BPO - Karl Leister

[David]

I am hoping that this may be the first of several postings by forum members in which mention is made of the key and outstanding musicians in Karajan’s orchestras, the creators of the sound if you like.

I believe that the great master of the clarinet, Karl Leister, should be placed near to the top of any list of outstanding orchestral musicians. Leister served for more than thirty years at the centre of the wind section of the finest musical instrument in the world. Under Herbert von Karajan, the Berlin Philharmonic achieved a seamless balance, a luminous tone, and a level of ensemble virtuosity which is still unsurpassed, and is most likely to remain so.

Karl Leister was born in 1937, the son of a clarinettist in the RIAS Symphony Orchestra in Berlin. Between 1953-1956 he studied at the Hochschule für Musik in Berlin; then from 1957-1959 he was solo clarinettist in the orchestra of the Komische Oper in Berlin.

In 1959 at the age of twenty two, Leister was engaged by the BPO as co-principal clarinettist where he would remain, with great distinction, until his retirement from the Orchestra in 1993. During these 34 years there were three or four players alongside him filling the other co-principal position.

Leister recorded an excellent version of the Mozart Concerto for EMI with Karajan in 1971; and in addition has participated in numerous chamber music recordings. He was a founder member of the ensembles “Bläser der Berliner Philharmoniker”, “Berliner Solisten” and “Ensemble Wien-Berlin”.

Karl Leister was a master of the German system clarinet and had a glorious homogeneous vibrato-free sound which was capable of wonderful dark tone when necessary. This was in complete contrast to the rather shiny sound, with slight vibrato, which is heard elsewhere and which, in my opinion, is not best suited to orchestral playing.

I have listened very recently, several times over in fact, to the opening bars of the 1975 DG Tchaikovsky 5th and the clarinet sound here is wonderfully focused. I believe that two instruments are in unison here, although I find that this is not always obvious. However, I have already mentioned in my posting in General/The art of Karajan, that in an orchestra like the BPO with co-principal wind players it is not always possible to be certain of who was playing a particular part in a given recording, although I am assuming that one of players was Leister in this Tchaikovsky 5th, in the absence of any (known to me) discography.

One of my own best memories of Leister in concert was in London on 15th May 1972 in Karajan’s performance of the Rite of Spring. On this occasion he was playing the smaller higher pitched E-flat clarinet. Even after 36 years I have a very vivid memory of his playing of the searing short fortissimo solo about two and a half minutes into the work - wonderfully pointed and fiercely projected to fill the Royal Festival Hall, and with his whole frame moving towards the sound.

Since his retirement from the BPO, Leister has concentrated on solo and chamber playing and teaching.

I have added in two links below in which you can see him in action as both performer and teacher.

The following YOUTUBE link is of a live performance in 1990 in the Chamber Music Hall at the Philharmonie in Berlin. Leister plays the final rondo movement of Weber’s Clarinet Quintet Op.34 with members of the BPO: Toru Yasunaga and Heinz Ortleb, violins; Dietrich Gerhardt, Viola and Jörg Baumann, cello. The film lasts for just under seven minutes.

www.youtube.com/watch?v=z1cb6T2w368

Next follows a masterclass by Leister (in English) of over two hours (sic) which occurred in April 2007 at the School of Music, Northwestern University, Evanston, Illinois.

I personally have found this material to be absolutely riveting. Karl Leister has credited Karajan as having been the major influence on his tonal concept and musical ideas, and I believe that this is apparent here.

At the outset Leister explains that the sessions will concentrate on the musical aspects rather than on the technicalities of the instrument and so it should appeal to all. Do please find the time to watch it.

davee-archive.pick.northwestern.edu/video/clarinet-master-class-karl-leister

[lee]

David - this is a most excellent piece. I remember watching HvK and the Berliners do the Beethoven 4 at the RFH in London in April 1985 and wondering who the excellent principal clarinet was (as this was just after the Sabine Meyer debacle, this was not an unreasonable thought). Sure enough, a quick glance at the programme during the interval confirmed it be Karl Leister - he was on really good form that night !
That said, I was interested in your assertion that it's often difficult to to tell who is exactly playing during some of Karajan's recordings, although I would put forward the one exception of James Galway. In spite of his relatively short time in the orchestra, there are a number of recordings that reveal his unmistakable timbre. With Karajan, this would include his extraordinary reading of Honegger's Symphonie Liturgique (listen to the flute solo just before the end of the work) and, strangely enough, on a record the Berlin PO made with Georg Solti in 1972 of Russian Favourites (not yet released on CD) where the flute solo at the close of Mussorgsky's Night on a Bare Mountain is unmistakably that of Galway. Incidently, I'm not Solti fan, but I do not hesitate in pointing Karajan admirers to this disc which contains a number of pieces HvK didn't perform or record - I think that this is the closest we're going to get as the orchestra sound unmistakably that of Karajan's Berlin PO and Solti is on good form.

[David]

Lee - many thanks for your response - really very interesting. I remember you saying previously that you also had attended the RFH London April 1985 concert.

I am not ashamed to admit that I felt quite choked when I saw Karajan’s initial entrance onto the platform that evening. I hadn’t seen him since the 1977 London concerts (I wasn’t able to attend those in 1979 and 1981) and the deterioration in his mobility during this time was very pronounced.

However, you may possibly have really started something with your mention of the well known Irish flautist! As you have said, there is always an exception to the rule, and no doubt it is James Galway with that unmistakable lilt.

I wish to continue with your theme and so have decided to create a new topic in his name.

[lee]

Hi David. Yes, Karajan's entrance that evening was a cause for concern for many. This was the first time I had seen him and it was a shock to see this frail, small man drag himself up to the podium, looking very different from the pictures I had seen of him up until that time on the inside of CDs and record covers. You may even remember a small stumble that elicited a collective gasp from the audience too just before he reached the podium before the Beethoven. That said, it was a fine concert and I have to say that I consider myself fortunate that at 17 years of age was able to see him live.
As for Mr Galway, I could have sworn it was him on the Mussorgsky - my ears must be losing their touch ! However, the performance is an exceptional one, not least for the contribution of Karajan's orchestra.
Best regards, Lee

[john]

Lee/David

I was at the London concert in 1985 and I remember Karajan's slight stumble and the gasp of the audience.

James Galway to me has always been the worlds finest flautist, someone with such talent was never going to stay with an orchestra very long, even the the best orchestra and conductor in the world.

Does anyone remember seeing the TV programme in the UK 'This is your Life' it was I think during the early 1980s and James Galway was the subject in question, I was amazed to see Karajan giving a recorded tribute from Salzburg, he finnished by saying to Galway ' come back and play for us sometime' quite touching really.

John

[Rosy]

Lee and David

I read your experience, Lee, that has touched me especially because you told with simplicity and affection. I believe ther isn't a better way to describe ( if it's possible ) those precious moments. Yes, you're indeed been fortunate to be able to see the Maestro express his magnificent talent, when you were 17 years old and were receptive to everything that life offers you.

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Thank you, David for the good idea of creating this thread. David, you hints with discretion and sensitivity to the difficulties of walking caused by the disease that had struck the Maestro several years before. We 've never spoken about this in the Forum, perhaps for modesty and respect. The Maestro suffered a lot, but reacted with willpower. When he was young, a bad "nevrite"* had blocked his career by pianist. Destiny had planned other horizon for him.

The undinconditional love of Music, won everithing...

Thanks to you who given me a great moment; thanks to you John.

Thanks to dear Maestro

with affection

Rosy

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*= severe inflammation of the peripherical nerves.