Herbert von Karajan (April 5, 1908 – July 16, 1989) was an Austrian conduct… Read Full Bio ↴Herbert von Karajan (April 5, 1908 – July 16, 1989) was an Austrian conductor. He was one of the most prominent conductors of the postwar period and is widely regarded as the world's most recorded conductor. Karajan conducted the Berlin Philharmonic Orchestra for thirty-five years.
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. Early CD prototypes had a play time limited to sixty minutes. It is often asserted that the decision to extend the maximum playing time of the compact disc to its standard of seventy-four minutes was achieved in order to adequately accommodate Beethoven's Ninth Symphony. This, however, is denied by Kees Immink, who co-invented the CD.
As was the case with soprano Elisabeth Schwarzkopf, Karajan's membership in the Nazi Party and prominent cultural association with Nazism 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, his critics have pointed out that other great conductors such as Bruno Walter, Erich Kleiber and Arturo Toscanini fled from fascist Europe at the time. It should be noted, however, that many famous conductors worked in Germany throughout the war years, including Furtwängler, Ansermet, Schuricht, Böhm, Knappertsbusch, Clemens Krauss, Rother and Elmendorff. Additionally, 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?, her book on CIA cultural policy in postwar Europe, Frances Stonor Saunders noted that Karajan "had been a party member since 1933, and never hesitated to open his concerts with the Nazi favourite 'Horst Wessel Lied.'" Additionally and in contradistinction to Wilhelm Furtwängler, Karajan had no objections to conducting in occupied Europe. Musicians such as Isaac Stern and Itzhak Perlman refused to play in concerts with Karajan because of his Nazi past. Some have questioned whether Karajan was committed to the Nazi cause given the fact of his marriage in 1942 to Anita Guetermann, a woman of clear Jewish origin, but it is only from that point that Karajan's star within the government dimmed.
Von Karajan has often been criticized for a performance that was too polished, especially in later years. "...[He] opted instead for an all-purpose, highly refined, lacquered, calculatedly voluptuous sound..." (Harvey Sachs). However, there is widespread agreement that Herbert von Karajan had a special gift for extracting beautiful sounds from an orchestra.
Classical, Baroque, Opera, Romantic, Philharmonic
Beethoven Symphonies Nos. 4, 7
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. Early CD prototypes had a play time limited to sixty minutes. It is often asserted that the decision to extend the maximum playing time of the compact disc to its standard of seventy-four minutes was achieved in order to adequately accommodate Beethoven's Ninth Symphony. This, however, is denied by Kees Immink, who co-invented the CD.
As was the case with soprano Elisabeth Schwarzkopf, Karajan's membership in the Nazi Party and prominent cultural association with Nazism 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, his critics have pointed out that other great conductors such as Bruno Walter, Erich Kleiber and Arturo Toscanini fled from fascist Europe at the time. It should be noted, however, that many famous conductors worked in Germany throughout the war years, including Furtwängler, Ansermet, Schuricht, Böhm, Knappertsbusch, Clemens Krauss, Rother and Elmendorff. Additionally, 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?, her book on CIA cultural policy in postwar Europe, Frances Stonor Saunders noted that Karajan "had been a party member since 1933, and never hesitated to open his concerts with the Nazi favourite 'Horst Wessel Lied.'" Additionally and in contradistinction to Wilhelm Furtwängler, Karajan had no objections to conducting in occupied Europe. Musicians such as Isaac Stern and Itzhak Perlman refused to play in concerts with Karajan because of his Nazi past. Some have questioned whether Karajan was committed to the Nazi cause given the fact of his marriage in 1942 to Anita Guetermann, a woman of clear Jewish origin, but it is only from that point that Karajan's star within the government dimmed.
Von Karajan has often been criticized for a performance that was too polished, especially in later years. "...[He] opted instead for an all-purpose, highly refined, lacquered, calculatedly voluptuous sound..." (Harvey Sachs). However, there is widespread agreement that Herbert von Karajan had a special gift for extracting beautiful sounds from an orchestra.
Classical, Baroque, Opera, Romantic, Philharmonic
Beethoven Symphonies Nos. 4, 7
Ouvert%C3%BCre
Herbert von Karajan Lyrics
We have lyrics for these tracks by Herbert von Karajan:
Hoch Vom Himmel hoch, da komm' ich her Ich bring' euch gute…
Madama Butterfly Act I: Vogliatemi bene un bene piccolino Vogliatemi bene Un bene piccolino Un bene da bambino Quale a…
Massenet: Thaïs: Méditation If you don't know where I come from, better stear…
O Soave Fanciulla O soave fanciulla, o dolce viso Di mite circonfuso alba luna…
Puccini: La Bohème / Act 1 O soave fanciulla, o dolce viso Di mite circonfuso alba luna…
Thaïs: Méditation If you don't know where I come from, better stear…
Verdi: La traviata / Act 1 O soave fanciulla, o dolce viso Di mite circonfuso alba luna…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@EvanJHagen
I am still hoping that one day, maybe, these Karajan films, and many others, will be released on Blu ray. These 35 mm films would look absolutely stunning, as opposed to slight playback errors on the Digital Concert Hall. (Not that I dislike it, it's a fantastic resource. It's probably because I live in Alaska that I experience such problems...)
@schubiduba1
I hope everything also get remastered
@Archonnoir
The fact that these are still not remastered is really insulting to the memory of Karajan who always followed and pioneered the latest technological developments and tried to produce his craft in most advanced audio visual experience possible. He’d probably turn over in his grave.
@antoineduchamp4931
@Marmoreon These recordings were in fact with the BPO miming to a playback... this was because Karajan wanted total editing control. It is evident with the wind/brass players, where you can see they are not blowing into their instruments.... the whole thing was one big playback exercise.
@Archonnoir
@Antoine Duchamp Yes I know. What’s that got to do with what I wrote?
@antoineduchamp4931
@Marmoreon I was pointing out that what you see on screen, as with all Karajan's filmed legacy (owned by him and directed by him) involve the orchestra playing in the way of miming, i.e. it is not a real performance you are witnessing. It is artificial. You cannot therefore make an artistic comment on a performance, from a mimed playback, from a performance already in the public domain. See the YT video by Simon Rattle, who discusses this, as well as numerous ex players of the Berlin Philharmonic.
@PUCCINIMUSICK
Amazing. Every phrase has a sense. Every closing of a phrase has a meaning, just in the most precious theatre play, music as words, used as such, to an extent which completely overtakes the artistic expression and goes straight into an axt of pure genious. Accents. Stesses. They are all there, well Beyond the written score and nevertheless completely in the spirit of the music. This is not mere reproduction, this is re-creation of Music. much more than any other conductor did before or arter him. Please tell us why the two thumbs down, give us the why...
@MaxiHartlieb
Amazing! I was listening to this video since two days now and can't get enough. Wow.
@andreaalvarado4455
Magnifico!!! Excelencia!!🥇🏆👏👏👏
@josiascavalcante1928
O Franco Atirador, de Carl Maria von Weber estabeleceu o padrão de uma tradição operística genuinamente alemã. Karajan está insuperável.