Here everything is order and beauty ...

The music of Sibelius accompanied Karajan whole career, from the 6th Symphony that he directed in 1938 in Stockholm. Ten years later, he landed the 7th at his first concerts with the Wiener Symphoniker.
In the 1950s he recorded in London almost total seven opus, minus 1 ° and 3 ° but with two successive iterations for the 5th redone for stereo.
The EMI microphones gathered a complete cycle in the late 1970s with the Berliner Philharmoniker who gave a luxurious service but sometimes cold ear.
The most beautiful testimony sibéliens maestro thus lie to me in 1960, entrusted to Deutsche Grammophon.

At Kingsway Hall, monophonic capture tended to harden the sound material despite ineffable poetic and dramatic resources.
The colors and textures of the German orchestra spatialize generously here in acoustics Kirche JC: What delectable soft flute in the dialogue / pizzicato of the Andante mosso of the "Fifth"; How big éployer for the russet wings of the Allegro molto which finds one of the most majestic sustentations we have heard!
The rhythmic behavior relies on ropes as flexible as accurate. While we regret that the transition "largamente" is a bit too dominated by the brilliance of trumpets, it will not contradict the opinion of a renowned Canadian pianist who considered there a record for the desert island.

Conversely a Beecham or Koussevitzky, Karajan blurs the suspense of the "Seventh" to preserve its organic development and let flourish the continuity of the narrative substance, polish melodic tissue legato and reuniting temporality this partition that monolithic said as she shines here as an aurora.

Finesse contours and refinement unheard of stamps as a watercolor that gently finds its tone by superimposing transparent layers: this is a version of the "Sixth" tirelessly to contemplate ...

The color darkens to densify the tragic "Fourth" Karajan model yet with a bright darkness, served by an incomparable instrumental splendor (oboe / clarinet 7'40- the "tempo largo" breathtaking ...
An eloquent mastery that the Finnish composer had touted by listening to the "inner beauty" of the interpretation previously engraved with the Philharmonia in 1953.

Sibelius there we indulged insightful key to understanding: the sound perfectionism seems the translation of inherently harmonious look that Karajan door to these works, and perhaps a deep complicity with those wild musical landscapes so close to nature, so far from men.
In 1965 under his baton, the fascinating exploration of mythologies of Scots "Tapiola" does not dissipate the ambiguous expression of a need for solitude and an irrepressible desire for seduction.