DEUTCHE GRAMMOPHON BEETHOVEN 1970 BEETHOVEN EDITION MUSIC FOR THE STAGE

In 1970 DEUTCHE GRAMMOPHON in co-operation with the Beethoven Archive Bonn issues the Beethoven Edition.Part of this edition is volume 11.Conducted by Herbert Von Karajan,the Berlin philharmonic plays music for the stage composed by the Master.Among the overtures is THE RUINS OF ATHENS a very touching and rewarding overture which we rarely listen here in Greece.

Osterfestspiele Salzburg-EASTER FESTIVAL SALZBURG

KARAJAN FOUND THE EASTER FESTIVAL IN 1967

It all started in 1967. Herbert von Karajan founded the Salzburg Easter Festival, and it established a name for itself from the very beginning as one of the most exclusive, artistically excellent and internationally renowned music festivals around the world. Ever since, the focuses have been a lavish opera production at the Großes Festspielhaus and the great orchestral repertoire.

The death of the great maestro Karajan in 1989 represented a turning point in the Easter Festival’s artistic development. After a four-year interregnum which the maestros Kurt Masur, Bernard Haitink and Sir Georg Solti filled with their inimitable personalities as artists, Claudio Abbado succeeded in 1994 as the artistic director, carrying on the long tradition of the Berlin Philharmonic Orchestra’s responsible principal conductor serving as the Festival’s artistic director. After Abbado left his position in Berlin, his successor, Sir Simon Rattle, took charge of Salzburg’s artistic planning beginning in the 2003 season.

KARAJAN R.STRAUSS EINE ALPENSINFONIE

DIGITAL RECORDING FOR THE FIRST CD DEUTCHE GRAMMOPHON ISSUED Press for bigger image The Alpine Symphony is one of Strauss’ largest non-operatic conceptions, and the composer himself considered it his best-wrought work in terms of its orchestration. Symphony is scored for the following forces:

Woodwinds

4 Flutes (Fl. 3, 4 doubling Piccolos)

3 Oboes (Ob. 3 doubling English Horn)

Heckelphone

2 Clarinets in B-flat

Clarinet in E-flat

Clarinet in C (doubling Bass Clarinet in B-flat)

4 Bassoons (Bsn. 4 doubling Contrabassoon)

Brass

8 Horns (Hns. 5-8 doubling Wagner Tubas in F and B-flat)

4 Trumpets

4 Trombones

2 Tubas

12 Offstage Horns

2 Offstage Trumpets

2 Offstage Trombones

Percussion

Timpani (2 players)

Bass Drum

Cymbals

Tam-tam

Triangle

Cowbells

Glockenspiel

Wind Machine

Thunder Machine

Keyboards

Organ

Celesta

Strings

2 Harps

Violins I (18), II (16)

Violas (12)

Violoncellos (10)

Double basses (8)

KARAJAN THE WAR YEARS AND THE NSDP

FRANKESTEIN OR GENIUS THE MIDAS TOUCH HIS FALCON JET BY DASSAU. Frankestein or genius he lived his life and every minute for him was a chance for something to learn.The famous Bulgarian soprano Anna Tomowa Sintow recalls when she heard an ear bursting noise over the sky in Salzburg.She came out of the building and asked what it was. KARAJAN WAS TRYING OUT THE CONCORDE. He made the desicion for the building of the new Salzburg theatre while he was pilotting his falcon jet from AUSTRIA TO SWEDEN. He was using the fast Porche cars and he was saying this prevented him from putting rust on his brains. It seems that the fact that KARAJAN HAD JOINED THE NSDP cannot be denied..These were hard times,bad times for the humanity,and more so for the musicians whose performances were and still are used as propaganda by various regimes. Richard Osborne who published the famous DISCUSSIONS with Karajan book with interviews taken in person with the maestro covers this side of Karajan`s life.However after examining the facts by noumerous historical sources i have to say that his involvement with the NSDP was for the benefit of his cariere.I do not know if the maestro had changed his mind about the paricipation to the party,all the times he was asked he refused to reply. This page examines his portrait as an international personality whose involvement with music gave the world masterpieces of performance. Karajan was more than a maestro,he was a teacher as the way he was reading the score was exausting in detail,underlying the colours and the harmonies in a unique way.

AUSTRIAN-GREEK MAESTRO H.V.KARAJAN

THE GOLDEN BOX THE BLUE TULIPS THE MUSIC. The great Austrian Greek conductor was born in Salzburg Austria 1908. Detailed research shows tha his great-great grandfather was Georg Karajannis and was born in Kozani Macedonia a region in Nothern Greece. 1989 the year Karajan died Deutche Grammophon issued a CD titled THE ESSSENTIAL KARAJAN and in the leaflet the German author explains that his roots were Greek from Kozani Greece. His recordings for more than 50 years are well above 200 million copies .He started recording during the wax era,and he complained that he lost some of these copies due to bad handling. He had two children with his last wife Elliette,two daughters.He married three times.one of his marriages costed him to be under suspicion from the NSDP as his wife had jewish origin.The maestro studied engineering and music in the Mozarteum insitute. At 21 he conducts his first Salome,later on he becomes principal maestro in ULM from where he is sacked very soon with the excuse of having too big a talent. As time goes by he forms his conducting based on his idols :ΑRTURO TOSCANINI AND VICTOR DE SABATA. There is an impression that the maestro was a fun of the FURTWANGLER conducting style but it seems that this is totaly wrong. Yes KARAJAN wanted the orchestra that Wilhelm Furtwagler TUNED and this orchestra was the BERLINER PHILHARMINIKER. He had his first Deutche Grammophon contact signed in 1938 after he was hailed as DAS WUNDER KARAJAN by entusiastic critics in Germany. THE WAR YEARS AND THE NSDP As you know Karajan conducted the orchestra having his eyes closed.This was due to a memory lapse which he experienced at the Bayeruth Theatre , it seems in the presence of ADOLF HITLER.Chaos was created as the singers stopped singing.Karajan insisted on conducting by heart without the notes book. Adolf Hitler suggested that the maestro should be banned from the Bayeruth, but kept his position at the Deutche Opern Berlin by HORMAN GORING`S INSISTANCE.After this it seems he made a vow to memorize all the works he was to conduct.

KARAJAN-DEUTCHE GRAMMOPHON THE 9 BEETOVEN SYMPHONIES VYNIL BOX

4 CLICK FOR BIGGER IMAGE THE FAMOUS BIG BLUE TULIPS OF THE GRAMMOPHON.RUMORS SAID THAT THE RECORDINGS WERE PROCCESSED ON RECORDERS USING BULBS .

BEETHOVEN THE TESTAMENT OF HEILIGENSTADT

Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me? You do not know the secret cause which makes me seem that way to you. From childhood on, me heart and soul have been full of the tender feeling of goodwill, and I was ever inclined to accomplish great things. But, think that for six years now I have been hopelessly afflicted, made worse by senseless physicians, from year to year deceived with hopes of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years or, perhaps, be impossible). Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to withdraw myself, to live life alone. If at times I tried to forget all this, oh how harshly I was I flung back by the doubly sad experience of my bad hearing. Yet it was impossible for me to say to people, "Speak louder, shout, for I am deaf." Ah, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed.--Oh I cannot do it; therefore forgive me when you see me draw back when I would have gladly mingled with you. My misfortune is doubly painful to me because I am bound to be misunderstood; for me there can be no relaxation with my fellow men, no refined conversations, no mutual exchange of ideas. I must live almost alone, like one who has been banished; I can mix with society only as much as true necessity demands. If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed. Thus it has been during the last six months which I have spent in the country. By ordering me to spare my hearing as much as possible, my intelligent doctor almost fell in with my own present frame of mind, though sometimes I ran counter to it by yielding to my desire for companionship. But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a flute in the distance and I heard nothing, or someone heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended me life -- it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me. So I endured this wretched existence -- truly wretched for so susceptible a body, which can be thrown by a sudden change from the best condition to the very worst. -- Patience, they say, is what I must now choose for my guide, and I have done so -- I hope my determination will remain firm to endure until it pleases the inexorable Parcae to break the thread. Perhaps I shall get better, perhaps not; I am ready. -- Forced to become a philosopher already in my twenty-eighth year, oh it is not easy, and for the artist much more difficult than for anyone else. 'Divine one, thou seest me inmost soul thou knowest that therein dwells the love of mankind and the desire to do good'. Oh fellow men, when at some point you read this, consider then that you have done me an injustice; someone who has had misfortune man console himself to find a similar case to his, who despite all the limitations of Nature nevertheless did everything within his powers to become accepted among worthy artists and men. 'You, my brothers Carl and [Johann], as soon as I am dead, if Dr. Schmidt is still alive, ask him in my name to describe my malady, and attach this written documentation to his account of my illness so that so far as it possible at least the world may become reconciled to me after my death&quot.

BEETHOVEN THE HUMAN LUDWIG..HIS LIFE

BEETHOVEN TAKING A STROLL ALONG THE STREETS OF VIENNA.

• Beethoven used to take strolls in the streets of Vienna.In one of these strolls he was walking together with the famous author JOHANN WOLFGANG VON GOETHE.It seems that the Emperor`s cart passed near by them and Goethe stopped and bowed.Beethoven stood looking and soon the vehicle stopped and thePrince opened the window and said good morning to Beethoven first and then to Goethe.Later Beethoven said to Goethe:They should bow in front of you.
• Beethoven`s father used to wake young Ludwig at 12 o`clock at night to practice the piano.If he played a false note he used to beat him on his hands with a stick.This caused young Ludwig to nearly hate the piano playing.
• Wolfgang Amadeus Mozart was convinced to give piano lessons to young Ludwig.He never accepted to play himself in front of his pupil though.
• He liked to eat in small taverns where he listened to popular tunes sung by everyday people.Some of these motives can be found in his works.
• He was a loud person full of life.When he was washing himself he used to play with the water for hours,singing with a loud voice and spilling the water everywhere.
• Rossini offered a copy of his IL BARBIERE DI SIVIGLIA opera to the master and Beethoven send him a reply letter, saying that he enjoyed the work and he amused himself .Rossini was very proud of this.
• He used to walk long walks ,he prefered the country,but the city as well.He was always holding a notebook and having his hands back was stopping everynow and then to note something.
• The problem with his hearing was a minor problem with today`s medical progress,it would require a very small operation to be cured
• He had o nephew whom he loved and whom he supported with most of his income.It seems that his relative let him down many times.
• Beethoven was the first musician who turned his back to the audience as by that time the maestros were conducting facing the audience and not the orchestra.

In July 1812 Beethoven wrote a letter to an unidentified lady whom he addressed as The Immortal Beloved. It was as eloquent of love as his 'Heligenstadt Testament' had been of despair. The following is a summary of the letter (follow the above link for more):

My angel, my all, my very self - a few words only today, and in pencil (thine). Why such profound sorrow when necessity speaks? Can our love endure but through sacrifice - but through not demanding all - canst thou alter it that thou art not wholly mine, I not wholly thine?

BEETHOVEN SYMPHONIE NO 5 IN C

Η 5η Συμφωνία τού Μπετόβεν η οποία είναι γνωστή σαν "ΤΟΥ ΠΕΠΡΩΜΕΝΟΥ" εξαιτίας του αρχικού μοτίβο, το οποίο χρησιμοποιείται σαν απόφθεγμα σε ολόκληρο το έργο, εξελίχθη σε μία μακρά περίοδο χρόνου, από το 1804-1808. Eίναι ένα ασύγκριτο κλασσικό αριστούργημα για δύο λόγους. Σαν σύμβολο ανθρώπινης δύναμης και μεγαλείου, αλλά και σαν ιδεωδώς δημιουργηθείς οργανισμός αρτιστικής τελειότητος, ο οποίος ξεχωρίζει γιά την τέλεια ενότητα της φόρμας του. 1st MOVEMENT ALLEGRO CON BRIO Η Εισαγωγή ξεκινά σε κλειδί ΝΤΟ -ΜΙΝΟΡΕ και σχεδόν κυριαρχείται από το βασικό θέμα και τις τέσσερις γνωστές νότες, τρεις σύντομες και μια μακρυά, σε τέτοιο βαθμό ώστε το δεύτερο αντικείμενο να παραμένει ένα απλό επεισόδιο και στην θεματική παρουσίαση αλλα και στην ανάπτυξη. 2nd MOVEMENT ANDANTE CON MOTTO Το δεύτερο αργό μέρος είναι βασισμένο σε δύο αντικρουόμενα θέματα: Μια λυρική μελωδία που εισάγεται από τα χαμηλότερα έγχορδα και ένα εμβατηριο, που συγγενεύει με το θέμα της εισαγωγής, αλλα και του φινάλε. Αυτά τα δύο θέματα αναπτύσσονται σε ελεύθερη φόρμα παραλλαγής. 3rdMOVEMENT ALLEGRO ATACCA Η τρίτη κίνηση (κομμάτι) που είναι περισσότερο ενα μακάβριο ΙΝΤΕΡΜΕΖΖΟ που κυριαρχείται από το motto τoυ Πεπρωμένου, παρά ενα Scherzo, ξεδιπλώνεται σε τρία μέρη, ένα βαρύγδουπο φουγκάτο σαν Τριο και μια ποικιλόχρωμη ανακεφαλαίωση. 4th movement SATZ;Αllegro. Ακολουθεί ενα μεταβατικό πέρασμα--μία περιοχή που κυριαρχεί ενα μετέωρο συναίσθημα κενού και μεγάλης έντασης, από το οποίο πηγάζει το απαστράπτων θέμα τού Φιναλε σε C Μείζονα. Θέμα που δίνει την αίσθηση του ΘΡΙΑΜΒΟΥ ΠΑΝΩ ΣΤΙΣ ΔΥΝΑΜΕΙΣ ΤΟΥ ΚΑΚΚΟΥ. Όπως αρμόζει σε μία τέτοια έκρηξη ευφροσύνης η ορχήστρα εχει εμπλουτιστεί σε αυτό το Φινάλε με τρία τρομπόνια, πίκολο, κόντρα μπάσσα. Και τα τέσσερα μέρη αυτού του έργου είναι απλά σε χαρακτήρα και γοητευτικά στην δυναμική τους οδηγώντας σε ενα ολοκληρωτικό Πρέστο μεγάλης αγαλλίασης, το οποίο και τελειώνει ολόκληρο το έργο ΣΕ ΜΙΑ ΝΟΤΑ ΝΙΚΗΣ.

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WOODSTOCK THE WHO/altec audio system

ROGER DALTREY PETE TOWNSHEND KEITH MOON JOHN ENTWHISTLE ΥΠΕΥΘΥΝΟΣ ΤΗΣ ΜΙΞΗΣ ΣΤΟ WOODSTOCK.......MR. MARK LEVINSON

ALVIN LEE TEN YEARS AFTER

WOODSTOCK--MUDSTOCK

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WOODSTOCK 3 DAYS PEACE AND MUSIC PRESENTS...............THE SANTANA

WOODSTOCK FACTS

1. Οι διοργανωτές σχεδίασαν το Φεστιβάλ ΚΕΡΔΟΣΚΟΠΙΚΟΥ χαρακτήρα για 100.000 άτομα.
2. Προσήλθαν 500.000.
3. Σημερινή αξἰα εισιτηρίου περίπου 75 US.DOLLARS.
4. η Warner Bros. προσέφερε 100.000 για την κινηματογράφηση του γεγονότος, με την υπόσχεση να δώσει κατι παραπάνω , αν συνέβαιναν ταραχές.
5. 2 παιδιά γεννήθηκαν σε μποτιλιαρίσματα των γύρω δρόμων.
6. Οι φράχτες κόπηκαν σχεδόν αμέσως οταν κατάλαβαν οτι τα 50.000 άτομα ήταν τελικώς 500.000.
7. Oι Beatles δεν εμφανίσθηκαν επειδή κατα απαίτηση του John Lennon,έπρεπε να εμφανισθεί και η Plastic ono band.
8. Ο Βοb Dylan ανέβαλε την τελευταία στιγμή επειδή αρρώστησε το παιδί του.
9. H ALTEC LANSING σχεδίασε 15 γιγαντιαίων διαστάσεων ηχεία 1,80χ1,20χ0,90 m τα οποία στήθηκαν σε ύψος 21 μέτρων.
10. Τα ηχεία περιέιχαν 4 woofers 15 inches της JBL-LANCING.Τις υψηλές συχνότητες ανελάμβαναν ΚΟΡΝΕΣ της ΑLTEC.
11. Πισω απο την σκηνή υπήρχαν 3TRANSFORMERS που παρείχαν 2000 ΑMPERES ρεύματος ο κάθε ένας.

WOODSTOCK 1969 JOHN SEBASTIAN

I HAD A DREAM LAST NIGHT WHAT A LOVELYY DREAM IT WAS.... EX LOVIN SPOONFUL(SUMMER IN THE CITY) QUITARIST