Same here!

Well duh he was friends with Strauss and conducted "Daphne" premiere.

Big fan of the Nazis

​@@andrewroberts8139 grow up

You don't think the Vienna PO have this score memorized?

That doesn't matter. They still need to be reminded regularly. This was surely played to the camera for a DG Video. I agree about the Nazi part. But I guess by the 70s we were just just supposed to forget about it.

​@@andrewroberts8139 Blessed you are, you piss-ant, who didn't need to live in the days of his youth!

“Don’t take it off” Bohm:”I can striptease if you want” *air horn intensifies*

I'd rather concentrate myself on the music, not on the behaviour of the Maestro. Try and admire a record of Igor Markevich: just the hands and forarms are moving.

He has their respect already

@@jeanghika7653 Then concentrate om it. No one's stopping you.

​​@@jeanghika7653hat does it matter if the music is good in the end? All that matters.

What did you play?

I'm curious since you are a musician. - Do you agree that no conductor conducts Mozart especially Mozart operas as wonderfully as Karl Bohm.?And his conducting the Mozart Requiem, just astonishing. Thanks

I was Principal Percussionist... Write, Herb

I heard a story about Böhm -- maybe you could shed some light as to the veracity. It was said that whenever the Met orchestra did something he didn't like, he'd say, "My Vienna Staatsoper-Orchester would never do a thing like that." Then one day, a few members of the Staatsoper orchestra came to New York for a visit, and were allowed to meet the Met orchestra members. They said "You guys must be really good. Whenever Böhm gets annoyed with us in Vienna, he says, "My Met Orchestra would never do something like that!"

@@CamhiRichard Absolutely WILD story!!

They go home for dinner after 2-1/2 hrs. with him and think "I have an upset stomach, I won't sleep tonight. And tomorrow, there will another long rehearsal, with 400 stops and starts, and he will still complain. Not good enough." Probably like Szell with Cleveland!!!

@Algernon Campbell That's actually part of the psychology. He gets the violins to play it a few times by focusing on something else. But they really weren't that bad-Don Juan is famously hard, but everyone knows it because they have prepared it for auditions. The problem comes from trying to get agreement on intonation, which you get simply by doing it a few times.

@@urbanviii5103 I heard a funny anecdote that in the Concertgebouw Orchestra, they called rehearsing with Szell "Szell straf", which sounds like "celstraf", the Dutch word for "imprisonment" 😄

@@markokassenaar4387 Wonderful story! He probably worked their asses off.

@@InnocentVIII Granted, recordings with Szell always sound incredible, but he was an old-fashioned drill sergeant.

Why is it necessary to mention that Boehm hasn't aimed at showing off as a conductor?

Search for Stokowski’s rehearsals…

The Vienna musicians know ths music as well as Boehm, maybe better. It's only interpretation and they quickly pick that up. He doesn't need to waste time with a lot of ' educating". Great conductors can and should be practical. "Artists" rarely are.

Late in his career, Bohm took an increasingly subjective approach to conducting. He actually praised the 1981 Bernstein Phillips Tristan und Isolde, the first recording of it I ever heard. The interpretation is so notoriously slow that it occupied 5 cds. The only conductor I can think of whose interpretations, with advancing age, grew more objective, albeit with ever slower tempi as well, was Klemperer.

Not 5 CDs. 4LPs.

Particularly Strauss, Strauss is difficult to play. It's quasi-tonal, there's many key changes, meter changes, and it's rhythmically complex. Strauss excerpts are part of almost every professional orchestral audition.

thanks :)

Die genialen Fähigkeiten solcher Dirigenten wirken auch nach ihrem Ableben weiter fort. Das macht Spitzendirigenten noch wichtiger. Mir fällt auf, das Strauss in dieser Tondichtung durchaus schon mit dem Witz operiert hatte, den er mit weit über 40 im Rosenkavalier anwendete.

Unglaublich was der alles hörte

Thank you. Strauss does intense things to my soul. And responding with words is bound to bring deep growls of poetry from the inner depths of the unknown cosmos

Yes your right, not a showman a real Artista.

I disagree, Bohm seems a very nice man. He just doesn't do a lot of glad handing. And course he is demanding of his players. Is this not a nice thing to do?

@@polenc7167 Actually Böhm was notorious for his near-sadism, particularly with singers. Very few performers liked him. Many singers, after having worked with him once, refused ever to do so again. John Eliot Gardiner has a similarly dismal reputation amongst performers.

@@jasonhurd4379 ...the greatest ones did work with him, again and again. Birgit Nilsson e.g. But of course some fell short of his demand. I doubt if any of the so called superstars today would come close to a rehearsal with him.

@@mk5244 I think you are correct! But yes, the greatest did enjoy working with Böhm repeatedly, including Leonie Rysanek, James King, Elisabeth Schwarzkopf, Reri Grist, Edith Mathis, Hermann Prey, Evelyn Lear, Elisabeth Höngen, Christa Ludwig, Peter Schreier, Julia Varady and Dietrich Fischer-Dieskau. There is no one of the stature of these artists on the world's stages today. Böhm was the sort of conductor who had no problem with well-prepared, professional singers. It was only the lazy, sloppy ones who had problems with him.

@@jasonhurd4379 Janowitz, Gruberova.....all well prepared !

ne oubliez Clemens Krauss

@@Piflaser Oui, merci de nous le rappeler. On espère que les enregistrements de Clemens Krauss seront mieux diffusés , en France en tout cas , puisque celui-ci y souffre d'un certain oubli.

@@jean-christopheMiquel-ef3ur Chez les francais je aime beaucoup Paul Paray et Désiré-Émile Inghelbrecht, qui sont aussi presque inconnus.

@@Piflaser Paul Paray est encore connu, par contre D-E Inghelbrecht souffre d'un injuste oubli.

Dover's scores are notoriously unreliable.

Carlos Kleiber ...

Women weren't given permanent positions until the 1990s!

En ese momento, las mujeres estaban literalmente vetadas de esta orquesta.

MarkyMarc78 that says absolutely nothing about musicality.. It can even hinder you a lot if the instruments are not tuned as you hear them absolutely

Relative hearing is quite enough. You get the A at the begining (the job of the oboist), and all has to conform themselves to it. Never heard of 440 A, 435 A, even 432 pitch?

He knows exactly what he wants. And just after he asked for it, you hear the difference.

You understand then all the respect he could get from the orchestra musicians.

....Böhm knew they could do it. And they did ever and ever again. A different world of conducting. If the composer was your personal friend, you have a very particular authority in front of an orchestra. RDS