Richard Strauss (1864-1949)
Also sprach Zarathustra, Op 30
Till Eulenspiegels lustige Streiche, Op 28
Don Juan, Op 20
Wiener Philharmoniker/Herbert von Karajan
rec. 1959 (Zarathustra)/60, Sofiensaal, Vienna
Stereo ADD
Gramola 92001 [66]

I am puzzled by the justification behind this issue from the Gramola label. It is part of their “Ikonen” series which, according to the blurb on the reverse cover of the CD, “serves the idea of saving records from oblivion which, due to their age, are no longer in the focus of the music-interested public and which, on the other hand, were recorded using outstanding analog technology. Our mission is to restore these icons of history to their rightful glory.” While I entirely endorse their designation of this recording as “iconic” – indeed, I accorded it much the same status in my survey of Also sprach Zarathustra – it is by no means neglected or unavailable. Deutsche Grammophon chose to include it alongside the famous 1973 recording in their LP-sized, Karajan tribute box of 2014. Nor is there any indication of remastering or any difference between them in the quality of recorded sound – there is still some slight tape flutter audible in the quietest passages, presumably inherent and irremediable – so go figure…

Nonetheless, it is indeed a great recording and it is accompanied by two equally fine renderings of two highly pictorial “tone poems” (Tondichtungen – more properly “sound poems”). However, the big box set also offered a thrilling bonus of Salome’s “Dance of the Seven Veils” on their eighth disc, whereas this new Gramola issue does not.

Let me first quote in full my verdict as per the aforementioned survey, as it is brief and I have little to add: “Karajan chose this as his first recording for Decca, indicating his attachment to the piece, and it has endured as a classic despite its relative antiquity. There is some minimal background hiss and tape flutter but sonically it as held up very well despite some evidence of splicing. The opening fanfare displays his trademark respect for Strauss’ markings and there is already a sense of rapt concentration in the delivery: line, legato and lusciousness of tone are all in evidence and there is a sweep to the “Sehnsucht” passage which is captivating. The recording was made in the Sofiensaal, while the organ, played by Ray Minshull was recorded in the Wiener Neustadt military chapel and dropped in later – not that you would be aware of that. It is evident that Karajan is already master of the moods and sonorities of the score: the Viennese lilt of the “Tanzlied” is captivating and the drive of the transitional section into the “Nachtwandlerlied” is ideal, enhanced by the sonority of the proper church bells Karajan insisted upon, before a coda of great delicacy, its hovering between two disparate keys indicative of the ambivalence of Nietsche’s philosophical stance. Had Karajan not surpassed this in 1973, it would have stood as a benchmark.”

The two narrative symphonic poems have long stood the test of time both interpretatively and sonically and of course make an ideal pairing, in that Till Eulenspiegel is an ironic or satirical counterpart to Don Juan and both (anti-)heroes end up dead.

Succinct notes by Christian Heindl are complemented by a great black-and-white photograph of Strauss in full motoring gear of cap, overcoat, cravat, gaiters and shiny ankle-boots leaning on the fender of his 1924 Mercedes Tourer. New purchasers will not be disappointed by this latest issue from Gramola, but I imagine that most collectors of Karajan’s seminal recordings of these Strauss works will already own either the Decca or DG versions.

Ralph Moore

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