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Karajan: A Profile
Directed
by
Gernot Friedl
With: Berlin Philharmonic, Vienna Philharmonic, Gustav Mahler
Youth Orchestra, Agnes Baltsa, Janet Perry, Mirella Freni, Gianni
Raimondi, Jon Vickers, Peter Glossop, Adriana Martino, Rolando
Panerai, Melanie Diener, Renaud Capuçon, Mstislav Rostropovich,
Georg Kreisler, Anne-Sophie Mutter, Claudio Abbado, Flinserin
group and drummers
DVD Region Code 0; Aspect Ration 16:9; PCM Stereo only EMI CLASSICS
2165739 [87:00]
EMI Classics have made an estimable
contribution to this year’s commemoration of the Karajan
Centenary - not least their re-release in two volumes of
Karajan’s complete EMI recordings. They are in a better position
to do so than almost any other label. Karajan’s career as
a studio recording artist virtually began when Walter Legge
engaged Karajan to record with the Philharmonia for EMI after
the war. He then returned to them in the 1970s and 1980s
to make some recordings which are still, in my view, underrated
classics. It is a shame, then, that they finish the year
with this turkey of a DVD which purports to be a profile
of Karajan but is actually an ineffectual hotch-potch which
does not satisfy in the least.
Musical films are problematic by
their very nature. This one falls into nearly all the traps
without solving any of them. It begins as a fairly simple
biography of Karajan. We are given information about his
childhood in Salzburg and his first musical engagements conducting
in Salzburg and Vienna. We then find out about his first
directorship in Ulm and his move up to run the opera in Aachen.
Things become altogether more shady with the war years, however,
and the film almost entirely shirks any discussion of the
controversy surrounding Karajan’s membership of the Nazi
party. This isn’t a bad thing in itself: in my view this
aspect of Karajan’s life has been scrutinised out of all
proportion to its importance and I’m far more interested
in an analysis of his musical work. This, however, is a case
in point that illustrates this film’s problems. There is
no attempt to engage with the arguments or to provide any
rigorous analysis. The same is true of his famous dispute
with Furtwängler, and this superficiality doesn’t just apply
to the details of Karajan’s life but to his music-making
as well.
After the war years any sense of
a coherent biographical narrative falls by the wayside and
we are taken to and fro across the various aspects of Karajan’s
life. The narrator touches on issues such as the EMI years
with the Philharmonia, the founding of the Salzburg Easter
Festival, directorship of the Berlin Philharmonic and so
on; but none of these are treated with any serious analysis
or scholarship whatsoever. Instead we get a sequence of frequently
bizarre images which more often than not have no obvious
link to the music or narrative. For example, when the film
addresses Karajan’s time in London with the Philharmonia
we find out nothing whatsoever about his relationship with
Legge, the way he changed the orchestra, his characteristics
as a musician, or anything else that could be described as
relevant. Instead we are told that he made frequent visits
to the National Gallery where he was struck by similarities
between works of art and pieces of music. To accompany this
we get a long sequence where the camera lingers on various
paintings, but there is no explanation at all of what this
has to do with the music-making. I am still left baffled
as to why Karajan thought that Rubens’ Judgement of Paris symbolised
Beethoven’s Violin Concerto. Elsewhere in the film, however,
it gets even worse. We are told about an early film he made
placing the music of one of Bach’s Passion cantatas next
to the work of Cranach and Dürer. Instead of showing us the
actual film we get two minutes of pastiche of the St Matthew
Passion next to unrelated paintings which have no bearing
on either artist. Why, oh why are we later subjected to a
lengthy chunk of footage of an unrelated operetta from the
Vienna Volkstheater? The late dispute with the Berlin Philharmonic
is compared, in the most facile manner, to Verdi’s Otello
being deceived by Iago. This insults anyone’s musical intelligence,
and is merely an excuse to play a sequence of Karajan’s film
of the opera with Vickers and Glossop. I’ve always liked
this film, but this extract is crow-barred into place in
the most clumsy manner imaginable.
All is not entirely lost. We are
given a few very valuable clips of him rehearsing the BPO,
most notably in the Scherzo of Mahler’s 5th. We
also see quite a few of the musical films that he made in
Berlin, such as Strauss’s Don Quixote with Rostropovich
and a few clips of Beethoven symphonies. While I’d far rather
have these than the nonsense mentioned above, even these
clips tend to reveal the fallibility of Karajan's cinematic
vision. We get some faux-dramatic sideways views of the chorus
for the finale of Beethoven’s 9th, while the storm
sequence from the Pastoral is accompanied by rapid
whirls around the orchestra and, predictably, close-ups of
the trumpets when they explode at the climax. It’s left unclear
whether the splicing in of footage of a real Alpine storm
was Karajan’s idea or Gernot Friedl’s. The most successful
part of the film is the brief footage of the paintings of
Lyonel Feininger which informed Karajan’s interpretations
of the Second Viennese School, though this short section
made me all the more frustrated at the clumsy treatment given
to the earlier parts of the film.
The film ends on a strangely pessimistic
note: the last event it deals with is the split with the
Berlin Philharmonic in the early 1980s, but there is little
analysis of the reasons why and there is no mention whatever
of what comes later. We hear nothing of his glorious late
triumphs with the Vienna Philharmonic, nor of his later reconciliation
with the Berliners. It’s all very odd, but is symptomatic
of a deeply flawed film which is neither biography nor musical
analysis let alone a fitting tribute. The film was originally
made in 1999 and EMI must have felt it would be a good idea
to re-release it for the centenary. I wish they’d left it
on the shelf.
Simon Thompson
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