Orchestral recordings from Germany & Austria Sep 1970 - Jan 1981

Fascinating to hear and compare these versions of Bruckner 4 and 7 with his DG cycle from a few years later. Both are must have items as well as the final Bruckner 7 from April 1989 (I read the Karajan was also planning to record the Schubert Unfinished at the same time as the final Bruckner 7 but had to cancel the Schubert because his strength was failing). As for the Brahms, Strauss and Wagner items, Karajan and the Berlin were masters so no complaints. And don't overlook the Schmidt!

There is only one Herbert Von Karajan - and this is what he does best.

Great Karajan performances from the 1970's! My only qualm is the duplication of material on both EMI, DGG (and DECCA)...

STUNNING!!

What the Ghost of Banquo was to Macbeth, this volume is to Karajan’s lily-livered successors in Berlin: Abbado (now a spectre himself and a wispy one at that), Sir Simon of the Perm Royale and (God help us) Petrekno the Obscure. Herein music is rite, not shrapnel ‘n’ bytes for the Digital Concert Hall. It testifies to greatness past. It evokes a time when mere transparency and the use of the latest Bärenreiter scores meant tuppence in the scheme of things. It champions vision and power of utterance over niceties. It promulgates shock and awe at the expense of woofie cushions. It summons the spirits and monsters of the deep. It contains an imperative to heroicize and swagger down the main street of Tombstone with two Colts - not one - at hand. In its Bruckner, one walks with God. In its Richard Strauss and Wagner, one drinks the Devil’s beer and boasts of it thereafter. In its Johann Strauss, one dances with giants. In its magnetosphere, one becomes something more than a contrivance whose planned-obsolescence is the final word. What of the darkness? What becomes of the dust? What is truth, asks your Prefect of Judaea within. Answers to these questions and more are contained therein. All you have to do is come within gun-range.

If one were putting together a collection to best showcase the unique qualities of Karajan’s genius as a conductor, and the glories of his collaboration with his orchestra The Berlin Philharmonic it would have to include music by Bruckner, Strauss (Richard and “ The Family”), Wagner, Brahms and a few “ lollipops “of lighter music at which he was so adept.As if on demand, here is such a collection newly re-mastered and sounding absolutely magnificent-indeed it’s dangerously easy to forget the music and just wallow in the sheer visceral impact of the sound.Most though not all of these recordings were reissued between 10 and 14 years ago in various series by EMI using their so-called “art “technology” (ar=Abbey Road), and sounded very good then, but the cost of this 6 new disc set would not have bought 2 of the earlier discs, so even if they had not been newly remastered this set represents a real bargain!Of course, it doesn’t end there-this is not merely a bargain but a triumph.It contains at least 3 performances which are not just arguably the best in the catalogue, but are important milestone recordings-the Bruckner 7 and the two Strauss Tone Poems. This is not to suggest that that the other performances are anything other than fabulous-Karajan and recording at their very best, but there are no better recordings of the 3 works I have already mentioned.All the recordings emanate from Karajan’s second period at EMI, free of the influence of Walter Legge whom Karajan had come to regard as a major negative factor, despite their earlier friendship and the debt Karajan undoubtedly owed him.The two “lollipops”-The Humperdinck and Schmidt- are actually Digital recordings from 1981, and with the exception of the Sinfonia Domestica recorded in Paris while on tour by Paul Vavasseur of EMI France, all the recordings were engineered by Wolfgang Gulich and there can be no higher recommendation on technical grounds.Although we think of Karajan as a modern conductor in that he was media savvy, embraced the cult of personality and was technically forward thinking it must be remembered that his career was grounded firmly in the era of 78 records with a 4 minute limit on “takes”, and he found this practice hard to shake off in the initial post-war era, much to the consternation of members of the Philharmonia orchestra.Indeed, abetted in this outdated and unnecessary practice by Walter Legge, it was not until his first BPO recordings for EMI/Electrola in Germany that longer takes were forced on him, and the association with John Culshaw at Decca finally convinced him to adopt the longer 20 minute or longer “ take” process.However, on one point Karajan was all but immoveable-live recording!Karajan took the view that the spontaneous and peculiar elements of a live performance were not what was wanted on a recording, but rather that the recording should be the “reference” of the conductor’s view of the work, devoid of momentary mannerism and forming a sort of “Platonic Form” of the architecture and balance to which the listener could return repeatedly.There can be few if any greater examples of this philosophy “ made flesh” so to speak, and while Karajan’s few official live recordings and those taken from radio recordings display even greater fantasy and inspiration, the stature and worth of these “ studio” recordings is immense.The Bruckner 4 is magisterial and grand, but the Seventh is a revelation. For so many years it has had the reputation of being a “slow” Seventh-in fact though slower than both his later recordings, the 3rd and 4th movements are more dynamic and a shade faster!The mood is exalted and wistful in the first 2 movements rather than tragic and threnody like, and they have never-and I mean never-sounded so glorious. The Scherzo blazes with energy juxtaposed with picaresque lyricism, and the Finale blazes with glory and dismisses any thought of its being banal as is often expressed. The recordings are stunning, SO much better than their earlier incarnations with wider dynamics and colossal impact.Of the 8 recordings of Ein Heldenleben that I possess with Karajan, this one remixed from an SQ recording is far and away the best sonically, even above the later DG digital version, and is also the best played. It is the peak that Karajan reached with this work, played by the orchestra that he had created by then and which could produce playing unsurpassed before or since, with the same applying to the weight of orchestral sound while retaining transparency.The Sinfonia Domestica is also from an SQ remix, and I am delighted to report that where the previous mastering got a bit confused in the final section with its brilliant fugue, this has been corrected and the underlying melodic line shines through as it should. There is no performance or recording that comes near it in greatness, no matter how fine they may be.There are no better versions of the Brahms pieces in the catalogue.The Wagner works are magisterial-the Lohengrin Preludes are not those from the complete recording-and unusually Karajan chose to perform the Parsifal Act 3 Prelude as a concert piece, and both the Parsifal Preludes are interestingly different from those on his later complete recording.He chooses the Paris Tannhauser Overture and Bacchanal-the elided 3 rd version which omits the climax of the overture. This is not my preferred option, but he does it brilliantly of course emphasising how much we missed not having a stereo version of this work from him.Johann Strauss was more feted if anything in Berlin than in his native Vienna, and most of the concert versions of his works were scored for full orchestra with Berlin in mind, where had access to the largest orchestral forces that could be commanded.While his recordings with the VPO are unsurpassed, especially the 1987 New Year Concert, these Karajan Berlin performances have poise, grandeur and warmth a plenty-and the playing has heart stopping beauty.Finally, in this performance the Humperdinck attains a Wagnerian depth and grandness, and if the earlier DG Schmidt recording had glamorous string tone, this one has a weight and density that almost defies credibility!I have commented already on the technical excellence, but this cannot be emphasised enough-these new masterings are stunning, with enormous wide dynamic range and less compression than previously.The presentation slleves have photographs of the Maestro by Lauterwasser, actually more associated with his DG recordings, but very handsome. The brief notes are translated from French, and strangely include a comment about Karajan’s association with the work Ein Heldenleben by the BPO member who banged things (I cannot bear to write his name!) and who orchestrated the ill judged coup against Karajan in his last years.I have to say that including this in the notes, which are inevitably inadequate, is also very ill judged in a set of this nature, but this is of no consequence. Don’t bother to read them is my suggestion-you won’t miss anything!By any set of criteria this is a bargain-that it contains some of the greatest performances ever recorded adds to its being indispensible addition to anyone’s collection.Umissable. Unlimited Stars. Stewart Crowe.

If one were putting together a collection to best showcase the unique qualities of Karajan’s genius as a conductor, and the glories of his collaboration with his orchestra The Berlin Philharmonic it would have to include music by Bruckner, Strauss (Richard and “ The Family”), Wagner, Brahms and a few “ lollipops “of lighter music at which he was so adept.As if on demand, here is such a collection newly re-mastered and sounding absolutely magnificent-indeed it’s dangerously easy to forget the music and just wallow in the sheer visceral impact of the sound.Most though not all of these recordings were reissued between 10 and 14 years ago in various series by EMI using their so-called “art “technology” (ar=Abbey Road), and sounded very good then, but the cost of this 6 new disc set would not have bought 2 of the earlier discs, so even if they had not been newly remastered this set represents a real bargain!Of course, it doesn’t end there-this is not merely a bargain but a triumph.It contains at least 3 performances which are not just arguably the best in the catalogue, but are important milestone recordings-the Bruckner 7 and the two Strauss Tone Poems. This is not to suggest that that the other performances are anything other than fabulous-Karajan and recording at their very best, but there are no better recordings of the 3 works I have already mentioned.All the recordings emanate from Karajan’s second period at EMI, free of the influence of Walter Legge whom Karajan had come to regard as a major negative factor, despite their earlier friendship and the debt Karajan undoubtedly owed him.The two “lollipops”-The Humperdinck and Schmidt- are actually Digital recordings from 1981, and with the exception of the Sinfonia Domestica recorded in Paris while on tour by Paul Vavasseur of EMI France, all the recordings were engineered by Wolfgang Gulich and there can be no higher recommendation on technical grounds.Although we think of Karajan as a modern conductor in that he was media savvy, embraced the cult of personality and was technically forward thinking it must be remembered that his career was grounded firmly in the era of 78 records with a 4 minute limit on “takes”, and he found this practice hard to shake off in the initial post-war era, much to the consternation of members of the Philharmonia orchestra.Indeed, abetted in this outdated and unnecessary practice by Walter Legge, it was not until his first BPO recordings for EMI/Electrola in Germany that longer takes were forced on him, and the association with John Culshaw at Decca finally convinced him to adopt the longer 20 minute or longer “ take” process.However, on one point Karajan was all but immoveable-live recording!Karajan took the view that the spontaneous and peculiar elements of a live performance were not what was wanted on a recording, but rather that the recording should be the “reference” of the conductor’s view of the work, devoid of momentary mannerism and forming a sort of “Platonic Form” of the architecture and balance to which the listener could return repeatedly.There can be few if any greater examples of this philosophy “ made flesh” so to speak, and while Karajan’s few official live recordings and those taken from radio recordings display even greater fantasy and inspiration, the stature and worth of these “ studio” recordings is immense.The Bruckner 4 is magisterial and grand, but the Seventh is a revelation. For so many years it has had the reputation of being a “slow” Seventh-in fact though slower than both his later recordings, the 3rd and 4th movements are more dynamic and a shade faster!The mood is exalted and wistful in the first 2 movements rather than tragic and threnody like, and they have never-and I mean never-sounded so glorious. The Scherzo blazes with energy juxtaposed with picaresque lyricism, and the Finale blazes with glory and dismisses any thought of its being banal as is often expressed. The recordings are stunning, SO much better than their earlier incarnations with wider dynamics and colossal impact.Of the 8 recordings of Ein Heldenleben that I possess with Karajan, this one remixed from an SQ recording is far and away the best sonically, even above the later DG digital version, and is also the best played. It is the peak that Karajan reached with this work, played by the orchestra that he had created by then and which could produce playing unsurpassed before or since, with the same applying to the weight of orchestral sound while retaining transparency.The Sinfonia Domestica is also from an SQ remix, and I am delighted to report that where the previous mastering got a bit confused in the final section with its brilliant fugue, this has been corrected and the underlying melodic line shines through as it should. There is no performance or recording that comes near it in greatness, no matter how fine they may be.There are no better versions of the Brahms pieces in the catalogue.The Wagner works are magisterial-the Lohengrin Preludes are not those from the complete recording-and unusually Karajan chose to perform the Parsifal Act 3 Prelude as a concert piece, and both the Parsifal Preludes are interestingly different from those on his later complete recording.He chooses the Paris Tannhauser Overture and Bacchanal-the elided 3 rd version which omits the climax of the overture. This is not my preferred option, but he does it brilliantly of course emphasising how much we missed not having a stereo version of this work from him.Johann Strauss was more feted if anything in Berlin than in his native Vienna, and most of the concert versions of his works were scored for full orchestra with Berlin in mind, where had access to the largest orchestral forces that could be commanded.While his recordings with the VPO are unsurpassed, especially the 1987 New Year Concert, these Karajan Berlin performances have poise, grandeur and warmth a plenty-and the playing has heart stopping beauty.Finally, in this performance the Humperdinck attains a Wagnerian depth and grandness, and if the earlier DG Schmidt recording had glamorous string tone, this one has a weight and density that almost defies credibility!I have commented already on the technical excellence, but this cannot be emphasised enough-these new masterings are stunning, with enormous wide dynamic range and less compression than previously.The presentation slleves have photographs of the Maestro by Lauterwasser, actually more associated with his DG recordings, but very handsome. The brief notes are translated from French, and strangely include a comment about Karajan’s association with the work Ein Heldenleben by the BPO member who banged things (I cannot bear to write his name!) and who orchestrated the ill judged coup against Karajan in his last years.I have to say that including this in the notes, which are inevitably inadequate, is also very ill judged in a set of this nature, but this is of no consequence. Don’t bother to read them is my suggestion-you won’t miss anything!By any set of criteria this is a bargain-that it contains some of the greatest performances ever recorded adds to its being indispensible addition to anyone’s collection.Umissable. Unlimited Stars. Stewart Crowe.

Excellent.

GREAT JOB!!!

IDENTICAL PROBLEMS (Sibelius 1976-1981 (Karajan Official Remastered Edition) SOME CDS ARE DEFECTIVE!

This set contains some stunning performances, with the Bruckner Symphonies 4 & 7 at the head. I believe these to be better than the DG versions. There is a "heavenly length" about these readings, by which I don't mean slow. They tread forward always with an inevitable momentum. Speed relationships are carefully and naturally nuanced, there is no sense of interpretative self-indulgence by Karajan. The culmutative effect is of great power, not "nasty" power, but the power one associates with the Christian faith which Bruckner held so firmly. One senses the massive assurance of his convictions in these special readings.The Richard Stauss tone poems are refined, superbly played and recorded, of course, and symphonic rather than episodic in performance style, very much a Karajan trait. The very opening of Ein Heldenleben oozes smooth confidence, which is not unconnected toStauss's view of himself, which is what the music is about, let it be said. Those preferring a more rumbustious style may not like this, for myself, I find it impressive.The smaller works are very good. The Brahms finds Karajan at his most Romantic and appealing. There are no über-slow tempi here, it's just wonderful Brahms.Some may be surprised by the Johann Strauss readings, which show how much Karajan loved the music. There is sparkle, warmth and affection, and, of course, the playing is beyond belief, superb in every detail.The only real disappointment in this fabulous box, for me, is the Intermezzo from Notre Dame by Franz Schmidt. Karajan doesn't really seem to know what to do with it or how it really goes. The playing and recording are wonderful, but Karajan never really lets the piece flow naturally, he gets in the way. The best performance of this, by far, is that in the complete recording on Capriccio, which is to die for, frankly.Only those totally allergic to Karajan should resist buying this boxed set.