Carlos Kleiber/WP: Complete Orchestral Recordings on Deutsche Grammophon (4LP box set, 180g pressings)

# Composers: Ludwig van Beethoven, Franz Schubert, Johannes Brahms
# Orchestra: Wiener Philharmoniker
# Conductor: Carlos Kleiber
# Vinyl (2014)
# Number of Discs: 4
# Format: Flac
# DR Analysis: DR 14
# Label: Deutsche Grammophon | 00289 479 1387
# Size: 24-bit/192kHz (6.30GB), 24-bit/96kHz (3.15GB) and 16-bit/44.1kHz (817MB)
# Recovery: 5%
# Scan: yes
# Servers: File Factory / File Post

Now with new FF links!

From the Deutsche Grammophon website:

One of the most charismatic of conductors, Carlos Kleiber passed away on 13 July 2004. Newly remastered from analogue and early digital sources, this unique limited edition LP set brings together for the first time the four original LPs of works by Beethoven, Schubert and Brahms that Kleiber recorded for Deutsche Grammophon between 1974 and 1980. They are presented in 180g vinyl pressings, with original LP sleeves and an accompanying booklet with new liner notes and timeline. The same recordings are also being made available on CD, along with a Blu Ray Audio Disc at 24 bit / 96 kHz, containing all the works and a 70-minute audio documentary (“Carlos Kleiber – a Memoir”).


As recommendable an album as anyone could wish, Carlos Kleiber’s performances with the Vienna Philharmonic of Ludwig van Beethoven’s Symphony No. 5 in C minor, Op. 67, and the Symphony No. 7 in A major, Op. 92, are classics that should always be within reach, and this disc should be passed along to friends as the single best pairing of these two pieces. Other performances of these symphonies are absolutely essential to know, and recordings by many great conductors and orchestras certainly compete with this Deutsche Grammophon album for listeners’ affections. But for sheer excitement, cogent direction, and expressive playing, none is more convincing. Kleiber was highly esteemed for his thorough musicianship, and his clarity of interpretation and communication skills with musicians resulted in performances that were compelling in their power and fascinating for their faithfulness to details in the score.

If the hallmarks of great performances are the way they grab onto the listener through their energy and sustain interest for their finer points, no matter how familiar the pieces are, then these riveting and utterly lucid readings of Beethoven’s Fifth and Seventh are great indeed. Even purists who insist on period style in their Beethoven must concede honors to Kleiber for his accuracy and attention to repeats, for following the indicated instrumentation, and for careful application of all the dynamics. In depth of musicality, technical polish, and all matters of instrumentation except for the size of the orchestra, these recordings surpass many historically informed performances and make some of them seem pedantic and empty in comparison. Add to these accumulated merits DG’s scrupulous engineering and masterful, incredible ADD sound, and this unassailable disc wins in any match-up. – Blair Sanderson,

These two symphonies give you the light and the dark of Schubert. In order to really enjoy this recording one must listen very carefully to the inner voices. Pianissimos are so soft you can barely hear them. Pauses are just slightly longer than expected and one of Kleiber’s strengths is bringing out passages that one ordinarily doesn’t hear. Also, this is one of the more muscular renditions of Schubert. Rhythmically the 3rd is a joy. Be prepared to dance. Someone should have tied this man down and made him conduct more. Since listening to him, I’ve completely lost my taste for overblown, exaggerated romantic symphonies (except for Karajan). This recording belongs in every serious musician’s library (and everyone else’s as well)! – Katherine,

Brahms’ 4th symphony (somewhat easy to perform acceptably, painstakingly hard to execute brilliantly!) poses a challenge for orchestras and conductors alike. Complex and shifting metric structures, broad, exuberant, often non-linear melodies, conservative instrumentation yet progressive orchestration; it is an exercise in rhythmic rigor, melodic ardor and textural management. The catalog is blessed with dozens of recordings and many of them are nothing short of fantastic. I particularly cherish Abbado’s 1992 BPO account for its romantic lyricism and luscious sound, Solti’s 1978 recording with Chicago for its orchestral virtuosity and dramatic narrative, and, finally, George Szell’s account in Cleveland, memorable mainly for its rhythmic and textural clarity. Each of them is brilliant in their own way, but none are all-emcompassing. Abbado’s romantic rubato smudges metric patterns, Szell’s perfect balance and clarity hinders lyric abandon, etc.

Kleiber somehow encompasses all of those strengths, at no sacrifice. The result is exhilarating. Kleiber masterfully morphs metric rigor into relentless drive, providing rhythmic stability yet sufficient ardor for melodies to soar. Textures revolve around the same principle: rigorous, focused accompaniments with passionate, fiery melodies. The Vienna Philharmonic, while not usually one of my favorite bands, are perfect. They bring an old-world quality to the recording and it still breathes freshness and consummate artistry. The strings are simply breathtaking in their malleability and nobility. The sound is typical VPO: Dominating, rich, incandescent, strings and recessed, somewhat homogeneous winds. One could perhaps hope for a tad more sonic detail (especially for the woodwinds’ sake), but the overall result is more than satisfying. This is a rare recording and should be on any musician’s shelves! With formidable insight and glorious playing, I recommend wholeheartedly! – S. Moisan,

Track Listing:

Side One
Beethoven: Symphony No.5 in C minor, Op.67 (cont.)
01 – 1. Allegro con brio
02 – 2. Andante con moto

Side Two
Beethoven: Symphony No.5 in C minor, Op.67 (conc.)
03 – 3. Allegro, 4. Allegro

Side Three
Beethoven: Symphony No.7 In A, Op.92 (cont.)
04 – 1. Poco sostenuto – Vivace
05 – 2. Allegretto

Side Four
Beethoven: Symphony No.7 In A, Op.92 (conc.)
06 – 3. Presto – Assai meno presto
07 – 4. Allegro con brio

Side Five
Schubert: Symphony No.8 in B Minor, D.759 – “Unfinished”
08 – 1. Allegro moderato
09 – 2. Andante con moto

Side Six
Schubert: Symphony No.3 in D Major, D.200
10 – 1. Adagio maestoso – Allegro con brio
11 – 2. Allegretto
12 – 3. Menuetto (Vivace)
13 – 4. Presto. Vivace

Side Seven
Brahms: Symphony No.4 in E Minor, Op.98 (cont.)
14 – 1. Allegro non troppo
15 – 2. Andante moderato

Side Eight
Brahms: Symphony No.4 in E Minor, Op.98 (conc.)
16 – 3. Allegro giocoso – Poco meno presto – Tempo I
17 – 4. Allegro energico e passionato – Più allegro

Note: there is 10 seconds of silence between tracks 9 and 10.

Additional info can be found here, here, here, here, and here.

Ripping Info:

All vinyl is cleaned on a VPI 16.5

Technics SL1200-MK5 (modified)
– Rega RB300 arm with RB700 wiring
– Michell Tecnoweight
– SoundSupports armboard
– Trans-Fi Audio ResoMat
Audio Technica AT33PTG/II
AVID Pellar preamp
RME Hammerfall 9632 ADC

Processing: Sound Forge 10, ClickRepair (manual mode only), iZotope RX3

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39 thoughts on “Carlos Kleiber/WP: Complete Orchestral Recordings on Deutsche Grammophon (4LP box set, 180g pressings)”

  1. Dear Steve, again your hard work was not in vain. This is are best sounding recordings with Carlos Kleiber I ever heard. Much better than the so called “High Fidelity Pure Audio Blu-ray Disc” version. Thank you very much!

  2. It’s finally dropped… oh my… oh dear… my fave modern day conductor and he finally got the 24/192 treatment !!!

    Night Owl… this is just so sweet.


  3. Daring aren’t we??? Well well trying to knock RACH off his escalated throne? Good luck…. but yes the best way… keep it up @ 24 192 !!! and maybe you’ll see RACH-man raise his game.

    Oh dear…. loving this.

    1. There’s no competition intended, tim. 🙂

      Pretty much everything I rip is presented in all three “flavors” now, both here and on black circles.

  4. Just listened to the Schubert & Brahms discs. Incredible sounding rips. Wonderfully spacious & natural. Lots of subtle details revealed. These are recordings I’ll return to many times I’m sure. Thank you for your hard work & generosity in sharing them with us. Bravo!

  5. Spectacular post, my friend! I Once more proving that vinyl does sound better than anything else out there. These recordings are a true beauty.

    I am very pleased with the fact that at least the two heavy hitter labels on the classical world realized there is an avid and growing public for the format. Your rips as well as Rach’s do a lot to show us how wonderful vinyl can sound, encouraging us to “take the plunge” and get the equipment to enjoy it as well.

  6. Thanks for including 96khz files and saving us disk space and downloading time with no loss in discernible quality relative to 192khz…..

    (EDIT Rachmaninov: Arioso, speak for yourself and only for yourself. You cannot know, what the “vast majority” of humans can hear. You know what you hear, so comment only your feelings)

    1. I wish you would stop your anti-192kHz-campaigne. If you don’t believe in it is OK, but don’t act like a taliban, OK?
      You and only you don’t believe….is OK man, let check your ears and stop crying!

    2. I always include 96khz files, along with 44.1.. Not everyone has access to equipment capable of reproducing 192k, which is why I provide the 3 different “flavors”..

      However, like Rach said above, there is no need/reason to leave negative comments about 192k. Those who are fortunate enough to be able to tell the difference are happy to have the choice.

      If you’re happy with 96k or 44.1k, and you enjoy the music, that’s all that matters.

      Hope you enjoy the rips…

  7. My apologies Rachmaninov, I will desist. I come here for the exquisite selection of recordings, the accurate ripping from high-end equipment, and the high resolution sampling and encoding.

    It’s no big deal to downsample the 192khz offerings so I’ll shut up on this issue.

    1. This is the tone from you that I like more 😉
      By the way: don’t read too much Wikipedia and don’t give a shit of what a semi-deaf old bone (Neil Young) says about music….he doesn’t have the smallest idea of what the matter is and the files he offers in 24/96 and 24/192 are upsampled 24/88, even 24/48 files…

      Hear and feel with your own ears and soul. If you already don’t hear a difference, OK, your choice will be respected, to downsample to a level you can live with. But the same way you should respect the people, who say, there is an audible difference.

      Mr. Young has problems to sell pono HD files because of the high price he wants and because they are not this good, like he thinks they are. Ergo, he wants to push more and more selling CDs. Bi-Ergo…what to do, when the grapes are too high for the fox? The fox denigrate them, they wouldn’t be this sweet…

      1. That’s interesting to hear about the Pono project, where did you get that info? I assumed that the files would be transfers of the original analogue tapes to 24/96 or 24/192. I’d be skeptical of the product as it’s not really doing anything new (FLAC is around for years). I have a couple of his reissued albums on vinyl & they sound excellent however.

  8. WOW!
    The comments are in 24/192+. I love it.
    You two guys work your butts off to get us gorgeous music free of charge to us and some have the gall to belly-ache (bitch)?

    A huge Grand Canyon size THANK YOU TO BOTH Steve and Alf!
    You guys and “Whatever” are the best. By the way, is Artyom OK?

    Love you all! And, oh, I agree with Ectudor above!


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