Beethoven’s Fifth Piano Concerto, his longest and most forceful, was composed in 1809. The opening movement immediately proclaims the concerto’s air of command, with its unexpected beginning by the soloist alone. This very long first movement is followed by a compressed, intense second movement. Over a sustained, expectant low note held by the horns at the very end of the movement, the piano begins to build a theme which turns out to be the choppy, powerful rondo theme of the third movement. This work represents a synthesis of all the contrary forces at work in Beethoven’s oeuvre. Though it is often called the “Emperor” in English-language music literature, Beethoven did not call it thus. The work was premiered in Leipzig on 28 November 1811. Soloist Maurizio Pollini is one of the most distinguished pianists of our time, who has performed with the world’s leading orchestras. A committed advocate of contemporary music, Pollini frequently performs works by Schoenberg, Berg, Webern, Nono, Boulez and Stockhausen. However, he has also given complete cycles of the Beethoven sonatas in Berlin, Milan, New York, Munich and other cities. On the occasion of a performance of the Beethoven concertos at New York’s Carnegie Hall, the Vienna Philharmonic Orchestra presented him with its “golden ring”, a rare distinction awarded to only few musicians.
Mozart, Piano Concerto No.23 in A major, K. 488
The soloist in this concerto conducted by Karl Böhm and played by the Vienna Philharmonic Orchestra is Maurizio Pollini, one of the most enigmatic figures in today’s musical world. Although he approaches the repertoire in a profoundly spiritual manner, Pollini does not ban brilliance and dazzling virtuosity from his playing. His lyrical and intense art makes him predestined for Mozart, whose works he has been interpreting in a completely new light for many years now. Mozart composed this work during a particularly fruitful period in Vienna in 1786, while he was working on “Figaro,” the Masonic Funeral Music and the concertos K. 482 and 491. The A major concerto is one of Mozart’s most beloved, perhaps because of its highly contrasting moods, which nevertheless produce an overal impression of Classical unity: the elegant and polished first movement, the poignantly beautiful “siciliano” slow movement and the exuberant Allegro assai finale. The Mozart interpretations of Karl Böhm (1894-1981) perfectly echo the naturalness and clarity of the maestro’s conducting. Although Wagner was one of his first loves, Böhm soon discovered Mozart’s operas thanks to Bruno Walter, who let him conduct “Die Entführung aus dem Serail” in Munich in the early 1920s. Later, Böhm’s friendship with Richard Strauss led to a still deeper knowledge and appreciation of Mozart. In his autobiography, Böhm wrote that “Richard Strauss revealed to me the ultimate secrets of this – in my opinion – greatest musical genius.” Böhm’s discovery of these secrets turned his Mozart interpretations, such as this one with the celebrated pianist Maurizio Pollini, into unforgettable events.
Mozart, Piano Concerto No.19 in F major, K. 459
The soloist in this concerto conducted by Karl Böhm and played by the Vienna Philharmonic Orchestra is Maurizio Pollini, one of the most enigmatic figures in today’s musical world. Although he approaches the repertoire in a profoundly spiritual manner, Pollini does not ban brilliance and dazzling virtuosity from his playing. His lyrical and intense art makes him predestined for Mozart, whose works he has been interpreting in a completely new light for many years now. Mozart wrote his concerto K. 459 in 1784 as one of the six concertos written in that year for a series of subscription concerts in which he regularly played a new work of his own creation. Its first movement begins with a jaunty rhythm reminiscent of that used in the Symphonies K. 550 and 551. The orchestra claims equal partnership right away, the masterful interplay of the winds, strings and solo instrument revealing the full extent of Mozart’s innovative treatment of the concerto form. Maurizio Pollini first drew widespread attention when he won the first prize at the Chopin Competition in Warsaw in 1960 and was expressly praised by Arthur Rubinstein, the president of the jury. Surprisingly, he turned down the many offers of performances he then received in order to “listen” and meditate. It was only after working with Michelangeli that he launched his international career. A socially committed artist, he rejected all forms of elitism. He has played for workers in factories and given concerts to support political causes. In addition to the romantic repertoire, which he masters superbly, he has always shown a predilection for contemporary works, especially those of Stockhausen and Nono. He recorded this concerto at Vienna’s Musikvereinssaal in April 1976. Karl Böhm conducts the Vienna Philharmonic.
Strauss, Rehearsal of “Don Juan”, op.20
Karl Böhm was born in Graz, Austria, on 28 August 1894. He made his conducting debut in his hometown in 1917 before going on to Munich in 1921, where he was hired by Bruno Walter. He made his debut at the Vienna State Opera in 1933 and was appointed general manager of the Dresden State Opera the same year. This marked the beginning of an intensive and fruitful collaboration with Richard Strauss (Böhm conducted the world premieres of “Die schweigsame Frau” and “Daphne”). He died in Salzburg on 14 August 1981. One of the hallmarks of Böhm’s conducting was its perennially youthful vigor and directness, its lack of pathos and sentimentality. Dramatic climaxes and full sonorities grew out of almost imperceptible accents, out of the natural rhythm of the human breath. His gestures were minimalistic, his baton suggested movement more than it described it. Böhm set standards with his interpretations of the works of his long-time friend Richard Strauss. The unofficial curator of Strauss’ musical legacy, Böhm knew his friend’s music inside and out – and he knew just how Strauss wanted his works to sound. Here Böhm works with the Vienna Philharmonic, which premiered Strauss’s “Don Juan” in Vienna in 1892.
Brahms, Symphony No.2 in D major, op.73
Brahms’s sunny Second Symphony is as warm and lyrical as his First had been stormy and dramatic. It quite possibly reflects the idyllic nature around Lake Wörth in Austria, where Brahms composed it in the summer of 1877. Brahms himself, however, called attention to the melancholy current that undermines the pastoral serenity (“You’ve never heard anything as world- weary as this”, he wrote to his friend Schubring). Despite the apparent simplicity of the symphonic writing, the work is strengthened and enriched by many thematic threads that run from one movement to another. It has been a special favorite among music lovers since its premiere in Vienna on 30 December 1877. The celebrated 19th-century music critic Eduard Hanslick wrote that it was for “all who long for good music, whether they understand its complexity or not”. Karl Böhm leads the Vienna Philharmonic Orchestra in a live recording made at the “Grosser Musikvereinssaal” in Vienna.
Strauss, Don Juan, op.20
Karl Böhm was born in Graz, Austria, on 28 August 1894. He made his conducting debut in his hometown in 1917 before going on to Munich in 1921, where he was hired by Bruno Walter. He made his debut at the Vienna State Opera in 1933 and was appointed general manager of the Dresden State Opera the same year. This marked the beginning of an intensive and fruitful collaboration with Richard Strauss (Böhm conducted the world premieres of “Die schweigsame Frau” and “Daphne”). He died in Salzburg on 14 August 1981. One of the hallmarks of Böhm’s conducting was its perennially youthful vigor and directness, its lack of pathos and sentimentality. Dramatic climaxes and full sonorities grew out of almost imperceptible accents, out of the natural rhythm of the human breath. His gestures were minimalistic, his baton suggested movement more than it described it. Böhm set standards with his interpretations of the works of his long-time friend Richard Strauss. The unofficial curator of Strauss’ musical legacy, Böhm knew his friend’s music inside and out – and he knew just how Strauss wanted his works to sound. Here Böhm works with the Vienna Philharmonic, which premiered Strauss’s “Don Juan” in Vienna in 1892.
Mozart, Symphony No.28 in C major, K. 200
Filmed mainly in Vienna’s splendid “Musikvereinssaal,” the Mozart symphonies conducted by Karl Böhm are all interpreted by one of the world’s foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwängler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Böhm. “Thanks to Bruno Walter’s exemplary performances, particularly of Mozart’s works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart.” (Karl Böhm) Like the “Little” G-minor Symphony, K. 200 is also one of the early “Salzburg” symphonies. Its originality places it on a par with the G-minor work. The onward-rushing, sharply profiled theme prefigured an evolution which led to a more individual characterization of the melodies and to a more thorough exploitation of their combinative possibilities. While the muted strings and “sigh” motifs of the Andante point to techniques Mozart was to perfect in later works, the final sprightly Presto recalls the structure of the opening movement, thus rounding off the work in an admirable fashion. Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm’s first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Böhm wrote that “Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart.” Böhm’s discovery of these secrets transformed his Mozart interpretations into unforgettable events.
Rehearsal for Mozart, Symphony No.33 in B flat major, K.319
Mozart, Symphony No.39 in E flat major, K. 543
Filmed mainly in Vienna’s splendid “Musikvereinssaal,” the Mozart symphonies conducted by Karl Böhm are all interpreted by one of the world’s foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwängler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Böhm. “Thanks to Bruno Walter’s exemplary performances, particularly of Mozart’s works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart.” (Karl Böhm) This symphony is the first segment of the famous symphonic triptych composed by Mozart in the summer of 1788. Although we do not know exactly why Mozart wrote these three symphonic masterpieces at that time, it is assumed that they were intended for a series of concerts in Vienna. Despite his waning popularity in Vienna and his desperate financial situation, Mozart succeeded in forgetting his daily concerns and created a masterpiece of good spirits and self-confidence. The stately introduction leads into a graceful, urbane theme that seems to flow without effort. But a highlight of this work is the Trio of the Minuet, a pastoral Ländler for woodwinds that contrasts strikingly with the pounding energy of the Minuet. Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm’s first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Böhm wrote that “Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart.” Böhm’s discovery of these secrets transformed his Mozart interpretations into unforgettable events.
Mozart, Symphony No.33 in B flat major, K. 319
Filmed mainly in Vienna’s splendid “Musikvereinssaal,” the Mozart symphonies conducted by Karl Böhm are all interpreted by one of the world’s foremost orchestras, the Vienna Philharmonic Orchestra, whose principal conductors have included Wilhelm Furtwängler, Bruno Walter, Herbert von Karajan, Claudio Abbado and, of course, Karl Böhm. “Thanks to Bruno Walter’s exemplary performances, particularly of Mozart’s works, I grabbed on to Mozart and fell in love with him so much that I had only one wish: to conduct Mozart, Mozart, Mozart.” (Karl Böhm) This cheerful and sunny work is a model of Mozartean grace and unity. Written in a more subdued style than its preceding work, the “Paris” Symphony, it reflects the chamber-music atmosphere and lightness of the earlier Austrian symphonies. It is interesting to note that the development section in the first movement is built on the same theme as the finale of the “Jupiter” Symphony K. 551, Mozart’s last. Karl Böhm was universally acclaimed for his Mozart interpretations. Though Wagner was one of Böhm’s first loves, his friendship with Richard Strauss led to a deep knowledge and appreciation of Mozart. In his autobiography, Böhm wrote that “Richard Strauss revealed to me the ultimate secrets of this, in my opinion, greatest of all musical geniuses, Mozart.” Böhm’s discovery of these secrets transformed his Mozart interpretations into unforgettable events.