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Werner Klemperer

Review of: Werner Klemperer

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Rating:
5
On 23.06.2020
Last modified:23.06.2020

Summary:

Beim Dreh spiegelt so sein, die Idee von sich deswegen zunchst machtlos, doch zunchst bis zu nutzen.

Werner Klemperer

Werner Klemperer ist ein amerikanischer Schauspieler. Entdecke seine Biographie, Details seiner 38 Karriere-Jahre und alle News. Ihre Suche nach "werner klemperer" ergab 82 Treffer. Sortieren nach: Bitte auswählen, Interpret A-Z, Interpret Z-A, Titel A-Z, Titel Z-A, Preis aufsteigend, Preis. Klicken Sie hier, um alle Episoden von Ein Kaefig voller Helden zu sehen. Click here to watch all Episodes of Hogan's Heroes in English. Bob Cranes Sohn.

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Werner Klemperer war ein deutsch-amerikanischer Schauspieler und Musiker. Werner Klemperer (* März in Köln; † 6. Dezember in New York) war ein deutsch-amerikanischer Schauspieler und Musiker. HEROES. Bob Crane as Col. Robert E. Hogan, left, Werner Klemperer as Col. Wilhelm Klink in the show s pilot, January 8, Ihre Suche nach "werner klemperer" ergab 82 Treffer. Sortieren nach: Bitte auswählen, Interpret A-Z, Interpret Z-A, Titel A-Z, Titel Z-A, Preis aufsteigend, Preis. Entdecke alle Serien und Filme von Werner Klemperer. Von den Anfängen seiner 38 Karriere-Jahre bis zu geplanten Projekten. Werner Klemperer ist ein amerikanischer Schauspieler. Entdecke seine Biographie, Details seiner 38 Karriere-Jahre und alle News. Finden Sie perfekte Stock-Fotos zum Thema Werner Klemperer sowie redaktionelle Newsbilder von Getty Images. Wählen Sie aus erstklassigen Inhalten.

Werner Klemperer

Klicken Sie hier, um alle Episoden von Ein Kaefig voller Helden zu sehen. Click here to watch all Episodes of Hogan's Heroes in English. Bob Cranes Sohn. Ihre Suche nach "werner klemperer" ergab 82 Treffer. Sortieren nach: Bitte auswählen, Interpret A-Z, Interpret Z-A, Titel A-Z, Titel Z-A, Preis aufsteigend, Preis. Werner Klemperer ist ein amerikanischer Schauspieler. Entdecke seine Biographie, Details seiner 38 Karriere-Jahre und alle News.

They married in , and divorced in In , Klemperer married his third wife, television actress Kim Hamilton , after dating her for 21 years.

Hamilton died 13 years later at age 81 on September 16, Klemperer died of cancer at his home in Manhattan on December 6, , at the age of He was cremated and his ashes were scattered at sea.

From Wikipedia, the free encyclopedia. American actor. Cologne , Weimar Republic. Manhattan , New York City, U. Susan Dempsay.

Louise Troy — Kim Hamilton — The New York Times. Orlando Sentinel. Retrieved May 22, The New York Review of Books. Retrieved October 3, Hogan's Heroes Fan Club.

Archived from the original on June 7, TV Guide Retrieved August 4, Archived from the original on October 12, Retrieved June 26, Klink in Hogan's Heroes ".

Los Angeles Times. January 8, Retrieved March 12, Joseph News-Press. Associated Press. May 29, Retrieved January 14, — via Google News.

April 13, Rode — Pt 1 and Pt 2". Film Noir Foundation. Retrieved October 13, Reading Eagle. The result is the movie Klemperer The Last Concert.

As a classical music lover and amateur pianist, I had always been rather critical of the usual music films one sees on television.

For me this applied also to the filming of musical performances. When filming a harpsichord recital by Gustav Leonhardt, in the role of J.

Bach, they kept the camera static, as if giving it its own seat in the hall like an individual concertgoer. As is so often the case, while filming we had to overcome a number of unexpected setbacks.

Amazingly enough, this rather primitive way of working perfectly suited my vision of filming concerts as if from the static position of one individual listener.

Taken together, these were conditions most professional cameramen would have refused to work under. Fortunately, as it turned out we could use most of the material we had filmed this way.

After a lapse of forty years, I renewed contact with Otto Freudenthal, who in the meantime had built up a reputation for himself as a composer and could look back on an international career as concert pianist.

During the editing process, together with Freudenthal, I incorporated these passages into the picture to coincide with the relevant rehearsal sections so as, again, to illuminate the way Klemperer worked.

He also had to collect these parts again at the end of the concert and deliver them back to Klemperer at his Hyde Park hotel suite.

I understand that many famous conductors, from Gustav Mahler to Lorin Maazel, followed the same practice.

Again, this shows — what concert audiences are seldom aware of — that successful concerts depend for a good deal on meticulous preparation.

For Klemperer The Last Concert I could thus eloquently clarify the distance and difference between then and now by simply juxtaposing the original material with the series of new digitally filmed interviews I had done in London in the summer of Vladimir Ashkenazy, conductor laureate of the Philharmonia, looks back at the year when, as a young pianist, he played the Second Piano Concerto by Brahms under the then already elderly Klemperer in the Royal Festival Hall.

Regretfully, Otto Freudenthal, whose intense collaboration proved so essential for both the old and the new version, died unexpectedly in November With hindsight, one could perhaps say there were signs that all was not well.

At this moment we have four different and new pairs of glasses. Soon after he announced he would no longer conduct in public.

It was to create one of the richest episodes in British, if not European musical life. So, when before the concert I was summoned to his room, I was full of nervous fear that I had not pleased him.

Goodbye, we shall meet at the concert. But of course: so sure of the music! The hip fracture in and the insertion of a permanent metal pin meant that he would now conduct mainly sitting down.

When, in September , he suffered 2nd- and 3rd-degree burns over 15 per cent of his body, disabling him from conducting for a whole year, it put a further strain on his physical abilities.

I could play every note. We used to come in together even in the most tricky spots. He had a little downward, swallow. Even without much apparent direction, however, there was an immense feeling of inevitability about any of his tempi; yet, somehow there was always time to turn corners.

It might get worse. Relf, you will help me mark the parts for the next concert? Klemperer; when would you like? Relf — you do not like Saturday afternoon?

Klemperer, I usually go to a football match on Saturday afternoon. However, Friday came and as Clem was leaving the Hall Dr.

Relf, you need not come tomorrow afternoon; I have marked the parts myself. The orchestra is… all my joy! His music reflected his bipolar personality: in Budapest he forced an impossibly fast tempo on his Don Giovanni for his champagne aria, in Sydney he conducted the fastest, in London the slowest Mahler Second Symphony of all time.

Then, in his later recordings, starting around , everything becomes quieter. Might one talk here of the wisdom of old age? This new element is especially traceable in live recordings.

Everything flows, but never loses purpose. On the contrary: the musical structure reveals itself with ever greater clarity. When heard in this way, the sometimes extremely slow tempi are found to generate a particularly powerful tension.

Of course, in live recordings not everything always comes out perfect. Least of all with Klemperer. In the present recording of his final concert we encounter similar critical moments, in particular at the beginning of the King Stephen Overture and the Brahms symphony.

As I say, he was working as a kind of vessel, an intermediary between whatever it is that makes this music what it is, putting his actual willpower in some kind of invisible energy.

Neither should one refer to his late studio recordings, which tend to lack the vibrancy that marks the live concert recordings, something one cannot help noticing with especially the slow tempi, which the studio seemed to rob of momentum.

As both the Long Journey and the Last Concert films illustrate, Klemperer clearly felt unhappy in the recording studio and seems to almost resent it when producers interrupt him.

Similarly unfavourable were the conditions for the audio recording he made during the concert. Fortunately, he kept his tape recorder running from beginning till end!

Apparently, there was no up-to-date tape deck on hand — the recording was done in mono. It has been impossible to locate the master tape, which Bregstein transferred at the time to the Klemperer Archive in the Library of Congress.

In so far the use of archive material in this film requires the explicit approval of rightholders of that material, we have — in our best efforts and as far as we were able to verify — contacted all rightholders and acquired necessary permission for the use of archive materials.

If, however, we have failed to locate a rights holder, we kindly invite him or her to contact Interakt via interakt interakt. Nothing from this film may be copied or used.

Excerpts from rehearsals for the concert on 26 September First rehearsal Royal Festival Hall, 24 September Ludwig van Beethoven: Symphonien Nr.

With a beautiful page book, you can buy it here. Klemperer was approaching the age of 70 when the British company EMI signed him up as a recording artist in , and over a period of almost 20 years he went on to make numerous recordings with the label.

Matthew Passion was considered a highly modern interpretation of Bach during the Weimar Republic, it sounds somewhat dated nowadays.

Putting aside the later St. Matthew Passion, Klemperer is still considered a pioneer of historical performance practice. Klemperer reduced the size of the orchestra to chamber music proportions, thus revealing the polyphonic interplay between the individual voices.

But, it was not only the music of Bach that Klemperer performed with unpretentious clarity; he also applied this approach to works of the classical and romantic genres.

His natural, authentic interpretations helped seal his reputation as an ideal representative of the new era after the First World War.

This also applied to his use of tempi at the time, which were described by critics as taut, diabolical and brisk. Instead we get clear lines and lucid precision.

However, such a characterization was not entirely accurate: Klemperer would not have ascended to such heights as an internationally renowned conductor, had his sole achievement been his streamlined approach to musical interpretation.

It was not his declared goal to avoid pathos in his interpretations, it was rather a consequence of his musical ethos. This approach can be summed up as follows: Make music with inner sentiment, not with external sentimentality.

Klemperer did not aim for mere effect in his interpretations, but rather formed the music from its very substance, or to put it more precisely, allowed it to unfold — remaining faithful to the intent and notation of the score.

Still, due to the direct, natural authenticity of his approach to making music, there was always a risk that his performances — especially during his phases of depression — could seem listless, uninspired, ponderous, perhaps even boring.

However, over the years the focus of his interpretations shifted to the inner structure of the composition itself. This enabled him, while maintaining a very direct, clear and unadulterated sound, to make audible the interconnections between the leading and secondary voices, as well as the contrapuntal fabric of the middle voices.

In this piece he managed to not only create a catchy theme, but to also provide this theme with a distinct counterpart, forming an inseparable unity.

Philippe Olivier-Achard. A great many music lovers worldwide, born since the s, feel passionate about the art of Otto Klemperer.

He is the inspiration for the two documentaries from the current Philo Bregstein collection. These music lovers born during the closing decades of the 20th century belong to the age of cultural globalisation.

They cherish the seventy. We also know that, during the years when a fallen democratic Europe was occupied by Nazi Germany, there were standard-bearers for Germanic art other than Wilhelm Furtwängler or Hans Knappertsbusch, who came to conduct for the pleasure of Joseph Goebbels during his visits to subjugated countries.

Once on American soil, he even imparted composition lessons to Otto Klemperer. In , Gabin joined the troops who would go on to liberate his homeland from Fascist cruelty.

Otto Klemperer knew, both as a Jew and a believer in democracy, what he owed to the true France and to its intellectual universalism.

Like their fellow Germans, they saw themselves both as Israelites and as citizens of the countries into which they were born. He also venerated them as a composer.

Nach dem Ende der Serie wandte sich Klemperer, der ein exzellenter Pianist und Violinist war, zunehmend der klassischen Musik zu.

Für viele berühmte Symphonieorchester trat er als Sprecher auf. Werner Klemperer starb am 6. Dezember in seinem Haus in New York an Krebs.

Namensräume Artikel Diskussion.

Werner Klemperer Darsteller

Dezember in New York war ein deutsch-amerikanischer Schauspieler und Musiker. Ab trat er in zahlreichen US- Fernsehserien auf. Bereit machen für die zweite urkomische Season voller Eskapaden einer bunt gemischten Winden Akw Kriegsgefangener während des Zweiten Weltkriegs! Uwe will den auf einer Eisscholle davontreibenden Hund Bootsmann mit einem Kahn retten. Die Autorin hat einiges weiter geda…. Day after day for over a year, she braves interview Serienstream.To The Big Bang Theory interview. Namensräume Artikel Diskussion.

Werner Klemperer Inhaltsverzeichnis Video

You Won't Believe How Werner Klemperer (Colonel Klink) \u0026 \ Werner Klemperer Artikel am Lager. Buch einfühlsam und nachdenklich das bäuerliche Leben seiner Vorfahren Die Vergessenen Ende des Diese Termine sind ohne Gewähr und können sich jederzeit ändern. Victor Klemperer. Werner Klemm. Verräter Serie, she becomes d…. Sei bereit für den geballten Lachangriff der heroisc…. Schon die ersten sesshaften Menschen siedelten in unserer Region und bearbeiteten das Drachenzähmen Leicht Gemacht Kaufen. Die fünfte Season begeister mit einem ununterbrochenen Trommelfeuer erstklassiger Unterhaltung! Hauptseite Themenportale Zufälliger Artikel.

Werner Klemperer Navigacijski meni Video

Hogan's Heroes Werner Klemperer \u0026 John Banner sing Silent Night Stille Nacht + Robert Clary LeBeau Schon die ersten sesshaften Menschen siedelten in unserer Region und bearbeiteten das Land. Klaus Alpha Saphir. Regisseur und Produzent Stanley Kramer besetzte ihn als 3. Kelten, Römer, Fr…. Die Autorin hat einiges weiter geda…. Diese Termine sind ohne Gewähr und können sich jederzeit ändern. Werner Klemperer

Werner Klemperer - Inhaltsverzeichnis

Günter Mohr. Hier werden Einzeiler abgefeuert und Trübsinn triumphal in die Flucht geschlagen: Die sechste und letzte Season von Ein Käfig voller Helden ist erstklassige Unterhaltung — mit enormer Sprengkraft! Hauptseite Themenportale Zufälliger Artikel. Uwe will den auf einer Eisscholle davontreibenden Hund Bootsmann mit einem Kahn retten. Es ist Winter. Regisseur und Produzent Stanley Kramer besetzte ihn als 3. Er wuchs in Köln, Wiesbaden und Berlin Valerian Und Die Stadt Der Tausend Planeten. Hier ist nichts ernst gemeint, und Hogan…. Ein Käfig voller Helden Season 2. Aufgrund seiner eigenen Biografie hatte Klemperer die Rolle nur unter der Bedingung angenommen, dass er als deutscher Kommandant niemals über seinen Gegenspieler triumphieren würde. Filme. von Klaus Jepsen (als Genosse Klaus) in The Wicked Dreams of Paula Schultz () [Synchro ()]; von Reinhard Glemnitz (als Lt. Huebner) in Das​. Klicken Sie hier, um alle Episoden von Ein Kaefig voller Helden zu sehen. Click here to watch all Episodes of Hogan's Heroes in English. Bob Cranes Sohn. Wilhelm Klink played by Werner Klemperer (Known for: Judgment at Nuremberg) also the son of conductor Otto Klemperer. I have a few of Otto Klemperer's. With De Luxe beautiful page book, you can buy it here. They had dinner together after one performance and they exchanged a number of ideas. Kartfahren Hamburg that time, the Second World War had been over for a dozen years. At this moment we have four different and new pairs of glasses. The world premiere of the concert version of Oedipus Rex had taken place, in the presence of Otto Klemperer, in Paris in Werner Klemperer

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Werner Klemperer on \

Anderson, his manager, on December 6, , aged 80, at his home in Manhattan. He was cremated and his ashes were scattered at sea. He was survived by his wife Kim Hamilton and two children.

This wiki. This wiki All wikis. Sign In Don't have an account? Werner Klemperer Klemperer in December TV Guide tvguide.

Retrieved August 4, Retrieved June 26, Joseph News-Press. May 29, Retrieved January 14, Rode — Pt 1 and Pt 2".

Film Noir Foundation. Retrieved Reading Eagle. December 8, Categories :. Cancel Save. Fan Feed 0 Main Page. Universal Conquest Wiki.

Klemperer in December Susan Dempsay m. Flight to Hong Kong. Death of a Scoundrel. The Wrong Man. Judgment at Nuremberg.

Escape from East Berlin. Dark Intruder. When heard in this way, the sometimes extremely slow tempi are found to generate a particularly powerful tension.

Of course, in live recordings not everything always comes out perfect. Least of all with Klemperer. In the present recording of his final concert we encounter similar critical moments, in particular at the beginning of the King Stephen Overture and the Brahms symphony.

As I say, he was working as a kind of vessel, an intermediary between whatever it is that makes this music what it is, putting his actual willpower in some kind of invisible energy.

Neither should one refer to his late studio recordings, which tend to lack the vibrancy that marks the live concert recordings, something one cannot help noticing with especially the slow tempi, which the studio seemed to rob of momentum.

As both the Long Journey and the Last Concert films illustrate, Klemperer clearly felt unhappy in the recording studio and seems to almost resent it when producers interrupt him.

Similarly unfavourable were the conditions for the audio recording he made during the concert. Fortunately, he kept his tape recorder running from beginning till end!

Apparently, there was no up-to-date tape deck on hand — the recording was done in mono. It has been impossible to locate the master tape, which Bregstein transferred at the time to the Klemperer Archive in the Library of Congress.

In so far the use of archive material in this film requires the explicit approval of rightholders of that material, we have — in our best efforts and as far as we were able to verify — contacted all rightholders and acquired necessary permission for the use of archive materials.

If, however, we have failed to locate a rights holder, we kindly invite him or her to contact Interakt via interakt interakt.

Nothing from this film may be copied or used. Excerpts from rehearsals for the concert on 26 September First rehearsal Royal Festival Hall, 24 September Ludwig van Beethoven: Symphonien Nr.

With a beautiful page book, you can buy it here. Klemperer was approaching the age of 70 when the British company EMI signed him up as a recording artist in , and over a period of almost 20 years he went on to make numerous recordings with the label.

Matthew Passion was considered a highly modern interpretation of Bach during the Weimar Republic, it sounds somewhat dated nowadays.

Putting aside the later St. Matthew Passion, Klemperer is still considered a pioneer of historical performance practice.

Klemperer reduced the size of the orchestra to chamber music proportions, thus revealing the polyphonic interplay between the individual voices.

But, it was not only the music of Bach that Klemperer performed with unpretentious clarity; he also applied this approach to works of the classical and romantic genres.

His natural, authentic interpretations helped seal his reputation as an ideal representative of the new era after the First World War.

This also applied to his use of tempi at the time, which were described by critics as taut, diabolical and brisk. Instead we get clear lines and lucid precision.

However, such a characterization was not entirely accurate: Klemperer would not have ascended to such heights as an internationally renowned conductor, had his sole achievement been his streamlined approach to musical interpretation.

It was not his declared goal to avoid pathos in his interpretations, it was rather a consequence of his musical ethos. This approach can be summed up as follows: Make music with inner sentiment, not with external sentimentality.

Klemperer did not aim for mere effect in his interpretations, but rather formed the music from its very substance, or to put it more precisely, allowed it to unfold — remaining faithful to the intent and notation of the score.

Still, due to the direct, natural authenticity of his approach to making music, there was always a risk that his performances — especially during his phases of depression — could seem listless, uninspired, ponderous, perhaps even boring.

However, over the years the focus of his interpretations shifted to the inner structure of the composition itself. This enabled him, while maintaining a very direct, clear and unadulterated sound, to make audible the interconnections between the leading and secondary voices, as well as the contrapuntal fabric of the middle voices.

In this piece he managed to not only create a catchy theme, but to also provide this theme with a distinct counterpart, forming an inseparable unity.

Philippe Olivier-Achard. A great many music lovers worldwide, born since the s, feel passionate about the art of Otto Klemperer.

He is the inspiration for the two documentaries from the current Philo Bregstein collection. These music lovers born during the closing decades of the 20th century belong to the age of cultural globalisation.

They cherish the seventy. We also know that, during the years when a fallen democratic Europe was occupied by Nazi Germany, there were standard-bearers for Germanic art other than Wilhelm Furtwängler or Hans Knappertsbusch, who came to conduct for the pleasure of Joseph Goebbels during his visits to subjugated countries.

Once on American soil, he even imparted composition lessons to Otto Klemperer. In , Gabin joined the troops who would go on to liberate his homeland from Fascist cruelty.

Otto Klemperer knew, both as a Jew and a believer in democracy, what he owed to the true France and to its intellectual universalism.

Like their fellow Germans, they saw themselves both as Israelites and as citizens of the countries into which they were born. He also venerated them as a composer.

This was also the case when he conducted Symphonie fantastique by Hector Berlioz, the spiritual successor of the French Revolution and disciple of a then ground-breaking language whose visionary merit was studied by Pierre Boulez.

From that point onward, France became a source of bitterness for Klemperer. Almost a century-and-a-half later, two French nationals would also give Klemperer, the emeritus interpreter of Gustav Mahler, the honour he is due.

Though the venerable maestro has since reached the end of his life, the Mahlerian passing-of-the-torch seems to have been ensured. His legacy rests in the hands of a cosmopolitan, irony-laden Frenchman who was as reviled among hostile avant-garde circles as Klemperer had once been.

As we shall soon see, the two men shared common characteristics. They saw music as a world of structures whose nature and synthesis are foreign to facile conventions.

In view of his premature move to Germany in , Boulez became the target of anti-German attacks originating from France. By that time, the Second World War had been over for a dozen years.

Some notable Parisians, all born roughly between and , lashed out at Boulez, just as they had lashed out at Hermann Scherchen because he took too great an interest — in their own opinion — in where the musical past met with the musical present.

Anti-Semitic undertones were added to the slander against Boulez, even though he was not Jewish. His critics saw values — values that he shared with Klemperer — which they constantly rallied against.

Klemperer would return the favour. He greatly enjoyed Sonatine for Flute and Piano written by Boulez in Klemperer felt that the Frenchman — four decades his junior — embodied the future of musical creation.

Both of them had been composers, conductors, thinkers and directors of public institutions. At that time, as Stefan Zweig would say, Otto Klemperer was the main surviving giant of the world of yesterday, even though Wilhelm Furtwängler and Bruno Walter were still active.

But Klemperer distinguished himself from them. He sought — like Boulez — to exhibit sonic constructs. To his great astonishment, Klemperer phoned him to ask if he could take part in rehearsals.

Over the following years, the octogenarian would travel to Basel to observe conducting classes imparted by Boulez. The Frenchman would conduct with his bare hands, without the aid of a baton.

The old lion was a giant, measuring 1m90 in height. This situation was linked to the fact that, following his operation in the United States in , his right arm remained paralysed for a long while.

Since conducting new music requires a very special technique, Klemperer needed to take cues from Boulez, which explained his presence in Basel.

The two men adored the theatre. They also read a lot. Klemperer delved into, among others, Ernst Bloch and Georg Simmel.

His young colleague was fascinated by Michel Foucault and Jean Genet. Domiciled in Baden-Baden, where he has been buried since January , Boulez was well informed on the political situation in Germany and of its division into fratricidal nations.

The symbolism of Berlin did not escape him. He underwent the extraordinary experience of conducting anti-culinary lyrical theatre — between and — at the head of the Kroll Opera.

This adventure would inspire him when, at the start of the s, Pierre Boulez envisioned conducting the Paris Opera with director Jean Vilar as part of a collegiate project.

Boulez debuted in Bayreuth in They had dinner together after one performance and they exchanged a number of ideas.

He maintained close personal ties with the Russian maestro. The world premiere of the concert version of Oedipus Rex had taken place, in the presence of Otto Klemperer, in Paris in He would soon oversee its direction in Berlin.

Klemperer also honoured Hindemith, whose Nobilissima visione he recorded, as well as Bart. The latter was the soloist for one of his piano concertos, conducted by Klemperer himself.

A famous photo would show him plunged into deep discussion with the composer of The Rite of Spring. The young Kapellmeister had refused to cut the choral scores in the second act, a hymn to the Enlightenment and human rights, which were little appreciated by the German nationalism of Wilhelm II, his generals and his university professors.

They are ignorant of the fact that he had lived in their city between and And it is even more astonishing that the memory of this legendary artist does not seem to concern the institution charged with the naming of public streets in Berlin.

Regisseur und Produzent Stanley Kramer besetzte ihn als 3. Aufgrund seiner eigenen Biografie hatte Klemperer die Rolle nur unter der Bedingung angenommen, dass er als deutscher Kommandant niemals über seinen Gegenspieler triumphieren würde.

Um die Figur authentischer darstellen zu können, eignete er sich wieder einen deutschen Akzent an. Für seine Darbietung war Klemperer insgesamt fünf Mal für einen Emmy nominiert, und gewann er die Auszeichnung.

Nach dem Ende der Serie wandte sich Klemperer, der ein exzellenter Pianist und Violinist war, zunehmend der klassischen Musik zu.

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