C1858. PAUL KLETZKI Cond. Polish National Radio S.O., w.Teresa Stich-Randall: Symphony #4 in G - Live Performance, 21 Sept., 1968, Montreux; PAUL KLETZKI Cond. ORTF S.O., w.Mignon Dunn & Janis Martin: 'Resurrection' Symphony #2 in c - Live Performance, 12 Feb., 1973, Salle Pleyel, Paris (both Mahler). (Canada) 2-St Laurent Studio T-1095. Transfers by Yves St Laurent.
“Paul Kletzki was a highly respected conductor in the middle years of the 1900s. He was a composition student at the Warsaw Conservatory and the Berlin Academy and had taken violin as a boy and continued his studies on that instrument in Warsaw with Emil Mlynarski. His first professional job was as a member of the Lodz Philharmonic Orchestra, meanwhile composing as well. When he débuted as a conductor in Berlin in 1923 it was in a concert of his own compositions. He settled in Berlin, where he conducted and composed actively. He left Germany in 1933 when he went to Venice and Milan and received an invitation to teach composition and orchestra at the Milan Scola Superiore di Musica. From 1937 to 1938 he was the musical director of the Kharkov Philharmonic Orchestra in the U.S.S.R. At the end of that term he left for Switzerland, where he remained, taking Swiss citizenship in 1947. Kletzki conducted widely after the War and came into demand for his qualities of lucidity and power, together with fresh conceptions of the music. He was particularly in demand as a guest conductor in South and Central America, and had a close association with the Israel Philharmonic. He was music director of the Dallas Symphony Orchestra (1958 - 1962), the Bern Symphony Orchestra (1964 - 1966), and the Orchestre de la Suisse Romande (1968 - 1970). He had received considerable praise for his compositions, particularly before World War II, when he had more time to write. However, most of his output was lost in the destruction of World War II.”
- Joseph Stevenson, allmusic.com
"Teresa Stich-Randall, an American soprano whose reputation was won and maintained in European opera houses, made her first appearances at the Vienna State Opera and the Salzburg Festival. After 1955, she was a frequent principal at summer events in Aix-en-Provence, France.
Noted for her clarity of voice and diction, Ms. Stich-Randall gravitated toward Mozart, Handel and Bach, repertory she recorded with conductors like Lorin Maazel, Hermann Scherchen, Felix Prohaska and Mogens Woldike. In 1947 in New York, she made her operatic debut as Henrietta M. in the premiere of Virgil Thomson's MOTHER OF US ALL and the next year took the title role in Otto Luening's EVANGELINE. Arturo Toscanini engaged her for performances with his NBC Symphony Orchestra in New York. Her Metropolitan Opera debut, in 1961, was as Fiordiligi in Mozart's COSI FAN TUTTE. She remained on the Met roster until 1966. But Europe became the center of her activity, beginning in Florence in Weber's OBERON in 1951 followed by appearances at the Basel Opera in Switzerland."
- Bernard Holland, THE NEW YORK TIMES, 24 July, 2007