DGG 5-LPs 2741-002: WAGNER - Parsifal - von KARAJAN - 1981 GERMANY SEALED

Sold Date: February 4, 2018
Start Date: January 2, 2018
Final Price: $79.99 (CAD)
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Background - FACTORY SEALED item from 1981!

Herbert von Karajan (born Heribert Ritter von Karajan; 5 April 1908 – 16 July 1989) was an Austrian conductor. He was principal conductor of the Berlin Philharmonic for 35 years. Generally regarded as one of the greatest conductors of the 20th century, he was a dominant figure in European classical music from the mid-1950s until his death. Part of the reason for this was the large number of recordings he made and their prominence during his lifetime. By one estimate he was the top-selling classical music recording artist of all time, having sold an estimated 200 million records.

The Karajans were of Greek or Aromanian ancestry. His great-great-grandfather, Georg Karajan (Geórgios Karajánnis, was born in Kozani, in the Ottoman province of Rumelia (now in Greece), leaving for Vienna in 1767, and eventually Chemnitz, Electorate of Saxony. He and his brother participated in the establishment of Saxony's cloth industry, and both were ennobled for their services by Frederick Augustus III on 1 June 1792, thus adding the prefix "von" to the family name. The surname Karajánnis became Karajan. Although traditional biographers ascribed a Serbian or simply a Slavic origin to his mother, Karajan's family from the maternal side, through his grandfather who was born in the village of Mojstrana, Duchy of Carniola (today in Slovenia), was Slovene. By this line, Karajan was related to Austrian composer of Slovene descent Hugo Wolf. Karajan seems to have known some Slovene.

Herbert von Karajan was among the most famous conductors of all time -- a man whose talent and autocratic bearing lifted him to a position of unprecedented dominance in European musical circles. He was born on April 5, 1908 in Salzburg, Austria, to a cultured Austrian family of Greek descent (their original name was Karajannis). His musical training began at the Mozarteum Conservatory in Salzburg where he studied piano with Franz Ledwenke, theory with Franz Zauer, and composition with Bernhard Paumgartner, who encouraged Karajan to pursue conducting. Karajan graduated from the conservatory in 1926, and continued his studies at the Vienna Academy of Music and Performing Arts, where he studied piano with Josef Hofman and conducting with Alexander Wunderer and Franz Schalk. Karajan's conducting debut came on January 22, 1929, with the Mozarteum Orchestra in Salzburg. Consequently, the young maestro directed a performance of Strauss' Salome at the Salzburg Festspielhaus, and was named principal conductor of the Ulm Stadttheater, where he remained in that capacity until 1934.

The next fourteen years saw the young conductor's reputation grow rapidly. He was named music director of the Aachen Stadttheater (1934-1942), had his debut at the Vienna State Opera (1937), and accepted a position with the Deutsch Grammophon Gesellschaft (1938-1943). In 1939, Karajan was appointed conductor of the Berlin State Opera, and director of the Preussiche Staatskapelle Symphony concerts. In 1948, he was appointed for life, to the position of director of the Chorale Society at the Society of the Friends of Music, in Vienna.

In 1948, Herbert von Karajan also served at the Vienna Symphony Orchestra, the Philharmonia Orchestra, and La Scala, before succeeding Wilhelm Furtwängler as the music director of the Berlin Philharmonic Orchestra -- a union that would cement his reputation as one of the world's premier conductors. In 1955, Karajan brought that orchestra to the United States on the first of many international tours. The decade that followed saw Karajan accept several appointments, including those to the Salzburg Festival and the Vienna State Opera. In 1967, Karajan had his Metroplitan Opera debut, conducting a performance of Wagner's Die Walküre, and the same year, founded the Salzburg Easter Festival. In 1968, the Herbert von Karajan Foundation was founded to support the research of "conscious musical perception."

Herbert von Karajan was awarded the "Ring of the Province of Salzburg," Golden Grammophone, Arts Prize (Lucerne), Grand Prix International du Disque, Gold Medal of the Royal Philharmonic Society, German Golden Disc Prize, UNESCO International Music Prize, Olympia Prize of the Onassis Foundation, and multiple Grammophone awards, among others. He was elected to an honorary senate seat at the University of Salzburg. The maestro was also recognized with honorary degrees from a host of universities.

Karajan, along with Akio Morita and Norio Ohga (president and vice-president respectively, of Japanese Sony Group), unveiled and presented the Compact Disc Digital Audio System in 1981. In 1982, Karajan founded Telemondial S.A.M. with Uli Markle, in an effort to document the maestro's illustrious legacy on videotape and laser disc, and to help broaden the scope of "musical expression," through the use of modern technology. In 1984, Karajan recorded the complete Beethoven symphonies with film adaptation, made possible by his own Telemondial. In 1988, Deutsch Grammophone released a collection of one hundred "masterworks" recordings made by the conductor. Herbert von Karajan's discography is impressive to say the least, and will certainly endure in musical arenas, as some of the most valued interpretations of the repertoire available. Herbert von Karajan, often referred to as "general music director of Europe," died in Salzburg of heart failure July 16, 1989. - David Brensilver

Parsifal (WWV 111) is an opera in three acts by German composer Richard Wagner. It is loosely based on Parzival by Wolfram von Eschenbach, a 13th-century epic poem of the Arthurian knight Parzival (Percival) and his quest for the Holy Grail (12th century).

Wagner first conceived the work in April 1857 but did not finish it until twenty-five years later. It was Wagner's last completed opera and in composing it he took advantage of the particular acoustics of his Bayreuth Festspielhaus. Parsifal was first produced at the second Bayreuth Festival in 1882. The Bayreuth Festival maintained a monopoly on Parsifal productions until 1903, when the opera was performed at the Metropolitan Opera in New York.

Wagner described Parsifal not as an opera, but as "Ein Bühnenweihfestspiel" ("A Festival Play for the Consecration of the Stage"). At Bayreuth a tradition has arisen that there be no applause after the first act of the opera.

Wagner's spelling of Parsifal instead of the Parzival he had used up to 1877 is informed by an erroneous etymology of the name Percival deriving it from a supposedly Persian origin, Fal Parsi meaning "pure fool”.

As Wagner's last opera, Parsifal has been both influential and controversial. The use of Christian symbols in Parsifal (the Grail, the Spear, references to the Redeemer) together with its restriction to Bayreuth for almost 30 years sometimes led to performances being regarded almost as a religious rite. It should be noted, however, that Wagner never actually refers to Jesus Christ by name in the opera, only to "The Redeemer". In his essay "Religion and Art" Wagner himself described the use of Christian imagery thus:

When religion becomes artificial, art has a duty to rescue it. Art can show that the symbols which religions would have us believe literally true are actually figurative. Art can idealize those symbols, and so reveal the profound truths they contain.

The critic Eduard Hanslick objected to the religious air surrounding Parsifal even at the premiere: "The question of whether Parsifal should really be withheld from all theatres and limited to... Bayreuth was naturally on all tongues... I must state here that the church scenes in Parsifal did not make the offensive impression on me that others and I had been led to expect from reading the libretto. They are religious situations – but for all their earnest dignity they are not in the style of the church, but completely in the style of the opera. Parsifal is an opera, call it a 'stage festival' or 'consecrational stage festival' if you will.”

Friedrich Nietzsche, who was originally one of Wagner's champions, chose to use Parsifal as the grounds for his breach with Wagner; an extended critique of Parsifal opens the third essay ("What Is the Meaning of Ascetic Ideals?") of On the Genealogy of Morality. In Nietzsche contra Wagner he wrote: "Parsifal is a work of perfidy, of vindictiveness, of a secret attempt to poison the presuppositions of life – a bad work. The preaching of chastity remains an incitement to anti-nature: I despise everyone who does not experience Parsifal as an attempted assassination of basic ethics."

Despite this attack on the subject matter, he also admitted that the music was sublime: "Moreover, apart from all irrelevant questions (as to what the use of this music can or ought to be) and on purely aesthetic grounds; has Wagner ever done anything better?" (Letter to Peter Gast, 1887).

Some writers see in the opera the promotion of racism or anti-semitism. One line of argument suggests that Parsifal was written in support of the ideas of Arthur de Gobineau who advocated Aryanism. Parsifal is proposed as the "pure-blooded" (i.e. Aryan) hero who overcomes Klingsor, who is perceived as a Jewish stereotype, particularly since he opposes the quasi-Christian Knights of the Grail. Such claims remain heavily debated, since there is nothing explicit in the libretto to support them. Wagner never mentions such ideas in his many writings, and Cosima Wagner's diaries, which relate in great detail Wagner's thoughts over the last 14 years of his life (including the period covering the composition and first performance of Parsifal) never mention any such intention. Wagner first met Gobineau very briefly in 1876, but it was only in 1880 that he read Gobineau's An Essay on the Inequality of the Human Races. However, Wagner had completed the libretto for Parsifal by 1877, and the original drafts of the story date back to 1857. Despite this chronological evidence, Gobineau is frequently cited as a major inspiration for Parsifal.

The Karajan Parsifal seems to grow in stature as an interpretation on each re-hearing. Karajan's reading, a trifle stodgy in Act 1, grows in intensity and feeling with the work itself, reaching an almost terrifying force in the Prelude to Act 3 which is sustained to the end of the opera. Moll's Gurnemanz is a deeply expressive, softly-moulded performance of notable beauty. Vejzovic, carefully nurtured by Karajan, gives the performance of her life as Kundry. Hoffmann's tone isn't all times so steady as a Parsifal's should be, but he depicts the character's anguish and eventual serenity in his sincere, inward interpretation. Van Dam is a trifle too placid as Amfortas but his singing has admirable power and steadiness. Nimsgern is the epitome of malice as Klingsor. The choral singing hasn't quite the confidence of the superb orchestral playing. In his original review William Mann found this reading had beauty while Solti's on Decca had truth. For me, Karajan's has both qualities of Keats's imagining in abundance. And what a blessing to have it all...” -- Alan Blyth, Gramophone [10/1984]

If I had to choose only one recording of Parsifal, it would be this one. But it's a narrow margin above the Solti, and there are many things I prefer about Solti (his pacing, the audibility of minute details, the greater power of the brass section). But by virtue of sheer overall beauty,  sublimely spiritual atmosphere and hair raising choral climaxes, Karajan wins! His strings are certainly the most gorgeous to be heard, and he also has the most beautiful and convincing bells. I've heard many recordings of this music drama (it is perhaps my favorite opera), and while some occasionally receive higher critical praise, I'd rather listen to these two repeatedly. - Christian Withers

I have some twenty recordings of this miraculous work but this one was the first I ever listened to on its release back in 1981 and it has always set a gold standard for me acoustically, if not artistically, too. Certainly it leads the field sonically amongst stereo recordings; as much as I love versions by Kubelik, Barenboim and Jordan, and am happy to go from the extremes of Levine's marmoreal timing to the propulsion of Boulez and Kegel, when it comes to choosing one desert-island stereo recording this earliest digital account by Karajan remains my first choice. The spatial effects of the tolling bells and the distant boys' choir up in the dome of the abbey are extraordinarily atmospheric and there are several spine-tingling moments in this reading which are unequalled; I think particularly of the Transformation Music, the Good Friday Music and the moment of Parsifal's baptism when Gurnemanz intones the anthem "Gesegnet sei". Karajan achieves a cumulative intensity and, yes, a sense of spirituality which no other conductor, not even my beloved Knappertsbusch, engenders. This set was not remastered until its issue recently as part of the big Karajan Opera box; presumably DG saw no reason to do so given the depth, richness and balance of the sound achieved by Karajan's regular team of producers and engineers headed by Michael Glotz and Günter Hermanns. Oddly, nowhere in the booklet, despite its comprehensiveness, including many photos, essays and a libretto, are the recording dates and venue given: they are December 1979 and January/April/July 1980 in the Philharmonie.

Speaking of Kna, my favourite among his many live recordings is the last 1964 performance from Bayreuth with Jon Vickers on the Orfeo label, but that is,sadly, even at this late stage, in mono and this is an opera which ideally demands that time and space be conveyed via the stereo medium. Furthermore, no orchestra rivals the Klang and virtuosity of the BPO under Karajan at their peak.

Some of the singing here is ideal, too: Kurt Mol's warm, resonant, buzzing sound effortlessly conjures up the nobility and avuncular wisdom of Gurnemanz; his dark bass is far steadier than Ludwig Weber, never gusty or wobbly, and more similar to my other favourite bass in this role, Robert Lloyd. He is matched by José van Dam's agonised yet searingly beautiful singing of Amfortas; he does not have George London's power but his intensity of his suffering, when conveyed in such a lovely tone, is almost disturbing.The other low male voice is Siegmund Nimsgern, who uses the slight break in his vocal production to suggest that Klingsor is himself cracked. Controversy regarding Karajan's casting usually centres on Dunja Vejzovic and Peter Hofmann. It is true that she is tremulous and sometimes shrill but her vocal acting is superb and she effectively conveys Kundry's constant hysteria and torment more effectively than any other singer apart from Callas in the Italian version under Gui and Yvonne Minton, another seasoned Wagnerian who is unafraid to writhe vocally and scream. Hofmann's tenor is always threatening to begin wobbling but hit is still mostly under control here,even if a times you can hear the strain; he is certainly no worse than, say, Kollo, and nowhere near as bad as his detractors claim, even if he is no Vickers. His "Amfortas! Die Wunde!" is actually very good: clean, clear and heroic. It is not even a very long part, in any case. The supporting cast, headed by an imposing Titurel from Victor van Halem, is very good; I love Barbara Hendricks' sultry sex-kitten of a First Flower Maiden. Perfect this is not but it is still a deeply satisfying, profoundly moving account in first rate sound. - Ralph Moore LPs made by DGG - Deutsche Grammophon Gesellschaft Records, in GERMANY
 LPs released in 1981
 LPs are recorded in STEREO (Digital Recordings) Record Catalog Number: 2741 002 This listing is for a rare, out of print 5-LP boxed set - a FACTORY SEALED, NEVER PLAYED and assumed to be in MINT condition set PRESSED and ISSUED by DGG Records of a highly collectible title from their catalog - a superb title featuring -

Wagner // von Karajan

Title and music on this rare item -

Parsifal

Tracks -

1. Parsifal by Richard Wagner 
Performer:  Dunja Vejzovic (Mezzo Soprano), Siegmund Nimsgern (Baritone), Victor von Halem (Bass), 
Claes H. Ahnsjö (Tenor), Kurt Rydl (Bass), Marjon Lambriks (Soprano), 
Anne Gjevang (Alto), Heiner Hopfner (Tenor), Georg Tichy (Bass), 
Hanna Schwarz (Mezzo Soprano), Barbara Hendricks (Soprano), Janet Perry (Soprano), 
Doris Soffel (Mezzo Soprano), Inga Nielsen (Soprano), José van Dam (Baritone), 
Kurt Moll (Bass), Peter Hofmann (Tenor), Audrey Michael (Soprano), 
Rohangiz Yachmi (Mezzo Soprano) 
Conductor:  Herbert von Karajan 
Orchestra/Ensemble:  Berlin Philharmonic Orchestra,  Berlin Deutsche Oper Chorus 
Period: Romantic 
Written: 1877-1882; Germany 
Length: 256 Minutes 46 Secs. 
Language: German 

Vorspiel, I. Aufzug
A1. Teil29:07         
B2. Teil27:10         
C3. Teil22:16         
D4. Teil30:40         
II. Aufzug
E1. Teil32:32         
F2. Teil19:38         
G3. Teil15:36         
III. Aufzug
H1. Teil32:14         
J2. Teil24:02         
K3. Teil22:10

Performers / Credits -
• Alto Vocals [2. Knappe] – Anne Gjevang
• Baritone Vocals [Amfortas] – José Van Dam
• Bass Vocals [2. Gralsritter] – Kurt Rydl
• Bass Vocals [Gurnemanz] – Kurt Moll
• Bass Vocals [Klingsor] – Siegmund Nimsgern
• Bass Vocals [Titurel] – Victor Von Halem
• Choir – Chor Der Deutschen Oper Berlin
• Chorus Master – Walter Hagen-Groll
• Composed By – Richard Wagner
• Conductor – Herbert Von Karajan
• Orchestra – Berliner Philharmoniker
• Soprano Vocals [1. Knappe] – Marjon Lambriks
• Soprano Vocals [Kundry] – Dunja Vejzovic
• Tenor Vocals [1. Gralsritter] – Claes H. Ahnsjöh
• Tenor Vocals [3. Knappe] – Heiner Hopfner
• Tenor Vocals [4. Knappe] – Georg Tichy
• Tenor Vocals [Parsifal] – Peter Hofmann
• Vocals [1. Blumenmädchen 1. Gruppe] – Barbara Hendricks
• Vocals [1. Blumenmädchen 2. Gruppe] – Inga Nielsen
• Vocals [2. Blumenmädchen 1. Gruppe] – Janet Perry
• Vocals [2. Blumenmädchen 2. Gruppe] – Audrey Michael
• Vocals [3. Blumenmädchen 1. Gruppe] – Doris Soffel
• Vocals [3. Blumenmädchen 2. Gruppe] – Rohangiz Yachmi
• Vocals [Eine Stimme] – Hanna Schwarz
Other Information -
Digital Recording 
(P) 1981 Polydor International GmbH 
LC 0173 
Made in West Germany 
The five LP's have each an own cat# 
2560 004 -> side A / B 
2560 005 -> side C / D 
2560 006 -> side E / F 
2560 007 -> side G / H 
2560 008 -> side J / K
CONDITION Details: The 5-LP box is in mint condition! The box has NO splits or crushed corners - just gorgeous! The corners and seams are solid with no shelf wear. The outer plastic cellophane wrap has a bit of tearing, nothing serious! The colors on the box are sharp and clean (see pictures with this listing as they are of the actual item). The set comes complete with a paper insert/libretto. The 5-LPs are assumed to be in mint condition as this vintage 1981 item is still FACTORY SEALED!  A Short Note About LP GRADING - Mint {M} = Only used for sealed items. Near Mint {NM} = Virtually flawless in every way. Near Mint Minus {NM-} = Item has some minor imperfections, some audible. Excellent {EXC} = Item obviously played and enjoyed with some noise. Very Good Plus {VG+} = Many more imperfections which are noticeable and obtrusive.

For best results, always properly clean your LPs before playing them.

The LP is an audiophile quality pressing (any collector of fine MFSL, half speeds, direct to discs, Japanese/UK pressings etc., can attest to the difference a quality pressing can make to an audio system).

Don't let this rarity slip by!!!