I did it Mozart's way

Josef Krips died on October 13, 1974 in Geneva. Krips was permanent conductor of the Vienna State Opera from 1933-1938, and then conducted for a year at the Belgrade Opera before he was banned from the podium by the Nazis. Because he had not collabarated with the Nazis he was able to almost single-handedly rebuild musical life in Vienna immediately after the war, and is credited with defining the post-war Viennese style of performing Mozart. He was principal conductor of the London Symphony Orchestra from 1950 to 1954 and also worked with the Buffalo Philharmonic Orchestra and the San Francisco Symphony.

The video below shows him conducting the first movement of Mozart's Piano Concerto No. 13 K415 with pianist Malcolm Frager who was responsible for unearthing a large number of Mozart and Beethoven manuscripts that had been removed from Germany during World War II and stored in Cracow, Poland. The film was made in 1962 with l'Orchestre de Radio Canada.



Among Josef Krips' pupils was Peter Paul Fuchs.
Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk

Comments

La Cowntessa said…
I am really digging the pianist here. It's really lovely, clear playing, and he's so obviously enjoying it.
Pliable said…
' ... defining the post-war Viennese style of performing Mozart.'
Pliable said…
Email received:

A major reason Krips was not a collaborator was that he was part- Jewish. Though he converted to Catholicism, that was of course not enough for the Nazis. He was "hidden away" shall we say working in a factory in Yugoslavia, where no one would think to look for him. Hopefully that is proof that many Slavs were not Anti-Semites as most were considered to be (yes, unfortunately a lot were, but broad brush statements are always dangerous).

Cheers

David Cavlovic

Recent popular posts

Why new audiences are deaf to classical music

For young classical audiences the sound is the message

The Berlin Philharmonic's darkest hour

Who am I?

Audiences need permission to like unfamiliar music

Classical music's biggest problem is that no one cares

Nada Brahma - Sound is God

Classical music's $11 billion market opportunity

Why cats hate Mahler symphonies

Music and malice in Britten's shadow