Herbert von Karajan

“The first of Karajan's three Berlin Brahms cycles was, by general consent, his finest for DG.
Which was his finest 'phase' in general, only time will tell. Few would deny that this C minor Symphony has a 'halcyon days' feel. It's certainly present in the first two movements, the drive established in the main Allegro of the first (no repeat) allowing Karajan to relax for the second theme without loss of purpose. The second movement, ideally mobile, evolves freely and seamlessly, with masterfully graded wide dynamic contrasts felt rather than fashioned.
This orchestra's tone production is even, rich and rounded. So far, so good. In the third movement bar-by-bar dynamic contrasts are smoothed out, with the route to the Trio's climax taken as one very gradual crescendo. The finale's 'daybreak' is broad and awe-inspiring.
Karajan here has gauged tempo, dynamics and accentuation so the strings can articulate without strain; all very impressive, but his Allegro's progress is thus relatively short on attack, energy and the ability to fly.
The more you hear Karajan's Schumann First Symphony, the more convinced you may be that it's spring cultivated and monitored under laboratory conditions. The most unsettling of those conditions is an effect common to a number of his 1970s DG Berlin recordings, namely, for a fairly closely balanced orchestra (particularly the strings, which aren't entirely glare-free), as dynamic levels drop, to walk off several paces into a glowing Berlin sunset. This also exaggerates the conductor's own contrasts, neither exactly redolent of the vitality and freshness of spring: the resolutely robust and measured delivery of the rustic forte, and the carefully crafted confection of his dolce piano.” Gramophone Classical Music Guide, 2010

“The Alpensinfonie is no longer a rarity on disc, but there are still grounds for preferring the famous Karajan version to subsequent digital rivals, especially in this successful remastering. Karajan's sureness of line is always impressive in Strauss and, while the Berlin Philharmonic Orchestra isn't at its immaculate best, some playing is magnificent here.
The sound remains rather fierce, but several passages have been substantially remixed, and the effect is certainly less constricted overall.
Perhaps it doesn't matter that the horn theme that floats in with the (still blinding) 'Sonnenaufgang' isn't quite aligned with the strings.
More worrying is the subtle transformation of the opening phrase of 'Der Ansteig': whereas we used to experience it 'from the bottom up' with the balance favouring the basses, we hear more cellos now – and most of them fluff the B flat! That said, the breadth and majesty of Karajan's conception is indisputable.” Gramophone Classical Music Guide, 2010