Herbert von Karajan

Herbert von Karajan (German pronunciation: [ˈhɛɐbɛɐt fɔn ˈkaʁaˌjan]; 5 April 1908 – 16 July 1989) was an Austrian orchestra and opera conductor. To the wider world he was perhaps most famously associated with the Berlin Philharmonic, of which he was principal conductor for 35 years. Although his work was not universally admired, he is generally considered to have been one of the greatest conductors of all time, and he was a dominant figure in European classical music from the 1960s 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 are said to have originally been Aromanian, or Greek, from the region of Macedonia. His great-great-grandfather, Geòrgios Johannes Karajànnis, was born in Kozani, a town in the Ottoman province of Rumelia (present West Macedonia in today's Greece), leaving for Vienna in 1767, and eventually Chemnitz, 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 the prefix "von" to the family name. The surname Karajànnis became Karajan. Herbert's family from the maternal side, through his grandfather who was born in the village of Mojstrana, Duchy of Carniola (today in Slovenia), had Slovene origins according to a modern genealogical research, thus contrasting with or clarifying the traditional view which expressed a Serbian or simply a Slavic origin of his mother.

Karajan was born in Salzburg, Austria-Hungary, as Heribert Ritter von Karajan. He was a child prodigy at the piano. From 1916 to 1926, he studied at the Mozarteum in Salzburg, where he was encouraged to concentrate on conducting by his teacher, who detected his exceptional promise in that regard.

In 1929, he conducted Salome at the Festspielhaus in Salzburg and from 1929 to 1934 Karajan served as first Kapellmeister at the Stadttheater in Ulm. In 1933 Karajan made his conducting debut at the Salzburg Festival with the Walpurgisnacht Scene in Max Reinhardt's production of Faust. It was also in 1933 that von Karajan became a member of the Nazi party, a fact for which he would later be criticised.

In Salzburg in 1934, Karajan led the Vienna Philharmonic for the first time, and from 1934 to 1941, he was engaged to conduct operatic and symphony-orchestra concerts at the Theater Aachen.

Karajan's career was given a significant boost in 1935 when he was appointed Germany's youngest Generalmusikdirektor and performed as a guest conductor in Bucharest, Brussels, Stockholm, Amsterdam and Paris. In 1937 Karajan made his debut with the Berlin Philharmonic and the Berlin State Opera, conducting Fidelio. He then enjoyed a major success at the State Opera with Tristan und Isolde. In 1938, his performance there of the opera was hailed by a Berlin critic as Das Wunder Karajan (the Karajan miracle). The critic asserted that Karajan's "success with Wagner's demanding work Tristan und Isolde sets himself alongside Furtwängler and de Sabata, the greatest opera conductors in Germany at the present time" Receiving a contract with Deutsche Grammophon that same year, Karajan made the first of numerous recordings, conducting the Staatskapelle Berlin in the overture to The Magic Flute. On 26 July 1938, he married his first wife, operetta singer Elmy Holgerloef. They divorced in 1942.

On 22 October 1942, at the height of the war, Karajan married his second wife, Anna Maria "Anita" Sauest, born Gütermann. She was the daughter of a well-known manufacturer of yarn for sewing machines. Having had a Jewish grandfather, she was considered a Vierteljüdin (one-quarter Jewish woman). By 1944, Karajan was, according to his own account, losing favor with the Nazi leadership; but he still conducted concerts in wartime Berlin on 18 February 1945. A short time later, in the closing stages of the war, he fled Germany with Anita for Milan, relocating his family to Italy with the assistance of Victor de Sabata. Karajan and Anita divorced in 1958.

Karajan was discharged by the Austrian denazification examining board on 18 March 1946, and resumed his conducting career shortly thereafter.

Karajan joined the Nazi Party in Salzburg on 8 April 1933; his membership number was 1,607,525. In June 1933, the Nazi Party was outlawed by the Austrian government. However, Karajan's membership was valid until 1939. In that year the former Austrian members were verified by the general office of the Nazi Party. Karajan's membership was declared invalid but his accession to the party was retroactively determined to have been on 1 May 1933 in Ulm, with membership number: 3,430,914.

British musicologist and critic Richard Osborne in his "Conversations with Karajan" (Oxford University Press 1991) states in the preface: "What are the facts? First, though Karajan was nominated for membership in the as yet unbanned Party in Salzburg in April 1933, he did not collect his card, sign it, or pay his dues, though the registration itself (no. 1607525) got on to the files and crops up in many memoranda and enquiries thereafter. Secondly, he did not join the Party on 1 May 1933 despite prima-facie evidence to the contrary. In the first place, the membership number 3430914 is too high to belong to that date. The highest number issued before the freeze on membership, which lasted from May 1933 to March 1937, was 3262698. However, during the freeze, various functionaries, diplomats, and others were issued cards bearing an NG, or Nachgereichte, designation. These cards were, by convention, backdated to the start of the freeze: 1 May 1933. Karajan's Aachen membership was an NG card, and its number accords with batches issued in 1935, the year Karajan had always identified as the one in which he was asked to join the Party."

Karajan's prominence increased from 1933 to 1945 which led to speculation that he joined the Nazis purely and only to advance his music career. Critics such as Jim Svejda have pointed out that other prominent conductors, such as Arturo Toscanini, Otto Klemperer, and Erich Kleiber, fled from fascist Europe at the time.

There were more who left fascist Europe. One was Fritz Busch, who fled in 1933.

However, British music critic Richard Osborne noted that among the many significant conductors who continued to work in Germany throughout the war years—Wilhelm Furtwängler, Ernest Ansermet, Carl Schuricht, Karl Böhm, Hans Knappertsbusch, Clemens Krauss and Karl Elmendorff—Karajan was one of the youngest and thus one of the least advanced in his career.

Karajan was allowed to conduct various orchestras and was free to travel, even to the Netherlands to conduct the Concertgebouw Orchestra and make recordings there in 1942.

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