After acquiring Karajan's previous Philharmonia recordings of the same works
above (except Swan of Tuonela), I must say that although the technical
quality is unsurpassed, these later Berlin versions strike me as curiously
bland of spirit. This music thrives on emotional grandeur and individuality,
that was present aplenty in London but here the whole result seems to be
superficially sleek. There is no denying the conductor's instinctive feeling
for these masterpieces especially in a cold and craggy Fourth.
This is the only work that supersedes the earlier Philharmonia version, first
of all the strings are a touch more immaculate and the whole depth of involvement
is of a significantly higher voltage. 'Il Tempo Largo' reveals some desperate
states of mind whilst the curious Allegro is daubed with black humor culminating
in those sinisterly evocative tubular bells, curiously sinister under Karajan's
direction. Sandwiched between the Fourth and Fifth, Gerhard Stempnik and
his dreamy cor anglais provide one of the most atmospheric 'Swan of Tuonela's
ever committed to disc. The subtle changes of harmony and brooding nature
of the music come across in this performance almost to the manner born.
I have always had a soft spot for Karajan's impeccably honed recordings of
the Fifth although for me, the grand pacing of his 1952 mono account is
unsurpassed. This version is better played and beautifully portrayed although
the effect is curiously underpowered, although certain critics have imparted
'lofty grandeur' to this 1965 recording. There are indeed some great moments
especially in the expansive opening movement with a coda of sublime nobility
and a deftly characterized slow movement, the serene, soft melody coming
to life superbly in the hands of those fabled BPO strings. Karajan's Finale
is faster than his previous versions but it is also rather too fleet of foot
with the famous hammer blows somewhat underpowered, no match for those superbly
dramatized Thor blows in 1952. Altogether this first disc is not an overall
improvement on the London versions.
The Sixth in Berlin is refreshing, not 'pure spring water', more fizzy champagne
but it still comes across marvelously. This is definitely the Karajan Sixth
to have, both for purity of playing and for interpretative insight, the opening
of the first movement, a particular case in point. The Finale is also richly
played, the sound sense of knowledge and high standards that emanate from
such playing puts other interpretations to shame. Nobility and humanity pervade
the Seventh, a titanic one-movement work of corporate substance and outstanding
magnificence. Here Karajan is up with Maazel, Koussevitzky and Collins for
victory, only his version includes an incredible BPO, up to the task and
alert to every subtle nuance. I still prefer the craggier Philharmonia version,
warts and all, it is the better performance but that stands in mono only.
Karajan was always at his best in the gigantic mystery of Tapiola, a work
which opens up vistas and memories of his experiences in the Northern latitudes.
This BPO version has always held pride of place, but those luscious Philharmonia
strings are still a top-class horse, more of a brown steed than the glorious
white Arab that is the BPO! We have been waiting for the re-packaging of
these legendary recordings and the remastering is quite excellent in many
ways. Short notes complete a fine enterprise, always an important part of
the general Sibelius discography and a fine memorial in this 10th anniversary
Karajan year.
Reviewer
Gerald Fenech
Performance:
Sound:
Recorded: Jesus Christus-Kirche, Berlin 1964-67
Producer: Prof Elsa Schiller
Engineer: Gunter Hermanns.
Berliner
Philharmoniker Herbert von Karajan
