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Symphonies 40 & 41
Mozart, Karajan, Berlin Philharmonic
Symphonies 40 & 41
Genre: Classical
 
  •  Track Listings (10) - Disc #1

Herbert von Karajan spent his career trying to position himself as the Great German Conductor, but the simple fact was that although he recorded the German classics--Mozart, Beethoven, and Brahms--multiple times on several...  more »

     
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CD Details

All Artists: Mozart, Karajan, Berlin Philharmonic
Title: Symphonies 40 & 41
Members Wishing: 0
Total Copies: 0
Label: EMI Classics Imports
Release Date: 3/18/1997
Album Type: Import
Genre: Classical
Styles: Historical Periods, Classical (c.1770-1830), Modern, 20th, & 21st Century, Symphonies
Number of Discs: 1
SwapaCD Credits: 1
UPC: 724356610026

Synopsis

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Herbert von Karajan spent his career trying to position himself as the Great German Conductor, but the simple fact was that although he recorded the German classics--Mozart, Beethoven, and Brahms--multiple times on several labels, he really wasn't all that persuasive an advocate. Of course, he always obtained a high standard of playing from the Berlin Philharmonic, but listening to the music he did really well--Tchaikovsky, Strauss, Bruckner, and Wagner--it's impossible not to feel that his talents and attention were better invested elsewhere. --David Hurwitz
 

CD Reviews

Karajan was a VERY persuasive advocate of Mozart's music
03/06/2003
(5 out of 5 stars)

"I must disagree again with David Hurwitz and his one-man campaign against Karajan. Yes, his style may not have suited everyone, but you MUST hear Karajan's readings of these lovely works. As the venerable Penguin Guide asserts, this is big-band Mozart at its best. Buy this!"
Celestial
Stephen Chakwin | Norwalk, CT USA | 01/06/2004
(5 out of 5 stars)

"These are electrifying performances (as, in fairness, are K's remakes for DG), but these are recorded in better sound. Mozart was not a composer that Karajan came to early. Some of his older recordings reflect the fast, dry readings that the early part of the 20th century taught was how this was to be done. In his later years (led, i suspect, by the operas) K's readings of the symphonies opened up and attained real drama and majesty. His 40 became a real adventure into darkness, even with the luminous BPO. His 41 had power in 1, nobility in 2, grace in 3, and sheer transcendence in 4. I don't know many homecomings in music more convincing than the end of 41 in K's performance. These are readings to enjoy and to listen to over and over as the surface attraction of the playing and the sound becomes less and less important."