Karajan Bruckner

Though it lacks a first movement, the 1944 Karajan Bruckner Eighth is both a notable performance and an astonishing piece of engineering. The finale, which was recorded in the studios of Berlin Radio in September 1944 in experimental 'two channel' sound, has occasionally been available on LP or CD, though never in such spectacular sound. For what we have here, as I understand it, is not the reproduction of a rough dubbing of the original mastertape but a transfer from the 30ips mastertape itself, part of a recently released hoard of tapes the Russians confiscated after the fall of Berlin in 1945. As for the second and third movements, recorded in mono towards the end of June 1944, these have never previously been released.

Admirers of Karajan will probably own most or all of these symphony cycles from what was probably the pinnacle of the conductor's prolific career. However, if you are unfamiliar with Karajan's work, or well enough acquainted with it to desire further exploration, then this amazingly inexpensive anthology can be enthusiastically recommended. I purchased all of these sets when they came out in DG's previous mid-priced "Karajan Symphony Edition," and I can testify to their consistently oustanding quality, both as performances and as interpretations. As recordings, however, it must be admitted that the sound is of variable quality; sometimes admirably vivid and well balanced, but frequently tending toward harshness, even garishness–particularly in those which come from the early digital era (cf. Bruckner's symphonies 1-3). Too bad Universal didn't see fit to give this magnificent legacy a sonic facelift. Still, the performances are sufficiently worthy of your attention to warrant purchase regardless of these sonic limitations.

Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 34 years. During the Nazi era, he debuted at the Salzburg Festival, with the Vienna Philharmonic, the Berlin Philharmonic, and during World War II he conducted at the Berlin State Opera. Generally regarded as one of the greatest conductors of the 20th century, he was a controversial but dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate, he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.

Herbert von Karajan was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 34 years. During the Nazi era, he debuted at the Salzburg Festival, with the Vienna Philharmonic, the Berlin Philharmonic, and during World War II he conducted at the Berlin State Opera. Generally regarded as one of the greatest conductors of the 20th century, he was a controversial but dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate, he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.

The equally majestic follow-up to one of the most successful box sets in recent memory: After KARAJAN 1960s here comes KARAJAN 1970s. Between 1970 and 1979, Herbert von Karajan recorded the incredible amount of 82 CDs worth of orchestral and choral music for DG This was the period that saw Karajan delve deeply into important repertoire that he never really tackled before or after – from Vivaldi to Mahler, to Berg, Schoenberg and Webern as well as Orff. Not to forget Christmas Concertos, National Anthems, and Prussian Marches.

"Between 1980 and his death in 1989, Herbert von Karajan recorded the incredible amount of 78 CDs worth of orchestral and choral music for DGG. In the final decade of his creative life, he made quintessential recordings of major works he had not recorded before: Nielsen’s Symphony No. 4 “The Inextinguishable” and Saint-Saëns’ “Organ” Symphony. Among the highpoints of Karajan’s late years is the major part of his collaboration with Anne-Sophie Mutter, the “wunderkind” Karajan discovered in the late 1970s and mentored throughout the 1980s.