Cultured Views

The Centenary of Herbert von Karajan

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No Conductor of our age has inspired more extremes of opinion than the late Herbert von Karajan. This year marks his centenary and across Germany and Austria his face will be everywhere; on commemorative coins, in newly re-issued recordings, on radio and television and in a documentary dedicated to his life and his work.

The man inspired devotion and deference as intense as the criticism and cynicism; he was both loved and reviled - hailed a genius by some and an overated self-publicising autocrat by just as many.

But there is no doubt in my mind that music today would not be the same if Karajan had not lived or been the force in twentieth century music that he inarguably was. 

When the question is asked ” Who was the greatest Conductor of all time ? ” Karajan undoubtedly stands as the yardstick used as the tool for comparison. His calm, cool and controlled demeanor both on and off the stage contrasted sharply with other conductors of his time such as the frenetic and hyperactive Leonard Bernstein.

No doubt his personal life was as controversial as his professional life and this threatens to overshadow what should be a celebration of his massive contribution to 20th century music making. The comparisons will run thick and fast once more; his willing acceptance of membership of the Nazi Party as opposed to Wilhelm Furtwangler’s grudging cooperation. His silent non-committal attitude when several of his Jewish musicians were hauled away from the Vienna Philharmonic Orchestra and taken to concentration camps - Furtwangler’s courage in ensuring the safety of his Jewish housekeeper and her family…

Karajan was a visionary, and there can be no argument about this. He saw that the future of music lay in the rapidly developing technology of the video recording. He pioneered the filming of performances for home viewing and in doing so made orchestral music and opera that much more accessible to those who would never be able to see a Don Giovanni in Salzburg or a Verdi Requiem in Berlin.

His ego was legendary, his authoritarianism equally so but the professional life of any conductor would not be successful without some aspects of these; the musicians of an orchestra share the stage with 70 other musicians all of similar experience and talent - the conductor shares his podium with no-one. He stands alone.

In this centenary year I hope we see and hear only of the Karajan that gave so much to music as we know it today. His tormented and anguished Mahler Ninth, his powerful and unequalled Bruckner Cycle; the devastating Liebestod from Tristan and Isolde as sung by Jessye Norman - she stated that Karajan used 50 different indications of pianissimo in the piece and is truly a performance to raise the hair on the back of your neck.

This is a wonderful opportunity for young musicians to learn about this man and for those who remember him to re-discover him.

There is a website for this Centenary - www.karajan.org 

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