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Herbert von Karajan
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Herbert von Karajan (5 April 1908–16 July 1989) was an Austrian orchestra and opera conductor, one of the most renowned 20th-century conductors. 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 for thirty-five years. He is the top-selling classical music recording artist of all time, with record sales estimated at 200 million.
ert von Karajan was the son of an upper-bourgeois Salzburg family.
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Herbert von Karajan (5 April 1908–16 July 1989) was an Austrian orchestra and opera conductor, one of the most renowned 20th-century conductors. 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 for thirty-five years. He is the top-selling classical music recording artist of all time, with record sales estimated at 200 million.
Biography
Genealogy
Herbert von Karajan was the son of an upper-bourgeois Salzburg family. The Karajan family is said to have originally been Aromanian (Vlach) Greek, from the region of Macedonia. His great-great-grandfather, Georg Johannes Karajanis, 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 June 1 1792, thus the prefix "von" to the family name. The surname Karajanis 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 the traditional view which expressed a Serbian or simply a Slavic origin of his mother.
Early years
Karajan was born in Salzburg, Austria as Heribert 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 study conducting by his teacher, who noticed his amazing talent and ability.
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. The following year, and again in Salzburg, Karajan led the Vienna Philharmonic for the first time, and from 1934 to 1941, Karajan conducted opera and symphony concerts at the Aachen opera house.
In 1935, Karajan's career was given a significant boost when he was appointed Germany's youngest Generalmusikdirektor and was a guest conductor in Bucharest, Brussels, Stockholm, Amsterdam, and Paris . Moreover, in 1937, Karajan made his debut with the Berlin Philharmonic and the Berlin State Opera with Fidelio. He enjoyed a major success in the State Opera with Tristan und Isolde and in 1938, his performance of the opera was hailed by a Berlin critic as Das Wunder Karajan (The Karajan miracle), claiming that his "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 26 July 1938, he married his first wife, operetta singer Elmy Holgerloef. They would divorce in 1942.
Adolf Hitler did not appreciate Karajan's performance of Die Meistersinger on 2 June 1939, according to Winifred Wagner, because Karajan, who was conducting without a score, lost his way, the singers halted and the curtain was rung down in confusion. According to Winifred Wagner, Hitler decided that Karajan was not ever to conduct at the annual Bayreuth festival. However, as a favourite of Hermann Göring he would continue his work as conductor of the Staatskapelle (1941-1945), the orchestra of the Berlin State Opera, where he would accompany about 150 opera performances in total.
On 22 October 1942, at the height of the war, Karajan married his second wife, Anna Maria "Anita" Sauest, née Gütermann, the daughter of a well-known manufacturer of yarn for sewing machines, and who, having a Jewish grandfather, was considered Vierteljüdin (one-quarter Jewish). By 1944, Karajan was, by his own account, losing favor with the Nazi leaders, 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.
Postwar years
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. However, 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 lifetime long attendance of 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.
He 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, 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 Vienna Philharmonic and the Berlin 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 is a story that this was due to Karajan's insistence that the format have sufficient capacity to contain Beethoven's Ninth Symphony on a single disc. Snopes says the truth of the story is undetermined. 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. The recording is often acclaimed as one of the greatest of this work.
Nazi membership
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 in the Nazi Party and increasingly prominent career in Germany from 1933 to 1945 cast him in an uncomplimentary light after the war. While Karajan's defenders have argued that he joined the Nazis only to advance his own career, critics such as Jim Svejda have pointed out that other prominent conductors, such as Bruno Walter, Erich Kleiber and Arturo Toscanini, fled from fascist Europe at the time. However, British music critic Richard Osborne argues that among the many well-known conductors who worked in Germany throughout the war years—a list that includes Wilhelm Furtwängler, Ernest Ansermet, Carl Schuricht, Karl Böhm, Hans Knappertsbusch, Clemens Krauss and Karl Elmendorff—Karajan was in fact one of the youngest and least advanced in his career.
Some have argued that careerism could not have been Karajan's sole motivation, since he first joined the Nazi Party in 1933 in Salzburg, Austria, five years before the Anschluss. In The Cultural Cold War, published in Britain as Who Paid the Piper?, Frances Stonor Saunders noted that Karajan "had been a party member since 1933, and opened his concerts with the Nazi favourite 'Horst Wessel Lied.'" In addition, although he did open a Paris concert with the Horst Wessel Lied, he had a history of avoiding political or nationalistic gestures at performances wherever possible.
Jewish musicians such as Isaac Stern, Arthur Rubinstein, and Itzhak Perlman refused to play in concerts with Karajan because of his Nazi past. Richard Tucker also pulled out from a 1956 recording of Il trovatore when he learned that Karajan would be conducting, and threatened to do the same on the Maria Callas recording of Aida, until Tullio Serafin replaced Karajan. Some have questioned whether Karajan was committed to the Nazi cause given his marriage in 1942 to Anita Gütermann, who was partly of Jewish origin. Evidence suggests that he received several threats to his career as a result of the engagement, and had attempted to resign from the Nazi Party when questioned about it.
Commentators such as Osborne and the British journalist Mark Lawson have suggested that music, and access to making music, over-rode everything for Karajan, and that may have led to him making amoral decisions such as Nazi membership in order to get what he wanted with regard to music. Lawson in particular has suggested that the lack of conclusive evidence about Karajan's personal political ideology, and apparently contradictory episodes in his life (such as his marriage), at least suggests that his membership was more a means to an end than the expression of an ideological standpoint.
Musicianship
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.
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.
Professional behavior
Some critics, particularly British critic Norman Lebrecht, charged Karajan with initiating a devastating inflationary spiral in performance fees. During his tenure as director of publicly-funded performing organizations such as the Vienna Philharmonic, the Berlin Philharmonic, and the Salzburg Festival, he started paying guest stars exorbitantly, as well as ratcheting up his own remuneration:
- Once he possessed orchestras he could have them produce discs, taking the vulture's share of royalties for himself and rerecording favorite pieces for every new technology: digital LPs, CD, videotape, laserdisc. In addition to making it difficult for other conductors to record with his orchestras, von Karajan also drove up the prices that he would be paid and thus other conductors wanted.
During a recording session of the Beethoven Triple Concerto with David Oistrakh, Sviatoslav Richter and Mstislav Rostropovich, pianist Richter demanded an extra take, to which Karajan replied "No, no, we haven't got time, we've still got to do the photographs." This did not prevent violinist Oistrakh from saying, when Karajan turned 65, that he was "the greatest living conductor, a master in every style."
Awards and Honours
Karajan was the recipient of many 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.
To commemorate his Centenary, Herbert von Karajan was recently selected as a main motif for a high value collectors' coin: the 100th Birthday of Herbert von Karajan commemorative coin. The nine-sided silver coin, in the reverse, shows Karajan in one of his typically dynamic poses while conducting. In the background is the score of Beethoven's Ninth.
In popular culture
- Karajan's recording of Johann Strauss An der schönen, blauen Donau (The Blue Danube waltz) was used by director Stanley Kubrick in his science-fiction film 2001: A Space Odyssey (with Kubrick animating the sequence to match the prerecorded music, the opposite of the usual practice for soundtracks). The popular effect of this unconventional use of the music was such that the music became more identified for subsequent generations with space stations, primitive men, alien artifacts and such, than with the original waltz. Some years later, Kubrick again used Karajan's recordings, this time Béla Bartók's Music for Strings, Percussion and Celesta in The Shining. Although there is a 1958 version by Ferenc Fricsay of the second movement of Beethoven's Ninth Symphony in Stanley Kubrick's 1971 film A Clockwork Orange, the symphony's finale we hear at the end of the movie is Karajan's now-famous 1963 recording. These two versions are from DG and performed by the same orchestra, The Berlin Philharmonic.
Discography
A of Karajan's recordings is available at the website of the Herbert von Karajan Centrum.
Quotes
- Explaining why he preferred conducting the Berlin Philharmonic to the Vienna Philharmonic: "If I tell the Berliners to step forward, they do it. If I tell the Viennese to step forward, they do it. But then they ask why."
- "Those who have achieved all their aims probably set them too low" http://www.karajan.org
- Isaiah Berlin referred to Karajan as "a genius, with a whiff of sulphur about him".
See also
External links
Video
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