Karajan: The Legendary Decca Recordings, Vol. 5

Review-capsulated

7/7 -Classics Today

In 1995 Decca reissued Herbert von Karajan's complete orchestral recordings with the Vienna Philharmonic in a 9-CD boxed set. Here is a space-saving, budget-priced counterpart to commemorate the conductor's 2008 centenary: same couplings, same transfers, same booklet notes. Just how legendary are these recordings? Surely the logy, often lugubrious Dvorak Eighth and the overly homogenized Brahms First and Third symphonies pale against Karajan's tauter, more incisively projected Berlin Philharmonic remakes (specifically his late-1970s EMI Dvorak and digital DG Brahms). The Brahms Tragic Overture suffers from impossibly dragged-out tempos at the beginning and end, and a crassly whipped-up middle section. Of the two Haydn symphony offerings, I prefer the more animated and judiciously balanced interpretation of No. 104 to the string-heavy No. 103.

The Mozart 40th and 41st symphonies draw me in by virtue of the sweetly singing, never cloying strings, yet Szell/Cleveland's textural diversity and sharply honed chamber music aesthetic makes Karajan/Vienna sound like elevator music by comparison. The Vienna Beethoven Seventh is lighter and suppler than Karajan's two earlier studio versions, and markedly different from Solti's more angular, harder-hitting contemporaneous Vienna traversal. My only quibble concerns the conductor's slackening of pulse during the Allegretto's A major section.

Despite the unquestionable virtuosity and coloristic range distinguishing Karajan's early-'70s DG Strauss Don Juan, Also Sprach Zarathustra, Till Eulenspiegel's Lustige Streiche, Tod and Verklarung, and the Dance of the Seven Veils, you can argue in favor of the Vienna versions' more animated lyrical episodes. Given Karajan's genius for illuminating so-called orchestral showpieces, perhaps it's surprising how the seven Johann and Josef Strauss selections fall short of the finesse and tonal magic the conductor usually brought to this genre (the stereo Philharmonia recordings and the 1987 Vienna Philharmonic New Year's Day concert, for example).

Karajan's Vienna recording of Holst's The Planets had its day as a sonic spectacular, but who knew that a planetary golden age lay just ahead with Haitink, Steinberg, Solti, Mehta, Boult, and Ormandy, to say nothing of Karajan's superior digital DG remake? However, the three Tchaikovsky ballet suites plus the same composer's Romeo and Juliet abound with rhythmic verve, theatrical character, and palpable linear clarity. These comments also apply to the Grieg Peer Gynt selections and Adam's Giselle. In sum, Karajan fans will know if they need this comprehensive, albeit uneven collection.

-Classics Today

Read About This Recording

The 100th birthday of conductor Herbert von Karajan has brought the predictable onslaught of recordings and videos, all devoted to further polishing the reputation of an artist who came to define the conductor's role in the second half of the 20th century. Not all who came after him had his flair, panache, or ease in any kind of spotlight. And at times, particularly in the late decades of his career, he seemed to fulfill more of the character he created than one of the finest musical minds of the century.

But while the reissues may be many, possibly too many, there are those that, in re-examination help to restore that reputation. The Review has looked at excellent retrospectives from two labels most closely associated with Herbert von Karajan. The Deutsche Grammophon collection was a stupendous romp through his star-studded DG catalog; the EMI Classics collection was a glorious testament to his greatness as an opera conductor. But what of this Decca recording?

What you have here is a collaborative effort that shines a glowing light on a man and on an orchestra. Decca's long-time relationship with the Vienna Philharmonic gave them an understanding of the orchestra and they make the ensemble sound like the finest silken group of musicians ever.

As this recording was made before Karajan began to favor the Berlin Philharmonic, there is little here but sheer love and joy.

Earlier this year, the Society introduced four CDs of Karajan's legacy from the Decca collection. This exclusive disc completes the set and offers an overwhelming retrospective of his tenure with the esteemed Vienna Philharmonic. It is not difficult to understand, after hearing the music contained herein, why the music world has such cause to celebrate the birth of this legendary conductor.

—Ronald Gregory

Quotes

"The three Tchaikovsky ballet suites ... abound with rhythmic verve, theatrical character and palpable linear clarity." —Classics Today

Contents

Swan Lake Suite; The Nutcracker Suite; Sleeping Beauty Suite.

Josef Sivo, Violin; Emanuel Brabec, Cello; Vienna Philharmonic; Herbert von Karajan, Conductor.