[.ca] Webern/Schoenberg/Berg

further proof that Karajan missed his true calling:
one of the most skilled of all conductors, Karajan still had a major failing as an artist; his repetoire. despite being an Austrian in Berlin and having joined the Nazi party to further his career, Karajan was a modernist in his approach to music. he could have been a great disciple to 20th century music, but, alas, only occasionally, did he record modern music. it was his true failing, bexcause it is in his few recordings of modern composers that Karajan shines the most. both of his recordings of Shostakovich's tenth will leave you reeling for hours afterwords. his final recording of Bartok's music for strings, percussion, and celesta remains the greatest to date (and it's no accident that Kubrick used this recording for The Shining). Karajan came closer to Mahler's own description of his music than any other (more as a precursor to Schoenberg, Berg, and Webern) and he even made Honegger sound great (a feat within itself). this historic set deserves all of accolades it has received and then some. in listening to Berg and Schoenberg, one laments that we do not have his recording of Wozzeck or Moses und Aaaron. and his Webern compares to no other, not even Boulez's. Karajan fronted the money for this project himself as DG was trepiditious about it's money making potential and, for once, an artist overrode the accountants and the final result made a killing.

Careful -- Not the same as the LP of same name.:
No arguments with other reviews, but although this has the same name and same cover picture as the old DG vinyl 2711-014, it has less than half the pieces of that LP. Not included: Verklarte Nacth and Webern's Op. 5, Op. 6, and Op. 21.

Karajan At His Atonal Best:
These are without question, some of the finest recordings of music composed by the Second Viennese School, with exceptional performances of Berg's works and the Schoenberg Variations. Most noteworthy is the Berlin Philharmonic's string section, but the others sound superb too. Yet I must note that Berg's "Three Pieces for Orchestra" should be heard in a concert hall; although Karajan's interpretation is splendid, the recording lacks the drama I heard from the Vienna Philharmonic with Bernard Haitink conducting at a recent Carnegie Hall concert. The sound quality is quite good, among the best of the late 1970's analogue Deutsche Grammophon recordings I've heard from either the Berlin Philharmonic or the Vienna Philharmonic.

A-Tonal Adventures:
Serialism has a liberating effect on the mind. While it may not be easy listening, it is certainly a very spiritual experience. The CD contains beautiful performances of beautiful A-Tonal compositions - amazing violins !!! Serializm is a system of composition giving equal weight to a series of 12 tones half tone apart. This way there is an open atmosphere and absence of a tonal center to fall back on. These are certainly the masters of this style. Highly recommended.

A milestone recording returns:
Herbert von Karajan and the Berlin Philharmonic produce ravishing sounds in this collection, which was their first foray into the music of these composers. There are many ways to play these pieces, but surely they have never sounded as sheerly beautiful and as refined as in this collection. Originally issued in the 1970's, DG has brought this back as part of its excellent "DG Originals" series. (There is also an all-Schoenberg disc with "Verklärte Nacht" and "Pelleas und Melisande," highly recommended.) Throughout this program, von Karajan and the orchestra confront this hair-raisingly difficult music with total coolness. (Some say, too cool.) Technical challenges that might overwhelm lesser orchestras are brushed aside like gnats. The Webern "Passacaglia" has probably never sounded so sensual, with the Berlin string section shimmering in dreamlike waves. The Berg "Lyric Suite" and "Three Pieces for Orchestra" are classics, and stunningly done here. But for many the summit will be the Schoenberg, with its rigorous structure complemented by the brilliance of the playing. If you are not inclined toward this music, this collection might sway you otherwise, and if you do like these composers, you owe it to yourself to hear this. Excellent analog recording, newly remastered.

• Passacaglia fur Orchester Op. 1
• Drei Stucke aus der 'Lyrischen Suite': 2. Andante amoroso
• Drei Stucke aus der 'Lyrischen Suite': 3. Allegro misterioso
• Drei Stucke aus der 'Lyrischen Suite': 4. Adagio appassionato
• Drei Orchesterstucke Op. 6: 1. Praludium Langsam
• Drei Orchesterstucke Op. 6: 2. Reigen. Anfangs etwas zogernd - Leicht beschwingt
• Drei Orchesterstucke Op. 6: 3. Marsch. Massiges Marschtempo
• Variationen fur Orchester Op. 31: Intoduktion. Massig, ruhig
• Variationen fur Orchester Op. 31: Thema. Molto moderato
• Variationen fur Orchester Op. 31: Variation I. Moderato
• Variationen fur Orchester Op. 31: Variation II. Langsam
• Variationen fur Orchester Op. 31: Variation III. Massig
• Variationen fur Orchester Op. 31: Variation IV. Walzertempo
• Variationen fur Orchester Op. 31: Variation V. Bewegt
• Variationen fur Orchester Op. 31: Variation VI. Andante
• Variationen fur Orchester Op. 31: Variation VII. Langsam
• Variationen fur Orchester Op. 31: Variation VIII. Sehr rasch
• Variationen fur Orchester Op. 31: Variation IX. L'istesso tempo; aber etwas langsamer
• Variationen fur Orchester Op. 31: Finale. Massig schnell