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.

Beethoven, Piano Concerto No.4 in G major, op.58

The premiere of this concerto took place at a marathon concert organized by Beethoven at Vienna’s Theater an der Wien on 22 December 1808. The program included the world premieres of Beethoven’s Choral Fantasy and Symphonies Nos. 5 and 6, the Vienna premiere of the Piano Concerto No. 4, and excerpts from other works by Beethoven – more than four hours of demanding contemporary music by a “difficult” composer! The soloist opens the concerto with a theme that seems like a gentle echo of the forceful “Fate” theme that opens the Fifth Symphony. The Andante is a kind of dialogue between the two different temperaments: the stark and stern strings, and the gentle, pleading piano. The boisterous finale rushes through a variety of contrasting moods before bringing the piece to a rousing close. Karl Böhm conducts the Wiener Symphoniker and the pianist Wilhelm Backhaus (1884-1969), who was over 80 years old at the time and had been playing this Beethoven concerto for 70 years already. One of the eminent piano virtuosos of the 20th century, he was renowned above all for his performances of Beethoven.

Schumann, Symphony No.4 in D minor, op.120

In the early 1960s, Herbert von Karajan (1908-1989) became fascinated by the movie director Henri-Georges Clouzot, who had directed “Quai des orfèvres” and “Mystère Picasso.” He suggested that Clouzot work with him on a “visual interpretation” of musical masterworks. Their fruitful collaboration included Schumann’s Fourth Symphony (1965), Beethoven’s Symphony No. 5 (1966), Mozart’s Fifth Concerto (1966), Dvorak’s Ninth Symphony (1966) and Verdi’s Requiem (1967). The chemistry between the two men was unparalleled: the score becomes a script, the musical phrases are translated into cuts where the musicians are treated as “actors” of music. The director creates an extraordinarily captivating climate, reproducing in images all the nuances and strength of the work. Tracked by Clouzot’s camera, Karajan’s concentration is equally fascinating. Never had a conductor been filmed with as much strength and passion.

Mozart, Violin Concerto No.5 in A major, K. 219

Mozart, who was also an accomplished violinist, wrote all of his five violin concertos in Salzburg in 1775, apparently for his own personal use. Their style can best be described as cosmopolitan and reflects the many musical currents he had been exposed to while on his travels in Italy and elsewhere. Aristocratic, suave, witty, wonderfully melodious, they are dazzling gems that conceal an inner core of challenging material that can be truly mastered only by the very best violinists, such as Yehudi Menuhin. Menuhin was not only a peerless violinist, but also an ambassador of music who contributed with his art to the understanding among nations: Yehudi Menuhin, who as born in 1916 to Jewish immigrants in New York, began giving concerts and making recordings in his earliest youth. For seven decades he traveled around the globe for the sake of music – as violinist, teacher and, increasingly, as conductor. The committed humanist and cosmopolitan Menuhin was one of the first foreign soloists to appear in Germany after 1945. In 1957 he founded his own music festival in Gstaad. He obtained many awards for his musical achievements and died in Berlin at the age of 82 while on a tour of Germany.

La Fille Mal Gardée (The Unchaperoned Daughter)

Premiered in Bordeaux two weeks before the storming of the Bastille, “La fille mal gardée” is the only classic 18th-century ballet still in the repertoire today. Critics found that the naturalness, sensitivity and humor of Heinz Spoerli’s 1981 staging make it superior to the benchmark staging by Sir Frederick Ashton, who brought the work back to life and worldwide fame in 1960.

Gräfin Mariza

After “The Gypsy Princess”, which put him in the ranks of the most successful composers of light music, Emmerich Kálmán (1882-1953) scored another international success with “Countess Mariza” in 1924. The special appeal of this operetta lies in the inventiveness and profusion of its melodic lines. An effective combination of humor and sentimentality is reinforced by elements of Hungarian folklore, elements which give the operetta its unforgettable charm.