Wilhelm Furtwängler - Furtwängler conducts Berliner Philharmoniker (2022)
BAND/ARTIST: Wilhelm Furtwängler, Berliner Philharmoniker
- Title: Furtwängler conducts Berliner Philharmoniker
- Year Of Release: 2022
- Label: UMG Recordings, Inc.
- Genre: Classical
- Quality: FLAC (tracks)
- Total Time: 10:27:10
- Total Size: 1.9 GB
- WebSite: Album Preview
Tracklist:
01. 4. Bourrée (Live)
02. IV. Finale (Allegro con spirito)
03. Excerpt of 2nd movement
04. 2. Allegro (Live)
05. No. 1 in G Minor
06. 1. Allegro (Live)
07. 2. Allegretto scherzando (Live)
08. II. Romanze (Ziemlich langsam)
09. No. 10 in F Major
10. Trauermarsch
11. 3. Menuetto
12. Overture
13. 1. Ouverture (Live)
14. 2. Presto (Live)
15. 1. Adagio - Allegro (Live)
16. 5. Gigue (Live)
17. 4. Rondo
18. Prelude to Act 1
19. 3. Poco allegretto (Live)
20. 3. Allegro
21. Beethoven: Coriolan: Overture, Op. 62 (Live)
22. 4. Menuet (Live)
23. 3. Largo (Live)
24. 4. Allegro (Live)
25. 3. Menuetto (Allegretto) (Live)
26. Allegro moderato
27. 3. Marche hongroise
28. Overture
29. Good Friday Spell
30. No. 3 in A-Flat
31. Overture (Live)
32. 1. Allegro
33. 2. Langsam (Live)
34. II. Andante con moto
35. 1. (Adagio) - Allegro (Live)
36. Overture
37. 3. Andantino (Live)
38. 2. Air
39. 3. Air (Lento) (Live)
40. 5. Entr'acte No. 3 - Andantino
41. 9. Ballet Music No. 2
42. Theme (Bewegt - Sehr lebhaft - Ruhig) (Live)
43. 3. Un poco allegretto e grazioso (Live)
44. Wiegenlied. Mäßig langsam und sehr ruhig (Live)
45. Overture
46. 4. Allegretto grazioso - Un poco più presto (Live)
47. Prelude to Act I (Live)
48. 4. Finale (Allegro) (Live)
49. III. Allegro
50. 3. Tempo di menuetto (Live)
51. 4. Marsch (Live)
52. 3. Allegro vivace
53. 2. Intermezzo (Andantino grazioso) (Live)
54. 2. Romance
55. III. Scherzo
56. 2. Andante con moto (Live)
57. Scherzo (Munter) (Live)
58. II. Largo
59. 3. Rondo (Vivace) (Live)
60. I. Allegro con brio
61. "Mild und leise wie er lächelt"
62. IV. Allegro con brio (Live)
63. 1. (without tempo indication)
64. 4. Allegro vivace (Live)
65. IV. Langsam - Lebhaft - Schneller - Presto
66. 2. Turandot (Scherzo) (Live)
67. Overture
68. III. Presto - Assai meno presto (Live)
69. Overture
70. Weber: Invitation to the Dance, Op. 65 (Orch. Berlioz)
71. 2. Allegro appassionato (Live)
72. Overture
73. II. Allegretto (Live)
74. 3. Allegro (Live)
75. 2. Andante con moto (Live)
76. 1. Ouverture (Live)
77. IV. Allegro
78. 3. Rondo (Allegro) (Live)
79. Overture (Live)
80. 3. Gavotte I-II (Live)
81. Entr'acte
82. 5. Allegro (Live)
83. Weber: Overture Euryanthe, Op. 81 (Live)
84. R. Strauss: Till Eulenspiegels lustige Streiche, Op. 28 (Excerpt of the rehearsal)
85. 2. Allegro con grazia (Live)
86. Siegfried's Funeral March (Concert Version) (Live)
87. 3. Scherzo (Allegro vivace) (Live)
88. 2. Scherzo (Bewegt lebhaft) (Live)
89. 3. Allegro vivace (Live)
90. 4. Allegro (Live)
91. 4. Finale (Adagio lamentoso - Andante) (Live)
92. 3. Scherzo (Sehr schnell) (Live)
93. Liebestod (Concert Version) (Live)
94. I. Adagio - Allegro
95. 4. Allegro ma non troppo
96. 3. Sehr lebhaft (Live)
01. 4. Bourrée (Live)
02. IV. Finale (Allegro con spirito)
03. Excerpt of 2nd movement
04. 2. Allegro (Live)
05. No. 1 in G Minor
06. 1. Allegro (Live)
07. 2. Allegretto scherzando (Live)
08. II. Romanze (Ziemlich langsam)
09. No. 10 in F Major
10. Trauermarsch
11. 3. Menuetto
12. Overture
13. 1. Ouverture (Live)
14. 2. Presto (Live)
15. 1. Adagio - Allegro (Live)
16. 5. Gigue (Live)
17. 4. Rondo
18. Prelude to Act 1
19. 3. Poco allegretto (Live)
20. 3. Allegro
21. Beethoven: Coriolan: Overture, Op. 62 (Live)
22. 4. Menuet (Live)
23. 3. Largo (Live)
24. 4. Allegro (Live)
25. 3. Menuetto (Allegretto) (Live)
26. Allegro moderato
27. 3. Marche hongroise
28. Overture
29. Good Friday Spell
30. No. 3 in A-Flat
31. Overture (Live)
32. 1. Allegro
33. 2. Langsam (Live)
34. II. Andante con moto
35. 1. (Adagio) - Allegro (Live)
36. Overture
37. 3. Andantino (Live)
38. 2. Air
39. 3. Air (Lento) (Live)
40. 5. Entr'acte No. 3 - Andantino
41. 9. Ballet Music No. 2
42. Theme (Bewegt - Sehr lebhaft - Ruhig) (Live)
43. 3. Un poco allegretto e grazioso (Live)
44. Wiegenlied. Mäßig langsam und sehr ruhig (Live)
45. Overture
46. 4. Allegretto grazioso - Un poco più presto (Live)
47. Prelude to Act I (Live)
48. 4. Finale (Allegro) (Live)
49. III. Allegro
50. 3. Tempo di menuetto (Live)
51. 4. Marsch (Live)
52. 3. Allegro vivace
53. 2. Intermezzo (Andantino grazioso) (Live)
54. 2. Romance
55. III. Scherzo
56. 2. Andante con moto (Live)
57. Scherzo (Munter) (Live)
58. II. Largo
59. 3. Rondo (Vivace) (Live)
60. I. Allegro con brio
61. "Mild und leise wie er lächelt"
62. IV. Allegro con brio (Live)
63. 1. (without tempo indication)
64. 4. Allegro vivace (Live)
65. IV. Langsam - Lebhaft - Schneller - Presto
66. 2. Turandot (Scherzo) (Live)
67. Overture
68. III. Presto - Assai meno presto (Live)
69. Overture
70. Weber: Invitation to the Dance, Op. 65 (Orch. Berlioz)
71. 2. Allegro appassionato (Live)
72. Overture
73. II. Allegretto (Live)
74. 3. Allegro (Live)
75. 2. Andante con moto (Live)
76. 1. Ouverture (Live)
77. IV. Allegro
78. 3. Rondo (Allegro) (Live)
79. Overture (Live)
80. 3. Gavotte I-II (Live)
81. Entr'acte
82. 5. Allegro (Live)
83. Weber: Overture Euryanthe, Op. 81 (Live)
84. R. Strauss: Till Eulenspiegels lustige Streiche, Op. 28 (Excerpt of the rehearsal)
85. 2. Allegro con grazia (Live)
86. Siegfried's Funeral March (Concert Version) (Live)
87. 3. Scherzo (Allegro vivace) (Live)
88. 2. Scherzo (Bewegt lebhaft) (Live)
89. 3. Allegro vivace (Live)
90. 4. Allegro (Live)
91. 4. Finale (Adagio lamentoso - Andante) (Live)
92. 3. Scherzo (Sehr schnell) (Live)
93. Liebestod (Concert Version) (Live)
94. I. Adagio - Allegro
95. 4. Allegro ma non troppo
96. 3. Sehr lebhaft (Live)
Although born in Berlin, conductor Wilhelm Furtwängler spent his childhood in Munich, where his father was a professor. After his talents were recognized at an early age, he was removed from school and educated privately. Furtwängler's teachers included the composer Joseph Rheinberger and the conductor Felix Mottl. By the age of 17, the young musician had written numerous works and had his conducting debut three years later with the Kaim Orchestra, where he directed the opening Largo from his own first symphony, Beethoven's overture Die Weihe des Hauses, and Bruckner's Ninth Symphony. The ambivalent response to his music and the financial instability that composition offered caused him to focus his energies on conducting.
Furtwängler's first position was at the Breslau Stadttheater in 1906 and 1907. He went to Zurich the next season, followed by an apprenticeship at the Munich Court Opera under the auspices of his teacher Mottl. From 1911 to 1921, Furtwängler served as music director of various ensembles in Lübeck, Mannheim, Frankfurt, and Vienna. From 1920 to 1922, he served as conductor of the Berlin Staatskapelle. At the age of 35, the conductor took the baton at the celebrated Berlin Philharmonic and concurrently held the same position at the Leipzig Gewandhaus Orchestra, where he remained until 1928. Furtwängler led the New York Philharmonic from 1927 to 1929, but eventually declined an offer to remain there. It was during those years that Furtwängler was appointed music director of the Vienna Philharmonic. As the 1920s drew to a close, he held positions throughout Europe, including those at the Bayreuth and Salzburg festivals (1931-1932) and the Berlin State Opera (1933). In 1932, he was awarded the Goethe Gold Medal.
When the Nazis came into power in 1933, Furtwängler strongly and publicly opposed the Nazi agenda, despite pride in his German heritage, and refused to give the Nazi salute, even in Hitler's presence. In 1934, when Hindemith's Mathis de Maler was banned by the Nazi party, Furtwängler unilaterally resigned from all of his posts, aided numerous Jewish musicians under Nazi persecution, and refused to conduct in Nazi-occupied areas. Furtwängler eventually fled to Switzerland at the suggestion of Albert Speer. When, in 1936, the New York Philharmonic offered him the position of music director, he was dissuaded from accepting the position by anti-Nazi sentiment. After the war's conclusion, the Allied command cleared Furtwängler of charges of being a Nazi sympathizer, although the American government did not "denazify" Furtwängler until 1946. In 1949, the Chicago Symphony Orchestra courted the German conductor, but its board of directors quickly withdrew its offer under the heavy and largely unjustified criticism from the orchestra's musicians.
Always welcomed in Europe, Furtwängler enjoyed continued success throughout the region. While uninterested in recording live performances, citing the impossibility for technology to capture a mood or aesthetic, he was responsible for countless recordings, most of which were made after the war. His dedication to the works of Beethoven was unsurpassed, and his enthusiasm towards the contemporary compositions of the time impressive, evidenced by his aggressive programming. Furtwängler's idiosyncratic approach to the repertoire and spontaneous interpretations were unique to say the least. Furtwängler remained a popular artist and kept a busy schedule conducting throughout Europe until his death in Baden-Baden in 1954. According to his second wife Elisabeth Ackermann, he died a darkened and melancholy man, troubled by the atrocious history his beloved Germany had written. ~ David Brensilver
Furtwängler's first position was at the Breslau Stadttheater in 1906 and 1907. He went to Zurich the next season, followed by an apprenticeship at the Munich Court Opera under the auspices of his teacher Mottl. From 1911 to 1921, Furtwängler served as music director of various ensembles in Lübeck, Mannheim, Frankfurt, and Vienna. From 1920 to 1922, he served as conductor of the Berlin Staatskapelle. At the age of 35, the conductor took the baton at the celebrated Berlin Philharmonic and concurrently held the same position at the Leipzig Gewandhaus Orchestra, where he remained until 1928. Furtwängler led the New York Philharmonic from 1927 to 1929, but eventually declined an offer to remain there. It was during those years that Furtwängler was appointed music director of the Vienna Philharmonic. As the 1920s drew to a close, he held positions throughout Europe, including those at the Bayreuth and Salzburg festivals (1931-1932) and the Berlin State Opera (1933). In 1932, he was awarded the Goethe Gold Medal.
When the Nazis came into power in 1933, Furtwängler strongly and publicly opposed the Nazi agenda, despite pride in his German heritage, and refused to give the Nazi salute, even in Hitler's presence. In 1934, when Hindemith's Mathis de Maler was banned by the Nazi party, Furtwängler unilaterally resigned from all of his posts, aided numerous Jewish musicians under Nazi persecution, and refused to conduct in Nazi-occupied areas. Furtwängler eventually fled to Switzerland at the suggestion of Albert Speer. When, in 1936, the New York Philharmonic offered him the position of music director, he was dissuaded from accepting the position by anti-Nazi sentiment. After the war's conclusion, the Allied command cleared Furtwängler of charges of being a Nazi sympathizer, although the American government did not "denazify" Furtwängler until 1946. In 1949, the Chicago Symphony Orchestra courted the German conductor, but its board of directors quickly withdrew its offer under the heavy and largely unjustified criticism from the orchestra's musicians.
Always welcomed in Europe, Furtwängler enjoyed continued success throughout the region. While uninterested in recording live performances, citing the impossibility for technology to capture a mood or aesthetic, he was responsible for countless recordings, most of which were made after the war. His dedication to the works of Beethoven was unsurpassed, and his enthusiasm towards the contemporary compositions of the time impressive, evidenced by his aggressive programming. Furtwängler's idiosyncratic approach to the repertoire and spontaneous interpretations were unique to say the least. Furtwängler remained a popular artist and kept a busy schedule conducting throughout Europe until his death in Baden-Baden in 1954. According to his second wife Elisabeth Ackermann, he died a darkened and melancholy man, troubled by the atrocious history his beloved Germany had written. ~ David Brensilver
Year 2022 | Classical | FLAC / APE
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