Having been a Klemperer junkie for almost a lifetime, I tried and tried for over a decade to “like” this performance. Inevitably - years ago - that CD almost consigned ITSELF! to the distant nether regions of my collection in favour of the Bernstein, Haitink, and certainly the Horenstein recordings. Sadly, and with all due respect to the commentators below, in this performance, Klemperer's tempos are, in places, palpably arthritic, and indeed, sometimes SO! slow, the orchestra cannot stay together. Nor was the New Philharmonia an altogether stellar orchestra – instead, more of what's known in the industry as a "pick-up orchestra", consisting of players part-timing from all other 4 London orchestras of the era, though many, not entirely the creme de la creme. Tragically, Klemperer's late recordings are severely affected by his few crippling and paralysing strokes, which robbed him of the incandescence of his younger days; indeed, many felt he overstayed his welcome on the podium, and should have retired in the early 60s while his reputation was still intact, and arguably at its zenith. Finally, I think people put too much store in Klemperer's relationship with Mahler - in this recording, half a century since the latter's death, and hundreds of performances subsequently. In the final analysis, this is Klemperer's interpretation, not Mahler's. Granted, there may be some secrets here and there gleaned from the composer, but the wholesale substance and conception of this symphony is Klemperer's through and through. If you're a blindly fanatic Klempererite (as I chiefly am), then this is for you. However, if your concept of Mahler 7 is a more nail-bitten, even ferocious one, go to the Horenstein, or - on this site - the Bernstein, both of whom I believe are two of the truly great Mahlerians, as is Klemperer, but for me, not in this recording. Gil Sullivan

I’ve been a Klemperer junkie for almost a lifetime, but having tried and tried for over a decade to “like” this performance, I'm afraid - years ago - that CD almost consigned itself! to the distant nether regions of my collection in favour of the Bernstein, Haitink, and certainly the Horenstein recordings. Sadly, and with all due respect to the commentators below, in this performance, Klemperer's tempos are, in places, palpably arthritic, and indeed, sometimes SO! slow, the orchestra cannot stay together in many of the dotted rhythms. Nor was the New Philharmonia an altogether stellar orchestra – instead, more of what's known as a "pick-up orchestra", consisting of players part-timing from all other 4 London orchestras of the era, though many, not entirely the creme de la creme. Tragically, Klemperer's late recordings are severely affected by his numerous crippling and paralysing strokes, which robbed him of the incandescence of his younger days; indeed, many felt he overstayed his welcome on the podium, and should have retired in the early 60s while his reputation was still intact, and at its zenith. Finally, I think people put too much store in Klemperer's relationship with Mahler, in this recording, half a century after the latter's death, and hundreds of subsequent performances. In the final analysis, this is Klemperer's interpretation, not Mahler's. Granted, there may be some secrets here and there that was picked up from the composer, but the wholesale conception of this symphony is Klemperer's through and through. If you're a blindly fanatic Klempererite (as I mostly am), then this is for you. However, if your concept of Mahler’s 7th is a more forward-driven and exciting one, go to the Horenstein, or - on this site - the Bernstein, both of whom I feel are two of the truly great Mahlerians, as is Klemperer, but for me, not in this recording. Gil Sullivan

I’ve been a Klemperer junkie for almost a lifetime, but having tried and tried for over a decade to “like” this performance, I'm afraid - years ago - that CD almost consigned itself! to the distant nether regions of my collection in favour of the Bernstein, Haitink, and certainly the Horenstein recordings. Sadly, and with all due respect to the commentators below, in this performance, Klemperer's tempos are, in places, palpably arthritic, and indeed, sometimes SO! slow, the orchestra cannot stay together in many of the dotted rhythms. Nor was the New Philharmonia an altogether stellar orchestra – instead, more of what's known as a "pick-up orchestra", consisting of players part-timing from all other 4 London orchestras of the era, though many, not entirely the creme de la creme. Tragically, Klemperer's late recordings are severely affected by his numerous crippling and paralysing strokes, which robbed him of the incandescence of his younger days; indeed, many felt he overstayed his welcome on the podium, and should have retired in the early 60s while his reputation was still intact, and at its zenith. Finally, I think people put too much store in Klemperer's relationship with Mahler, in this recording, half a century after the latter's death, and hundreds of subsequent performances. In the final analysis, this is Klemperer's interpretation, not Mahler's. Granted, there may be some secrets here and there that was picked up from the composer, but the wholesale conception of this symphony is Klemperer's through and through. If you're a blindly fanatic Klempererite (as I mostly am), then this is for you. However, if your concept of Mahler’s 7th is a more forward-driven and exciting one, go to the Horenstein, or - on this site - the Bernstein, both of whom I feel are two of the truly great Mahlerians, as is Klemperer, but for me, not in this recording. Gil Sullivan

Otto Klemperer’s recording of Mahler’s Seventh Symphony is possibly one of his most opinion-splitting recordings, taking this monumental work at an often glacial pace. However, as with every Klemperer recording, it’s well worth hearing at least once, and there’s much to enjoy here. This superb transfer makes listening to Klemperer’s take on Mahler 7 a real pleasure, and I highly recommend it.

Klemperer's controversial Mahler 7 has never sounded better than in HDTT's magnificent transfer from a 15 ips EMI tape. I say that confidently because I own all the EMI commercial CD issues of this performance, including a fine Japanese EMI High Definition version. Once again, HDTT scores over the competition with sound that is both warm and natural sounding, plus finely detailed. As for the interpretation, Klemperer's tempos are undoubtedly slow but they all 'work' together to yield a provocative view of Mahler's most forward-looking symphony. Plus, the three middle movements are just stunningly beautiful as Klemperer and his orchestra present them. (Also there's this: Klemperer was one of three young assistants who helped Mahler prepare the world premiere performance of this symphony in Prague and he was the only Mahler acolyte to record the symphony. Klemperer never claimed any special authority for his recording, but the fact remains that he had a special relationship to the piece that other couldn't claim.) All controversy aside, real Mahler lovers should own this recording, although first-time listeners probably are better advised to begin with HDTT's alternative version by Bernstein and the New York Philharmonic.