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 Furtwängler 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 his first wife, operetta singer Elmy Holgerloef. They would divorce in 1942.
On 22 October 1942, at the height of the war, Karajan married his second wife, 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 fled Germany with Anita for Milan, relocating his family to Italy 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.
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 Furtwängler. 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 22 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 1980 von Karajan conducted the first recording ever to be commercially released on CD: Richard Strauss's Eine Alpensinfonie (1915), produced by Deutsche Grammophon.
Through the 1980s von Karajan re-recorded many works such as Beethoven's Nine Symphonies with Deutsche Grammophon's CD booklet introduction saying that he wanted to preserve his legacy digitally. He also pioneered the Digital Compact Cassette though that format was not particularly successful. His 2007 "Gold" compilation contains the longest known running time disc. Disc two of this collection clocks in at 81:21.
Karajan's prominence increased from 1933 to 1945 which led to speculation that he joined the Nazis purely and only to advance his music career. Critics such as Jim Svejda have pointed out that other prominent conductors, such as Otto Klemperer, Erich Kleiber and Arturo Toscanini, fled from fascist Europe at the time.
However, British music critic Richard Osborne noted that among the many significant conductors who continued to work in Germany throughout the war years—Wilhelm Furtwängler, Ernest Ansermet, Carl Schuricht, Karl Böhm, Hans Knappertsbusch, Clemens Krauss and Karl Elmendorff—Karajan was one of the youngest and thus one of the least advanced in his career.
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, Furtwängler, 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 polished as it is later alleged to have become.
Two reviews from the Penguin Guide to Compact Discs can be quoted to illustrate the point.
The same Penguin Guide does nevertheless give the highest compliments to Karajan's recordings of the selfsame Haydn's two oratorios, The Creation and The Seasons. However, respected Haydn scholar H.C. Robbins Landon wrote the notes for Karajan's recordings of Haydn's 12 London symphonies and states clearly that Karajan's recordings are among the finest he knows.
Regarding twentieth century music, 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, Nielsen and Stravinsky), but he did record Shostakovich's Symphony No. 10 (1953) twice and did premiere Carl Orff's De Temporum Fine Comoedia in 1973.
Category:Articles with inconsistent citation formats Category:1908 births Category:1989 deaths Category:Austrian conductors (music) Category:Music directors (opera) Category:Music directors of the Vienna State Opera Category:Opera managers Category:General Directors of the Vienna State Opera Category:Music directors of the Berlin State Opera Category:Grammy Award winners Category:Royal Philharmonic Society Gold Medallists Category:Mozarteum University of Salzburg alumni Category:Austrian Nazis Category:Austrian nobility Category:Austrian people of Aromanian descent Category:Austrian people of Slovenian descent Category:Austrian people of Greek descent Category:People from Salzburg Category:Commanders Crosses of the Order of Merit of the Federal Republic of Germany
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Category:Austro-Hungarian people Category:Austrian nobility Category:Surnames Category:Austrian families Category:People from Salzburg
de:Karajan nds:KarajanThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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