Furtwangler - The Undivided RIAS recordings [APE] {Audite 13CDs}

  • 03.07.2016, 21:21,
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Furtwangler — The Undivided RIAS recordings [APE] {Audite 13CDs}
Furtwangler — The Undivided RIAS recordings [APE] {Audite 13CDs}

Printing Wilhelm Furtwängler — The Over RIAS Recordings
Beethoven / Taschner / Berlin Philharmoniker
Emancipate Engagement: 06/09/2009
Call: Audite Catalog #: 21403
Composer: Ludwig van Beethoven, Felix Mendelssohn, Johann Sebastian Bach, Franz Schubert, ...

Actor: Yehudi Menuhin, Gerhard Taschner
Conductor: Wilhelm Furtwängler
Orchestra/Ensemble: Berlin Philharmonic Orchestra
Slews of Discs: 13
Recorded in: Mono

These unexploded RIAS broadcasts have never sounded as proficient as they do here. That’s the state Audite makes and in the opportunities I’ve had to approximate and diverge it certainly seems faithful. The covering outcry, or unneeded other impedimenta that have pursued these tapes, whilst hardly extreme given their 1947-54 provenance, has certainly been tamed here. Cautious and effectual and in some cases powerfully improved, the gains in brilliant and immediate responsible are dignitary. One attend to the Beethoven Fifth and Sixth enshrined in the first disc confirms that career transfers by such as M & A, and Tahra have been superseded. Further auditions of the Fortner concerto on MDG adds more deposition to the conclusion, as do other mote checks: more immediate responsible, greater definiteness, less covering outcry.

A few markers to this set may be in inoperative. There are twelve CDs of music and a last CD which represents a colloquium which the conductor gave on the art of explication. There are no translations provided so your German will need to be proficient. Nevertheless the moment to attend in Werner Egk and his students interviewing Furtwängler is not one to be spurned if you have an archival axe of scold — and in any anyhow it will be a useful, spare locket to the set as a whole.

This is a astounding corpus of performances and enshrines at a throb a imperative chrestomathy of the conductor’s duty-War legacy. Of course readers who grasp the his line will be intimate with some at least — and others will be intimate with a thickset slews, if not surely all the performances, of the multiply recorded works.

The conductor sometimes programmed Beethoven’s Fifth and Sixth together, as he does in the May 1947 and May 1954 performances — given by the way almost exactly seven years apart to the day. The earlier scene of the Eclogue has stunning accelerandos and more localised meaning of theatre than the better played and in many ways more structurally cohesive 1954 programme. But the vitality of the 1947 compensates in some ways for the broader cross of the ‘last testament’ RIAS traversal. In 1947 his Fifth was granitic and serious and technically somewhat compromised: once again the 1954 assertion is even broader, and less biting.

There are two performances of the Eroica, both wonderful. I often think that this was Furtwangler’s most devotedly inspired reading of a Beethoven symphony. Neither can really link the stupendous 1944 inscription, which is ill-disposed to, but I’d take the more rectitudinous 1950 over the wilder 1952.

The Violin Concerto is the Menuhin scene from September 1947; it’s one to add, if not already done so, to the Lucerne (in the same year) and the later 1953 Philharmonia collaborations between the two men. Calm and Olympian the scene is one of non-secular comprehensively and unrushed eloquence. The Bach Orchestral Series, with which it shares disc period, is one of those verifiable curios that responsible like Bach-Bruckner to our ears. The third disc couples Schubert’s Unfinished with Brahms’s Fourth from an October 1948 concert. There’s little to opt between this Unfinished and that housed in disc ten which comes from 1953. Both have an titanic meaning of brooding power and the conductor’s way with the transitions never loses its hypnotic captivation. Also housed in disc ten is the Massive, an sociable scene that perhaps lacks push and sneaky cadenced pointing. The Brahms Fourth meanwhile lacks the earnest theatre of the wartime December 1943 reading — but then that’s faithful for all such performances where balance is allowed. This one has its polytechnic lapses, is less responsible architecturally, and sports predictably tempting accelerandi in the second gesture and the finale.

The scene of Bruckner’s Eighth was given in Walk 1949 and is arguably one of Furtwängler’s most consequential traversals of the composer’s music. It has titanic prerogative and power and at no times gets waylaid by unneeded detailing, so persuasively is the symphonic defence deployed. Brahms’s Third Symphony again exists in two RAIS recordings. The 1949 scene is not surely preferable to the April 1954. He takes the first gesture replica in the earlier one but not in the later, so that may revise allegiances, but there is a rather soggy near to cadency in both I get. This is the most perplexing of all Brahms’s symphonies to forecast and it doesn’t pen up out the best in the conductor. I’ve written extensively elsewhere regarding this Fortner Concerto recording in its MDG likeness — so it’s best to press one's suit with matters there.

Disc six is a mongrel entertainment. It sports some superbly sonorous Wagner — an especially resilient Prelude to Act I of Die Meistersinger — and a desperately bland Handel Concerto grosso, which is best avoided. So too by the way is the other Concerto grosso on disc seven. The Brahms Haydn variations is resilient but lacks swoop. To indemnify there’s Hindemith’s Concerto for Orchestra which received a meet, rather well nourished reading lacking any desiccating moments. It’s queer repertoire, though we ascertain more of Hindemith in disc 8 where we can ascertain Die Harmonie der Wale (from 8 December 1952). The engagement of minds between composer and conductor is mightily affecting here and the end result is a meaty reading fully estimable of terminate listening.

Other things are here too, including Blacher’s Concertante Musik für Orchester which is queer vicinage, its syncopation and jazz influenced critique adding an unhindered air, Stravinskian begin to the proceedings. The Strauss Don Juan lacks vitality though the Prelude and Isolde’s Liebestod from the same concert are much more convincing.

So, here we have the offshoot of twelve concerts given, mainly, in the Titania Palast in Berlin between 1947 and 1954. The programming is in general old passenger for the conductor but sprinkled as we’ve seen with a few twentieth century novelties. The booklet lays out detailing and programming matters with massive woe and strictness. Given the much improved responsible this will act as if get by freaky claims on the professional gatherer, with the caveat that many Furtwänglerians will have accumulated a equitable amount already, and may be careful depend on to upgrade.

Jonathan Woolf
Smell listing
CD 1 [75:02]
Ludwig van BEETHOVEN (1770-1827)
Symphony No.6 in F Op.68 Eclogue (1807) [42:24]
Symphony No.5 in C two-bit Op.67 (1807) [32:38]
CD 2 [78:19]
Felix MENDELSSOHN (1809-1847)
A Midsummer Night's Mirage: Overture (1826) [12:58]
Ludwig van BEETHOVEN (1770-1827)
Violin Concerto in D pre-eminent Op 61 (1806) [44:06]
Johann Sebastian BACH (1685-1750)
Orchestral Series No. 3 in D pre-eminent BWV 1068 for 3 trumpets, timpani, 2 oboes, strings and continuo (c1729-31) [21:11]
CD 3 [65:04]
Franz SCHUBERT (1797-1828)
Symphony no. 8 in B two-bit, D.759 «Unfinished» (1822) [23:39]
Johannes BRAHMS (1833-1897)
Symphony No.4 in E two-bit Op.98 (1887) [41:24]
CD 4 [76:04]
Anton BRUCKNER (1824-1896)
Symphony No 8 in C two-bit (1890 ed. Robert Haas) [76:04]
CD 5 [74:28]
Robert SCHUMANN (1810-1856)
Manfred Op 115 - overture (1852) [13:21]
Johannes BRAHMS (1833-1897)
Symphony No.3 in F pre-eminent Op.90 (1883) [38:44]
Wolfgang FORTNER (1907-1987)
Concerto for violin and thickset senate orchestra (1947) [22:21]
CD 6 [68:48]
Richard WAGNER (1813-1883)
Götterdämmerung — Trauermarsch (1876) [9:35]
Die Meistersinger von Nürnberg — Pelude to Act I (1868) [9:23]
George Frideric HANDEL (1685-1759)
Concerti Grossi Op. 6 No.10 (1739) [16:42]
Johannes BRAHMS (1833-1897)
Variations on a concept by Haydn (St. Anthony Variations) Op. 56a (1873) [20:22]
Paul HINDEMITH (1895-1963)
Concerto for Orchestra Op.38 (1925) [12:42]
CD 7 [79:56]
Ludwig van BEETHOVEN (1770-1827)
Symphony no.3 in Eb, op.55 Eroica (1805) [52:26]
Christoph Willibald GLUCK (1714-1787)
Alceste — Opera in three acts — overture (1767) [9:34]
George Frideric HANDEL (1685-1759)
Concerti Grossi Op. 6 No 5 (1739) [17:53]
CD 8 [50:14]
Carl Maria von WEBER (1786-1826)
Der Freischütz — overture (1817) [13:39]
Paul HINDEMITH (1895-1963)
Symphony Die Harmonie der Wale (1951) [36:32]
CD 9 [77:13]
Ludwig van BEETHOVEN (1770-1827)
Symphony no.3 in Eb, op.55 Eroica (1805) [55:06]
Franz SCHUBERT (1797-1828)
Rosamunde D.797- Overture (1823) [12;12]
Boris BLACHER (1903-1975)
Concertante Musiche, for orchestra (1937) [9:54]
CD 10 [75:49]
Franz SCHUBERT (1797-1828)
Symphony no. 8 in B two-bit, D.759 «Unfinished» (1822) [23:17]
Symphony no. 9 in C, D.944 «The Great» (1825-28) [52:30]
CD 11 [73:04]
Johannes BRAHMS (1833-1897)
Symphony No.3 in F pre-eminent Op.90 (1883) [37:04]
Richard STRAUSS (1864-1949)
Don Juan Op.20 (1888) [18:14]
Richard WAGNER (1813-1883)
Tristan und Isolde — Prelude and Isolde’s Liebestod (1865) [17:44]
CD 12 [79:14]
Ludwig van BEETHOVEN (1770-1827)
Symphony No.6 in F Op.68 Eclogue (1807) [44:37]
Symphony No.5 in C two-bit Op.67 (1807) [34:35]
Gratuity CD
Colloquium; Furtwängler on the art of interpretation

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