La prolífica escena de la música clásica alemana pronto iba a caer en el vacío. Solamente entre los directores, se fueron Bruno Walter, Otto Klemperer y Erich Kleiber (los principales rivales de Furtängler). Algunos se fueron por una cuestión de conciencia, pero otros no tuvieron más remedio: como judíos, las nuevas racial laws forbidding them to show, teach and ultimately, live.
Shortly after the rise of Hitler, was the only director Furtängler important that was. And it is clear that he had no bitterness toward the horde of immigrants, as naively invited to several of them to come back and presented to him in future seasons, and seemed genuinely hurt when rejected. Almost all former colleagues Furtängler begged him to make a decision and to join them when he refused to leave, he was treated as a "traitor to humanity" and rejected any possible future contact planted.
The crucial fact that would haunt Furtängler for the rest of his life was why it was when all the other great artists were.
The common explanation says Furtängler lacked moral strength. But as so often comes to ethical issues, the real story is much more complex. In any case, the truth is exactly the opposite: it was mainly Furtängler convictions, sincere but naive.
From the depths of their cultural and intellectual Furtängler believed that Hitler and Nazism as simply a passing phase in German politics. In fact, many observers of that time found it difficult to take seriously a pony, dark-haired and brown eyes shouted for the supremacy of the Aryan tall and blonde.
Furtängler Right from the start saw two Germanies: a permanent, cultural, of which he was a proud member and other, irrelevant policy, which was a temporary nuisance. To Furtängler there was no such thing as a "Nazi Germany", but rather a Germany devastated by the Nazis. Furtängler really believed that keeping his artistic convictions would succeed in resisting Hitler and could still keep the eternal purity of the great German culture. All his activities during those years were determined to achieve that goal.
Furtängler believed, in the depths of his soul, that music was a force for moral good, a way out of chaos, which would help the cause of humanity. In 1943 he wrote: "The message that Beethoven left humanity in his work ... I think it has never been more necessary than today." Later told the Chicago Tribune, said "It would have been much easier to migrate, but had to be a spiritual center of integrity for all real and good Germans who had to stay. I felt that a truly great musical work was a contradiction stronger and more essential with respect to Buchenwald and Auschwitz that the words could be. "
Richard Wolff, the first violinist of the Berlin Philharmonic (Whose Jewish wife of the war unscathed thanks to the protection of Furtängler), said: "Furtängler could have enjoyed a safe and comfortable life abroad during the terrible years of Nazi rule, but felt his responsibility was to stay and help to educate the younger generation to keep alive German and spiritual values \u200b\u200bof Germany in its darkest hour. "
But all these noble thoughts could be dismissed as an easy rationalization of a puppet coward, and in fact there were many more practical reasons Furtängler why he stayed.
Nazis are said to have threatened to imprison his mother. Harassed and finally drove his personal secretary Jew. Furtängler dating relationship with the Berlin Philharmonic, hinted that dissolve the group and recruit the band for a more loyal.
Above all, the Nazis exploited the fear that their art Furtängler not be understood outside of Germany when he was offered Furtängler lead in important positions overseas, the government was of agreement, but subject to further immigration law that would prevent forever return (a condition that they knew would never accept Furtängler). Therefore, Furtängler itself was effectively imprisoned in his homeland.
And the Nazis tried to keep it Furtängler poisoning image abroad.
For example, when Furtängler refused to join the Nazi party, was named "Staatsrat" (Council of State) for life, a purely honorary title legally could not refuse and which the Nazis often reported appealed to mark out a range of choice.
When at a concert he refused to salute Hitler, the wily Furer stepped on stage and shook hands warmly, a moment captured by photographers in circulation around the world as supposed evidence capitulation.
And when he faced the Furtängler public silence, the Nazis used to generate false news to proclaim their support, prefabricated amplified by quotations in praise of Nazi policies and its leadership.
The perverse efficiency of the Nazi propaganda machine was demonstrated in 1935, when he was offered Furtängler conducting New York Philharmonic, after the withdrawal of Toscanini.
His candidacy came with a guarantee of success apparently shielded (the insistence of the Master, known for an American audience who adored him as the greatest director in the world, which was worth only happen Furtängler .) The timing of the offer was suitable, since Furtängler was upset with the Nazi regime and this time was deeply tempted. But while sipping your options heir apparent, Prime Minister Göring announced that Furtängler rehabilitation was complete and he could resume his duties at the Staatsoper Berlin.
With that, the damage was done: despite Furtängler attempts to clarify its position, the press of New York Philharmonic subscribers now wanted nothing to do with bringing a Nazi officially recognized for their land. Furtängler tried to retire with dignity, with a telegram "postponed" its appearances in the United States "until the public realizes that music and politics have nothing to do with each other." But this hardly appease a message isolationist America and alarmed by the reports of Nazi atrocities.
As a final measure of reassurance, the Nazis used the most terrible and effective weapon of all.
Herbert von Karajan was a brilliant and ambitious Austrian director who had everything Furtängler no: he was handsome, energetic, charismatic, young and totally indulgent and unprincipled. During the war, the Nazis manipulated the two against each other, with diabolical brilliance, Von Karajan denying the supreme compliment to the state-controlled media kept Furtängler drenched while this old man lived in perpetual fear that his rival to replace him, even going so far as to call it "Das Wunder Karajan", a cruel echo of previous Furtängler nickname.
Translated:
Peter Gutmann: Wilhelm Furtwangler, Genius Forged in the Cauldron of War / in: Classical Notes
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