The partnership of the young and dynamic Daniel Barenboim with Otto Klemperer, a veteran not known for his readiness to compromise, proved a revelation. As Barenboim says, Klemperer – considered the greatest Beethoven conductor of his time – “approached the essence of what he wanted directly and without hesitation”. The fruit of their collaboration in 1967 was this vivid and inspiring set of the Beethoven Piano Concertos.

Otto Klemperer (1885–1973) was widely regarded as one of the leading conductors of the 20th century along with his compatriots, Wilhelm Furtwängler and Bruno Walter.

Klemperer’s rendition of A Midsummer Night’s Dream is considered one of the best of the discography, and a summit among Klemperer’s recordings, for the sharp conducting and the incomparable talents of the vocal soloists Heather Harper and Dame Janet Baker.

In the online discussions about the best recorded versions of the Mozart symphonies there is little reference made to Otto Klemperer, although at one time his EMI recordings of the last several Mozart symphonies were considered the epitome. His various recordings have been available in one form or another ever since his first LPs came out in the late 1950s. These are marvellous performances of the Symphonies No. 38 & 39, deeply considered and played to perfection by the Philarmonia Orchestra. In the last two symphonies power and elegance stand side by side.

This is one of the definitive performance of Mahler’s "Das Lied Von Der Erde". One of the great recordings of the century, the album features the sophisticated insight of renowned conductor Otto Klemperer. The singers are superb and the orchestras are in peak form. Ludwig’s angelic vocals flow effortlessly while Wunderlich delivers powerful and articulate phrasing. With lavish instrumentation, the remastered sound captures every nuance.

The Voyager Golden Record was a gift from humanity to the cosmos. And it is also a gift to humanity.
In 1977, NASA launched two spacecraft, Voyager I and II, on a grand tour of the solar system and beyond, into the mysteries of interstellar space. Mounted to each of these spacecraft is a stunning golden phonograph record, an interstellar message to introduce our civilization to extraterrestrials who might encounter the probes, perhaps billions of years from now.

Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.

Otto Klemperer conducts the Philharmonia and New Philharmonia Orchestras in Felix Mendelssohn's Symphony No. 3 in A minor and Robert Schumann's Symphony No. 3 in E flat major, recorded in 1960 & 1969. This reissue series of classical music masterpieces by Esoteric has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound. This series marks the first hybrid SACD release of historical recording selections that have been mainstays of the catalog since their initial release.

The German conductor Otto Klemperer (1885-1973) was born in Breslau (now Wroclaw, Poland). He studied at the Frankfurt Conservatory, then at Berlin's Klindworth-Scharwenka Conservatory, where he took lessons in composition and conducting from Pfitzner, making his debut in Berlin in 1906 with Offenbach's Orphée aux enfers. On Mahler's recommendation he became chorus master then conductor at Prague's German Theatre (1907-10); between 1910 and 1917 he worked at the opera houses of Hamburg, Bremen and Strasbourg; he was musical director at Cologne (1917-24), Wiesbaden (1924-27) and Berlin's Kroll Opera (1927–31), but left Nazi Germany in 1933, eventually settling in the USA, where he became conductor of the Los Angeles Philharmonic (1933-39).

Otto Klemperer leads the New Philharmonia for this recording of Franck's Symphony in D minor. The Philharmonia Orchestra also performs Schumann's Fourth Symphony in D minor.

Otto Klemperer made many great recordings, especially conducting the Philharmonia Orchestra for EMI. This disc combines recordings made in 1960 (nine) and 1963 (eight). The remastering has deepened the tonal range and sound-stage and generally warmed the sound and they can be described as being very creditable for their vintage. The performances have authority and are both strong statements and are among the highlights of the later Klemperer discography.

Otto Klemperer was very much a man of the theatre. “Here, opera and drama were truly united,” he said of his time at Berlin’s Kroll Theatre, a progressive and influential force in the heady years of the Weimar Republic. He was also a man with a sharp sense of humour: this performance of Mendelssohn’s incidental music to Shakespeare’s A Midsummer Night’s Dream both glows with enchantment and sparkles with wit.

Otto Klemperer conducts the Philharmonia Orchestra in Felix Mendelssohn's Overture "The Hebrides" & Symphonies 3 & 4 and Robert Schumann's Symphony No. 4, originally recorded in 1960. This reissue is a part of the Signature Collection from EMI Classics featuring the finest catalog recordings released for the first time ever in high resolution format. The expert engineers at Abbey Road Studios who remastered the original EMI recordings on Hybrid Super Audio CDs have breathed new life into these iconic catalog recordings.

Klemperer's early 1960s Wagner recordings have long held a treasured place in the catalogue. "Klemperer conducts Wagner", Volume 1-3, performed by the Philharmonmia Orchestra conducted by Otto Klemperer - these recordings were recorded in 1960-61 & were originally issued on the Columbia label. Now it was remastered by EMI and reissued on SACD in Japan.

The Piano Concerto No. 1 in E minor, Op. 11, is a piano concerto written by Frédéric Chopin in 1830, when he was twenty years old. It was first performed on 12 October of that year, at the Teatr Narodowy (the National Theatre) in Warsaw, Poland, with the composer as soloist, during one of his "farewell" concerts before leaving Poland. It was the first of Chopin's two piano concertos to be published, and was therefore given the designation of Piano Concerto "No. 1" at the time of publication, even though it was actually written immediately after the premiere of what was later published as Piano Concerto No. 2.