Herbert von Karajan — Ludwig van Beethoven — Symphonies 1st & 2nd — 1963

★★★★★

   The full cycle of Ludwig van Beethoven’s nine symphonies is one of highest achievements in the history of music, especially in orchestral music and in symphonic form. Considering the role of these symphonies play in the history of music, it’s needless to say, this is mandatory set of works in artistic development of every orchestra. The same applies to conductor. Performances of Beethoven’s symphonies usually reveal what the real possibilities of an orchestra and conductor are. Whatever we can say about different esthetic attitudes, perfect symphonic form, augmented with rich musical semantics and emotional content, these works always disclose real quality of musical art. Unprofessional orchestra can successfully play Symphony No. 1, maybe even Symphony No. 2, but there is no amateur band which is able to play the whole cycle. In opposite to this, best orchestras have no problem with performing symphonies, they are able to embody any particular vision of Beethoven’s music.
   Berliner Philharmoniker took position in the forefront of best symphony orchestras in the world. The band is sometimes called Berlin Philharmonic Orchestra (BPO), but its original German name is brand perfectly known for any educated person in the world. One of qualities of their sound is its flexibility and instant reaction for conductor’s gesture. This orchestra is perfect instrument and can change the way it sounds for any need. No wonder it embodies interpretative elements on every level of performing skills and always sounds as a continuation of conductor’s idea. This quality makes Berliner Philharmoniker just a perfect band performing and recording Ludwig van Beethoven’s music.

Herbert von Karajan — Beethoven — Symphonies 1st & 2nd (1963)

   The 1963 edition of Deutsche Grammophone Gesellschaft was the first time Herbert von Karajan recorded complete set of Beethoven’s symphonies with Berliner Philharmoniker. For many reasons this performance is the best one. For 55 years old Karajan this was critical point of his career. He already achieved all conductor can, he was recognized as great artist, he had recorded whole basic symphonic repertoire, he was working successfully with almost every significant orchestra in the world. For some reasons he was willing to be the best one, while he was still one of best only. Recording in 1963, 1977 and 1984 next sets of Beethoven’s symphonies he was aiming to reach the position of absolute leader of symphonic music. And the fact is no other part of musical tradition can equal the cycle of Beethoven’s nine symphonies.
   All four Karajan’s visions of Beethoven’s cycle were complementary, every symphony took its place in the sequence set as it was marking episodes in output of revolutionary composer. And Karajan was always tending to show this quality as a feature. In 1963 edition symphonies are rendered with separate plans using the possibilities of recording technique. Selective sound of every group makes whole orchestra sound in multidimensional sound space. And oppositions of orchestral sections are clear and energetic. Especially for the first two of symphonies this rendition is original, probably most unusual of Karajan’s interpretations. First two symphonies he shows in more sustained interpretations then these compositions are usually shown. Every element is consequently planned and executed. This way early Beethoven’s symphonies sound even more dramatic and emotional. These renditions reveal new possibilities of interpreting Beethoven’s works. Five stars for the record.

Herbert von Karajan — Ludwig van Beethoven — Symphonies 1st & 2nd — 1977

★★★★★

   Symphonic works by Ludwig van Beethoven were the major position in Karajan’s repertoire. Beethoven’s style was always a perfect choice to show Maestro’s abilities to connect deeply emotional, dramatic matters with formal discipline. After success achieved with completes of symphonies recorded with Philharmonia Orchestra in 1950’s and with Berliner Philharmoniker in early 1960’s Karajan was perceived as a perfect performer of music by Beethoven. Recording his third complete of nine symphonies decade later, Karajan was way ahead in his career than any time before. He was famous as one of most charismatic conductors in the history of music, the orchestra in its best shape was working in the newly built house, performing and recording in new concert hall with outstanding acoustics. This moment was conceptualized as triple pentagon emblem symbolizing the unity: space-music-man in West Berlin Philharmonic.
   In second half of 1970’s Deutsche Grammophone released new complete of recordings of Beethoven’s nine symphonies conducted by Herbert von Karajan. Covers of new edition were series of photographic variations on numbers of included symphonies. Almost in parallel to this series, the same label had republished earlier complete with color cover photos of Karajan in various positions. This can be seen as an act of bravery considering artistic quality of first edition, but in fact there was no undue risk. As it was easy to predict, in second DGG edition Herbert von Karajan once again demonstrated his ability to create powerful constructions of symphonic works, reaching the heights of emotional and intellectual sophistication.

Karajan — Beethoven — Symphonies 1st & 2nd (1977)

   Comparing to strong, in some parts even rough performance of earlier decade, these renditions of first two symphonies have gentler and a bit subtler sound. Tempos in all movements are fast and jokes are easy to understand, what makes this vision less complicated than performances of 1963 album. For the same reasons 1977 rendition can be considered as well as more classical. This unity of formal context and well established ideas reveal entire work as emotional narration which is still classical, but already struggling with some new points. Minuet in Symphony C-Major Op. 21 sounds with demonic fatality and still is light merging sincerity with joker’s determination and cheerfulness. Dramatic effect in the beginning of Finale occurs to be next joke, and even more joyous pageant for the light-hearted closing of this early symphony being in a fast first step to break the classical style. 

   And the next Beethoven’s step toward the new century music was his second Symphony D-Major Op. 36. This time Beethoven makes his first change in formal construction of classical symphony — the third movement is signed as Scherzo, although it has more minuet features than Minuet in 1st Symphony. While Minuet in Symphony C-Major is in fact a scherzo, here we have opposite idea: considering rhythmic and melodic characteristics third part of 2nd Symphony is as much minuet as Minuet in 1st Symphony was a scherzo. It looks like Beethoven is hesitating between keeping old formal rules and expressing his individual experiences and feelings. Finale is just eruption of joy, closing this dramatic work with pleasant feelings. Just like it was expression of the seventies’ zeitgeist – dramatic but still full of hope.

Herbert von Karajan — Ludwig van Beethoven — Symphonies 1st & 2nd — 1984

★★★★★

   Herbert von Karajan recorded Beethoven’s symphonies many times. Among dozens of studio and live recordings of performances with various orchestras, most important part of Karajan’s discography were cycles of nine symphonies he recorded first with Philharmonia Orchestra and three complete sets he recorded with Berliner Philharmoniker. First cycle has been published in 1955 by Columbia. Next three cycles were recorded for Deutsche Grammophone Gesellschaft — first in early 1960’s, second in late 1970’s and third in 1980’s. And these editions may be the most capacious vision of symphonic experience for those decades. Every rendition has its own qualities and fanatic proponents, wherein majority choices are generally earlier Karajan interpretations. In fact the volume of later editions was smaller, so the circulation of last performance was not as significant as it was before. Nonetheless this edition is extremely interesting one. It can be considered even as an artistic testament of the great conductor.
   The natural solution in Karajan’s DGG editions is setting first two of Beethoven’s symphonies on one LP. In 1970 these symphonies were reissued in changed configuration, but the main idea of keeping original order was retained in all editions. In fact the first two are among shortest of Beethoven’s symphonies and both are connected by style and orchestral demands. Strings, double winds, two trumpets and two horns plus timpani mark this instrumentation in classical mainstream. Although many stylistic elements show that music of first two Beethoven’s symphonies is clearly classical, most interesting qualities are elements differentiating young composer’s work from the conventional classical style. 

Karajan — Beethoven — 1st & 2nd Symphonies (1984)

   The First Symphony, composed in late 18th century and premiered in 1801 is rather a rebellious commentary than one more classical construction. Starting with harmonic passage introducing the key as a kind of musical joke, composer developing his construction always with a grain of salt, and in third movement Minuet everything become clear. It can be only a comic effect to imagine this very fast Allegro molto e vivace dance with minuet steps and figures. Keeping the name Minuet, Beethoven wrote his first scherzo in 1st Symphony. And since this movement is based entirely on harmonic scheme taken from opening Allegro con brio, there’s no doubt this is a caricature of these shaping principles. Here young Beethoven shows qualifications and sense of humor being manifestation of his independence.
   In Karajan’s 1984 recording Beethoven’s first two symphonies had been rendered in slightly slower tempos to enhance the articulation and sound perspective. The sound is unbelievably precise and thus the musical space is wide and clear, Beethoven’s music tissue in this recording looks like it was shown in aerial view. This occurred to be a great idea. Showing multitude of nuances, focusing his attention on various possible readings, Karajan gives listener a chance to find some new perspective and an unknown comprehension in decoding Beethoven’s music. After powerful Allegro con brio in 2nd Symphony, second movement  Larghetto spreads between mysticism and determination. Orchestra sounds clear and warm, sound space is as wide as it is possible. This deeply inspired performance opens whole series of Karajan’s 1984 recordings of Beethoven’s complete symphonies. Each record of this complete is worth highest rating, so this time there’s no need to count the stars.

Mozart — Requiem — Herbert von Karajan

★★★★★

   The story of one significant element can be nice perspective to see the whole. The same way performing Mozart’s Requiem and positioning this work in public memory can be interesting survey into dynamics of the western culture of last two centuries. This legendary work was performed as classic position with developing knowledge on how it should be executed to find most effective proportions or reinterpreted to find what we have lost from original Mozart’s idea and what just part of performing tradition is. Some information on next generations’ attitude against classicism can be traced by analyzing various attempts of completing the full cycle of this funeral mass. Phonographic recordings technology delivered many records being plentiful source for such research, but its accessibility changed the rate of cultural transformations.
   In the fast growing market of classical recordings in late fifties and early sixties basic works were recorded by many orchestras creating the catalogue of most expected monuments of music history. Mozart’s Requiem was one of most popular works every label ought to have in print. In catalogues of most active record companies there were more than one recordings of this popular work. One of famous renditions was published by Deutsche Grammophon Gesellschaft in 1962 and was signed by one of most active artists of this time, Herbert von Karajan. This is also one of most milestones in the career of the conductor. Recording session of Mozart’s Requiem took place in 1961. Herbert von Karajan conducted Berliner Philharmoniker, the orchestra he was leading from 1954 and Wiener Singverein working under direction of Reinhold Schmid. Soloists were soprano Wilma Lipp, alto Hilde Rössel-Majdan, tenor Anton Dermota and bass Walter Berry. Organ parts were played by Wolfgang Meyer.

Herbert von Karajan — Mozart — Requiem (1962, reissue 1977) 

   Recording Requiem with Berliner Philharmoniker Karajan had already huge experience leading most demanding works. He was famous for his interpretations of large-scale works including groundbreaking performances of Richard Wagner’s operas at the Bayreuth Festspielhaus. In his early fifties he was one of most recognizable European conductors but it was his recordings in next decades what made him one of the greatest conductors ever recorded. In Requiem recorded for DGG he created vision of most romantic, dark reading of Mozart’s missa pro defunctis. Fragments finishing this work set by Franz Xaver Süssmayr are repeating musical material from those composed by Mozart. This makes the work more cohesive but also makes its cyclic construction less ranging. The most common way of challenging this deficiency was to reduce emotions to the level referenced to absolute forms of classical era. But this was also the way to skip all composer’s ideas and aspirations. Good conductors were always trying to conciliate elements of the cycle by bringing them together and differentiating as contrasting parts of the cycle. Herbert von Karajan made it in most exquisite manner, balancing elements of this work architecture to achieve effect of perfect classical form, but at the same time creating great amount of formal energy by enhancing powerful contrasts and creating solemn, grave mood with perfectly matched tempos.
   Few years ago I’ve led the cycle of lectures as part of master class for graduates of musical universities. As one of subjects of the history of musical culture course was lecture about history of performing and interpretative priorities traced on basis of recorded music. I’ve analyzed eight various performances of Mozart’s Requiem fragments. I chose only really best ones. And as an experiment, choosing fragments not shown during analysis, I have asked listeners which performance is closest to their idea of Mozart’s work. More than 80% of the group pointed Karajan’s recording as the most appropriate performance of Requiem. I’ve been repeating this experiment with various sets of performances in next year’s few times, always with the same result – Karajan’s 1961 recording in some groups was chosen unanimously. New esthetic trends are highly appreciated, but talking about one definitive rendition listeners still choose most traditional, solemn and profound performance ever. It says by itself. This version is already the element of cultural heritage. The only appropriate rate is five stars.

Karajan conducts Ravel and Debussy

   Maurice Ravel and Claude Debussy were artists who have created new, revolutionary music in the time of decline the romantic era. As prominent composers, they have been jointed together by historic moment, cultural circumstances and artistic attitude. Both were musical rebels although private reasons of every one were quite different, both became the most prominent composers in antiromantic movement and last but not least, both are included to impressionism as major figures of the style. Despite many differences between them, the two composers are often shown together in one philharmonic evening, radio program or one record. And most frequent program of such exposure was always, two symphonic poems by Debussy and one or two of symphonic works by Ravel. Programs based on Ravel’s Bolero and La Mer by Debussy are always best choice.
   Bolero by Maurice Ravel was commissioned by dancer Ida Rubinstein and choreographed by Bronislava Nijinska. Premiere took place in Paris Opera on November 22, 1928. Next year New York premiere was conducted by Arturo Toscanini and in 1930 four gramophone recordings were made under direction of Piero Coppola, composer himself, Serge Koussevitzky and Willem Mengelberg. After first reactions composer was surprised this uncomplicated work achieved so huge success, and he was criticizing his own work for lack of musical development. He called this work “one very long, gradual crescendo”. In classical symphonic categories, repeating two melodies changing leading instruments and accompanied instruments is neither original nor capacious idea.

Maurice Ravel – Bolero,  Claude Debussy – La Mer (1979)

   With its simplicity and expression, Bolero is work of genius. Written in C Major, ¾ time, based on ostinato rhythm of bolero, repeating by snare drum and sequentially joining instruments it is perfect vehicle for imagination. Two themes are following in repetition 18 times in more and more massive orchestration. Both themes are diatonic, although with modal shift in the second theme to Dorian mode, which gives some kind of moving impulse. Impressionistic sound sensibility gives best orchestras a lot of room to maneuver. It’s hard to find anyone more promising than Herbert von Karajan, one of best conductors ever. In Herbert von Karajan’s brilliant career complete set of great symphonic repertoire was performed and recorded many times in span of six decades. Some blockbusters and most popular concert pieces were just symphonic fragments from stage music. And Maurice Ravel’s Bolero was probably the piece most admired ever. And one of most reliable interpretation was recorded in 1966 by Herbert von Karajan with Berliner Philharmoniker where he was principal conductor from 1954 to 1989.
   In 1965 Karajan recorded with Berliner Philharmoniker program of three great impressionist works – on A-Side La Mer by Claude Debussy and on B-Side Ravel’s Suite N° 2 from «Daphnis Et Chloé» and Debussy’s Prélude à l'après-midi d'un faune (Deutsche Grammophon Gesellschaft 138 923 SLPM). One year later, in 1966 Karajan recorded with the same orchestra album with Mussorgsky’s Pictures At An Exhibition in Ravel’s brilliant orchestration and Bolero (DGG 139 010 SLPM). In 1979 recordings from those albums were base for new compilation of most popular works by Ravel and Debussy. Besides Bolero, program of this record includes La Mer and Prélude à l'après-midi d'un faune, two symphonic poems by Claude Debussy, defining musical impressionism more specifically. The new set of old recordings was published in budget series Resonance (Deutsche Grammophon 2535 351). The dance nature of these compositions was shown in an impressive cover art.

Herbert von Karajan – Symphonie fantastique by Hector Berlioz

   In the set of numerous compositions by Hector Berlioz, some may be less or more meaningful, many are really important in romantic culture, but one can be considered as the most influential work in early romantic era – together with Schubert’s Unfinished or Weber’s Freieschütz. The one of crucial meaning is his Symphonie fantastique op. 14, premiered in Paris December, 1830. This fork is still in symphonic form but uses totally new way of organizing musical narration divided into five movements. And the narrative idea is what makes this work so meaningful. Subtitled as Episode de la vie d’un artiste, the symphony is different in the structural setting of a programmatic work portraying particular moments from the life of romantic artist.
   The Fantastic Symphony by Hector Berlioz is both narrative and formally consequent. The same one can say about many other works, but in this case it comes with special features. Unlike many other works, especially baroque and classical programmatic music, this symphony is not so much illustrative or unambiguous. The program points the content of every scene but its representation in music is not so clear. In effect the whole work can be interpreted as if it was absolute and abstractive music. And there comes the problem of the relations between music and narration. This is also the main question artists interpreting Symphonie fantastique have to answer.

Karajan – Hector Berlioz – Symphonie fantastique (1975)

   The problem of a gap between literal meaning of musical motives and universal psychology of understanding musical suggestions is mainly a question of personal inclinations and artistic responsibility. Herbert von Karajan has solved this taking the side of interpreting skills and musical hermeneutics. He found numerous emotional and idiomatic motifs and elements of semantic meaning. These small particles create context making possible interpretation of any narrative element. It’s the question of the greatest talent and the highest level of professional skills to make it universally readable and universal but giving listener the feeling it is unequivocal.
   In 1975 rendition of Symphonie fantastique Karajan gives the feeling of almost literal reading of musical motives. Powerful sound and perfect articulation of the Berliner Philharmoniker gave him the best possible working space. Even so, his interpretation is emotional and deeply human. Love, desperate desire and fear, death wish and will for living, all contrary emotions are in dynamic conflict heading to culmination in dramatic conclusion. In Karajan rendition these narratives are integral part of the work, they are clear but never dominate or delimit the music itself. In closing part of 5th movement Ronde du Sabbat illustrative elements are probably strongest and Karajan decodes them in very readable manner. Once again orchestra has possibility to show full spectrum of expression with rhythmic and sound perfection.

Lazar Berman – Tchaikovsky – Piano Concerto No. 1

   The Russian piano school is probably the most comprehensive phenomenon in the history of international piano achievements. Dozens of best virtuosi and  hundreds of great personalities and devoted teachers, thousands of gifted students, proven and effective methods of teaching, strong artistic and intellectual tradition, conducive social environment and audience able to appreciate good performances, all elements worked together for building one school comprising many generations of artists. Its history dates back to John Field teaching activity in Russia from 1802 to 1829 and the newest chapter is written by successful activity of young pianists from Russia probably on every international piano competition. Without fail one of the best in elite of Russian pianists was Lazar Berman – Лазарь Наумович Берман (1930-2005), the great master of romantic piano music one of best interpreters of most complex and difficult piano works.
   In 1955 Emil Gilels called Berman “the phenomenon of music world” but even opinion of great pianist was not able to help Berman in post war Soviet Union. Despite 5th prize in Queen Elisabeth Competition in 1956 (1st won Vladimir Ashkenazy), concerts in London and recordings for Saga in 1958, some concerts and radio transmissions in late 50’s and 60’s, Lazar Berman was barely unknown in West European countries. In state where every decision has to have political acceptance, he was assigned as an artist of internal cultural life. State Concert Agency (Gosconcert) for years was ignoring invitations and concerts propositions coming from the other side of iron curtain. Changes were always a question of time and in empires time goes slower than anywhere else. Living in a small two-room apartment in Moscow with grand piano occupying entire room, Lazar Naumovich has devoted himself entirely to music.

Lazar Berman and Herbert von Karajan (1976)

   In mid-seventies after he made his great Italian debut in 1971 and widely acclaimed American debut with complete set of Ferenc Liszt’s Transcendental Études, Lazar Berman became an instant star. Series of concert tours all over the world, perfect recordings characterize these years as his best times. He was in his forties, in perfect artistic condition, playing with brilliant and fully controlled technique and with lots of interpretative ideas. Herbert von Karajan after listening to Berman’s Transcendental Études album decided to record with Russian artist and to promote him with Deutsche Grammophon contract. In such moment he recorded one of most spectacular romantic concerto with one of the best orchestras in the world and with conductor of great esteem and rich personality. Lazar Berman playing Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 1 in B-flat Minor with Berliner Philharmoniker conducted by Herbert von Karajan – the recording was announced as the first Berman’s album with orchestra, a kind of stronger debut, but in 1976 this was a Mount Everest of musical career for any artist.
   Record was produced by Deutsche Grammophon and like any other records of Russian artists has been almost immediately re-published by Soviet label Melodya. The rendition is perfectly balanced between heroic nobleness and deep sensitivity. Piano plays with symphonic sound and perfect articulation. Berman was able to create a huge range of expression between powerful, strong chords and melodious cantilena, sometimes ethereal legato. His tremendous technical capabilities helped him build lively, very emotional and undoubtedly serious, in some parts clearly metaphysical interpretation. Orchestra had played with more restraint, sometimes even giving more space for pianist, who filled this extra territory with very personal, deep but still intellectual performance. The way Lazar Berman recorded this concerto, the way he reads this work is an example of profound musical sensuality and understanding of this great composition.

Richard Strauss – Sinfonia Domestica – Herbert von Karajan

   Late romantic and early modernist Richard Strauss lived at the crossroads of epochs. His early compositions, mostly chamber and solo works in traditional romantic style, were not remarkable accomplishments. Also his two symphonies composed these years (1st D Minor – 1880 and 2nd F Minor op. 12 – 1883) weren’t noteworthy and now they have historic meaning only. In late 1880’s Strauss evolved to new vision of big scale forms, operas and symphonic poems. Using modern harmonic language and post romantic principles, he constructed musical work with great results. Especially opera and symphonic poems was his remarkable contribution to the history of music, Salome and Electra are highlights of expressionistic music drama, and series of ten symphonic poems and songs are his crowning achievements.

   Richard Strauss created his symphonic poems in span of three decades are elements of the history of German modernism. It was the exact time Wilhelm II ruled in Germany. The time of great social changes found its reflection in consecutive musical pictures Aus Italien (From Italy) Don Juan, Macbeth, Tod und Verklärung (Death and Transfiguration), Till Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks), Also sprach Zarathustra (Thus Spoke Zarathustra), Don Quixote, Ein Heldenleben (A Hero’s Life). And it is not an accident, his last two poems has been called as symphonies. Although Sinfonia Domestica and Alpensinfonie were not in typical symphonic form and the idea of building symphonic pictures was far from classical symphonic development, Strauss used this title as a kind of universal statement.

Richard Strauss – Sinfonia Domestica – Herbert von Karajan (1973)

   Sinfonia Domestica was a tribute to the everyday life, the orderly according to the rhythm of a stable home life. The family and home life were highly valued by Strauss, and his tone poem dedicated to the private part of everyday life was his challenging intention. In first version the score of Sinfonia Domestica has been enriched with several comments. Later Strauss removed most of them. Some critics accused him of self-centeredness anyway, but it’s deeply humanistic and universal. The whole work is extremely difficult. It demands from the orchestra of over one hundred members the perfect sound and rhythmic discipline. Especially the wind section has a difficult task here. Third theme of first movement Bewegt is started with solo of oboe d’amore. It is symbolizing the child and is the one of rare cases of using this instrument in modern symphonic music. Symbolic subjects of this tone poem is a common point of narration presented in many historical and critical overviews of the work, but the best perspective to know and understand the musical composition is to listen it without prejudice. And unlike many works of program music, Sinfonia Domestica is shows deep universal contents of the symphonic poem.
   As a later reference to Sinfonia Domestica Richard Strauss composed in 1925 concert piece commissioned by famous left handed pianist Paul Wittgenstein. Strauss knew him and even they played duets as composer was frequent guest in his father’s house. Paul Wittgenstein was the World War I veteran who lost his right hand, who inspired many great concertos and concert pieces of Maurice Ravel, Sergei Prokofiev, Benjamin Britten, Paul Hindemith, Alexandre Tansman, Erich Korngold and many others. The 1925 Strauss’ work was titled Parergon zur Symphonia Domestica. There is also transcription of this tone poem for two pianos, recorded in 1995 for Teldec by Martha Argerich and Alexandre Rabionovitch. Thanks to numerous recordings Sinfonia Domestica is well known to listeners all over the world, but the score is quite a challenge for the orchestra and especially for the conductor, so this beautiful tone poem is still hard to find in concert programs. It is worth to remember in 1944 Richard Strauss recorded this work himself with Vienna Philharmonic, and the same year Wilhelm Furtwängler recorded this composition with Berliner Philharmoniker. The recording under Karajan’s direction was 12th on the list and followed by many further renditions.

Herbert von Karajan – Beethoven – Symphony No. 4 B-flat major op. 60

   Symphonic oeuvres by Ludwig van Beethoven provoke listeners to an interesting alternation of meaning. While odd symphonies are considered to be rather revolutionary and unique, even are seen as predominantly more conservative and stable. Among four even symphonies only Pastoral Symphony is clearly a rebellious in idea and construction. But three others, 2nd, 4th and 8th are seen as more balanced and in fact less meaningful. Of course this deeply unfair assumption comes more likely from the way these symphonies are interpreted, than from their actual contents. For example many renditions of Symphony no. 4 are basing the presumption there are no tragic fragments in this work. In this context any different rendition can be seen as revealing, but when reinterpretation is made by Herbert von Karajan, it is insightful by definition.
   Two years after Eroica and two years before famous Fifth in the summer 1806 Beethoven composed Symphony No. 4 B-flat major op. 60. It was premiered in March 1807 at a private prince Franz Joseph von Lobkowitz’s home concert. The same evening premieres were Coriolan Overture op.62 and Piano Concerto G major op. 58. The form of this symphony is almost perfect medium of mature classical style. First and last parts are in sonata form and in the key of B-flat major. Dialogues between instruments in the development section of first movement Allegro vivace are indicating the real aim of this symphony could be a kind of discourse on relations between form and meaning. This is confirmed by resonating violins theme augmented with great symphonic setting in second movement Adagio in E-flat major key. Last movement  Allegro ma non troppo with its erupting enthusiasm confirms discursive idea of Fourth Symphony.

Herbert von Karajan – Beethoven – Symphony No. 4 (1977)

   Herbert von Karajan recording in 70’s his second complete set of Beethoven’s symphonies made interpretation of every one like it was separate attainment. This approach is justified because this symphony is separated by two-year gaps from previous and next symphony – the Third was written in 1804 and the Fifth was finished in 1808. These years were the time of political and health troubles, developing deafness and emotional complications in his personal life. And one more time Karajan has proven how great interpreter of Beethoven he was. Trying to grasp the meaning of symphony being for many conductors just consolation between tragic symphonies of this period, Karajan strengthened fragments of dramatic tension giving them a kind of sinister feeling and foreboding of active evil. Even in scherzo Allegro vivace he found characteristic traces of an obsessive anxiety.
   As it was mentioned, comparing to other symphonies, especially dramatically determined 3rd and 5th, Symphony B-flat major op. 60 is usually read as more sustainable, gentle and subtle. Not this time – the inner energy of this rendition is hard to believe. Berliner Philharmoniker working with Karajan as principal conductor from 1954 to 1989 was consistently one of the best symphonic orchestras worldwide. In 1970’s, and later on, its characteristic quality was beautiful sound in every moment of extremely wide dynamic range. This gave conductor possibility for creating interpretation virtually without limitations. And in Beethoven’s symphonys as well as in many other of his recordings Herbert von Karajan make great use of this features. Having at his disposal the orchestra of phenomenally beautiful sound, Karajan strengthened dynamic contrasts and with perfect articulation augmented dramatic qualities of symphonic narration. This vision of Symphony B-flat is as much dramatic as classically balanced. Finale Allegro ma non troppo and especially turbulent transformations in central part makes it the key movement carrying out the idea of this performance. Here is also the place and time for more dramatic effects than might have been expected.

Karajan – Mozart – Symphonies No. 40 & No. 41

   The complete set of symphonic works by Wolfgang Amadeus Mozart can serve as a lesson of classical style, covering full span of its development. Differences between early symphonic works and the output of last year of composer’s life are not only the matter of technical improvements. The changes were related to the progress of artist’s ideology, aesthetics and strengthen the artist’s personality. The last three symphonies – 39th E-flat Major KV 543, 40th G Minor KV 540 and 41st C Major “Jupiter” KV 541 – were completed in summer 1788 in short period of few weeks between July 26 and August 10. After these symphonies Mozart was very active as author of opera and instrumental music, but in following period of composer’s life for over three years there were no more symphony.
   For years many music history scholars supported the thesis Mozart wrote these symphonies without actual chance of concert performance and he has never heard them. Thus they have explained uncommon condensation of musical ideas and novel solutions. So was Alfred Einstein who called this works “appeal to eternity”. New historical works show this was more romantic legend than true. There are a lot of indirect evidences last Mozart’s symphonies were performed and even conducted by Antonio Salieri. One of performances had its place at home of Gottfried van Swieten, but it was so bad, Mozart leave the room. These symphonies were probably played a few times before Mozart’s death. In next two centuries thousands of performances made these compositions part of the core of symphonic repertoire.

Karajan - Mozart – Symphonies No. 40 & No. 41 (1978)

   There are dozens of great renditions of the last two symphonies by Wolfgang Amadeus Mozart. One of them is as much unusual as much appreciated. It was recorded by Herbert von Karajan and Berliner Philharmoniker, the orchestra he was principal conductor since 1954. The recordings published in 1978 are beautiful example of Karajan’s conducting and interpreting style. His renditions were both intellectual and emotional giving many evidences for systematic attitude and personal passion. The value of his interpretations was searching for metaphysical depths of the performed works. Of course, this applies to those compositions that contain such depth. In some cases, Karajan just could not exceed too much the salon elegance of performances. But still even operetta recordings under his baton sound more profound and dramatic.
   Karajan gave here one of most readable interpretation of Mozart’s 40th Symphony. After many renditions trying to close this music in easy serenade esthetics, after some very good performances trying to capture the balance, which was classical pursuance indeed, Karajan’s vision of this work is closer to late Beethoven or romantic symphonic cycles. Only two of Mozart’s symphonies are in minor key, and both in G-minor – first composed in 1773 Symphony No. 25 KV 183, and second from 1788 Symphony No. 40 KV 550, sometimes called “Great”. This key has some special meanings, according to Einstein it was connected with ‘fate’ symbols. There are many different explanations but all include constant opinion this key evokes highly emotional content. Karajan’s interpretation reveals the depths to which these emotions go.
   In last Mozart’s Symphony C Major No. 41 KV 551 is mighty crowning of the cycle. Nicknamed Jupiter, this Symphony is a perfect example of splendid invention, deep expression and therefore it is exhibiting full possibilities of classical style. Bringing it to binary distinctions, it is usually comes to form and content, perfection and emotionalism, dramatic and consolation. Here the various oppositions are in dynamic balance and in culminate modulation in fourth movement Karajan gives so strong impact it’s hard to forget this music was composed in times bursting with the desire for revolution.

Herbert von Karajan – Brahms – Ein Deutsches Requiem

   Johannes Brahms was one of most prominent personalities in romantic music. His position was build on the idea of three great B’s – Bach, Beethoven and Brahms – presumption deeply correlated with nineteenth century theoretic understanding of formal values in musical construction. And Brahms was number one composer who can melt some romantic ideas with creating complex musical constructions in Beethoven’s manner. It’s not sure if he was truly satisfied composing symphonic music. Four symphonies, three concertos, two overtures even if every one is great work, is not too much considering 64 years of composers life. However the symphonic compositions was the part of his work that made his fame and creative image, and among his great works every one fully deserves for its special place.
   One that’s very special is requiem based on texts from Lutheran Bible. The full title of the work is Ein deutsches Requiem, nach Worten der heiligen Schrift op. 45 (A German Requiem, To Words of the Holy Scriptures). The text has been edited by composer and is opposed to the traditional requiem based on roman catholic mass order. Words had been taken from some fragments from Old and much more  from New Testament. Sometimes he assembled very short fragments. Ein Deutsches Requiem is focusing on those who are living in sadness and this strongly difference between this setup and traditional requiem masses. Brahms started composing this work in 1965 after death of his mother and finish the whole composition in 1868. This seven-movement work composed for soprano, baritone, mixed chorus and orchestra German Requiem with more than an hour time of duration is longest composition by Brahms.

Herbert von Karajan – Brahms – Ein Deutsches Requiem (1964)

   Herbert von Karajan recorded Brahms’ Requiem at least five times. First time he recorded in October 1947 legendary performance with soprano Elisabeth Schwarzkopf, baritone Hans Hotter, chor of Singverein Der Gesellschaft Der Musikfreunde Wien and Wiener Philharmoniker orchestra. Then in 1964 for Deutsche Grammophon with baritone Eberhard Waechter, soprano Gundula Janowitz, Wiener Singverein choir and Berliner Philharmoniker orchestra. This recording was also published in 7 LP box with complete Brahms Symphonies and Violin Concerto with Christian Ferras. Third recording has been made twelve years later, in 1976 for EMI with the same choir and orchestra and with different soloists – soprano Anna Tomowa-Sintow and baritone José van Dam. Fourth recording was digital and was recorded with the same chorus but with Wiener Philharmoniker orchestra and with soprano Barbara Hendricks and with baritone José van Dam. There was also video recording of Deutsches Requiem with Kathleen Battle and José van Dam published in 1984 by Sony.
   Herbert von Karajan belongs to the greatest conductors who needed a large-scale works, big performing sets and challenging interpretations to be fully recognized as the great masters. He was equally efficient conducting symphonies, concertos, oratorios and operas. No wonder he is remembered mainly as the conductor of huge attainments of romantic music. One of his most challenging works was Brahms’ Ein Deutsches Requiem. Maybe this is reason he recorded this work so many times. It’s interesting he always recorded with the same choir of Wiener Singverein. Brahms Requiem is work of extremely high demands on the performers and choir is privileged in various ways. And this choir sounds unbelievable firmly and rich. The 1964 DGG recording has been priced by Grand prix du disque award in Paris.
   In Karajan’s renditions Deutsches Requiem takes 65-75 minutes and perfectly matches CD capacity, but on traditional vinyl records it usually took three standard sides. Thus for Brahms’ Requiem vinyl editions publishers added extra compositions on 4th side of double LP album. On Karajan’s DGG album such bonus work was Variationen über ein Thema von Haydn op. 56a, and on EMI album newly recorded Variationen and Tragishe ouverture. Although the choice of Variations is quite good thanks to its solemn character and soothing emotional distance, I still advise not to listening this two works together. Karajan’s performance of Deutsches Requiem is so much closed, so perfectly follows the idea of the work, it should be listened standalone.

Herbert von Karajan – Beethoven’s Pastoral Symphony

Symphony in F Major, commonly known as Pastoral Symphony was finished in 1808 and premiered together with composers Fifth Symphony during one concert in Theater an der Wien, December 22nd, 1808. And this is not by coincidence these two works are so close. Ludwig van Beethoven begin to compose his Sixth Symphony in 1802. He was under great impression of just premiered oratorio Die Jahreszeiten by Joseph Haydn. Since we know he was wandering on every occasion by the rural outskirts of Vienna, it can be confirmation of his deep love to the nature and straightforward country living. And this affection made him try to render the beauty of countryside in series of symphonic visions.

Invoking most obvious situations, imitating sounds of nature and suggesting emotions he achieved much more than programmatic instrumental music. Formally it is first symphony of this kind in the history. It has five movements instead of four which we know as a rule according to classical principle. Composer gave series of tittles suggesting matter of every part and forming a kind of story beginning with arrival to the country, admiring idyllic scenes, surviving the storm, feeling gratitude and happiness.

He made this external program the most readable layer of his work but composition was constructed consequently as a symphonic cycle. Even if it is composed of five parts, fourth part is a kind of introduction to the real finale. This movement titled by composer as Gewitter, Sturm can be also seen as a second part of the scherzo which would be then consisted of two contrasting episodes. But the first option is more likely because of lack of final cadence in fourth movement of this symphony.

Herbert von Karajan – Beethoven’s Pastoral Symphony

Beethoven was intentionally searching for best dramatic solution in frame of classical symphonic form. Scherzo in Pastoral Symphony has two trios what can be taken from idea of the rondo form balancing sonata rondo form in closing part of the work. Theodor Adorno considered this to be a pattern referred to by Anton Bruckner in his scherzos. Nevertheless three last movements are connected together and played attaca as one movement. And whole symphony is enough universal in it’s idea and realisation to be listen just as a symphonic cycle. And maybe this is why composer said it is „more the expression of feeling than painting”.

Among many phenomenal renditions of this work one is special. Recorded in 1962 with Berliner Philharmoniker and first published in 1963, Herbert von Karajan’s interpretation of Sixth Symphony is rare example of perfection. Every phrase appears, resounds and ends with soft coherence. And even if we would find somebody who can’t understand sound painting effects, emotional substance of this music should be build the inkling of future happiness. This kind of attainment is always dependent of the orchestra highest artistry but person determining the final vision of the work is a conductor. And Karajan was always personality with clear creative vision of final work and complete skills to achieve his aim.

In discography of Herbert von Karajan one can find almost every great composition from the history of orchestral music, but his privileged position was based on master interpretations of greatest nineteenth century symphonies. His cycle of Beethoven’s symphonies recorded in 1961 and 1962 was internationally acclaimed and in next decades published in many series of Deutsche Grammophon. This edition was released in series Accolade in 1978 for English market and marked conductor’s position in Great Britain.

Herbert von Karajan – Beethoven’s Fifth Symphony

It’s hard to exaggerate when speaking about weightiness of Beethoven’s Fifth Symphony. The whole series of nine symphonies was revolutionary achievement as well as great accomplishment of late classical and pre-romantic era. And every symphony in the series is unique on its own. Nevertheless this is Symphony C Minor op. 67 which was the exceptional and most shaking one from the very beginning. It marks top moment in Beethoven’s career. Developed from simple 4-note motif, build upon mathematically perfect process, Fifth Symphony invokes deepest motions of human consciousness. Maybe this is the reason for such favorable reception of this work. But maybe the direct cause is Fifth’s flexibility and receptivity, even for extreme interpreting ideas. This could explain why it has highlighted position in repertoire of every symphonic orchestra and conductor. 

Herbert von Karajan recorded Beethoven’s Fifth many times. The first internationally recognized recording was 1948 album with Wiener Philharmoniker. But there is no doubt the best results Herbert von Karajan had achieved with Berliner Philharmoniker, the orchestra he was resident conductor for the 35 years. For the first time, the nine Beethoven’s symphonies Karajan recorded with Berliner Philharmoniker in 1961 and 1962 and it was probably most esteemed rendition of the complete set in next two decades. In 1976-1977 he again seized up with symphonies, this time in new technology of multidimensional sound. Third time he recorded Beethoven’s symphonies in eighties, on a series of digitally mastered soundtracks from video production.

Herbert von Karajan – Beethoven's Symphony No 5 (1977)

Every edition of the Beethoven’s set was sensational and became a milestone in growing fame of Karajan and his orchestra and every edition has it’s own place in recording history. The 1977 recording of the Fifth Symphony is brilliant example of conductor’s creative intensity. Karajan averts traditional interpreting pattern. Against solemn and sometimes gloomy interpretations of introduction with fate knocking motif, he opens this symphony with warm passion like he was going to say there’s no fate but our will. He is building Allegro con brio like he was first who knew the meaning of con brio indication. Basing on strong contrasts first movement is enough lively and stormy to create narrative dominant and to open in recapitulation the whole space we can see as affirmation of composers conviction about the idea of indeterminate human freedom.

After such exposure, second movement begins in elegiac mood which is clearly turned against the first part disposition. Nostalgia alters into determined, self-convicted remembrance of first episode, connected by the same motif of four notes with accent on fourth. And in the end of Andante con moto it carries the solemn certainty of ideas catch in previous movement. Third movement is brilliant continuation of narrative premises. Dramatically determined, rhythmic motif and contrasting fugato with joyous, almost rustic chase of strings are two episodes marking base for scherzo developing into final Allegro. Which balanced relief and triumphant fanfare. It is really hard to find rendition with such mighty strings. String quintet sound is huge and this makes Karajan’s Fifth even more powerful and alive than many other interpretations.