The Legend of Herbert von Karajan
The man who bought classical music into the future.
It’s easy to shine a spotlight on the great Herbert von Karajan — probably the world’s best-known conductor and one of the most powerful 20th century figures in classical music.
Born in Austria in 1908, Karajan was the principal conductor of the Berlin Philharmonic for 35 years and is one of the top-selling classical music recording artists of all time, having sold an estimated 200 million records.
“Often in rehearsal Karajan didn’t conduct. The art was to make the orchestra listen to itself. Critics sniped but, for musicians, what he did bordered on the miraculous.”
Mariss Jansons, Conductor
Here’s 10 of Karajan’s essential recordings as picked by our repertoire team, to give you a glimpse into Karajan’s extensive music catalogue.
LUDWIG VAN BEETHOVEN: Symphony No. 5 in C minor op. 67 (Herbert von Karajan, Philharmonia Orchestra)
Probably the most famous four opening notes in history, Karajan’s interpretation of this masterpiece with the Philharmonia is said to be one of the best. Compare it to Wilhelm Furtwängler’s very different interpretation with the Wiener Philharmonic from the same year and hear the difference. Which one do you prefer?
ANTON BRUCKNER: Symphony No. 8 in C minor WAB 108 (Herbert von Karajan, Berliner Philharmoniker)
Karajan had a special relationship with Bruckner compositions, in particular the Eighth Symphony, which produced 63 performances and 5 celebrated recordings spanning the years 1937–1989. British musicologist Denis Stevens said of Karajan’s Bruckner interpretations (specifically the Eighth Symphony recorded in 1988) that, “We see and hear him now at the height of his powers, superbly able to keep a Bruckner symphony spinning not like a top but rather like some celestial sphere — massive, glowing, and infused with cosmic power.”
CLAUDE DEBUSSY: La Mer L 109 (Herbert von Karajan, Philharmonia Orchestra)
Some people say that it is impressionistic compositions where Karajan could really display his eminent sense for sound and tone at its best. Debussy’s monumental tone poem La Mer is a wonderful example of how dynamic Karajan could be as a conductor.
ANTONÍN DVOŘÁK: Symphony No. 8 in G major op. 88 B 163 (Herbert von Karajan, Wiener Philharmoniker)
Karajan’s Dvořák symphony recordings with the Vienna Philharmonic are legendary; nevertheless his interpretation of the 8th Symphony was quite controversial. Karajan avoids the rustic appeal which was custom in Dvořák interpretations at that time, and conducts this symphony as an orchestral showpiece — with partly breathtaking results. Compare this recording to the other eight recordings that we have on IDAGIO to really hear Karajan’s unique style.
PAUL HINDEMITH: Symphony ‘Mathis der Maler’ (Herbert von Karajan, Berliner Philharmoniker)
The Mathis der Maler Symphony premiered in 1934 and is one the most performed works by Paul Hindemith. Karajan is not specifically known for his interpretations of contemporary music even though he conducted a considerable number of first performances of works by contemporaries and kept this habit throughout the decades at a moderate extent. His biography put it like this: “As statistics show, he conducted less contemporary music than he could have, but more than often assumed.” The sheer number of recording and his versatility (Karajan recorded around 700 works from 130 composers), and his (often criticised) media self-staging out-shined his engagement for contemporary repertoire.
WOLFGANG AMADEUS MOZART: Symphony No. 40 in G minor KV 550 (Herbert von Karajan, Wiener Philharmoniker)
Karajan, a Salzburg native like Mozart, was always considered a controversial Mozart conductor. Especially in his late recordings, he is often criticised for transferring a “late romantic sound”, which he developed for Bruckner or Strauss, to Mozart’s scores. However, his earlier recordings show a very different picture, like this one from 1959. We hear a sensitive balance between flowing sound and richness of orchestral timbres on the one side and nuanced phrasing, instrumental dialogue and revealing structure and form of the symphony on the other side.
RICHARD STRAUSS: Der Rosenkavalier op. 59 (Herbert von Karajan, Philharmonia Orchestra)
Gramophone magazine called it “a landmark in the history of the gramophone.” Karajan’s 1956 recording of Strauss’s Der Rosenkavalier features an unrivalled cast, with Elisabeth Schwarzkopf as the Marschallin, Christa Ludwig as Octavian, Teresa Stich-Randall as Sophie and Otto Edelmann as Baron Ochs.
PYOTR ILYICH TCHAIKOVSKY: The Nutcracker, Ballet Suite op. 71/a (Herbert von Karajan, Wiener Philharmoniker)
In January 1929, Karajan conducted Tchaikovsky’s 5th Symphony at his debut as professional conductor in Salzburg at the age of 20. Tchaikovsky’s music accompanied him throughout his music career and he is widely considered as the ideal Tchaikovsky interpreter. Karajan played a big role in transforming the status of Tchaikovsky’s music, which was often dismissed as mawkish and superficial in Karajan’s early days.
GIUSEPPE VERDI: Falstaff (Herbert von Karajan, Philharmonia Orchestra)
One of the earliest recordings of the Philharmonia from 1954, Verdi’s opera conducted by Karajan features a stellar cast, led by Tito Gobbi and Elisabeth Schwarzkopf in their prime. Time and time again, this is said to be the best recording of ‘Falstaff‘.
RICHARD WAGNER: Prelude to Act 1 of ‘Lohengrin’ WWV 75 (Herbert von Karajan, Berliner Philharmoniker)
Karajan and Wagner — for many music lovers a perfect match. Richard Wagner was one of Karajan’s favourite composers and it was a Wagner opera, Tristan und Isolde, which gave a huge boost to Karajan’s career with a highly successful production at the Berlin State Opera in 1938. Hailed by a Berlin critic as “Das Wunder Karajan” (the Karajan miracle). Karajan received his first contract with Deutsche Grammophon the same year and an unparalleled career gathered pace.
Originally published at blog.idagio.com on January 14, 2016.
