Strauss: Four Last Songs / Karajan, Berlin Philharmonic Orchestra

Editorial Reviews
Amazon.com
Gundula Janowitz had a very beautiful voice that critics like to describe as "creamy," whatever that means. Strauss had a life-long love affair with the soprano voice. He even married one--not just the voice, the whole woman, of course. His Four Last Songs constitute his dying tribute, and they are probably the most hedonistically gorgeous vocal works in existence. Herbert vo Karajan was a Strauss specialist, as was Janowitz, and together they contrive to perform the songs about as perfectly as they ever have been. The couplings, two orchestral works from the beginning and end of Strauss's career, are quite appropriate: the last of the Four Songs quotes the "Transfiguration" theme from the tone poem. --David Hurwitz

Tracks:

Tod Und Verklarung Op. 24
Metamophosen: Metamorphosen
Veir Letzte Leider: Fruhling
Veir Letzte Leider: September
Veir Letzte Leider: Beim Schafengehen
Veir Letzte Leider: Im Abendot

Amazon.com

Gundula Janowitz had a very beautiful voice that critics like to describe as "creamy," whatever that means. Strauss had a life-long love affair with the soprano voice. He even married one--not just the voice, the whole woman, of course. His Four Last Songs constitute his dying tribute, and they are probably the most hedonistically gorgeous vocal works in existence. Herbert vo Karajan was a Strauss specialist, as was Janowitz, and together they contrive to perform the songs about as perfectly as they ever have been. The couplings, two orchestral works from the beginning and end of Strauss's career, are quite appropriate: the last of the Four Songs quotes the "Transfiguration" theme from the tone poem. --David Hurwitz

Customer Reviews:

The Perfect Four Last Songs.......2007-04-20

Of all the Straussians who have sung the composer's autumnal pieces, I think the best of the lot is Gundula Janowitz. Her ethereal, diaphanous, and floating voice fits these songs perfectly, and her natural sense of expression conveys that aura of old age, wisdom, and reflection radiated by these songs. Although hers is the kind of voice that wouldn't have the deep, low notes for Frühling, the rest of the songs sound like pearls falling off a string. In September and Beimschlafengehen, she has no rivals, and her Im Abendrot has that reflective sense of retirement that only she can bring to this glorious music. That said, I think that in addition to Janowitz, you must hear Lisa della Casa and Soile Isokoski in these songs. Janowitz is partnered by the orchestral forces of THE Straussian conductor, Herbert von Karajan. His feeling for the poetry in these pieces is unrivaled by any other conductor except Karl Böhm, and the Berlin forces play a ravishing account of this music. The balance is just right, and Karajan caresses the orchestral forces to a soft cushion of sound for Janowitz. All the resignment and wisdom of Strauss' final masterpieces can be found in this rendition of the music. The Metamorphosen and the Tod und Verklärung that precede these are also played with the finesse and the smoothness of the Berliners. Bravo!

Absolutely Beautiful!.......2006-07-19

Gundula Janowitz did an amazing job on the Four Last Songs by Strauss. Her tone is so beautiful with clarity, and her voice is so expressive. She also does not over sing these delicate songs which I heard oversung, and it ruins each piece. Of course, Karajan and the Berlin Philharmonic are amazing and perfect for Richard Strauss. The violin solo in the "third" of the four last songs is amazing and heartbreaking. You dont even have to be a Strauss fan to love this cd. Anybody who loves music has to love Strauss's Four Last Songs which can be described as some of the most beautiful music written.

Karajan really puts a damper on things.......2006-07-14

There are fervent Herbert von Karajan fans out there and a lot of people love this album, but I just don't see what the fuss is all about. Karajan's interpretations here seem daft and un-comprehending. In the sleeve notes, the Berlin Philharmonic concertmaster is quoted to say that Karajan quickly gave the orchestra a clear idea of what he wanted in rehearsals, so that in performance he could largely "let the orchestra play itself," taking over to provide leadership and an interpretive touch "at key moments." And that's exactly the sense I get in so many passages here: that Karajan is simply letting everyone play, not guiding or directing or shaping things.

The playing of the Berlin Philharmonic---the orchestra that is, by many if not by general consensus, held to be the world's finest---is of course spectacular. In fact, the orchestra is so good that all a conductor has to do to bring things off pretty well is to start and stop them together, and frankly for a great deal of this disk that seems to be the extent of Karajan's involvement. So many expressive nuances in these scores go by without emphasis, as though Karajan isn't even aware of them.

In the Four Last Songs, I much prefer Schwarzkopf and Szell with the Berlin Radio Symphony Orchestra. There, the phrasing is astute and expressive, heightening the effect of these scores, where Karajan deflates everything and largely sabotages the effect these gorgeous orchestral songs ought to have. Furthermore Schawarzkopf is gentle and tender where Janowitz, for as much as she sings arching, elegant phrases, is often rather overblown by comparison.

The exception here, though, and the reason for a 3-star rating rather than only 2, is the Metamorphosen, Op. 142. This is a remarkable, complex work that reveals itself more and more with multiple listenings, and the reading here is a real masterpiece. Perhaps Karajan deserves the credit, or perhaps the smaller ensemble (23 strings) fosters an atmosphere of chamber playing so that the orchestral musicians themselves are primarily responsible for the interpretive contribution here... given just how much Karajan muffles the expressive content in the other two works, I tend to think the latter is probably closer to the truth.

Fantastic readings of some of Strauss's most beautiful work.......2005-10-29

What more can I say that other reviewers have not already said? Karajan's direction of the BPO remains unsurpassed for Strauss. The BPO from the 1960's through the mid-70's was at its absolute apex and it shows, especially in the electric and beautiful "Tod und Verklarung" and the reflective "Metamorphosen". These interpretations of those two major tone-poems remain the definitive recordings for me; I have heard other performances, but none have moved me in this way.
I have to be honest, I am not a huge fan of Lieder in general - vocal works are not my bag, really. Still, if you enjoy this medium, then these pieces must not be missed, as they certainly are beautiful, and Gundula Janowitz has one of the most gorgeous classical voices.
Overall, this disc is can't miss - fantastic sound and performance, affordable price and a huge runtime (77+ minutes). A must have for Straussians.

Gorgeous Gundula.......2005-10-26

This is a must have CD for Janowitz's singing alone. Recently, many overpowered Wagnerian sopranos have attempted to perform the four last songs, but they are invariably miscast for these intimate works. Janowitz's singing here is precisely on the mark for the kind of atmosphere Strauss calls for. Karajan seems to fulfill every demand a signer could have here with gorgeous coloring, balance and pacing, always allowing Janowitz to breathe. These four last songs are part of my desert island collection.

Tod und Verklaerung likewise is an excellent rendition by Karajan. Death becomes palpable in a very naturalistic reading of this very naturalistic tone poem. The Metamorphosen on the other hand are the low spot on this disc and the reason for the "only" four stars rating. It seems emotionally overwrought and unconvincing as a whole. We have here unfortunately another example of excessively lush, chocolatey string overkill so common in later Karajan recordings. It seems wholly inappropriate for what is Strauss at his most experimental and non-romantic. A bit more clarity and emotional restraint would have helped.

Strauss: Four Last Songs / Karajan, Berlin Philharmonic Orchestra

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Strauss: Four Last Songs / Karajan, Berlin Philharmonic Orchestra

Manufacturer: Musical Heritage Society
ProductGroup: Music
Binding: Audio CD
ASIN: B000CKPXNM

Product Description

1. Tod und Verklärung (Death and Transfiguration), tone poem for orchestra, Op. 24 2. Metamorphosen, study for 23 solo strings, AV 142 3. Frühling ("In dämmrigen Grüften träumte ich lang"), song for voice & orchestra, AV 150/1 Fruhling 4. September ("Der Garten trauert, kühl sinkt in die Blumen der Regen"), song for voice & orchestra, AV150/2 September 5. Beim Schlafengehen ("Nun der Tag mich müd' gemacht"), song for voice & orchestra, AV 150/3 Beim Schlagengehen 6. Im Abendrot ("Wir sind durch Not und Freude gegangen Hand in Hand"), song for voice & orchestra, AV 150/4 Im Abendrot ADD

Strauss: Four Last Songs; Metamorphoses; Concerto for Oboe and Small Orchestra

Average customer rating:

Perfection

Strauss: Four Last Songs; Metamorphoses; Concerto for Oboe and Small Orchestra
Richard Strauss , Gundula Janowitz , Herbert Von Karajan , Lothar Koch , and Berlin Philharmonic Orchestra
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD
ASIN: B00004S65C
Release Date: 1990-10-25

Tracks:

Metamorphoses: Adagio, Ma Non Troppo-Agitato-Piu Allegro-Adagio, Tempo Primo-Molto Lento - BPO/Herbert Von Karajan
Con: 1. Allegro Moderato-Vivace-Tempo Primo - Lothar Koch
Con: 2. Andante - Lothar Koch
Con: 3. Vivace-Allegro-Tempo Primo - Lothar Koch
Four Last Songs: Fruhling - Gundula Janowitz
Four Last Songs: September - Gundula Janowitz
Four Last Songs: Beim Schafengehen - Gundula Janowitz
Four Last Songs: Im Abendrot - Gundula Janowitz

Customer Reviews:

Perfection.......2003-04-05

The Elisabeth Schwarzkopf recording is supposed to be the definitive rendering of the Strauss "Four Last Songs" and while it is indisputably lovely, Gundula Janowitz truly makes the songs her own. With a sweetly piercing clarity that is emblematic of all her performances (she dazzles when performing Mozart) she manages to achieve a singular mood that unifies the pieces and makes them almost ethereal. Janowitz's voice becomes an instrument, a part of the orchestral ensemble--as Ella Fitzgerald did in her recordings; this is something very rarely achieved. And when it happens, the end result is something that prickles the listener's nerve-endings, making you listen intently and in awe. Schwarzkopf's voice is older, richer but it is definitely a solo performance with accompaniment--while Janowitz sails as a soprano instrument atop, yet very much a part of, the whole. If you can find a copy, grab it. It is a peerless recording, particularly well paired with the haunting Oboe Concerto.
My highest recommendation.