REVIEW Original LP issue (excerpt)
There is indeed a whole procession of turns or party pieces added in to the festivities at the place (after "Dui-du") where custom sometimes interpolates a long ballet sequence. Here we get an inch or so of party music and then, like a cabaret, come the interpolations. Miss Resnik as Orlofsky (not quite as dashing as one could have wished in "Chacun a son gout") is supposed to be entertaining not merely "die schoene junge Ratten" from the Opera but a galaxy of Decca's top recording stars as well. There is polyglottery a la St. John's Wood: jokes in English and Italian as well as the current German and, for the purist I daresay, a very considerable disruption of the kind of mood so far established. Tebaldi leads off with a very serious, slightly heavy but beautiful "Viljalied" (in German). Corena obliges with the sort of song I associate with Yves Montand, also charming. These like every other item elicit a tumultuous welccrne frcm the other guests. Nilsson's song from My Fair Lady is sung in excellent English; does the conjunction of music and artist show up either? I know which comes off second best: the composer. One just longs for him to provide something for this Brunnhilde to get her teeth into! I could have done without del Monaco in this particular drawing-room, but it too earns vociferous applause; Berganza's basque Lullaby is lovely, so are Leontyne Price's "Summertime" and in its daring and agility, Miss Sutherland's Waltz. The late Jussi Bjorling begins "You are my heart's delight" in Swedish and finishes it in German (this has brought us to side five), Simionato and Bastianini get a smile out of the incongruity of their double act and last of all, rather touchingly, Ljuba Welitsch expressing the hope that she is really welcome at the party, sings from the heart Wein, wein nur du allein; thus more or less bringing us back to the locale, if hardly the mood of Die Fledermaus.
What are the rights and wrongs of this interlude? Apparently it follows a tradition honoured on New Year's Eve at the Metropolitan, where other artists not actually singing in the performance contribute something to the party. It is after all only following up the precedent whereby eminent divas in the last century used to sing Comin' through the rye and the Carnival of Venice during the singing lesson scene in The Barber of Seville. (I've heard the Shadow Song thus introduced as late as about 1936 at Covent Garden.)
Some people will frown. I should like to be present when Desmond Shawe-Taylor unpacks his copies. On the other hand I have played it to persons of highbrow and middle-brow taste and neither was in any way "shocked", only amused. After all, one can quite easily skip (or fairly easily, though one would find it easier to begin again with the prison scene).
P. H-W. - The Gramophone, November 1960 (link)
This splitting of the works not only allows for the Ballet to be issued, but also for us to explore Herbert von Karajan's four Johann Strauss recordings of the early 1940s, made with the Berlin Philharmonic Orchestra for 78rpm release by Deutsche Grammophon. In each case the recordings have been completely transformed from dull, wartime issue sound into music which sparkles and shines in a quite remarkable and unexpected manner. Despite the occasional flaw one expects from recordings of this vintage, the detail and range of the recordings is astonishing when heard in these 32-bit XR-remastered reincarnations.
Herbert von Karajan
Biographical notes from Wikipedia
|Herbert von Karajan in 1938
Herbert von Karajan (5 April 1908 – 16 July 1989) was an Austrian orchestra and opera conductor. His obituary in The New York Times described him as "probably the world's best-known conductor and one of the most powerful figures in classical music". Karajan conducted the Berlin Philharmonic orchestra for 35 years. He is the top-selling classical music recording artist of all time, having sold an estimated 200 million records during his career.
Herbert von Karajan was the son of an upper-middle class Salzburg family. The Karajans are said to have originally been Aromanian, or Greek, from the region of Macedonia. His great-great-grandfather, Geòrgios Johannes Karajànnis, was born in Kozani, a town in the Ottoman province of Rumelia (present West Macedonia in Greece), leaving for Vienna in 1767, and eventually Chemnitz, Saxony. He and his brother participated in the establishment of Saxony's cloth industry, and both were ennobled for their services by Frederick Augustus III on 1 June 1792, thus the prefix "von" to the family name. The surname Karajànnis became Karajan. Herbert's family from the maternal side, through his grandfather who was born in the village of Mojstrana, Duchy of Carniola (today in Slovenia), had Slovene origins according to a modern genealogical research, thus contrasting with or clarifying the traditional view which expressed a Serbian or simply a Slavic origin of his mother.
Karajan was born in Salzburg, Austria-Hungary, as Herbert Ritter von Karajan. He was a child prodigy at the piano. From 1916 to 1926, he studied at the Mozarteum in Salzburg, where he was encouraged to concentrate on conducting by his teacher, who detected his exceptional promise in that regard.
In 1929, he conducted Salome at the Festspielhaus in Salzburg and from 1929 to 1934 Karajan served as first Kapellmeister at the Stadttheater in Ulm. In 1933 Karajan made his conducting debut at the Salzburg Festival with the Walpurgisnacht Scene in Max Reinhardt's production of Faust. It was also in 1933 that von Karajan became a member of the Nazi party, a fact for which he would later be criticised. 
In Salzburg in 1934, Karajan led the Vienna Philharmonic for the first time, and from 1934 to 1941, he was engaged to conduct operatic and symphony-orchestra concerts at the Aachen opera house.
Karajan's career was given a significant boost in 1935 when he was appointed Germany's youngest Generalmusikdirektor and performed as a guest conductor in Bucharest, Brussels, Stockholm, Amsterdam and Paris  . In 1937 Karajan made his debut with the Berlin Philharmonic and the Berlin State Opera, conducting Fidelio. He then enjoyed a major success at the State Opera with Tristan und Isolde. In 1938, his performance there of the opera was hailed by a Berlin critic as Das Wunder Karajan (The Karajan miracle). The critic asserted that Karajan's "success with Wagner's demanding work Tristan und Isolde sets himself alongside Furtwängler and de Sabata, the greatest opera conductors in Germany at the present time". Receiving a contract with Deutsche Grammophon that same year, Karajan made the first of numerous recordings by conducting the Staatskapelle Berlin in the overture to Die Zauberflöte. On July 26, 1938, he married his first wife, operetta singer Elmy Holgerloef. They would divorce in 1942.
On 22 October 1942, at the height of the war, Karajan married his second wife, Anna Maria "Anita" Sauest, born Gütermann. She was the daughter of a well-known manufacturer of yarn for sewing machines. Having had a Jewish grandfather, she was considered Vierteljüdin (one-quarter Jewish). By 1944, Karajan was, according to his own account, losing favor with the Nazi leadership; but he still conducted concerts in wartime Berlin on 18 February 1945 and fled Germany with Anita for Milan a short time later. Karajan and Anita divorced in 1958.
In the closing stages of the war, Karajan relocated his family to Italy with the assistance of Victor de Sabata. Karajan was discharged by the Austrian denazification examining board on 18 March 1946, and resumed his conducting career shortly thereafter.
In 1946, Karajan gave his first post-war concert in Vienna with the Vienna Philharmonic but he was banned from further conducting activities by the Soviet occupation authorities because of his Nazi party membership. That summer he participated anonymously in the Salzburg Festival. The following year he was allowed to resume conducting.
In 1949, Karajan became artistic director of the Gesellschaft der Musikfreunde, Vienna. He also conducted at La Scala in Milan. His most prominent activity at this time was recording with the newly-formed Philharmonia Orchestra in London, helping to build them into one of the world's finest. Starting from this year, Karajan began his lifelong attendance at the Lucerne Festival.
In 1951 and 1952 he conducted at the Bayreuth Festspielhaus.
In 1955 he was appointed music director for life of the Berlin Philharmonic as successor to Wilhelm Furtwängler. From 1957 to 1964 he was artistic director of the Vienna State Opera. Karajan was closely involved with the Vienna Philharmonic and the Salzburg Festival, where he initiated the Easter Festival, which would remain tied to the Berlin Philharmonic's Music Director after his tenure.
On 22 October 1958 he married his third wife, French model Eliette Mouret; they became parents of two daughters, Isabel and Arabel.
He continued to perform, conduct and record prolifically until his death in Anif in 1989, mainly with the Berlin Philharmonic and the Vienna Philharmonic.
Karajan and the compact disc
Karajan played an important role in the development of the original compact disc digital audio format. He championed this new consumer playback technology, lent his prestige to it and appeared at the first press conference announcing the format. The maximum playing time of CD prototypes was sixty minutes but the final specification enlarged the disc size and extended the capacity to seventy-four minutes. There are various stories regarding this, one of which is that this was due to Karajan's insistence that the format have sufficient capacity to contain Beethoven's Ninth Symphony on a single disc.. Kees Schouhamer Immink, a Philips research engineer and fellow of the Audio Engineering Society, denies the Beethoven connection.
In 1980 von Karajan conducted the first recording ever to be commercially released on CD: Richard Strauss's Eine Alpensinfonie (1915), produced by Deutsche Grammophon.
Through the 1980s von Karajan re-recorded many works such as Beethoven's Nine Symphonies with Deutsche Grammophon's CD booklet introduction saying that he wanted to preserve his legacy digitally. He also pioneered the Digital Compact Cassette though that format was not particularly successful.
Karajan joined the Nazi Party in Salzburg on 8 April 1933; his membership number was 1,607,525. In June the Nazi Party was outlawed by the Austrian government. However, Karajan's membership was valid until 1939. In this year the former Austrian members were verified by the general office of the Nazi Party. Karajan's membership was declared invalid but his accession to the party was retroactively determined to have been on 1 May 1933 in Ulm, with membership number: 3,430,914.
Karajan's membership of the Nazi Party and increasingly prominent career in Germany from 1933 to 1945 cast him in an uncomplimentary light after the war[who?]. While Karajan's defenders[who?] have argued that he joined the Nazis only to advance his music career, critics such as Jim Svejda have pointed out that other prominent conductors, such as Otto Klemperer, Erich Kleiber and Arturo Toscanini, fled from fascist Europe at the time.
The consensus of abundant evidence proves that Nazi Party membership was a compulsory requirement for any employment by the State.
British music critic Richard Osborne counters this thesis by noting that among the many significant conductors who continued to work in Germany throughout the war years— including: Wilhelm Furtwängler; Ernest Ansermet; Carl Schuricht; Karl Böhm; Hans Knappertsbusch; Clemens Krauss and Karl Elmendorff—Karajan was one of the youngest and thus one of the least advanced in his career.
There is widespread agreement that Herbert von Karajan had a special gift for extracting beautiful sounds from an orchestra. Opinion varies concerning the greater aesthetic ends to which The Karajan Sound was applied. The American critic Harvey Sachs criticized the Karajan approach as follows:
Karajan seemed to have opted instead for an all-purpose, highly refined, lacquered, calculatedly voluptuous sound that could be applied, with the stylistic modifications he deemed appropriate, to Bach and Puccini, Mozart and Mahler, Beethoven and Wagner, Schumann and Stravinsky... many of his performances had a prefabricated, artificial quality that those of Toscanini, Furtwängler, and others never had... most of Karajan's records are exaggeratedly polished, a sort of sonic counterpart to the films and photographs of Leni Riefenstahl.
However, it has been argued by commentator Jim Svejda and others that Karajan's pre-1970 manner did not sound polished as it is later alleged to have become.
Two reviews from the Penguin Guide to Compact Discs can be quoted to illustrate the point.
- Concerning a recording of Wagner's Tristan und Isolde, a canonical Romantic work, the Penguin authors wrote "Karajan's is a sensual performance of Wagner's masterpiece, caressingly beautiful and with superbly refined playing from the Berlin Philharmonic" and it is listed in first place on pages 1586-7 of the 1999 Penguin Guide to Compact Discs; 2005, p1477.
- About Karajan's recording of Haydn's "Paris" symphonies, the same authors wrote, "big-band Haydn with a vengeance ... It goes without saying that the quality of the orchestral playing is superb. However, these are heavy-handed accounts, closer to Imperial Berlin than to Paris ... the Minuets are very slow indeed ... These performances are too charmless and wanting in grace to be whole-heartedly recommended."
The same Penguin Guide does nevertheless give the highest compliments to Karajan's recordings of the selfsame Haydn's two oratorios, The Creation and The Seasons. It must also be stated that no less a respected Haydn scholar than H.C. Robbins Landon wrote the notes for Karajan's recordings of Haydn's 12 London Symphonies and states clearly that Karajan's recordings are among the finest he knows.
Regarding twentieth century music, Karajan had a strong preference for conducting and recording pre-1945 works (Mahler, Schoenberg, Berg, Webern, Bartók, Sibelius, Richard Strauss, Puccini, Ildebrando Pizzetti, Arthur Honegger, Prokofiev, Debussy, Ravel, Paul Hindemith, Carl Nielsen and Stravinsky), but also did record Shostakovich's Symphony No. 10 (1953) twice and did premiere Carl Orff's "De Temporum Fine Comoedia" in 1973.
Awards and Honours
Karajan was the recipient of multiple honours and awards. On 21 June 1978 he received the Honorary Degree of Doctor of Music from Oxford University. He was honored by the "Médaille de Vermeil" in Paris, the Gold Medal of the Royal Philharmonic Society in London, the Olympia Award of the Onassis Foundation in Athens and the UNESCO International Music Prize. He received two Gramophone Awards for recordings of Mahler's Ninth Symphony and the complete Parsifal recordings in 1981. In 2002, the Herbert von Karajan Music Prize was founded in his honour; in 2003 Anne-Sophie Mutter who had made her debut with Karajan in 1977, became the first recipient of this award.
Notes from Wikipedia: http://en.wikipedia.org/wiki/Herbert_von_Karajan