly appreciated his efforts on their behalf. Kempe made a great impression in England, and in 1960 Sir Thomas Beecham named him associate conductor of London's Royal Philharmonic. Kempe became the orchestra's principal conductor upon Beecham's death the following year, and, after the orchestra was reorganized, served as its artistic director from 1963 to 1975. He was also the chief conductor of the Zürich Tonhalle Orchestra from 1965 to 1972, and of the Munich Philharmonic from 1967 until his death in 1976. During the last year of his life he also entered into a close association with the BBC Symphony Orchestra. Interpretively, Kempe was something of a German Beecham. He was at his best -- lively, incisive, warm, expressive, but never even remotely self-indulgent -- in the Austro-Germanic and Czech repertory. Opera lovers prize his versions of LOHENGRIN, DIE MEISTERSINGER, and ARIADNE AUF NAXOS. His greatest recorded legacy, accomplished during the last four or five years of his life, was the multi-volume EMI set of the orchestral works and concertos of Richard Strauss, performed with the highly idiomatic Dresden Staatskapelle. These recordings were only intermittently available outside of Europe in the LP days, but in the 1990s EMI issued them on nine compact discs.”
- James Reel, Rovi
“Rudolf Kempe’s relationship with the Royal Philarmonic was always harmonious, and it was almost a predictable reaction of critics to say that the orchestra was transformed when Kempe was at the helm. Since 1967 he had also been musical director of the Munich Philharmonic.
His readings, both in the concert hall and opera house, were notable for their long span and for their textural clarity. His RING, for instance, developed from a comparatively lightweight beginning towards the immense climax of GOTTERDAMMERUNG. Similarly, as his records show, in works such as Strauss' ‘Heldenleben’, or his ‘Alpine’ Symphony, balance and an overall view are all. As he once put it : ‘If you are always at the climactic point, you can have nothing held in reserve’. He achieved his ends by a clear, taut, unfussy beat, so often favourably remarked upon by those stiff taskmasters, orchestra players. If you could not always count on him for the most electrifying performance of a given work, by the same token he would never let you down by giving an inferior or lacklustre interpretation….among London's opera and concert publics…his rapport was unshakable.”
- Michael Rhodes, THE LONDON TIMES, 13 May, 1976