The Berlin Philharmonic at the peak of their "Karajan sound" capabilities throw the full weight of their symphonic splendour at this Bach program.As for sound and video quality: all DVDs from this Karajan series are exceptionally good considering that the original material was recorded 20 some years ago. They leave nothing to be desired.
In light of the "chill-out" trend of the 1990s, major labels released many albums of slow, meditative pieces to appeal to listeners who wanted relaxing or reflective background music. Deutsche Grammophon's vaults are full of exceptional recordings of classical orchestral music, and the performances by Herbert von Karajan and the Berlin Philharmonic are prominent in the label's catalog. The slow selections on Karajan: Adagio are in most cases drawn from larger compositions, though these movements are frequently anthologized as if they were free-standing works. Indeed, many have come to think of the Adagietto from Gustav Mahler's Symphony No. 5 as a separate piece in its own right, largely because of its evocative use in the film Death in Venice. Furthermore, the famous Canon by Johann Pachelbel is seldom played with its original companion piece, the Gigue in D major, let alone in its original version for three violins and continuo; it most often appears in an arrangement for strings.
The second concert was devoted to Bach's Brandemburg Concerto No. 1 and Shostakovich’s Tenth Symphony. The orchestra’s commitment was astonishing. Mariss Jansons would recall: “They played at two hundred percent capacity. It was unbelievable”. Shostakovich joined Karajan and the orchestra on stage afterwards, obviously moved by the performance and reception he received. For Karajan, it was possibly the proudest moment of his life… To conductor who would to have been Shostakovich, these things mattered.
Although best remembered for his devotion to the core Austro-Germanic repertoire, Austrian conductor Herbert von Karajan did flirt with the English repertoire in the '50s and early '60s.