Why are there two versions of Karajan s death? 85

Abbado's Beethoven (and not just Beethoven, of course) is suspected of being calcium deficient and not deep enough. In the case of Bei Jiu, if Karajan's Bei Jiu is too domineering to be glimpsed, it is better to look for it from Furtwängler (as well as Kremperer's Bei Jiu) and listen to their treatment of the phrase - in this regard, even the great Toscanini has not been able to dig deeper into the meaning - if nothing else, the suplet at the beginning of the piece alone is handled by most conductors very clichéd, and the same is true of Abbado, and the situation is different now, and it is one thing to make Bei Jiu look like it—in other words, There are a lot of people who make it very slippery, but how many can people never get tired of hearing it?

What kind of symphony is Bei Jiu, or what should it be? This is not something that the average conductor can answer. There are first-class conductors who have made it magnificent, and it is a way of pushing thinking and joy to the limit, which has risen above the world, and has also satisfied a considerable number of listeners, such as Krempelle and Karajan.

There is also a first-class is to make it vivid, this kind of almost only Fu Shi alone, this is the pursuit of broad performance, from the deepest rise, large pen, deliberately carved the roots, if you seek to be truly moved, you should listen to this stream.

Abbado's Bei Jiu can't be said to be bad, but just in terms of simple performance, if you look at it more critically, it is really unsatisfactory, Bei Jiu is a masterpiece of more than an hour, it is impossible to list the shortcomings one by one, the most striking difference is Abbado's orchestration, his sense of balance does not seem to be dominant. Interestingly, Karajan and Abbado's interpretation of Bei Jiu is exactly the same and very cliché, but Karajan is very novel in such a way, his orchestration and phrase processing is very strict and compact, and the balance is quite good, of course, the chorus is slightly weak, which is the characteristic of Karajan, his orchestra is too domineering; Not so with Abbado, his Bei Jiu has not yet escaped the worldly spirit, how can this be the case if the depth is enough?

I think Karajan's approach is completely different from that of Toscanini and Furtwängrad, and Karajan is more of a European conductor, depicting the spiritual and the inner world, so the work he brings to us is unprecedentedly domineering, it is the joy and hope of all things celebrating together, which is a way of showing or highlighting and strengthening the inner world of the piece, but at the same time it will definitely be different from Toscanini and Fortwängler Both of these people's methods of dealing with the original score are to strengthen the original score, to be cautious and serious about the original score, but not to be restrained by its changes and interpretations, so from the most fundamental bias, it is completely different, in the case of Bei Jiujiao, I prefer Karajan's treatment form, because it perfectly shows the strong hope and power of the work, but it is true that the interpretation of the original score is not as good as the other two conductors, so I would recommend the works of those two composers in some classical pieces where the original score is very rigorous, as for Abbado Personally, I don't think it's a good fit for him, and I think it's a fast, tonal overture like Carmen's Overture, the Sparrow Overture, the Wilhelm Retreat Overture, and the operetta Orfeo in Hell (the most famous Cancan), and Arbado's interpretation is pretty good.

The treatment of Abbado seems to be thin, but has a crisp typical Italian character.

I think the 60s version of Karajan is good, it is majestic, the texture is rich, and it sounds very enjoyable.

The rhythm of Karajan's version of the 70s is a bit strange, and some comrades think that this is an attempt by the old card to innovate, but I can't quite accept it, but it is undeniable that the fifth version of this version is the best of the three, and it is precisely because of the old card's grasp of the rhythm.

The 80 version was a digital recording (DDD), and later reprinted in 4D, which was basically noise-free and had the best effect, but it was handled somewhat contrary to Beethoven's original intention. Since it was an early stereo, the sound quality was a little dry, but it didn't affect the enjoyment too much, although it was a little uncomfortable at first. This version is the most characteristic of Karajan.

Abbado's ** treatment has always been rough, Karajan is famous, the actual level is not much, and its contribution lies in the promotion of CD.

I recommend the handling of Toscanini.

Yes. He admired Karajan, who once said, "Kleber is a very talented conductor." ”

Are you sure it's dg's?

It's true that there is no official **, this ** is very complete, and there should be no omissions.

I've seen EMI (this official ** seems to be hacked, and it can't be on, but I'll give you the cover.)

The original record version was definitely discontinued. As for whether it will be ripped into a laser record or not, it is unknown.

Karajan's masterpieces are now usually laser-processed and reprinted, and now many works from the fifties and sixties are laser-processed and reprinted (I bought Beethoven's Symphony Nos. 5, 6, 7, 8 recorded by Toscanini last week, CD, of course).

You look in the big bookstore.

This set of records has long been discontinued. If you must, it's in stock on Amazon Germany**. I bought a CD there and it was handy.

In the style of DG, I expect that the 2CD Opera House series will be republished soon.

By the way, Karajan's digital recordings of the 80s were mostly not favored, so after his death this part of the recordings quickly disappeared from the catalog. And his 50s EMI recordings are considered to be classics of this track, so this set of records is rarely appreciated. I've been collecting Karajan's recordings for more than 20 years, and I'm still waiting for cheap reprints before I can buy them.

It seems that the landlord has more vinegar than me. Admire, admire.

Karajan once conducted Shostakovich's Symphony No. 10, and Shostakovich is still alive!

Definitely Verdi, Waldi may be a transliteration of Taiwan.