轉(zhuǎn)至小玉的日志
藝人： Herbert von Karajan
語種： 其他
唱片公司： Deutsche Grammophon
唱片編號： 4775954
發(fā)行時間： 2006年01月02日
專輯類別： 精選集
專輯風(fēng)格： 協(xié)奏曲 Concerto, 歌劇 Opera,管弦樂 Orchestral, 交響樂 Symphonic Music, 芭蕾 / 舞曲 Ballet / Dance, 西方古典 Western Classical Music, 交響曲 Symphony
精選集介紹：
專輯名稱：The Very Best of Adagio 柔板精選
專輯藝人：Karajan 卡拉揚(yáng)
出版發(fā)行：DG
發(fā)行時間：2005年
專輯編號：00289 477 5954
Made in the E.U.
演奏樂團(tuán)：Berliner Philharmoniker 柏林愛樂樂團(tuán)
演奏指揮：Herbert von Karajan 赫伯特·馮·卡拉揚(yáng)
赫伯特·馮·卡拉揚(yáng)無疑是二十世紀(jì)最具影響力的音樂家，如今他以超過2億的銷量穩(wěn)居古典唱片排行榜的首位，同時也是曲庫最廣的指揮。他1959年與 DG 簽下了獨(dú)家協(xié)議，并在之后的三十年間與 DG 合作錄制了250張唱片，其中包括三度錄制全套貝多芬9首交響曲。誰都不會否認(rèn)，他野心勃勃并且傲慢如皇帝，但他又是音樂的忠誠仆人，嚴(yán)謹(jǐn)?shù)酱得蟠?、刻薄到不近人情，一切都只為音樂。對于古典音樂愛好者來說，卡拉揚(yáng)的錄音就是品質(zhì)的保證。
卡拉揚(yáng)過往柔板系列全球銷量逾二百萬張，這套《The Very Best of Adagio 柔板精選》2CD的精選輯錄，帶來超過兩小時的柔和音樂旅程。這一套精選專輯，收錄了23首卡拉揚(yáng)指揮柏林愛樂樂團(tuán)的樂段，他們是從《卡拉揚(yáng)柔板》、《卡拉揚(yáng)柔板2》、《卡拉揚(yáng)夏日柔板》三張精選唱片中精中選精而出，幾乎集合了卡拉揚(yáng)指揮生涯的精華。
卡拉揚(yáng)以深厚的音樂素養(yǎng)向世人詮釋過激昂和歡愉；以超群的指揮技藝帶給世人無數(shù)多彩的旋律和浪漫的情懷?？ɡ瓝P(yáng)與世界首屈一指的最高水平樂團(tuán)——柏林愛樂樂團(tuán)合作長達(dá)30年，而這套唱片中收錄的分別選自1961到1986年的錄音，充分體現(xiàn)了他們之間的合作無間。里面包括了阿爾比諾尼、巴赫、莫扎特、貝多芬、比才、肖邦、維瓦爾第、格里格、柴科夫斯基、西貝柳斯、德沃夏克、莫扎特、拉威爾、馬勒、瓦格納、亨德爾、奧芬巴赫、馬斯奈等等著名作曲家的23段音樂。
卡拉揚(yáng)的指揮藝術(shù)、嚴(yán)正、完美，充分表現(xiàn)作品的思想實(shí)質(zhì)和藝術(shù)境界，他指揮的作品既有開闊時的豪放、又有細(xì)膩時的維妙維肖、引人入勝，從而塑造出鮮明動人的音樂形象。卡拉揚(yáng)的指揮氣勢宏偉、強(qiáng)調(diào)理性，技術(shù)精煉，熱情洋溢，對樂曲處理細(xì)膩精致，與樂隊(duì)配合得可謂水乳交融。將超級指揮大師卡拉揚(yáng)最精湛的指揮藝術(shù)、最精美和輝煌的音樂錄音完全收錄，永恒的精致完美音樂，值得每一位樂迷一生珍藏。
柔版精選集 專輯收錄自1961-1986年來卡拉揚(yáng)與柏林愛樂樂團(tuán)合作的諸多經(jīng)典柔版小夜曲。不言一語，完美而賦予深情地詮釋了巴赫/阿爾伯尼/貝多芬/比才/德沃夏克/格里格/馬斯卡尼/馬斯內(nèi)/莫扎特/柴可夫斯基/西貝柳斯等作曲家的柔版作品。
曲目：
disc 1
01、Tomaso Albinoni: Adagio for Strings and Organ in G minor Berliner Philharmoniker;Herbert von Karajan;David Bell;Leon ...
02、Johann Pachelbel: Canon and Gigue in D major, arr. Max Seiffert - 1. Canon Berliner Philharmoniker;Herbert von Karajan;Frank Maus
03、Edvard Grieg: Peer Gynt Suite No.2, Op.55 - 4. Solveig's Song Berliner Philharmoniker;Herbert von Karajan
04、Wolfgang Amadeus Mozart: Serenade in G, K.525 "Eine kleine Nachtmusik" - 2. Romance (Andante) Berliner Philharmoniker;Herbert von Karajan
05、Jules Massenet: Tha?s - Acte Deux - Meditation Michel Schwalbé; Berliner Philharmoniker;Herbert von Karajan
06、Antonio Vivaldi: Concerto for Violin and Strings in F minor, Op.8, No.4, R.297 "L'inverno" - 2. Largo Michel Schwalbé;Eberhard Finke;Horst Gobel;Berliner Philharm...
07、Pietro Mascagni: Cavalleria rusticana - Intermezzo sinfonico Wolfgang Meyer;Berliner Philharmoniker;Herbert von Karajan
08、Johann Sebastian Bach: Suite No.3 in D, BWV 1068 - 2. Air Berliner Philharmoniker;Herbert von Karajan;David Bell
09、Jean Sibelius: The Swan of Tuonela, Op.22, No.2 Gerhard Stempnik; Berliner Philharmoniker;Herbert von Karaja...
10、Frédéric Chopin: Les Sylphides, Arr. Roy Douglas - 2. Nocturne Berliner Philharmoniker;Herbert von Karajan
11、Gustav Mahler: Symphony No.5 in C sharp minor - 4. Adagietto (Sehr langsam) Berliner Philharmoniker;Herbert von Karajan
disc 2
01、Maurice Ravel: Pavane pour une infante défunte) Berliner Philharmoniker;Herbert von Karajan
02、Christoph Willibald von Gluck: Orfeo Ed Euridice: Dance Of The Blessed Spirits (Act 2) Karlheinz Zoeller;Berliner Philharmoniker;Herbert von Karaja...
03、Jacques Offenbach: Ga?té parisienne, Arranged by M. Rosenthal - Barcarolle) Berliner Philharmoniker;Herbert von Karajan
04、Edvard Grieg: Peer Gynt Suite No.1, Op.46 - 2. The Death Of Aase) Berliner Philharmoniker;Herbert von Karajan
05、Wolfgang Amadeus Mozart: Adagio and Fugue in C minor, K.546 - Orchestral version) Berliner Philharmoniker;Herbert von Karaj
06、Georges Bizet: Carmen Suite No.1 - Entr'acte (Act III) Berliner Philharmoniker;Herbert von Karajan
07、George Frideric Handel: Concerto Grosso in B minor, Op.6, No.12, HWV 330 - 3. Larghetto, e piano Michel Schwalbé;Hanns-Joachim Westphal; Ottomar Borwitzky;Ed...
08、Antonín Dvorák: Symphony No.9 in E minor, Op.95 "From the New World" - 2. Largo Berliner Philharmoniker;Herbert von Karaja
09、Peter Ilyich Tchaikovsky: Romeo and Juliet, Fantasy Overture - Love Theme Berliner Philharmoniker;Herbert von Karajan
10、Ludwig van Beethoven: Symphony No.7 in A, Op.92 - 2. Allegretto Berliner Philharmoniker;Herbert von Karajan
11、Georges Bizet: L'Arlésienne Suite No.1 - Adagietto Daniel Deffayet, Berliner Philharmoniker, Herbert von Karaja...
12、Richard Wagner: Tristan und Isolde - Concert version - Liebestod Berliner Philharmoniker, Herbert von Karajan
Herbert von Karajan（赫伯特·馮·卡拉揚(yáng)）的熱門歌曲
Herbert von Karajan（赫伯特·馮·卡拉揚(yáng)）的藝人檔案
地區(qū)： Austria 奧地利
風(fēng)格： 管弦樂 Orchestral, 交響樂 Symphonic Music, 西方古典 Western Classical Music,交響曲 Symphony
赫伯特·馮·卡拉揚(yáng)（Herbert von Karajan，1908年4月5日－1989年7月16日），出生于薩爾茨堡，是一位奧地利指揮家、鍵盤樂器演奏家和導(dǎo)演。
卡拉揚(yáng)在指揮舞臺上活躍70年。他帶領(lǐng)過歐洲眾多頂尖的樂團(tuán)，并且曾和柏林愛樂樂團(tuán)有過長達(dá)34年的合作關(guān)系。他熱衷于錄音和導(dǎo)演，為后人留下了大量的音像資料（到1988年為止他發(fā)行超過1億張唱片約700款錄音），包括眾多的鋼管，歌劇錄音和歌劇電影，涵括從巴洛克，到后浪漫主義歐洲作曲家，甚至部分現(xiàn)代樂派的作品。其中一些作品，如貝多芬的交響曲還被多次錄制。卡拉揚(yáng)在音樂界享有盛譽(yù)，甚至在中文領(lǐng)域被人稱為“指揮帝王”。
指揮風(fēng)格
卡拉揚(yáng)并不作曲，一心從事指揮演奏事業(yè)。他的錄音譜極廣，空間上基本上涵蓋歐洲所有出名作曲家的作品，時間上則從巴洛克時期跨到20世紀(jì)，如：巴赫、維瓦爾第、海頓、莫扎特、貝多芬、布拉姆斯、門德爾松、舒曼、華格納、布魯克納、馬勒、理查·施特勞斯、德布西、拉威爾、西貝流士、卡爾·尼爾森、肖斯塔柯維奇還有勛伯格，貝爾格。而卡拉揚(yáng)在臺上的風(fēng)度也頗為世人所熟知：背譜演出，動作流暢，幅度大而不劇烈（與伯恩斯坦形成對比）。另外，卡拉揚(yáng)在錄音室中制作的歌劇錄音中，很少加入劇情中出現(xiàn)的聲響。正如他自己提到的一樣，他的演出結(jié)合了“托斯卡尼尼的精確和富特文格勒的幻想”。
德奧音樂
雖然卡拉揚(yáng)涉獵廣泛，但不能否認(rèn)，他指揮的作品以德奧作曲家的創(chuàng)作為主。他錄制過四次貝多芬，勃拉姆斯的交響曲全集，舒伯特，門德爾松，舒曼，布魯克納的全套交響曲，莫扎特，海頓的部分交響曲，瓦格納全套拜魯伊特劇目，另外還有施特勞斯的圓舞曲，理查·施特勞斯的音詩和歌劇等等。另外現(xiàn)代派作曲家，如在漢斯·維爾納·亨策（Hans Werner Henze）之前卡拉揚(yáng)也有過受到作曲家本人肯定的表現(xiàn)。卡拉揚(yáng)華麗光滑的處理手法在這些德奧古典作品中得到很好的體現(xiàn)，弦樂綿密厚實(shí)，銅管靚麗粗壯。而他在《企鵝唱片評鑒》里面獲得三星帶花評價的作品，多為該體系的作品：理查·施特勞斯的《死與凈化》，歌劇《阿里阿德涅在納克索斯》，莫扎特的《女人皆如此》，布魯克納的《第八交響曲》，1987年維也納新年音樂會等等。
卡拉揚(yáng)60年代的貝多芬交響曲全集可以說是一套非常有名的唱片。雖然并非人人都認(rèn)為它，或者是其中的幾部是該曲集的首選，但是它一直被給與很高的評價，例如網(wǎng)上書店Amazon.com將它評為“Amazon必備錄音”，并說道：
“赫伯特·馮·卡拉揚(yáng)為DG錄制的第一套貝多芬交響曲全集（1963）是他本人四套里面之首，這已是共識。柏林愛樂處于最佳狀態(tài)，他們在藝術(shù)上還未曾崇尚那種柔和光滑的處理手法，該手法可在指揮家后來的版本中聽到?？ɡ瓝P(yáng)一塵不染，情感冷峻的貝多芬對聽眾逐漸發(fā)展的聽覺鑒賞力總會有些影響，不過該全集是最有可能滿足它們的。--David Hurwitz”
雖然卡拉揚(yáng)對莫扎特、舒伯特交響曲的演繹并未獲得聽眾的一致贊好，不過他的布魯克納和理查·施特勞斯的錄音卻向來是有口皆碑的。例如在《美國錄音指導(dǎo)》（American Record Guide）中評論員湯瑪斯·古多爾寫道：
“卡拉揚(yáng)（的理查·施特勞斯）呈現(xiàn)的則是強(qiáng)韌性和戲劇性，在《英雄的生涯》中則有著強(qiáng)列的性欲表現(xiàn)?！瓫]有人能夠像卡拉揚(yáng)那樣有力地把握住戰(zhàn)斗一景中的恐怖氣氛，另外他在作品結(jié)尾處所呈現(xiàn)的壯麗豪華也是無人能及的?！?/font> 而卡拉揚(yáng)所錄制的布魯克納交響曲也深得好評，例如《企鵝唱片指南》評價其為DG公司所制作的全集唱片中說道此版被“奉為圭臬”。而其最后一版第八交響曲則得到了如下評價：
“最令人難忘的一個版本，其音響之華美，織體之豐富多彩令人贊嘆，但決不會轉(zhuǎn)移你的注意力：因?yàn)檠莩龅拿栏信c真實(shí)性是挽手通行的?！犨@張唱片這是一種藝術(shù)的享受”
意大利歌劇
卡拉揚(yáng)對意大利那種直率而又有生氣的藝術(shù)特別感興趣，特別是意大利歌劇中那種一往無阻的演唱風(fēng)格，優(yōu)美的旋律，使得卡拉揚(yáng)終身不斷地制作和錄制威爾第和普契尼的歌劇名作。在一次和《紐約客》記者溫托·薩吉安（Winthrop Sargeant）談話中，卡拉揚(yáng)提到了自己對意大利歌劇的看法：
“以托斯卡為例，這就好像來一頓衛(wèi)生，簡單但又少見的漢堡包快餐換換口味一樣。非常有益。里面有著最基本的情感和暴力。你能在托斯卡那傾瀉大堆的能量—這正是它與謀殺掛上鉤的原因，不過它的魅力在于，你看完過后不用被送去吊死。”
縱觀卡拉揚(yáng)一生的指揮事業(yè)，意大利歌劇總是伴隨著他。從開始時的烏爾姆，到后來的亞琛，倫敦，米蘭，柏林，維也納和薩爾茨堡，他都排演了威爾第，普契尼和唐尼采蒂的歌劇名作。雖然他只是排演了威爾第，普契尼有限的幾部歌劇，但是他選擇的作品無疑是兩位作曲家最具代表性的力作，前者的《阿依達(dá)》、《奧賽羅》、《法斯塔夫》、《游吟詩人》、《茶花女》和《唐·卡洛斯》，還有最后的歌劇制作《假面舞會》，后者的《波希米亞人》、《蝴蝶夫人》、《圖蘭多特》和《托斯卡》。另外還有里昂卡瓦羅的《丑角》和馬斯卡尼的《鄉(xiāng)村騎士》。這些作品對人物性格的刻畫深刻，情節(jié)充滿張力。在音樂方面，卡拉揚(yáng)喜歡加強(qiáng)輕弱對比以增加效果，例如《奧賽羅》最后一幕，苔絲德蒙娜的祈禱和后來奧賽羅與之的爭執(zhí)被卡拉揚(yáng)先柔后剛地處理，而類似的還有他棒下的《丑角》“殺妻”一景。
俄羅斯與民族樂派
卡拉揚(yáng)是西貝柳斯音樂的積極推廣者，他曾指揮過西貝柳斯除了第三號以外的6首交響曲和音詩。其中的4號“演奏水平之高，讓人無話可說”。有一次作曲者西貝留士在聽過卡拉揚(yáng)錄制的第4，7交響曲和《塔皮奧拉》之后說到：
“只有卡拉揚(yáng)懂我的音樂。我們的老朋友比徹姆，他指揮錄制的效果就不太一樣，聽起來總覺得他是先學(xué)了我的音樂，然后站在第一小提琴前指揮。 ”
另外，卡拉揚(yáng)也很喜歡錄制民族樂派中挪威作曲家格里格和兩位捷克作曲家德沃夏克以及斯美塔納的作品。其中前者的《皮爾金組曲》被他錄制過三次。德沃夏克的最后兩首交響曲和斯拉夫舞曲和斯美塔納的《伏爾塔瓦河 (音樂)》也是他喜歡演繹的炫技曲。而在俄羅斯音樂里面，卡拉揚(yáng)花了很多心思在柴可夫斯基的音樂上面，將這位作曲家的全部交響曲（《曼弗雷德交響曲》除外），三大芭蕾舞組曲，《1812序曲》，《意大利隨想曲》，《羅密歐與朱麗葉幻想序曲》還有《斯拉夫進(jìn)行曲》都錄制過一遍以上。強(qiáng)力集團(tuán)里面穆索爾斯基和里姆斯基-科薩科夫的管弦樂作品也很得他的青睞。
贊譽(yù)與批評
卡拉揚(yáng)熱愛體育，經(jīng)?；?，飆車，開船和飛機(jī)，還練瑜伽，而且他的記憶力驚人，一貫背譜演出。終其一生，他都與技術(shù)結(jié)緣，從錄音錄影到機(jī)械，甚至手術(shù)都會引起他的興趣，而且他承認(rèn)自己的個人發(fā)展深受媒體技術(shù)發(fā)展的影響，并盡力在他的演出中使用最新的音頻和視頻技術(shù)。卡拉揚(yáng)以其錄音數(shù)量之多廣，演繹之精彩在指揮界享有盛譽(yù)。西貝留斯曾致信華爾特·萊格說道卡拉揚(yáng)是“一位大師”。受他細(xì)心栽培的穆特說道：
“對于那些認(rèn)識他（卡拉揚(yáng)）的音樂家來說，他一直是未能超越的巔峰。他的音響有著超出時空的色質(zhì)。他能夠在一支樂隊(duì)中打造出和諧統(tǒng)一，使之成為一件擁有廣大音響和有著獨(dú)特演繹方式的樂器。這樣的傳統(tǒng)一直延續(xù)著。他是一位完美的音樂家，還是一個出色的心理學(xué)家。當(dāng)然我們每個人都追求著技術(shù)方面的完美，但是他的著眼點(diǎn)則首先是音樂的表達(dá)?！?/font>
而英語界權(quán)威的音樂辭典《格羅夫音樂與音樂家詞典》則寫道：“在他生命的最后30年，沒有別的指揮家在音響和織體上比他作出過更大的影響?！?br>
奧地利大戲劇顧問馬修·帕威（Marcel Prawy）和作家克萊尼特（Annemarie Kleinert）都在他們的書中寫道，卡拉揚(yáng)是一個孤獨(dú)有隔閡的藝術(shù)家?？ɡ瓝P(yáng)圈子里的人并不會叫他赫比（Herbie），而是敬稱他作“頭兒”（der Chef）。但與卡拉揚(yáng)在照片上的嚴(yán)肅冷峻相較，小澤征爾認(rèn)為他很平易近人，每每讓小澤以你我相稱。小澤并用“很熱心的”來形容他。 而在排練時，以及在新歌手聽唱時他也會表現(xiàn)出其幽默的一面。
卡拉揚(yáng)認(rèn)真對待排練，即使是樂隊(duì)已經(jīng)熟習(xí)的曲目，他也要求再認(rèn)真演練。而這種“完美主義者”作風(fēng)也很受一些與他共事過的人士的贊揚(yáng)，例如法國的劇院經(jīng)理米雪·格羅茲（Michel Glotz），卡拉揚(yáng)的左右手愛華德·馬克爾（Ewald Markl）和卡拉揚(yáng)的傳記作者羅賓遜。例如格羅茲的描述則是對卡拉揚(yáng)的幽默和完美主義的綜合：
“他（卡拉揚(yáng)）在一些方面專制得和卡拉斯別無二樣,整個暴君相：卡拉揚(yáng)是一個極端完美主義者,他就是受不了那種被他稱為“吊兒郎當(dāng)”（德語：Schlamperei）的作風(fēng)，那簡直可以讓他發(fā)瘋。不過除了要求每個人做出最出色的表現(xiàn)外，他倒是很喜歡看到樂隊(duì)能輕松下來，音樂家和歌手笑起來的。而且他通常是第一個搞起笑的人?！?br>
另外卡拉揚(yáng)通過“卡拉揚(yáng)基金”，“卡拉揚(yáng)指揮比賽”的形式帶攜提拔了很多年輕音樂家，如蘇菲－穆特，小澤征爾，鋼琴家基辛，女高音貢杜拉·揚(yáng)諾維茲等等。這些音樂家目前都成為了音樂界的重要人物。而且，卡拉揚(yáng)也很喜歡教學(xué)，并自稱能夠在兩分鐘后得出結(jié)論，對方是否合適指揮這一職業(yè)。曾經(jīng)師從過兩位大師（另一位是倫納德·伯恩斯坦）的小澤征爾回憶道，卡拉揚(yáng)在聽過小澤的演出后，經(jīng)常一針見血地提出批評和建議，并總結(jié)道“伯恩斯坦指指這里說說那里。而卡拉揚(yáng)則是位真正的老師?！?font style="BACKGROUND-COLOR: #000000; FONT-FAMILY: arial,helvetica,sans-serif" size="2">
對卡拉揚(yáng)的批評，可以按其所針對的方面大致分為三種，第一種是針對其過去納粹黨員的身份,第二種的目標(biāo)則是他的個人生活，還有第三種意見是對他指揮風(fēng)格的不滿意，屬于藝術(shù)方面的范疇。其中第一種已在上文中提到，這里包括那些在1955年柏林愛樂訪美時參加抗議的人士以及1967年反對提名卡拉揚(yáng)到芝加哥交響樂團(tuán)任職的猶太團(tuán)體。這一類批評者的主要立足點(diǎn)是，卡拉揚(yáng)的藝術(shù)觀點(diǎn)與政治觀點(diǎn)掛鉤，不能分開來看。
第二類的意見則是來自當(dāng)年卡拉揚(yáng)維也納任職期間與之有過沖突的人士以及后來80年代的柏林愛樂。這些人士一方面認(rèn)為卡拉揚(yáng)過于奢華，例如在由諾曼·萊布雷希特所著的《誰殺了古典音樂》一書中，“老大卡拉揚(yáng)賺得最多”寫有語氣極其強(qiáng)烈的評論。其中表示，卡拉揚(yáng)的身后財產(chǎn)多達(dá)5億馬克，又指出卡拉揚(yáng)在其職業(yè)生涯中拜金至上，安插親信，破壞古典音樂界風(fēng)氣。而柏林愛樂樂隊(duì)里的音樂家對他則有不同的看法。其中一些人認(rèn)為卡拉揚(yáng)很會關(guān)懷體貼樂團(tuán)成員，經(jīng)常問及他們的愛好趣事。在一些樂友得了工傷病痛的時候，他則會為病者介紹好的醫(yī)生以幫助他們治療。但另一些成員則不喜歡他的脾氣和在一些事務(wù)上表現(xiàn)出的專橫，認(rèn)為他以自我為中心。還有音樂家批評他在音樂詮釋上的獨(dú)斷，例如斯特斯曼曾說過：“跟卡拉揚(yáng)說音樂，就是可以，也是很難”。
第三類批評則比較復(fù)雜。首先是唱片評論家對卡拉揚(yáng)演繹作品時做出的刪減不滿意，例如其60年代的貝多芬《田園交響曲》中的諧謔曲的重復(fù)部，70年代錄音室版的《奧賽羅》部分細(xì)節(jié)被“遺憾地”刪除了。另外則是針對卡拉揚(yáng)對唱片所作的后期處理，例如他的天鵝之歌──最后一版布魯克納第七交響曲的最強(qiáng)音“有一點(diǎn)人工的痕跡”，還有《唱片里的瓦格納》一書的作者周士紅指出，卡拉揚(yáng)80年代錄制的瓦格納精選唱片中“有幾處強(qiáng)弱變化是被音量鈕操縱出來的”。
而針對卡拉揚(yáng)音樂處理的風(fēng)格所提出的批評，則屬于比較主觀的范疇。例如斯特拉文斯基就曾經(jīng)比較負(fù)面的評論過卡拉揚(yáng)所錄制的《春之祭》。有時就是柏林愛樂樂團(tuán)的音樂家也未必認(rèn)同他對貝多芬的解讀。例如哥倫比亞大學(xué)教授保羅·亨利·朗對卡拉揚(yáng)錄制的貝多芬交響曲所提出的批評是非常典型的：
“在（他的）英雄交響曲里，聽者不能不問，為什么這位優(yōu)秀的音樂家會如此頻繁地忽略貝多芬最有特色而又最強(qiáng)有力的武器──加強(qiáng)（sforzando）的呢？在那些響亮的段落里面，這些標(biāo)記根本就和普通的強(qiáng)（forte）沒什么區(qū)別。而慢的感覺（田園交響曲中的第二樂章）是由于平淡無奇的響奏而產(chǎn)生的，樂句波瀾不驚。第七交響曲的慢板樂章演奏得不錯，不過全憑滑奏（portamento）的表現(xiàn)，而且好像貝多芬的點(diǎn)比音符更重要似的?！?br>
另外《高保真》雜志的大衛(wèi)·漢密爾頓則認(rèn)為卡拉揚(yáng)在《費(fèi)德里奧》的錄音中壓低重音，忽略總譜上強(qiáng)拍的提示。還有威廉·曼則更加認(rèn)為，卡拉揚(yáng)縮短休止以求音樂的平滑過渡。不過，對這些音樂理念方面的差異是沒有誰是誰非的。卡拉揚(yáng)在對待總譜上的確有自己的一套，例如當(dāng)他與樂隊(duì)排練貝多芬第九交響曲時，對于朗所說到的“點(diǎn)與音符”問題，發(fā)生過以下對話：
“卡拉揚(yáng)：錯了，錯了！準(zhǔn)時上，準(zhǔn)時上！一直到后面的特弱（pianissimo）。你們總是在之前來一個大休止，這是對原譜的誤解。
樂隊(duì)：嗯，但是那些點(diǎn)怎么辦？
卡拉揚(yáng)：那是為了讓音符聽起來更好！并不決定音符的強(qiáng)度。這種見解是錯誤的。學(xué)校里這么講的老師都是誤人子弟！準(zhǔn)時上！”
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Herbert von Karajan (born Heribert, Ritter von Karajan; 5 April 1908 – 16 July 1989) was an Austrian orchestra and opera conductor. To the wider world he was perhaps most famously associated with the Berlin Philharmonic, of which he was principal conductor for 35 years. Although his work was not universally admired, he is generally regarded as one of the greatest conductors of the 20th century, and he was a dominant figure in European classical music from the 1960s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.
Genealogy
The Karajans were of Greek-Macedonian or Aromanian ancestry. His great-great-grandfather, Georg Karajan, was born in Kozani, a town in the then Ottoman province of Rumelia (present West Macedonia in today's Greece), leaving for Vienna in 1767, and eventually Chemnitz, Electorate of Saxony. He and his brother participated in the establishment of Saxony's cloth industry, and both were ennobled for their services by Frederick Augustus III on 1 June 1792, thus the prefix "von" to the family name. The surname Karajánnis became Karajan. Although traditional biographers ascribed a Serbian or simply a Slavic origin to his mother, Karajan's family from the maternal side, through his grandfather who was born in the village of Mojstrana, Duchy of Carniola (today in Slovenia), was Slovene. By this line, Karajan was related to Austrian composer of Slovene descent Hugo Wolf. Karajan seems to have known some Slovene.
Early years
Karajan was born in Salzburg, Austria-Hungary, as Heribert Ritter von Karajan. He was a child prodigy at the piano. From 1916 to 1926, he studied at the Mozarteum in Salzburg, where he was encouraged to concentrate on conducting by his teacher, who detected his exceptional promise in that regard.
In 1929, he conducted Salome at the Festspielhaus in Salzburg and from 1929 to 1934 Karajan served as first Kapellmeister at the Stadttheater in Ulm. In 1933 Karajan made his conducting debut at the Salzburg Festival with the Walpurgisnacht Scene in Max Reinhardt's production of Faust. It was also in 1933 that von Karajan became a member of the Nazi party, a fact for which he would later be criticised.
In Salzburg in 1934, Karajan led the Vienna Philharmonic for the first time, and from 1934 to 1941, he was engaged to conduct operatic and symphony-orchestra concerts at the Theater Aachen.
Karajan's career was given a significant boost in 1935 when he was appointed Germany's youngest Generalmusikdirektor and performed as a guest conductor in Bucharest, Brussels, Stockholm, Amsterdam and Paris. In 1937 Karajan made his debut with the Berlin Philharmonic and the Berlin State Opera, conducting Fidelio. He then enjoyed a major success at the State Opera with Tristan und Isolde. In 1938, his performance there of the opera was hailed by a Berlin critic as Das Wunder Karajan (the Karajan miracle). The critic asserted that Karajan's "success with Wagner's demanding work Tristan und Isolde sets himself alongside Furtw?ngler and de Sabata, the greatest opera conductors in Germany at the present time". Receiving a contract with Deutsche Grammophon that same year, Karajan made the first of numerous recordings, conducting the Staatskapelle Berlin in the overture to The Magic Flute. On 26 July 1938, he married operetta singer Elmy Holgerloef. They divorced in 1942.
On 22 October 1942, at the height of the war, Karajan married Anna Maria "Anita" Sauest, born Gütermann. She was the daughter of a well-known manufacturer of yarn for sewing machines. Having had a Jewish grandfather, she was considered a Vierteljüdin (one-quarter Jewish woman). By 1944, Karajan was, according to his own account, losing favor with the Nazi leadership, but he still conducted concerts in wartime Berlin on 18 February 1945. A short time later, in the closing stages of the war, he and Anita fled Germany for Milan, relocating with the assistance of Victor de Sabata. Karajan and Anita divorced in 1958.
Karajan was discharged by the Austrian denazification examining board on 18 March 1946, and resumed his conducting career shortly thereafter.
Postwar years
In 1946, Karajan gave his first post-war concert in Vienna with the Vienna Philharmonic, but he was banned from further conducting activities by the Soviet occupation authorities because of his Nazi party membership. That summer he participated anonymously in the Salzburg Festival.
On 28 October 1947, Karajan gave his first public concert following the lifting of the conducting ban. With the Vienna Philharmonic and the Gesellschaft der Musikfreunde, he performed Johannes Brahms' A German Requiem for a gramophone production in Vienna.
In 1949, Karajan became artistic director of the Gesellschaft der Musikfreunde, Vienna. He also conducted at La Scala in Milan. His most prominent activity at this time was recording with the newly formed Philharmonia Orchestra in London, helping to build them into one of the world's finest. Starting from this year, Karajan began his lifelong attendance at the Lucerne Festival.
In 1951 and 1952 he conducted at the Bayreuth Festspielhaus.
In 1955 he was appointed music director for life of the Berlin Philharmonic as successor to Wilhelm Furtw?ngler. From 1957 to 1964 he was artistic director of the Vienna State Opera. Karajan was closely involved with the Vienna Philharmonic and the Salzburg Festival, where he initiated the Easter Festival, which would remain tied to the Berlin Philharmonic's Music Director after his tenure.
On 6 October 1958 he married his third wife, French model Eliette Mouret; they became parents of two daughters, Isabel and Arabel.
He continued to perform, conduct and record prolifically until his death in Anif in 1989, mainly with the Berlin Philharmonic and the Vienna Philharmonic. In his later years, Karajan suffered from heart and back problems, needing surgery on the latter. He increasingly came into conflict with his orchestra for an all-controlling dictatorial style of conducting that had vanished from use everywhere else. Karajan officially retired from conducting the Berlin Philharmonic, but at his death was conducting a series of rehearsals for the annual Salzburg Music Festival. He died of a heart attack in his home on July 16, 1989 at the age of 81.
A practitioner of Zen Buddhism, Karajan believed strongly in reincarnation and said that he would like to be reborn as an eagle so he could soar over his beloved Alps.
Nazi Party membership
Karajan joined the Nazi Party in Salzburg on 8 April 1933; his membership number was 1,607,525. In June 1933, the Nazi Party was outlawed by the Austrian government. However, Karajan's membership was valid until 1939. In that year the former Austrian members were verified by the general office of the Nazi Party. Karajan's membership was declared invalid but his accession to the party was retroactively determined to have been on 1 May 1933 in Ulm, with membership number: 3,430,914.
British musicologist and critic Richard Osborne states:
What are the facts? First, though Karajan was nominated for membership in the as yet unbanned Party in Salzburg in April 1933, he did not collect his card, sign it, or pay his dues, though the registration itself (no. 1607525) got on to the files and crops up in many memoranda and enquiries thereafter. Secondly, he did not join the Party on 1 May 1933 despite prima-facie evidence to the contrary. In the first place, the membership number 3430914 is too high to belong to that date. The highest number issued before the freeze on membership, which lasted from May 1933 to March 1937, was 3262698. However, during the freeze, various functionaries, diplomats, and others were issued cards bearing an NG, or Nachgereichte, designation. These cards were, by convention, backdated to the start of the freeze: 1 May 1933. Karajan's Aachen membership was an NG card, and its number accords with batches issued in 1935, the year Karajan had always identified as the one in which he was asked to join the Party.
Karajan's prominence increased from 1933 to 1945, which has led to speculation that he joined the Nazi Party solely to advance his music career. Critics such as Jim Svejda have pointed out that other prominent conductors, such as Arturo Toscanini, Otto Klemperer, Erich Kleiber, and Fritz Busch, fled from fascist Europe at the time. However, Richard Osborne noted that among the many significant conductors who continued to work in Germany throughout the war years—Wilhelm Furtw?ngler, Ernest Ansermet, Carl Schuricht, Karl B?hm, Hans Knappertsbusch, Clemens Krauss and Karl Elmendorff—Karajan was one of the youngest and thus one of the least advanced in his career. Karajan was allowed to conduct various orchestras and was free to travel, even to the Netherlands to conduct the Concertgebouw Orchestra and make recordings there in 1943.
Musicianship
There is widespread agreement that Karajan had a special gift for extracting beautiful sounds from an orchestra. Opinion varies concerning the greater aesthetic ends to which The Karajan Sound was applied. The American critic Harvey Sachs criticized the Karajan approach as follows:
Karajan seemed to have opted instead for an all-purpose, highly refined, lacquered, calculatedly voluptuous sound that could be applied, with the stylistic modifications he deemed appropriate, to Bach and Puccini, Mozart and Mahler, Beethoven and Wagner, Schumann and Stravinsky ... many of his performances had a prefabricated, artificial quality that those of Toscanini, Furtw?ngler, and others never had ... most of Karajan's records are exaggeratedly polished, a sort of sonic counterpart to the films and photographs of Leni Riefenstahl.
However, it has been argued by commentator Jim Svejda and others that Karajan's pre-1970 manner did not sound as polished as it is later alleged to have become.
Two reviews from the Penguin Guide to Compact Discs illustrate the point.
Concerning a recording of Wagner's Tristan und Isolde, a canonical Romantic work, the Penguin authors wrote, "Karajan's is a sensual performance of Wagner's masterpiece, caressingly beautiful and with superbly refined playing from the Berlin Philharmonic".
About Karajan's recording of Haydn's "Paris" symphonies, the same authors wrote, "big-band Haydn with a vengeance ... It goes without saying that the quality of the orchestral playing is superb. However, these are heavy-handed accounts, closer to Imperial Berlin than to Paris ... the Minuets are very slow indeed ... These performances are too charmless and wanting in grace to be whole-heartedly recommended."
The same Penguin Guide nevertheless gives the highest compliments to Karajan's recordings of the two Haydn oratorios, The Creation and The Seasons. Haydn scholar H.C. Robbins Landon, who wrote the notes for Karajan's recordings of Haydn's 12 London symphonies, states that Karajan's recordings are among the finest he knows.
Among 20th-century musical works, Karajan had a strong preference for conducting and recording pre-1945 works (Mahler, Schoenberg, Berg, Webern, Bartók, Sibelius, Richard Strauss, Puccini, Pizzetti, Honegger, Prokofiev, Debussy, Ravel, Hindemith, Hans Werner Henze, and, rather unhappily Nielsen and Stravinsky. In 1959, he performed with the Berlin Philharmonic Henze's Sonata per Archi (1958). Karajan also recorded Shostakovich's Tenth Symphony (1953) twice and premiered Carl Orff's De Temporum Fine Comoedia in 1973 with the Cologne Radio Symphony Orchestra. The New York Times writer John Rockwell wrote in 1989: "He had a particular gift for Wagner and above all for Bruckner, whose music he conducted with sovereign command and elevated feeling."
Karajan had stated in an interview with the German TV-channel ZDF in 1983 that if he had been a composer instead of conductor, his music would have sounded similar to Shostakovich's, a composer who he identified with at several levels, and met during a tour with the Berlin Philharmonic culminating in Moscow in May 1969.
Awards and honours
Karajan was the recipient of multiple honours and awards. He became a Grand Officer of the Order of Merit of the Italian Republic on 17 May 1960 and in 1961, he received the Austrian Medal for Science and Art. He also received the Grand Merit Cross (Gro?en Bundesverdienstkreuze) of the Order of Merit of the Federal Republic of Germany.
In 1977 he was awarded the Ernst von Siemens Music Prize. On 21 June 1978 he received the Honorary Degree of Doctor of Music from Oxford University. He was honored by the "Médaille de Vermeil" from the Académie fran?aise in Paris, the Gold Medal of the Royal Philharmonic Society in London, the Olympia Award of the Onassis Foundation in Athens and the UNESCO International Music Prize. He received two Gramophone Awards for recordings of Mahler's Ninth Symphony and the complete Parsifal recordings in 1981. He received the Eduard Rhein Ring of Honor from the German Eduard Rhein Foundation in 1984. In 2002, the Herbert von Karajan Music Prize was founded in his honour; in 2003 Anne-Sophie Mutter, who had made her debut with Karajan in 1977, became the first recipient of this award. He was voted into the inaugural Gramophone Hall of Fame in 2012. He has received the Picasso Medal from UNESCO.
In 1997 the "Herbert von Karajan Whitsun Festival" was inaugurated at the Baden-Baden Festival Theatre.
Karajan is an honorary citizen of Salzburg (1968), Berlin (1973) and Vienna (1978). ====================================
by David Brensilver
Herbert von Karajan was among the most famous conductors of all time -- a man whose talent and autocratic bearing lifted him to a position of unprecedented dominance in European musical circles. He was born on April 5, 1908 in Salzburg, Austria, to a cultured Austrian family of Greek descent (their original name was Karajannis). His musical training began at the Mozarteum Conservatory in Salzburg where he studied piano with Franz Ledwenke, theory with Franz Zauer, and composition with Bernhard Paumgartner, who encouraged Karajan to pursue conducting. Karajan graduated from the conservatory in 1926, and continued his studies at the Vienna Academy of Music and Performing Arts, where he studied piano with Josef Hofman and conducting with Alexander Wunderer and Franz Schalk. Karajan's conducting debut came on January 22, 1929, with the Mozarteum Orchestra in Salzburg. Consequently, the young maestro directed a performance of Strauss' Salome at the Salzburg Festspielhaus, and was named principal conductor of the Ulm Stadttheater, where he remained in that capacity until 1934.
The next fourteen years saw the young conductor's reputation grow rapidly. He was named music director of the Aachen Stadttheater (1934-1942), had his debut at the Vienna State Opera (1937), and accepted a position with the Deutsch Grammophon Gesellschaft (1938-1943). In 1939, Karajan was appointed conductor of the Berlin State Opera, and director of the Preussiche Staatskapelle Symphony concerts. In 1948, he was appointed for life, to the position of director of the Chorale Society at the Society of the Friends of Music, in Vienna.
In 1948, Herbert von Karajan also served at the Vienna Symphony Orchestra, the Philharmonia Orchestra, and La Scala, before succeeding Wilhelm Furtw?ngler as the music director of the Berlin Philharmonic Orchestra -- a union that would cement his reputation as one of the world's premier conductors. In 1955, Karajan brought that orchestra to the United States on the first of many international tours. The decade that followed saw Karajan accept several appointments, including those to the Salzburg Festival and the Vienna State Opera. In 1967, Karajan had his Metroplitan Opera debut, conducting a performance of Wagner's Die Walküre, and the same year, founded the Salzburg Easter Festival. In 1968, the Herbert von Karajan Foundation was founded to support the research of "conscious musical perception."
Herbert von Karajan was awarded the "Ring of the Province of Salzburg," Golden Grammophone, Arts Prize (Lucerne), Grand Prix International du Disque, Gold Medal of the Royal Philharmonic Society, German Golden Disc Prize, UNESCO International Music Prize, Olympia Prize of the Onassis Foundation, and multiple Grammophone awards, among others. He was elected to an honorary senate seat at the University of Salzburg. The maestro was also recognized with honorary degrees from a host of universities.
Karajan, along with Akio Morita and Norio Ohga (president and vice-president respectively, of Japanese Sony Group), unveiled and presented the Compact Disc Digital Audio System in 1981. In 1982, Karajan founded Telemondial S.A.M. with Uli Markle, in an effort to document the maestro's illustrious legacy on videotape and laser disc, and to help broaden the scope of "musical expression," through the use of modern technology. In 1984, Karajan recorded the complete Beethoven symphonies with film adaptation, made possible by his own Telemondial. In 1988, Deutsch Grammophone released a collection of one hundred "masterworks" recordings made by the conductor. Herbert von Karajan's discography is impressive to say the least, and will certainly endure in musical arenas, as some of the most valued interpretations of the repertoire available. Herbert von Karajan, often referred to as "general music director of Europe," died in Salzburg of heart failure July 16, 1989.
