Herbert von Karajan - Strauss: Don Quixote (1965) [2019] Hi-Res
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BAND/ARTIST: Herbert von Karajan
- Title: Strauss: Don Quixote
- Year Of Release: 1965 [2019]
- Label: HDTT [HDTT1296]
- Genre: Classical
- Quality: FLAC (Tracks)
- Total Time: 00:44:07
- Total Size: 1,5 GB (+3%rec.)
- WebSite: Album Preview
Karajan never did less than superbly with Strauss's music, and several of his recordings
have never been bettered. Karajan rst proved his mettle in the Strauss idiom on record
with his 1947 reading of Metamorphosen. Given Karajan’s command over the Berlin
Philharmonic, he enjoys ample room for spectacle and sumptuous display. Complex
counterpoint and “special eects,” like the Ride through the Air sequence, become larger
than life, indeed “epic.” If Karajan presents the monumental elements in Strauss, he no
less captures the farcical, like the bleating of sheep, the enchanted boat, the windmills,
and the several colossal thumps to the Don’s backside.
Karajan's handling of the opening phrase is a miracle of delicate fancy, transporting us
into a fairy-tale world in two measures. The tiny fanfares lead to a curtain rising on the
broad, sunlit Spanish plain – all, interestingly enough, without resorting to a specically
Spanish idiom. If nothing else, these measures adumbrate the master theater-composer
Strauss later became. Details that normally don't come across in performance, like the
opening extended oboe solo, ower under Karajan. The stirrings of the Don's mania,
represented by eccentric whirls, tics, capers, and buzzes in the orchestra, emerge
unambiguously, simply because the players have absorbed the notes and because
Karajan has mastered rubato – here, an art that allows these quick little gures to sound
at the most surprising moment, without dropping the larger rhythmic pulse. The
"Dialogues between Knight and Squire" realize the depth of dramatic characterization
far more completely than many other performances, as the music rises to the noble
heights of the Quixote's apostrophe of the chivalric ideal. With "Vigil," that mood
returns, bringing along a rapturous harp glissando. This is some of the greatest night
(and knight) music ever, comparable to Chopin or the Brahms choral nocturnes, where
the music's "persona" seems to nd its perfect, most profound place in the night's
surround.
Of course, it's not all Karajan. Pierre Fournier probably ranks as a superlative cellist,
although some nd his tone warm but small. But a better term might be “restrained.”
Furthermore, he seemed to have a deeply mature, interpretive mind. One seldom
exclaimed, "How passionate," but often reected, "How deep." Fournier captures
Quixote's nobility, hot temper, and foolishness with the fullness of a great comic actor.
From Variation X through to the end, Karajan manages to rise from a great performance
to something even more. The funeral march after the Don's defeat becomes genuinely
tragic, depicting not merely the death of an ideal, but of idealism itself. In Quixote's
death scene, both Karajan and Fournier, in perfect partnership, manage to make
incarnate Cervantes' description: "The notary present remarked that in none of those
books had he read of any knight-errant dying in his own bed so peacefully and in so
Christian a manner." Still, Don Quixote remains primarily a fairy-tale, although one
aected by a realistic portrayal of emotions very deep within us. When the opening tiny
fanfares return at the close, they come as a glimpse of a well-earned heaven.
Tracks:
Richard Strauss
1-Introduction and Theme
2-Variations 1 thru 3
3-Variations 4 thru 10
4-Finale
Personnel:
Herbert von Karajan
The Berlin Philharmonic Orchestra
Pierre Fournier (Cello)
Giusto Cappone (Viola)
![Herbert von Karajan - Strauss: Don Quixote (1965) [2019] Hi-Res](https://www.dibpic.com/uploads/posts/2021-12/1640416764_back.jpg)
have never been bettered. Karajan rst proved his mettle in the Strauss idiom on record
with his 1947 reading of Metamorphosen. Given Karajan’s command over the Berlin
Philharmonic, he enjoys ample room for spectacle and sumptuous display. Complex
counterpoint and “special eects,” like the Ride through the Air sequence, become larger
than life, indeed “epic.” If Karajan presents the monumental elements in Strauss, he no
less captures the farcical, like the bleating of sheep, the enchanted boat, the windmills,
and the several colossal thumps to the Don’s backside.
Karajan's handling of the opening phrase is a miracle of delicate fancy, transporting us
into a fairy-tale world in two measures. The tiny fanfares lead to a curtain rising on the
broad, sunlit Spanish plain – all, interestingly enough, without resorting to a specically
Spanish idiom. If nothing else, these measures adumbrate the master theater-composer
Strauss later became. Details that normally don't come across in performance, like the
opening extended oboe solo, ower under Karajan. The stirrings of the Don's mania,
represented by eccentric whirls, tics, capers, and buzzes in the orchestra, emerge
unambiguously, simply because the players have absorbed the notes and because
Karajan has mastered rubato – here, an art that allows these quick little gures to sound
at the most surprising moment, without dropping the larger rhythmic pulse. The
"Dialogues between Knight and Squire" realize the depth of dramatic characterization
far more completely than many other performances, as the music rises to the noble
heights of the Quixote's apostrophe of the chivalric ideal. With "Vigil," that mood
returns, bringing along a rapturous harp glissando. This is some of the greatest night
(and knight) music ever, comparable to Chopin or the Brahms choral nocturnes, where
the music's "persona" seems to nd its perfect, most profound place in the night's
surround.
Of course, it's not all Karajan. Pierre Fournier probably ranks as a superlative cellist,
although some nd his tone warm but small. But a better term might be “restrained.”
Furthermore, he seemed to have a deeply mature, interpretive mind. One seldom
exclaimed, "How passionate," but often reected, "How deep." Fournier captures
Quixote's nobility, hot temper, and foolishness with the fullness of a great comic actor.
From Variation X through to the end, Karajan manages to rise from a great performance
to something even more. The funeral march after the Don's defeat becomes genuinely
tragic, depicting not merely the death of an ideal, but of idealism itself. In Quixote's
death scene, both Karajan and Fournier, in perfect partnership, manage to make
incarnate Cervantes' description: "The notary present remarked that in none of those
books had he read of any knight-errant dying in his own bed so peacefully and in so
Christian a manner." Still, Don Quixote remains primarily a fairy-tale, although one
aected by a realistic portrayal of emotions very deep within us. When the opening tiny
fanfares return at the close, they come as a glimpse of a well-earned heaven.
Tracks:
Richard Strauss
1-Introduction and Theme
2-Variations 1 thru 3
3-Variations 4 thru 10
4-Finale
Personnel:
Herbert von Karajan
The Berlin Philharmonic Orchestra
Pierre Fournier (Cello)
Giusto Cappone (Viola)
Classical | Oldies | FLAC / APE | HD & Vinyl
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