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Herbert von Karajan was a master of the fine blending of acoustic colours. This quality is shown to its best advantage in this programme of masterpieces of French Impressionism. Works include Debussy’s multifaceted La Mer, and his lascivious, dream-like Prélude à l’après-midi d’un faune, and Ravel’s Suite No. 2 from Daphnis et Chloé, a work which combines shimmering transience with uncompromising energy.

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Herbert von Karajan’s fascinating artistic concept included combining the subjective expressiveness of Wilhelm Furtwängler with the strict objectivity of Arturo Toscanini. In other respects, too, the stylistic profile of the conductor seemed to consist of the balance of opposites: magnificent sound and transparency, tonal beauty and precise articulation. As markedly as Karajan made reference to role models and existing trends, he was at the same time a singular phenomenon in the music world of the 20th century. In some respects, Adorno’s remark that the conductor was the “genius of the economic miracle” is difficult to dismiss. It could be seen, for example, in his ostentatious display of personal wealth, the millions of recordings sold, and in his active contribution to the development of sound engineering. However, his constant media presence contrasts with his humble approach to the masterpieces of music, and the rock-solid Kapellmeister training he initially received at the opera houses in Ulm and Aachen. Although Karajan was particularly fond of Beethoven, Richard Strauss and Richard Wagner, his versatility as an opera and concert conductor was extremely impressive. His recordings of core works of French Modernism and the Second Viennese School, for example, still set standards today. Karajan’s unprecedented achievements as chief conductor of the Berliner Philharmoniker included the founding of the Salzburg Easter Festival and, above all, the opening of Hans Scharoun's Philharmonie, tailored precisely to his ideas. Meanwhile, in Karajan’s final years of life, conflicts began to accumulate, leading the conductor to cancel his contract with the orchestra just a few months before his death. Nevertheless, the more than 30-year-long artistic partnership of the Berliner Philharmoniker and Herbert von Karajan represents an unusually productive epoch in the history of musical interpretation that has a lasting effect right up to the present.

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Of all the composers of the 20th century, Maurice Ravel perhaps mastered the most varied tonalities: he wrote in the Oriental, Austrian, Spanish and in his later works also in the American style, helped himself to the French Baroque, the First Viennese School and incorporated impressions of Modernism. In an astonishing way, Ravel’s music always remains recognisably his own. And it is precisely thanks to its cosmopolitanism that Ravel’s musical language remains French through and through. For France, especially Paris, was a melting pot of stylistic forms of expression in Ravel’s time. With the exception of the full-length ballet Daphnis et Chloé, Ravel’s orchestral pieces last barely longer than 20 minutes. Even the two operas L’Heure espagnole and L’Enfant et les sortilèges fit comfortably in one half of a concert. As short as these works are in duration, they are rich in imagination and colour. One of the prime examples is his famous Bolèro: Ravel presents a recurring theme in new timbres each time, and in so doing, unfolds an irresistible maelstrom over the course of a quarter of an hour. Ravel did not shy away from using a new instrument such as the saxophone in the orchestra – his feeling for sound made him one of the leading representatives of Impressionism in music. Claude Debussy, probably the leading composer of French Modernism, found his individual tonal language relatively late. Although he stood out early on as a gifted pianist and won the prestigious Prix de Rome early in his composing career, the tone poem Prélude à l’après-midi d’un faune, completed at the age of 30, is considered his first masterpiece. The complicated path to his own idiom was related to his self-imposed aspirations: Debussy was aiming for a genuinely French form of expression that was not directly linked to the Romanticism of his homeland or to the German-Austrian tradition. Debussy put together an unusual gallery of role models for himself: he preferred the elegance of Mozart to the stately rhetoric of Beethoven, the refinement of the French Baroque to the monumentality of Berlioz, and the academically unsophisticated expression of Mussorgsky to the theatricality of Wagner. He was also inspired by Erik Satie, by Javanese gamelan music, which he discovered at the Paris World Exhibition, and later by American jazz. The renunciation of immediately recognisable formal progressions in favour of the mood of a moment led to Debussy being labelled an “Impressionist” – although he himself rejected this term for his music. The treatment of language in the vocal works, in which the composer drew on the best in French poetry, was revolutionary. Equally influential were his discoveries in playing techniques and timbres in the piano pieces. Among his few works for large orchestra, the tone poem La Mer stands out, which chief conductor Kirill Petrenko included in the Berliner Philharmoniker’s programme for the 2022/23 season. Some of Debussy’s works remained fragments: of a series of opera projects, he was only able to complete his setting of Maeterlinck’s Pelléas et Mélisande. Claude Debussy remained a seeker – even as a master of his art.

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سمفونی شماره ۵ بتهوون | کارایان ۱۹۶۶

برامس | مرثیه آلمانی

سمفونی شماره ۹ دورژاک

راول | دافنیس و کلویی

بتهوون |میسا سولمنیس

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