Few conductors of Klaus Tennstedt's generation demonstrated such complete mastery of the Classical and Romantic repertoire from Beethoven to Mahler and Strauss, coupled with an intensity in live performance that was palpable. He was among the finest German conductors to emerge after the Second World War and was in constant demand with such orchestras as the New York Philharmonic the Boston Symphony, the Berlin Philharmonic and the London Philharmonic. Doremi's 8th volume of live recordings of Klaus Tennstedt feature symphonies by Haydn (No. 103 "Drumroll"), Mozart (No. 36 "Linz") and Tchaikovsky (the Pathetique), together with Janacek's Sinfonietta and Mozart's Piano Concerto No.26 with Bruno Leonardo Gelber.

Great conductors often bring out the universality of music with particular clarity, a gift especially present in Klaus Tennstedt. Particularly known for his singular interpretations of the symphonies of Bruckner and Mahler, this recording reveals that Tennstedt was an equally adept interpreter of the symphonies of Haydn and the music of Mozart.

With stunning accounts of Brahms and Mahler, this recording marks an exciting, new relationship between ICA Classics and the SWR in Stuttgart, and it is the first release of this material outside Japan. 'Klaus Tennstedt's concerts with the LPO at the Festival Hall were among the greatest performances I have ever heard' (Sunday Times review of ICAC 5033, Mahler: Symphony No.3)

Few conductors of Klaus Tennstedt's generation demonstrated such complete mastery of the Classical and Romantic repertoire from Beethoven to Mahler and Strauss, coupled with an intensity in live performance that was palpable. He was among the finest German conductors to emerge after the Second World War and was in constant demand with such orchestras as the New York Philharmonic the Boston Symphony, the Berlin Philharmonic and the London Philharmonic. Doremi's fourth volume of live concert material of Klaus Tennstedt features the New York Philharmonic Orchestra in Beethoven's fourth and fifth symphonies, Don Quixote by Richard Strauss (with cellist Lorne Monroe) and Boris Blacher's Paganini Variations; also included is the same composer's Concertante Musik with the Chicago Symphony.

The 1986 performance of Mahler's Symphony No.3 from London's Royal Festival Hall differs from the studio recording made in the late 70's. As Michael McManus states in his booklet notes, 'Fine though the studio recording from 1979 was and is, this live performance has an intensity and integrity that few, if any, recordings of this work can match' and 'Tennstedt in concert was a very different creature from Tennstedt in the studio. Mahler in particular was a life-and-death experience in the concert hall'. The sound captured by the BBC engineers is state of the art and easily captures Mahler's huge dynamic range. As a bonus, there is a short interview from 1987 in which Tennstedt discusses Mahler interpretation.

Few conductors of Klaus Tennstedt's generation demonstrated such complete mastery of the Classical and Romantic repertoire from Beethoven to Mahler and Strauss, coupled with an intensity in live performance that was palpable. He was among the finest German conductors to emerge after the Second World War and was in constant demand with such orchestras as the New York Philharmonic the Boston Symphony, the Berlin Philharmonic and the London Philharmonic. In Doremi's second release of concert recordings, Tennstedt conducts the Chicago Symphony in Beethoven's Fifth Symphony (1976), and the New York Philharmonic in Schumann's "Rhenish" symphony (1985); with the Boston Symphony in Tanglewood, Tennstedt conducts works by Haydn: the Sinfonia Concertante Op. 84 (1979), the Cello Concerto in C and the Symphony No. 64 "Tempora mutantur" (1980).