It is here, as everywhere, if you are dealing with Karajan, and with its critics. It is difficult to understand and to orient themselves. I have a layman, I often with Beethoven and complete recordings of his symphonies dealt (2 x Abbado, Kleiber, Furtwängler, Klemperer, Gardiner, Solti, Bernstein, Karajan 3x). The order was largely irrelevant. And I must say I do not understand how one can be so prejudiced against the work of a musician that you apparently the class really can not tell. My statement that I made, now based solely on Karajan is that he tapped with his first cycle with the Philharmonia Orchestra, a first path to Beethoven, in a phase in which he might even its importance not still was clear. Then However, the second study of this series of extraordinary works brought, already completing, the one actually in the third cycle would naturally have expected. For me, this cycle is the second, so revolutionary so timeless that I hold the third for quite superfluous. I think Karajan would have done well to leave it in his work from the sixties. You can feel right that he has nothing new to say on the third record recording basically. To put it very clearly: This shot is out of my completely subjective observation, the best could befall what Beethoven. Everything you assumed these recordings to wickedness, mediocrity, megalomania and so on - none of this is true. Of course you can at Beethoven never with only one truth modest, but if there should be only one, then this one comes closest to her here. The difficulty, with works such as this to work, can not be overestimated. Not because they have already been interpreted so many times, but because they mark the turning point of a musical era. Therefore, the unity of these recordings is downright calming. Constantly one has the feeling of freshness, of greatness, of uniqueness. Wilhelm Furtwängler himself was of the opinion known, there is no bad or good interpretations, but only convincing and less convincing and I can say that I have always dreamed of Beethoven - neither academically nor cocky. I would also not draw comparisons to other recordings, but just say that it would be in the wrong thing to respond to each work in detail, to every shot is the same principle underlying: With the composer and his testimony compassion, arise new Prefabricated right now leave to enter the notes of life and breath. What would you say to such an orchestra, certainly and without exaggeration one of the five best in the world? You have to say anything! But why do you Karajan, and just endless scale its most significant achievements among many almost always defend? Why can this unique artist and only the artist, do not give the merit which he himself has earned. In general, I find it regrettable that many think the work of some conductors are all equally bad or unsatisfactory, simply from a certain preconceived attitude out. I doubt that such conductors as Solti, Bernstein, Gardiner, Furtwängler, Karajan, Abbado Klemperer or to their tasks without approaching to deal with them in advance. You would not be the superior artist she had become, if they were so recklessly approached their work. Certainly each shot has its advantages and disadvantages, but I care even speak without claim to universality that these recordings are among the most compelling of the entire recording history.
