|
|
 |
| Berlin Philharmonic, Vienna Philharmonic/Herbert von Karajan. Compositions by Bach, Beethoven, Mozart, Vivaldi, Pachelbel, Rossini, Holst, Bizet, Tchaikovsky and others. |
|
|
|
|
|
|
| 1 Carmen, opera: Prélude |
|
|
| 2 Serenade No. 13 for strings in G major ('Eine kleine Nachtmusik'), K. 525: 1. Allegro |
|
|
| 3 Violin Concerto in D major, Op. 61: 3. Rondo |
|
|
| 4 Serenade for strings (or piano, 4 hands) in C major, Op. 48: 2. Valse |
|
|
| 5 Cavalleria rusticana, opera (melodramma) in 1 act: Intermezzo sinfonico |
|
|
| 6 An der schönen, blauen Donau (On the Beautiful, Blue Danube), waltz for orchestra (with chorus ad lib), Op. 314 (RV 314) |
|
|
| 7 Radetzky-Marsch, for orchestra, Op. 228 |
|
|
| 8 Violin Concerto, for violin, strings & continuo in E major ('La Primavera,' The Four Seasons; 'Il cimento' No. 1), Op.8/1, RV 269: 1. |
|
|
| 9 Orchestral Suite No. 3 in D major, BWV 1068: 2. Air |
|
|
| 10 Peer Gynt Suite for orchestra (or piano or piano, 4 hands) No. 1, Op. 46: 1. Morning Mood |
|
|
| 11 Boléro, ballet for orchestra |
|
|
| 12 The Planets, suite for orchestra & female chorus, Op. 32, H. 125: Mars, the Bringer of War |
|
|
| 13 Symphony No. 5 in C minor ('Fate'), Op. 67: 1. Allegro con brio |
|
|
| 14 Symphony No. 9 in E minor ('From the New World'), B. 178 (Op. 95) (first published as No. 5): 1. Allegro con brio |
|
|
| 15 Canon and gigue, for 3 violins & continuo in D major, T. 337 |
|
|
| 16 La gazza ladra (The Thieving Magpie), opera: Overture |
|
|
| 17 Thaïs, lyric comedy in 3 acts: Méditation |
|
|
| 18 Nutcracker, suite from the ballet, Op. 71a: Valse des fleurs |
|
|
| 19 Light Cavalry, overture to the operetta |
|
|
| 20 Les contes d'Hoffmann, opera in 4 acts: Barcarolle |
|
|
| 21 Vltava (The Moldau), symphonic poem (Má Vlast No. 2), JB 1:112/2 |
|
|
Album Review
As a two disc summary of Herbert von Karajan's career with Deutsche Grammophon, this set called "Karajan Gold" can't be bettered. Though the choice of repertoire emphasizes the Austrian maestro's lighter side -- there's no Bruckner or Mahler here to disrupt the flow of instantly identifiable masterpieces -- the selection still highlights what Karajan could do with an orchestra. Drawn predominately from his work with the Berliner Philharmoniker from the later part of his career, these recordings show that few conductors had such consummate control of their forces as Karajan. From the whiplash tutti crash of Bizet's Carmen Prélude through the smooth string legato of the Valse from Tchaikovsky's Serenade for Strings, the adeptly modulated crescendo of Ravel's Bolero and the starkly sculpted structure of the Allegro con brio from Beethoven's Fifth Symphony to the richly flowing sonorities of the Moldau from Smetana's Ma Vlast, Karajan is clearly in complete control of every aspect of the music making. And with that control, Karajan creates performances of unsurpassed sumptuousness. The tonal opulence of his Vivaldi, Bach and Pachelbel may seem overdone to fans of the purer tone of historically informed performance practice and the sonorous depths of his Grieg, Suppé and Offenbach may seem over-plumbed to fans of more lively performance styles. But few would argue that the result is not twenty-one tracks of purest Karajan gold captured in either splendid stereo or deluxe digital sound. ~ James Leonard, All Music Guide
|
|
|
• Biography
|
Other albums by: Herbert von Karajan |
|
|
more  |
|
