Jean Sibelius once famously declared that Karajan was the only conductor who truly understood his music. This legendary 1980 account of the Second Symphony stands as the spectacular proof of that bond. Eschewing the lean, chilly approach often favoured in Nordic repertoire, Karajan unleashes the Berlin Philharmonic in a reading of titanic, elemental power. From the brooding mystery of the inner movements to the shattering, sun-drenched triumph of the finale, this recording represents the 'Karajan Sound' at its most thrillingly monumental.

Karajan’s 1979 account of Dvořák’s Eighth Symphony stands as an unashamed celebration of orchestral opulence and expressive warmth. Moving away from traditional rustic readings, Karajan unleashes the Berlin Philharmonic with a breathtaking, cinematic sweep. The legendary Berlin woodwinds and silken strings transform Dvořák’s Bohemian landscape into a sun-drenched, radiant canvas. It is a definitive document of the 'Karajan Sound' at its most hedonistic and luxurious.

Recorded in 1948, this Pathétique is a historic document capturing a young, fiercely ambitious Karajan alongside the Vienna Philharmonic. Far removed from the polished 'sonic monoliths' of his later Berlin years, this account—captured on 78s under the guidance of producer Walter Legge—is raw, urgent, and deeply human. Tied with Beethoven’s Fifth as his most frequently recorded symphony in studio, this searing version stands out for its structural grit and the dark, poignant warmth of a post-war Vienna Philharmonic playing for its survival.

There have been a number of outstanding recordings of the Dvorák Concerto since this DG record was made, but none to match it for the warmth of lyrical feeling, the sheer strength of personality of the cello playing and the distinction of the partnership between Karajan and Rostropovich. Any moments of romantic licence from the latter, who's obviously deeply in love with the music, are set against Karajan's overall grip on the proceedings. The orchestral playing is superb.

Karajan recorded Tod und Verklärung 3 times; 1960 with Vienna Philharmonic, 1971 and 1982 with Berlin Philharmonic. This is the second recording in 1971. The conductor extracts every detail of Strauss’s orchestration in a brilliant intensity. From the pianissimo in the opening to the climax near the end, the 100% engaged orchestra vividly expresses the transfiguration.

Volume 2 of EMI's comprehensive Herbert von Karajan centenary edition gathers virtually all of the conductor's operatic and vocal output for the label in one place, taking up 71 CDs (Disc 72 contains complete librettos in the form of PDF files). I use the word "virtually" because the package omits four posthumously issued archival items taped live during the 1957-60 Salzburg Festivals (Beethoven's Missa solemnis, Brahms' German Requiem, Bruckner's Te Deum, and Verdi's Requiem). Otherwise, it's all here.

Karajan’s Deutsche Grammophon complete recordings is recorded on chronological order. From the “Magic Flute” overture of the 1938 recording used as first recording to the recording of the last in 1989, and the Symphony No.7 of Bruckner. There is no selling separately. It becomes ordering limited production.

To celebrate what would have been Herbert von Karajan's 100th birthday on April 5, 2008, EMI has gathered together all of the conductor's recordings for the label in two super-budget boxed sets. Volume 1 weighs in at an imposing 88 discs and focuses on orchestral repertoire (the second volume consists of vocal and operatic works). The first nine discs encompass Karajan's EMI Vienna Philharmonic sessions…