Berlin, October 7, 1944. A typical day at the end of the Third Reich. Soldiers die. Civilians suffer. The Jews are killed. Nothing special. (*)
Beethovensaal In a concert is about to begin. But the theater is empty, free of its usual audience studded with the Nazi elite in search of a cultural brief respite in the tensions of war. Berlin Philharmonic Orchestra is on stage, waiting for his signal. The conductor Wilhelm Furtwängler stands at the podium. The vague meanderings of his baton call the first note somber Bruckner's Ninth Symphony. An engineer of the Berlin Radio turns on his tape recorder. Just started recording the most extraordinary century orchestra.
truly transcendent musical events are very rare. His appearance is difficult to predict. Often arise in unlikely places and random times. And so it was that in Berlin, in a gloomy fall afternoon, in the midst of war, a lone Nazi technical witnessed one of the most passionate performances ever recorded.
Like all great artistic achievements, the intensity and conviction of the work of wartime Furtwängler were distilled from the grueling experience. In our era of pampered superstars and traditional society, it seems difficult to conceive of a famous director genuinely torn by anxiety. Yet Furtwängler endured torment and pain so extreme that he was able to fully identify with the profound suffering to which the greatest composers pulled their heartfelt and enduring masterpieces. Under pressure designed to crush any sensitive artist, transmuted her anguish in a vision of understanding and unprecedented power.
The saga of how the incomparable art of Furtwängler emerged and developed into the awful abyss of Nazi Germany forces us to confront the terrible collision of art, society and morality.
BEFORE THE WAR
BEFORE THE WAR
The first two thirds of Furtwängler's life gives little indication about what was coming. Born in Berlin in 1866, in an enviably comfortable environment. His father was a famous archaeologist, and his mother a talented painter. Educated at home, the boy was nurtured in Germanic culture by mentors and family friends, among whom were philosophers and artists.
Furtwängler's musical talent came to light soon. His deepest love was Beethoven. At 12 years old Furtwängler, reportedly had memorized most of the works teacher, and could touch the piano. But above all things, Furtwängler aspired to be a composer, and 10 years of age had already written trios, quartets and six piano sonatas.
After the death of his father, however, turned to the direction, first to support his family, but also with the hope of encouraging performances of his own works. This gesture was characteristic, and it was not the first of many times that Furtwängler would temper their ideals with practicality.
Then came Hitler.
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Translated: Peter Gutmann
: Wilhelm Furtwängler: Genius Forged in the Cauldron of War / in: Classical Notes
To view the art. original Click Here
Furtwängler's musical talent came to light soon. His deepest love was Beethoven. At 12 years old Furtwängler, reportedly had memorized most of the works teacher, and could touch the piano. But above all things, Furtwängler aspired to be a composer, and 10 years of age had already written trios, quartets and six piano sonatas.
After the death of his father, however, turned to the direction, first to support his family, but also with the hope of encouraging performances of his own works. This gesture was characteristic, and it was not the first of many times that Furtwängler would temper their ideals with practicality.
Furtwängler followed the usual route of a traveling musical, working as assistant and eventually as director in the increasingly prestigious positions within the German music. His mentors included Felix Mottl (a close collaborator of Wagner who had directed the world premieres of several of his operas), Hans Pfitzner (one of the most important German composers) Artur Nikish especially, the greatest conductor of the time, known by musicians and captivate audiences with his impulsive fervor, their inflections deeply personal and unique "sound" orchestra.
Furtwängler's rise was meteoric, winning Breslau, Zurich, Munich, Estrasburto, Lübeck, Mannheim and Frankfurt. The press had labeled as "Das Wunder Furtwängler (" Wunder "means amazing, amazing). Nikish In 1922 he succeeded both in front of the Berlin Philharmonic, the most prestigious orchestra in Germany, as in the venerable Leipzig Gewandhaus, whose unique secular tradition of excellence began with Mendelssohn. In 1928 Furtwängler also took first place in Vienna the musical capital of Europe. In 1930 he became the Musical Director of the Bayreuth Festival, established by Wagner and regarded as the pinnacle of Germanic culture.
The only setback occurred Furtwängler United States, leading the New York Philharmonic, where he dazzled audiences for three seasons but was displaced by the furious zeal of Toscanini, who cruelly exploited the solemnity of Furtwängler, his social awkwardness and his refusal to bow society sponsors who ran "threads." But no matter, oblivious to the political firestorm that was unleashed in 1932, Furtwängler was established at the pinnacle of artistic success and its future, at least in Europe, seemed to have no limits.
Furtwängler's recording career began in 1926. During the next ten years, she recorded for Polydor mainly Austrian and German works, from Bach to Wagner, but also some unusual works of Rossini and Johann Strauss. The complete series is available on Koch 3-7059-2 and 3-7073-2 K2 (two CDs each), and excels at "Symposium 1046." Although not shown much of that visionary insight of its subsequent interpretations, each of the recordings shows the unified whole of a large orchestra under the direction of a solidly versed in the German musical culture. Thus, the strong and committed Bach, Mozart is heavy and severe, the mystical and ecstatic Weber, Wagner dark and gloomy, and Beethoven's noble and solid.
The only setback occurred Furtwängler United States, leading the New York Philharmonic, where he dazzled audiences for three seasons but was displaced by the furious zeal of Toscanini, who cruelly exploited the solemnity of Furtwängler, his social awkwardness and his refusal to bow society sponsors who ran "threads." But no matter, oblivious to the political firestorm that was unleashed in 1932, Furtwängler was established at the pinnacle of artistic success and its future, at least in Europe, seemed to have no limits.
Furtwängler's recording career began in 1926. During the next ten years, she recorded for Polydor mainly Austrian and German works, from Bach to Wagner, but also some unusual works of Rossini and Johann Strauss. The complete series is available on Koch 3-7059-2 and 3-7073-2 K2 (two CDs each), and excels at "Symposium 1046." Although not shown much of that visionary insight of its subsequent interpretations, each of the recordings shows the unified whole of a large orchestra under the direction of a solidly versed in the German musical culture. Thus, the strong and committed Bach, Mozart is heavy and severe, the mystical and ecstatic Weber, Wagner dark and gloomy, and Beethoven's noble and solid.
The first recordings of Furtwängler clearly show an artist at the peak of his professional world, sure of himself, a solid example of the rich tradition of German art. As stated very well the "Grove's Dictionary of Music" at that time one of your posts: "The control and balance are prominent features of his leadership, his interpretations, though full of vitality, not impulsive, and personal style director at the lectern is usually content. "
Then came Hitler.
View Part
View Third Party
Translated: Peter Gutmann
: Wilhelm Furtwängler: Genius Forged in the Cauldron of War / in: Classical Notes
To view the art. original Click Here
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