Bohm conducts Beethoven, Mozart and Stravinsky
£11.35 £9.08
save £2.27 (20%)
special offer ending 24/04/2024
Usually available for despatch within 2-3 working days
Despatch Information
This despatch estimate is based on information from both our own stock and the UK supplier's stock.
If ordering multiple items, we will aim to send everything together so the longest despatch estimate will apply to the complete order.
If you would rather receive certain items more quickly, please place them on a separate order.
If any unexpected delays occur, we will keep you informed of progress via email and not allow other items on the order to be held up.
If you would prefer to receive everything together regardless of any delay, please let us know via email.
Pre-orders will be despatched as close as possible to the release date.
Label: Testament
Cat No: SBT1510
Format: CD
Number of Discs: 1
Genre: Orchestral
Release Date: 4th March 2016
Contents
Works
Symphony no.2 in D major, op.36Minuet in C major, K409
Symphony no.34 in C major, K338
The Firebird (L'Oiseau de feu): Suite no.2 (1919)
Artists
Berliner PhilharmonikerConductor
Karl BohmWorks
Symphony no.2 in D major, op.36Minuet in C major, K409
Symphony no.34 in C major, K338
The Firebird (L'Oiseau de feu): Suite no.2 (1919)
Artists
Berliner PhilharmonikerConductor
Karl BohmAbout
Karl Böhm was a master of both men’s music, which is why for a quarter of a century between 1956 and his death in 1981 he was very much the keeper of the flame where Salzburg’s Mozart-Strauss tradition was concerned. During that time the festival’s de facto artistic director was Herbert von Karajan. That the two men did not particularly like one another was beside the point. It was sufficient that there was mutual respect between them and that Karajan – a Salzburger by birth who had known the festival since its earliest days – was more than happy to cohabit with his revered older colleague. To the delight of the Salzburg faithful, Böhm was allowed to go quietly about his business.
Not that the cohabitation had a particularly easy start. In 1956 Böhm lost his position as head of the rebuilt and recently reopened Vienna State Opera. He was succeeded by Karajan, who that same year was given a three-year contract to run the Salzburg Festival. If Böhm was dismayed, he need not have been, given the festival’s heritage and his own importance to it. It had been during Böhm’s first stint as director of the Vienna Opera in 1943-45 that the foundations of the house’s fabled post-war Mozart ensemble had been laid. Salzburg made extensive use of this in the post-war era
and would continue to do so throughout the Böhm- Karajan cohabitation
Born in Graz in 1894, Böhm learned his trade in the opera house, more particularly at the Munich Opera in the early 1920s where he worked alongside Bruno Walter and Richard Strauss. It was there that he acquired his Mozart style: cogent, balanced, subtly various, fiery where needed. Learning how to fine-tune the Mozart operatic engine, then drive it vividly and exactingly along, was for him an education whose value extended beyond Mozart to the wider operatic and symphonic repertoire.
(from the note © Richard Osborne, 2015)
Recorded: 11 August 1968, Grosses Festspielhaus, Salzburg
Error on this page? Let us know here
Need more information on this product? Click here