Post by thitch on Feb 16, 2008 23:20:12 GMT 1
I am not a musician - perhaps in my next life - although an appreciation of music and musicians has helped in an ongoing search for a certain aesthetic in living. In this regard, the great Maestro Herbert von Karajan has probably done more than any single artist to form a vision or sound of music that makes sense to me - but not only that, for his example in the totality of the art of living life reaches much beyond, for me, the boundaries of just music itself.
For his example is an all-encompassing package that has given me over the years solid guidance in many areas. He was an all-round man who skied, climbed mountains, drove powerful cars, sailed his own yacht and flew his own jet. He possessed an innate sense of elegance in dress, personal presentation and thought which is a continuing source of inspiration for me. One of my favorite quotes he made was to the effect that one had to be simply 'ruthless with oneself' in an effort of commitment, discipline and responsibility - which I take to mean not only in interpretation and performance, but in whatever one chooses to undertake in life. A worthwhile credo.
His body of work is now recorded and passed down for the enlightenment and enjoyment of future generations - in many cases the technology for which owe its genesis to his efforts. Some of those performances were so compelling for me when I first began to listen to Classical music seriously as a student beginning in the mid-nineteen-seventies. Smetena's Moldau, the Wagner recordings, and of course friends and myself were taken with many of the Beethoven performances; the overture to Egmont, the violin concerto with Christian Ferras (which to me, is the best version yet set on record) and the fifth and sixth Symphonies from the 1963 set. Another landmark recording for us was also the Triple Concerto with Oistrakh, Rostropovich and Richter, although the noted music critic and Karajan-hater Norman Lebrecht would be prone to tell me that my taste would have to all be in my mouth when it came to that record - thank God the attraction for, and appreciation of music is a subjective feeling that requires no validation from another person.
Through his work with his orchestra he was able to spiritually look into the heart of the music, finding the right tempo not only in himself but also in the great work of art being interpreted. He was also further influenced by his own practice of yoga and the great Buddhist teachers, which also helped him to find the therapeutic power in music itself - one more aspect that makes him for me, even more interesting.
I've found in my readings through the efforts of Helena Matheopoulos (thanks to the recommendation of one member on this board), a great short essay by Axel Bruggeman included in the Karajan Forever CD package, and Mr. Osborne's indispensable book, so many more insights into Karajan's views and what I consider to be examples of nothing short of mentor-ship in life. Regarding music of course, but also valuable input on art, aesthetics, about business, about pleasure, discipline and a means of approaching life with a certain style.
It has disappointed me in the past, and still does, that some would take the view that Karajan's whole approach is a phase that has best been dispensed with, a phase in musical history that we are somehow best off without. I'm sad about that. But I think it was still put best by Alexis Weissenberg in a television interview (included on Maestro! Maestro!) that anyone's hard feelings toward Karajan stem from nothing more than simply envy - a human character trait with will always be with us, unfortunately.
A great man, I am not ashamed to say, nor am I ashamed to say an ongoing influence in my life that I would be much the worse for wear without.
Happy Centenary Maestro!
With regards,
Tim.
For his example is an all-encompassing package that has given me over the years solid guidance in many areas. He was an all-round man who skied, climbed mountains, drove powerful cars, sailed his own yacht and flew his own jet. He possessed an innate sense of elegance in dress, personal presentation and thought which is a continuing source of inspiration for me. One of my favorite quotes he made was to the effect that one had to be simply 'ruthless with oneself' in an effort of commitment, discipline and responsibility - which I take to mean not only in interpretation and performance, but in whatever one chooses to undertake in life. A worthwhile credo.
His body of work is now recorded and passed down for the enlightenment and enjoyment of future generations - in many cases the technology for which owe its genesis to his efforts. Some of those performances were so compelling for me when I first began to listen to Classical music seriously as a student beginning in the mid-nineteen-seventies. Smetena's Moldau, the Wagner recordings, and of course friends and myself were taken with many of the Beethoven performances; the overture to Egmont, the violin concerto with Christian Ferras (which to me, is the best version yet set on record) and the fifth and sixth Symphonies from the 1963 set. Another landmark recording for us was also the Triple Concerto with Oistrakh, Rostropovich and Richter, although the noted music critic and Karajan-hater Norman Lebrecht would be prone to tell me that my taste would have to all be in my mouth when it came to that record - thank God the attraction for, and appreciation of music is a subjective feeling that requires no validation from another person.
Through his work with his orchestra he was able to spiritually look into the heart of the music, finding the right tempo not only in himself but also in the great work of art being interpreted. He was also further influenced by his own practice of yoga and the great Buddhist teachers, which also helped him to find the therapeutic power in music itself - one more aspect that makes him for me, even more interesting.
I've found in my readings through the efforts of Helena Matheopoulos (thanks to the recommendation of one member on this board), a great short essay by Axel Bruggeman included in the Karajan Forever CD package, and Mr. Osborne's indispensable book, so many more insights into Karajan's views and what I consider to be examples of nothing short of mentor-ship in life. Regarding music of course, but also valuable input on art, aesthetics, about business, about pleasure, discipline and a means of approaching life with a certain style.
It has disappointed me in the past, and still does, that some would take the view that Karajan's whole approach is a phase that has best been dispensed with, a phase in musical history that we are somehow best off without. I'm sad about that. But I think it was still put best by Alexis Weissenberg in a television interview (included on Maestro! Maestro!) that anyone's hard feelings toward Karajan stem from nothing more than simply envy - a human character trait with will always be with us, unfortunately.
A great man, I am not ashamed to say, nor am I ashamed to say an ongoing influence in my life that I would be much the worse for wear without.
Happy Centenary Maestro!
With regards,
Tim.
