Commanding the podium with his slender figure, theatrical shock of hair and penetrating blue eyes, Herbert von Karajan projected the hieratic image of the conductor as officiant of some quasi-mystic rite. And anyone who ever saw him conduct live or on his many audiovisual recordings will agree that in his performances, music did indeed become a religion and Karajan its high-priest. Karajan (1908-1989) embodied classical music in the general consciousness as an epoch-making conductor, media star, opera producer, festival director and festival founder. But in spite of his Promethean and widely varied activities, he remained a superb conductor, with a grasp of the standard orchestral and operatic repertory from Mozart to Schoenberg that was unsurpassed among his peers. The Symphony No. 3 was recorded live at the Berlin Philharmonie in 1973.
Beethoven, Symphony No.5 in C minor, op.67
When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the “Fifth” and asked the famous French movie director Henri-Georges Clouzot (Quai des Orfèvres) to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan’s first efforts, he asked six directors to “stage” one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan – all in full dress – at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan’s most controversial production was Hugo Niebeling’s highly personal interpretation of the “Pastorale”, with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors.
Brahms, Symphony No.2 in D major, op.73
Commanding the podium with his slender figure, theatrical shock of hair and penetrating blue eyes, Herbert von Karajan projected the hieratic image of the conductor as officiant of some quasi-mystic rite. And anyone who ever saw him conduct live or on his many audiovisual recordings will agree that in his performances, music did indeed become a religion and Karajan its high-priest. Karajan (1908-1989) embodied classical music in the general consciousness as an epoch-making conductor, media star, opera producer, festival director and festival founder. But in spite of his Promethean and widely varied activities, he remained a superb conductor, with a grasp of the standard orchestral and operatic repertory from Mozart to Schoenberg that was unsurpassed among his peers. The Symphony No. 2 was recorded live at the Berlin Philharmonie in 1973.
Brahms, Symphony No.4 in E minor, op.98
Commanding the podium with his slender figure, theatrical shock of hair and penetrating blue eyes, Herbert von Karajan projected the hieratic image of the conductor as officiant of some quasi-mystic rite. And anyone who ever saw him conduct live or on his many audiovisual recordings will agree that in his performances, music did indeed become a religion and Karajan its high-priest. Karajan (1908-1989) embodied classical music in the general consciousness as an epoch-making conductor, media star, opera producer, festival director and festival founder. But in spite of his Promethean and widely varied activities, he remained a superb conductor, with a grasp of the standard orchestral and operatic repertory from Mozart to Schoenberg that was unsurpassed among his peers. The Symphony No. 4 was recorded live at the Berlin Philharmonie in 1973.
Beethoven, Symphony No.3 in E flat major, op.55 “Eroica”
When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the “Fifth” and asked the famous French movie director Henri-Georges Clouzot (Quai des Orfèvres) to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan’s first efforts, he asked six directors to “stage” one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan – all in full dress – at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan’s most controversial production was Hugo Niebeling’s highly personal interpretation of the “Pastorale”, with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors.
Beethoven, Symphony No.2 in D major, op.36
When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the “Fifth” and asked the famous French movie director Henri-Georges Clouzot (Quai des Orfèvres) to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan’s first efforts, he asked six directors to “stage” one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan – all in full dress – at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan’s most controversial production was Hugo Niebeling’s highly personal interpretation of the “Pastorale”, with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors.
Dvorák, Symphony No.9 in E minor, op.95 “From the New World”
I take my hat off to a man who is not a professional musician but has learned a score like that of the Requiem in only ten days”, wrote Herbert von Karajan to Henri Georges Clouzot in 1967. When Karajan began recording on film in the mid 1960s, one of the men he turned to for artistic assistance was the noted film director Clouzot, the creator of classic “films noirs” such as “Quai des Orfèvres” and “Wages of Fear” (Le salaire de la peur). Between 1965 and 1967, Clouzot directed five works for Karajan, whereby he displayed a marked talent for underlining the conductor’s “star” aspect. Dvorák’s Ninth Symphony was produced in 1966. The performance is preceded by a filmed rehearsal which offers valuable insights into Karajan’s art of conducting and into his interpretation of Dvorák’s “great intimacy with nature, which his music expresses in every tune and which is also a kind of folklore” (Herbert von Karajan).
Herbert von Karajan, Wiener Philharmoniker & Berliner Philharmoniker
The New Year´s Concert from the Golden Hall of the Musikverein Vienna with the Wiener Philharmoniker is always one of the best-selling classical albums each year. In 1987 Herbert von Karajan conducted his only performance of the New Year´s Concert performing famous pieces from Johann Strauss I, Johann Strauss II and Josef Strauss. As soloist in one piece you can hear the legendary soprano Kathleen Battle. The New Year´s Eve Concert 1988 was one of the last concerts that Herbert von Karajan gave with the Berliner Philharmoniker in Berlin. For this concert he invited the 17 year old Evgeny Kissin to his debut with the orchestra. After the concert the press did raving reviews about Kissin´s musicality and technical skills and he proves till today that he is one of the best pianists of our time. It was barely half a year after this concert, on July 16, 1989, that Herbert von Karajan passed away. The present recording thus forms an essential document of two highlights in the last years of the maestro’s life. One of many such documents that have made this great conductor immortal.
Anne-Sophie Mutter, Herbert von Karajan, Berliner Philharmoniker
For the first time available on Blu-ray is this extraordinary artistic collaboration of three super stars: Herbert von Karajan, Anne-Sophie Mutter and the Berlin Philharmonic perform three popular violin concertos, filmed in 1984 and 1987 at the legendary Philharmonie Berlin. The very famous Beethoven Violin Concerto, the cardinal work in the violin repertoire, was filmed with 21-year old Anne-Sophie Mutter in 1984. In 1987 Karajan, together with Anne-Sophie Mutter and the Berlin Philharmonic, inaugurated the Chamber Music Hall at Berlin Philharmonie with this festive performance of Vivaldi’s The Four Seasons. And New Year´s Eve concert in 1984 celebrated the 300th birthday of Johann Sebastian Bach. These concerts show that Karajan, throughout his career, championed the use of visual media and new audio technology to enhance musical expression.
Herbert von Karajan: Portrait of the Conductor Legend
Herbert von Karajan was one of the 20th century’s most fascinating and complex musical personalities, a conductor who dominated the post-war classical music world like a colossus. This film reveals the phenomenon of the man and his music while touching on inspiring – but also controversial – aspects of his career. There are insights from musicians who worked with him, but also from Karajan himself, who, in archive interviews, discusses events in his life and relates them to his work as a conductor. The result is a fascinating portrait of an incomporable musician, whose work continues to resonate powerfully even decades after his death.