Furtwangler: Symphony No. 2

Editorial Reviews
Amazon.com
Wilhelm Furtwängler is best known as a conductor; he saw himself, however, as a composer who conducted. His first symphony is somewhat of a bore, and while the second, composed in 1944-45, does not break any new compositional ground, it still fascinates. At 82 minutes, it's seen as a long last gasp of German Romanticism (Bruckner comes to mind). The third movement, probably the most entertaining, has Russian and Finnish (Sibelian) overtones, and the wind writing, over and under the swirling strings, is distinguished. In fact, Furtwängler proves himself to be a wise orchestrator--note the prominent bassoons in the first movement, the bass clarinet near the close of the third, and the near-epic brass chorales in the last. This recording, led by the Furtwängler-like Barenboim and gloriously played by the Chicago Symphony Orchestra, replaces the scrappy Marco Polo release and certainly sonically outclasses the composer's own performance on Orfeo, but the leisurely tempi employed by Barenboim (seven minutes slower than on Marco Polo and two minutes slower than the composer's) mean that it requires two CDs rather than one. Not a masterpiece, but a masterly performance of a work that deserves to be heard more often. --Robert Levine

Tracks:

Symphony No. 1 In C, Op. 68: I Un poco sostenuto - Allegro
Symphony No. 1 In C, Op. 68: II Andante sostenuto
Symphony No. 1 In C, Op. 68: III Un poco allegretto y grazioso
Symphony No. 1 In C, Op. 68: IV Adagio piu andante - Allegro non troppo ma con brio
Symphony No. 1 In C, Op. 68: Adagio piu andante - Allegro non troppo ma con brio

Tracks:

Symphony No. 2 In D, Op. 73: I Allegro non troppo
Symphony No. 2 In D, Op. 73: II Adagio non troppo
Symphony No. 2 In D, Op. 73: III Allegretto grazioso
Symphony No. 2 In D, Op. 73: IV Allegro con spirito
SYMPHONY NO. 3 IN F, OP. 90: I Allegro con brio
SYMPHONY NO. 3 IN F, OP. 90: II Andante
SYMPHONY NO. 3 IN F, OP. 90: III Poco allegretto
SYMPHONY NO. 3 IN F, OP. 90: IV Allegro

Tracks:

Symphony No. 4 In E, Op. 98: I Allegro non troppo
Symphony No. 4 In E, Op. 98: II Andante moderato
Symphony No. 4 In E, Op. 98: III Allegro giocoso
Symphony No. 4 In E, Op. 98: IV Allegro energico e passionato
Variations On A Theme By Haydn, Op. 56A: Haydn Variations

Tracks:

Piano Concerto No. 2 In B Flat, Op. 83: I Allegro non troppo
Piano Concerto No. 2 In B Flat, Op. 83: II Allegro appasionato
Piano Concerto No. 2 In B Flat, Op. 83: III Andante
Piano Concerto No. 2 In B Flat, Op. 83: IV Allegretto grazioso
Variations On A Theme By Haydn, Op. 56A: Chorale St. Antoni: Andante
Variations On A Theme By Haydn, Op. 56A: Var. I Poco piu animato
Variations On A Theme By Haydn, Op. 56A: Var. II Piu vivace
Variations On A Theme By Haydn, Op. 56A: Var. III Con moto
Variations On A Theme By Haydn, Op. 56A: Var. IV Andante con moto
Variations On A Theme By Haydn, Op. 56A: Var. V Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VI Vivace
Variations On A Theme By Haydn, Op. 56A: Var. VII Grazioso
Variations On A Theme By Haydn, Op. 56A: Var. VIII Presto non troppo
Variations On A Theme By Haydn, Op. 56A: Finale. Andante

Amazon.com essential recording

What a bonanza: some of the most searching interpretations ever made of symphonic cornerstones, from a now bygone era of performance, here beautifully remastered by Music & Arts and packaged into a bargain set. Wilhelm Furtwängler's dynamic, always-evolving--and often unpredictable--visions of a classic score could overwhelm listeners with their paradoxical aura of the inevitable, wresting away the easy, dull comfort of familiarity. This is most dramatically the case with the conductor's performances of Beethoven. They still move and shake us free of lazy assumptions about this music with all the power of artistic truth. Furtwängler came relatively late to Brahms (like so many of the composer's most abiding admirers) but identified deeply with Brahms's dark strain of melancholy and self-consciousness. The Furtwängler trademarks are all here--palpable molding of tempos and dynamics to concentrate drama, oracular moments of insight, and an astonishingly compelling, organic sense of the whole.

Perhaps the most viscerally thrilling account here is of the First Symphony, from 1951, which, as John Ardoin brilliantly describes it in The Furtwängler Record, has the "magnificent rawness of a Michelangelo." But, when you think you've reached an untoppable high at its conclusion, listen to the finale from Furtwängler's final wartime concert in Berlin, 1945 (the only extant movement on disc), included in this set. The symphonies presented here are a far cry from the stuffy, pedantic, anachronistic Brahms served up by so many lesser lights. Furtwängler grasps and conveys the subtly layered ambiguities in these scores, the blending--particularly in the Second's Adagio (1945) and the final measures of the Third (1943)--of deep shadow with serene sunlight. His Brahms Four from 1943 at times verges on the terrifying; ultimately it passes beyond tragedy into new wisdom as Furtwängler scoops, caresses, sculpts, and simply builds musical contours. The set also includes two interpretations of the Haydn Variations (1943 and 1951) and the legendary 1942 Second Piano Concerto featuring Edwin Fischer as soloist--a touchstone of musical partnership. There's a varying level of background hiss and distortion throughout the set, but in general this is an extraordinary CD transfer. And in Furtwängler's presence, any distracting artifacts of the recorded sound soon fade into insignificance. This is a must not only for listeners serious about Brahms but for anyone intrigued by the art of musical interpretation. --Thomas May

Customer Reviews:

Unsurpassably great.......2005-06-01

In a sense, Furtwangler's best Brahms recordings, collected here, are even more impressive than his Beethoven. Beethoven is almost foolproof, and even in a mediocre performance he will come across intact, but botch Brahms and a tedious soup is all that remains. Compared to Furtwangler's Brahms, all other versions seem not interpreted but merely played through. Under Furtwangler's baton, Brahms emerges as a tragic artist of Shakespearean proportions, with the unbelievable 1945 performance of the last movement of the First--as another listener points out, it stands with his 1942 Ninth among his greatest achievements on record--and the complete performance of the Fourth as particular standouts. As others have noted, the Third isn't quite up to par--personally I prefer the version in the EMI box, which has a terrifically dynamic first movement--but all in all these are performances to render almost all others insignificant. Nowhere else does Furtwangler better exemplify his uncanny ability to find the living core of a piece of music and bring it out whole. This is visionary artistry of the highest order, to which all discussion of conductorial eccentricity is irrelevant, and it will make a Brahms lover of anyone who encounters it fully. A completely extraordinary set of recordings, and a must.

The best Brahms cycle I have heard so far.......2005-04-18

The Furtwangler cycle of Brahms is comething special indeed. The sound leaves much to be desired, but trust me, after you hear the performances you will never want to hear Brahms any other way (no matter how good the sound is)!! This cycle is raw, uninhibited, fierce, probing, tragic but above all powerful. Take the finle of the 4th symphony as an example. It is played at a faster pace of any other recording I have heard of the piece. At the end the variations played on strings are almost a little sloppy. But playing them at that tempo gives the overall movement such great power, spontaniety and drive that it does'nt matter. These performances are should be the gold standard for all others. No other brahms cycle comes ever close.

Furtwangler's best Brahms symphony recordings.......2005-03-02

...all in one set! I'm not going to jump on "madamemusico's" one-star review too much, since she has certainly gotten her share of well-earned unhelpful votes, but I don't know what the hell the argument that Brahms is a "classicist" has to do with anything. The way I look at it, Brahms may have been a classicist with regard to form, but he had heart and soul of a romantic, so I don't understand what precludes his symphonies from being played as full-blooded romantic music. Just admit you don't like Furtwangler, and don't taint the ratings here with personal biases. 'Nuff said on that subject.

"Brahms music is boring and his orchestration is too thick," is one of my least favorite of the countless cliches' about romantic era composers and their music. When I worked at a record store several years ago, I was playing a really good and exciting recording of a Mendelssohn symphony, and a lady came in and, after listening to it for a few minutes, she asked, "What is this? It's really good." "Mendelssohn's (I think it was the 3rd) Symphony," I responded. "Really?!" she said, surprised; "I thought Mendelssohn was boring." "That's because you've never heard any GOOD Mendelssohn," I said. She bought the CD. I am not a big Mendelssohn fan, but the point of this anecdote is that you frequently get the same kinds of opinions about Brahms, based on cliches' about his music that preclude people from giving it serious consideration: "Oh yeah, Brahms; thick and boring. Not my cup of tea." Then you hear some GOOD Brahms, and you are a fan for life.

I would not pretend that this is the only Brahms set you should have. The sound quality is variable, and Furtwangler's style is unique, but if you have any interest in Brahms' symphonies, and you have some more modern recordings that you like, then you really need to have this one; esp. since you can probably get an inexpensive copy on the Marketplace.

I have listened to many of Furtwangler's numerous Brahms recordings, and there is no question in my mind that M&A have assembled the best ones here. Part of the magic of Furtwangler's Brahms is that, despite the weight of the sound that he gets from these great orchestras, plenty of detail can be heard, and surprisingly little apology needs to be made for the sound, even though these recordings are from widely different sources.

Brahms recorded multiple good Brahms' Firsts, but this one from 1951 with Schmidt-Isserstedt's wonderful Hamburg orchestra is my favorite, and it has the best sound of any Furtwangler Brahms recording. The Tahra release of the First has slightly better sound than the M&A, but not enough to diminish the appeal of this set. The wartime Second might have the most thrilling account of the wonderful finale ever recorded. The Third, recorded in the last few months of Furtwangler's life is deeply ruminative, and is the most idiosyncratic of all of the readings here in that much of it is very slow, but it is easily the best of his Thirds, and I find it to be a uniquely satisfying reading. It has often been commented on the Brahms' music has an autumnal feel to it, and it seems to me that this is particularly explicit in the Third, with its luminous woodwind coloring, esp. the clarinet parts: the third was the last of the Brahms symphonies that I fell in love with-- courtesy of the Szell recording--and there is a palpable feeling of deep autumnal reflection in Furtwangler's reading, esp. in his achingly beautiful account of the third movement; and in the closing bars of the quiet coda, you can almost see the last autumn leaves slowly wafting down to the earth. The wartime Fourth is one of the most overtly tragic readings you will ever hear, with an amazing forward thrust to the finale; again, this is easily Furtwangler's best reading.

The fact that there are later Furtwangler Brahms recordings with somewhat better sound is not really a factor, such is the quality of the performances assembed in this M&A set. If you have this set you don't really need any other of Furtwangler Brahms symphony recordings. The EMI References set is good, but those performances are all runners-up to all of those in this set.

Simply Mandatory For Brahms Lovers.......2004-05-25

I feel that this set belongs in EVERY collection. It has great CD transfers, sensational conducting and WONDERFUL Brahms!

Sym. #1: This 1951 Hamburg with the North German Radio is, to my mind, the finest Brahms 1st on record. It is also on Tahra FURT 1054/7, but this M&A transfer is distinctly SUPERIOR: the Tahra has lots of extra hiss and a midrange that sounds rather hollow. However, you MUST have that Tahra set because it contains Furtwangler's majestic 1954 Lucerne Beethoven 9th in its best transfer. The only Furtwangler 1st to rival this Hamburg is the 1952 Berlin Phil. (deleted DG 415662-2). More mellow and less dramatic, it and this Hamburg are sonically just about the best of ALL Furtwangler recordings.

Sym. #2: The 1945 Vienna Phil. here is also available on 6-disc DG set 474030. They are close in sound quality, but I would give the edge to M&A. Incidentally, you must have the DG set for its 1944 Vienna Phil. Bruckner 8th in a finest-ever transfer. This Brahms 2nd is VERY dramatic, but the lesser 1948 with the London Phil. (Dutton) has grown on me of late - if it were the only Furtwangler available, most of us would be raving about it! My favorite Furtwangler Brahms 2nd remains the more reflective, less hectic 7 May 1952 Berlin Phil. account (mine is on an Electrola Da Capo LP).

Sym. #3: This 1954 Berlin is the best of 3 Thirds - it was also on DG 423572-2 (deleted) in sound that was the same as this M&A (the DG was coupled with my favorite Furtwangler account of the Schubert 8th from 1952). He isn't as persuasive in the 3rd, but the closing pages have a lovely autumnal, valedictory quality.

Sym. #4: This dynamic 4th from 1943 is his best, and this is its best-ever transfer.

2nd Piano Concerto: The 1942 live sound is congested (it's the only poor sound in this set). The transfer on DG 471294-2 is somewhat better, but both are pretty bad.

Haydn Variations: This 1951 Hamburg and the Berlin 1950 (DG) are my two favorites: both have excellent sound.

Brilliant as these are, there are accounts by other conductors that I also cherish. Some are foils that help to appreciate the greatness of Furtwangler's readings, and a few of them offer insights that are different and perhaps equally valid. In the 1st, Abendroth is stunning (his best: the live 1955 Berlin Radio on Tahra 145/146). If there were no Furtwangler Brahms 1st, this would be my favorite. I am also quite taken with the 1953 Schuricht/Suisse Romande on Archiphon 2.1 - its coupling is a Beethoven "Missa Solemnis" with Stader, Calveti, Haefliger & Rehfuss. Since Furtwangler never recorded the latter, you might want to try it this excellent Schuricht.

For the 2nd, my other favorites are Schuricht/VPO (London LP) and Fritz Busch (EMI). The Max Fiedler and Walter Damrosch 2nds (on different Biddulph CDs) are weirdly hypnotic - a trip back to the past. In the 3rd, I love Kna (Tahra), Schuricht (Greenhill), and Mengelberg (Naxos). For the 4th, three worth hearing are Abendroth (Arlecchino), Busch (Dante LYS), and Schuricht (Ades).

Edwin Fischer isn't my top choice in the 2nd Concerto, despite the lovely slow mvt. I prefer Curzon with Kna/VPO on a Decca LP. And for the Haydn Variations, I also like the pokey Kna/VPO (Decca) and the Schuricht (Ades).

But make no mistake: if my house were on fire and I could keep only one Brahms set, it would be this Furtwangler. If I could grab two, the old Weingartner (deleted EMI) would come along for contrast. As Fielding once observed, "what is a jewel without its foil?"

Anything but dull.......2003-10-02

Many (perhaps most) people see Brahms as being particularly dull. This set, without any doubt, completely destroys this myth. Just listen to the 1945 recording of the finale to the First symphony, and you will hear one of the most inspiring, most desperately intense recordings of orchestral music you are ever likely to hear (on this score, it is rivalled only by Furtwangler's titanic 1942 recording of Beethoven's Ninth symphony). The main reason why I greatly admire Furtwangler's conducting is that he almost always conveyed a complete understanding of what the music really means; he was a master of the lost art of reading inbetween the lines. This is in great evidence here. The marvelous 1951 Hamburg recordings of the First symphony and the Haydn variations have such a warm, personal sound, and are both intense and noble. The Second symphony has been refered to as Brahms' Pastoral symphony. Furtwangler realises, just as with Beethoven's Pastoral symphony, that this music is not un-dramatic to the point of being comatose, but rather is a thrilling symphony to the wonders of nature, very beautiful, but with a spiritual side as well. The first three movements of the Third symphony are incredible. How could he get that sound out of an orchesta? I cannot describe it in words; you just have to listen to it. The finale of the Third symphony is, from an interpretive standpoint, mildly dissapointing for Furtwangler. (For just about anyone else, it would have been extraordinary.) I agree with John Ardoin (author of a fine book on Furtwangler's recordings; the liner notes are taken from it) here, in thinking that the transition from the introduction to the main Allegro is too abrupt and unexpected, and the very end of the movement is rather unremarkable for Furtwangler. These are very fine interpretive points, however, and the overall experience is still thoroughly enjoyable. The Fourth symphony is excellent here, through and through. Particularly notable is the finale, which, as a previous reviewer noted, is almost apocalyptic. The wartime Haydn variations is somewhat less contemplative and warm toned than its 1951 counterpart, but is more 'straightforward' in its interpretation, and is perhaps more 'festive', joyful, or whatever else you care to call it. To cap this set off is an incredible performance of the 2nd piano concerto, with Edwin Fischer. I don't always care for his playing (I generaly don't find enough subtlety in his touch, listen to Hofmann for that), but here he and Furtwangler work as one, which of course is a great thing. On top of all this, the sound quality, even with the concerto (from 1942), is quite good, and with the Third, is exceptionaly clear. If I were to have no Brahms but this, I would still be happy.

Average customer rating:

Average quality recordings, great historical significance

Recordings 1942-1944, Vol. 2

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Beethoven; Mendelssohn: Violin Concertos / Furtwangler, Menuhin

ASIN: B00005ONML
Release Date: 2002-10-08

Tracks:

Allegro Affettuoso - Walter Gieseking
Intermezzo. Andantino Grazioso - Attacca - Walter Gieseking
Allegro Vivace - Walter Gieseking
Nicht Zu Schnell - Tibor De Machula
Langsam - Tibor De Machula
Sehr Lebhaft - Tibor De Machula

Tracks:

Allegro Non Troppo - Edwin Fischer
Allegro Appassionato - Edwin Fischer
Andante - Edwin Fischer
Allegretto Grazioso - Edwin Fischer

Tracks:

Introduction. Adagio
Adagio. Sehr Langsam
Scherzo. Molto Vivace (Schnell) - Trio
Finale. Adagio - Allegro Moderato

Tracks:

Thema I. Bewegt - Thema II. Sehr Lebhaft - Thema III. Ruhig
Scherzo. Munter
Wiegenlied. MaBig Langsam
Adagio. Langsam
Finale. Sehr Labhaft
Tone-Poem After Nikolaus Lenau

Tracks:

Tone-Poem For Large Orchestra
Till Eulenspiegel's Merry Pranks After An Old Picaresque Legend - In Rondeau Form
Daphnis Et Chloe - Suite Nr.2

Customer Reviews:

Average quality recordings, great historical significance.......2004-12-09

These recordings were made in wartorn Berlin by one of the past century's greatest conductors, Wilhelm Furtwangler, who was one of very few international caliber artists who remained in Germany during WWII. Combine Furtwangler's passionate conducting with the sad context of war and you've got an utmost interesting and pertinent package.

Schumann's Piano Concerto is wild and intense as you may expect, and totally unedited as you can hear several of Walter Gieseking's errors. The Cello Concerto is equally intriguing, as well as Brahms' Piano Concerto. This set contains a lot of pieces which are not part of Furtwangler's "standard favourites".

The only drawback is the sound quality. These are live recordings who were made with primitive technology, and we lose much of the dynamics of Furtwangler's volume fluctuations. However, the style and tempi are unmistakenly his.

While most of today's digital recordings are bland and perfect, this boxed set is a good alternative for those who appreciate the historical context of a recording. As much as I enjoy Zimerman/Karajan's interpretation of Schumann's masterpiece on digital DGG, there is something about these old recordings that is so passionately nostalgic that I can't help but listen to this noisy mono recording more often than I listen to other versions I possess. It's also one of very few Furtwangler collections which are properly packaged, in an attractive slim box from Deutsche Grammophon's Dokumente series.

Wilhelm Furtwängler: Live Recordings 1944-1953

Average customer rating:

A representative introduction to Furtwängler's art

Wilhelm Furtwängler: Live Recordings 1944-1953
Ludwig van Beethoven , Franz Schubert , Robert Schumann , Johannes Brahms , Anton Bruckner , Richard Strauss , Pyotr Il'yich Tchaikovsky , Paul Hindemith , Cesar Franck , Maurice Ravel , Richard Wagner , Wilhelm Furtwangler , Berlin Philharmonic , and Vienna Philharmonic
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Recordings 1942-1944, Vol. 2
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CARL SCHURICHT Decca Recordings 1949-1956

ASIN: B00007BGXS
Release Date: 2003-02-11

Album Details

Original Masters serie.

Customer Reviews:

A representative introduction to Furtwängler's art.......2003-02-15

We are not exactly short on recordings by Wilhelm Furtwängler, and for collectors and aficionados of the great German conductor this box of 6 CDs with live recordings from 1944-1953 will undoubtedly be a severe disappointment. The only rarity is the (otherwise unnecessary) Tchaikovsky "Pathétique" from Cairo, 1951. All the rest are reissues and have been released by various labels in different couplings.

This set is therefore mainly destined for anybody wanting a well-programmed and representative introduction to the art of Furtwängler. Except for the already mentioned Tchaikovsky, the "Rapsodie espagnole" by Ravel, and the "Symphonic Metamorphosis" by Hindemith, interesting but not really indispensable, the rest of the box is required listening. There are stunningly revelatory cuts of Brahms 2nd (Vienna, 1945), Beethoven's 7th (Berlin, 1953), Schubert's 8th (Berlin, 1952), Bruckner's 8th (Vienna 1944), and a formidable disc of orchestral excerpts from Wagner's operas. On top of that the Vienna 1944 recording of Beethoven's Leonore III is a real killer. The "Haydn Variations" by Brahms, "Manfred" by Schumann, "Don Juan" by Strauss, and the "Symphony" by Franck are equally rewarding.

It goes without saying that the sound quality of these live recordings from the 1940s and 1950s is variable, although within context everything is acceptable and well remastered (There is some serious distortion though in the final movement of the Franck "Symphony").

This set comes in yet a new limited-edition historical series "Original Masters" from Deutsche Grammophon. The liner notes emphasizing the rarity of the recordings (so-called "buried musical treasures") are however to be taken with more than a grain of salt. The presentation of the CDs in paper bags with a transparent cover isn't exactly a great idea either.

Customer Reviews:

Another Splendid Furtwangler Box in Original Masters Series.......2004-12-29

Let me start by saying it took me a while before I began to fully appreciate Wilhelm Furtwangler as a conductor. When I began collecting classical CDs, I realized early on that I preferred vintage stereo recordings to newer digital performances. However, historic mono recordings were a horse of a different color. I just couldn't select something that didn't sound very good as my one and only version of a given piece, even if it meant scrapping something as amazing as Furt's Beethoven 9th. But don't worry I have since come to my senses -- first, why own only one of a given work, and two, Furtwangler is indeed one of the master conductors of the 20th Century. And while I don't own dozens of his discs, I do now consider some of his recordings to be the best representations available (Schubert 9th, Schumann 4th -- see my reviews), despite the mono sound.

Anyway, recently I've picked up both of the Furtwangler Box Sets in DG's Original Masters series, and I certainly feel they were worthwhile purchases (and terrific values to boot). This latest set, "An Anniversary Tribute," features five discs of music and one interview disc (in German of course, rats!) in performances ranging from Bach and Gluck to Strauss' "Metamorphosen." However, serious Furtwangler fans should be aware that several of these selections have been available previously, and may duplicate their collection. In particular, there is a 1944 Bruckner 9th, most recently OOP on the Music & Arts label and fetching ridiculous prices in the Amazon Marketplace (thankfully, sanity is now restored), and a 1952 Brahms 1st available on DG 415 662-2, among others. Also of note, now that UNI owns both DG and Decca, there is a 1951 Schumann 1st with the Vienna Philharmonic that was originally released on Decca but is now included in this "DG" set. All in all though, this is another first rate set in the "Original Masters" series.

Average customer rating:

Dull
Not a Bruckner Mahler imitation, and it grows on you
"FURTWANGLER SOUND" IS BACK
Best recording of this symphony so far.
hot-blooded excitement by the carload

Wilhelm Furtwängler: Symphony No. 2

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0007PLKWK
Release Date: 2005-03-22

Tracks:

I. Assai Moderato. Molto Allegro. Allegro
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III. Un Poco Moderato. Allegro. Moderato

Tracks:

IV. Langsam. Moderato Andante. Allegro Molto. Presto

Customer Reviews:

Dull.......2006-11-16

Sorry. Furtwangler was a great conductor but as a composer all he could do was spin Wagner/Bruckner. There are a few interesting ideas but the work is just way too long to be worth while. If you have to have a copy of this thing try the Barenboim with the CSO. Its better.

Not a Bruckner Mahler imitation, and it grows on you.......2006-02-25

Furtwangler's Symphony No. 2 is a rich score, and not what I'd expected, which was an attempt by the famous conductor to compose like Bruckner and Mahler. I did not think his music had their sound, and if I was reminded of anyone at certain moments in the score it was Elgar. But comparisons aside, this is music generally in the mold of the "twilight" romantics and 20th-century symphonists. It has breadth and beauty. It spans well more than an hour with soaring passages and melancholy brooding. My one reservation about this recording is that it represents a live performance, with coughing not removed (as it should be in this digital age), yet without any noting of this fact on the packaging.

"FURTWANGLER SOUND" IS BACK.......2006-01-10

Before this recording, attempts by so called Furtwangler disciples to revive the "Furtwangler Sound" have been disappointing. Others will differ with me on this, but parts of Leonard Bernstein's recording of Beethoven's Fidelio came close. Judging by Furtwangler's recording of Mahler's Songs of a Wayfarer, I would say that Bernstein's live Mahler symphonies on DGG also come close. These are fantastic performances regardless of where Bernstein got his inspiration.

George Alexander Albrecht has come so close to fully recreating the "Furtwangler sound" that I now feel that I have heard Furtwangler's second symphony as it should be heard. There are some small mishaps but this does not matter. Many of Furtwangler's live recordings have similar problems. Furtwangler put the spirit of the music first, precision came second. Most conductors do the reverse. We have enough precise performances now. Now it is possible to imagine what a Furtwangler concert was like, given the excellent sound on this recording.

Written at almost the same time as the Strauss Four Last Songs, this symphony also looks back to the late romantic era. If you love the adagio from Bruckner's eighth symphony, Furtwangler's second will be fairly easy to grasp. Anyone not familiar with Bruckner might find this symphony puzzling. It grows on me with repeated listening, as it is a complex work that takes time to assimilate. Furtwangler felt that atonal music was a fad that would not last, and this may be true judging by recent trends. His time as a composer may have arrived, just as interest in neglected baroque and classical period music has been increasing due to our better understanding of performance practices from earlier times.

Best recording of this symphony so far........2005-10-01

With this installment, Mr. Albrecht has completed his impressive cycle of Furtwangler's Symphonies. It is also likely the first cycle recorded by a same orchestra under a same conductor. With the exception of the 3rd, which suffers from a terribly low volume, the rest two are well played and well recorded.

Furtwangler may have been too famous as a conductor for his own good. While he viewed himself as a composer who conducted, his composition has failed to gain a place in the main repertoire. In good old days, conducting was a secondary capacity of those who composed, unfortunately, under the influences of star culture and monetary profit, the development of recording technologies has turned truely gifted composers into obscure while the labour-intensive performing industry seems perfectly happy to be held hostage by the modern compositions that could easily be from the paws of a chimpanzee.

A true master piece of the 20th century, the 2nd symphony is his best known work deep in the vein of later romanticism and of Brucknerian scale and calibre. Composed in an era when society as well as music were in the decay, the symphony, with its tragic themes and epic length, is a stauch defender against the flourish of trivialism and dilettantism in 20th century music making.

It's encouraging that there are now at least 5 recordings of this master piece -- two by the master himself, the rest are modern DDD recordings by Alfred Walter, Barenboim and Albrecht. While the master's own recordings are authoritative, they are monophonic. The one by Walter on Marco Polo is hardly recommendable. Fine as Mr. Walter is in a number of recordings, conducting the irresponsive BBCSO is like beating a dead horse. Its shrieking strings, full of British pride, may play much better in a pub fair. Although Mr. Barenboim is acquainted with the Furtwangler family as a kid and resembles the great master in many ways throughout his own conducting career, Mr. Albrecht is a Furtwangler specialist, and his Staatskapelle Weimar's reputation and tradition can be traced well back to Berlioz and Liszt. Their performances are exactly like what the master himself would do today with his Berliner or Wiener Philharmoniker. The irony is that Furtwangler was once invited to be the principal conductor of the CSO (and the NYPO) without being successfully installed. Frankly it would have been a shame had it been otherwise, because the witch-hunting public never deserves such a noble soul. I really hope that Mr. Albrecht and his excellent Weimar orchestra will find a suitable pianist to record the Symphonic Concerto.

A while ago Gramophone magazine's reviewer complained that "the work's principal failing, from the listener's point of view, is a more or less total absence of memorable melodic or thematic writing". Ironically, long, tragic yet noble melodies are one of the work's main features. Perhaps the reviewer enjoys Schoenberg or Boulez's "memorable melodic writing" much better, or he should consider a retirement since his hearing capacity is apparently failing.

P.S. Schoenberg may be immortally remembered and respected as a "mad scientist", but I have no doubt that Boulez the composer will be more peripheral than Furtwangler 50 years after his passing away.

hot-blooded excitement by the carload.......2005-07-25

White-hot performance worthy of the Master himself. Volcanic climaxes, petal-to-the-floor surges with thundering, crashing tympani (just like Furtwangler himself), and a direct, personal involvement with the music that -- again -- recalls the Maestro. This is the performance that reveals this symphony as the masterwork it is. Albrecht holds everything together convincingly, and forges a blazing sense of unity out of the 81 minutes of the symphony.

My only quibbles regard the Andante: Albrecht is a little too casual with the great simple melody that opens the slow movement, so that the tune itself gets treated almost as a throw-away line. Sometimes A. is strangely neglectful of these simple little lines of melody, and fails to set them off as they should be. And sometimes I wished he had relaxed a bit more in the slower passages.

But these are very minor considerations. This recording is electrifying, powerful, even overwhelming. It's been a long time since I've heard a performance on CD with this much force and passion and immediacy. (It must be said that the orchestra is often less than ideally virtuosic, especially in the last movement, but I found I was so carried away by the band's emotional commitment that I cared very little about technical proficiency.) Highly recommended.

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Brahms: The Four Symphonies

Manufacturer: Andante
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B0000649NT
Release Date: 2002-04-09

Brahms: Symphony No. 2; Bruckner: Symphony No. 6

Average customer rating:

Brahms: Symphony No. 2; Bruckner: Symphony No. 6

Manufacturer: Archipel
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00008DVBB
Release Date: 2003-02-25

Wilhelm Furtwängler Conducts Beethoven Symphonies

Average customer rating:

Supernatural perfection

Wilhelm Furtwängler Conducts Beethoven Symphonies

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000001OGQ
Release Date: 1995-06-20

Tracks:

Sym No.3, 'Eroica' Op.55 in E-flat: Allegro Con Brio
Sym No.3, 'Eroica' Op.55 in E-flat: Marcia Funebre (Adagio Assai)
Sym No.3, 'Eroica' Op.55 in E-flat: Scherzo (Allegro Vivace) - Trio
Sym No.3, 'Eroica' Op.55 in E-flat: Finale (Allegro Molto - Poco Andante - Presto)
Leonore No.2 Ov: Leonore No.2 Ov - Wilhelm Furtwangler/Hamburg Phil State Orch

Tracks:

Sym No.5, Op.67 in c: Allegro Con Brio
Sym No.5, Op.67 in c: Andante Con Moto - Piu Mosso
Sym No.5, Op.67 in c: Allegro
Sym No.5, Op.67 in c: Allegro - Presto
Sym No.6 Op.68 in F: Allegro Ma Non Troppo (Awakening Of Serene Impressions On Arising in The...
Sym No.6 Op.68 in F: Andante Molto Mosso (Scene By The Brookside)
Sym No.6 Op.68 in F: Allegro (Jolly Gathering Of Country Folk)
Sym No.6 Op.68 in F: Allegro (The Storm)
Sym No.6 Op.68 in F: Allegretto (Shepherds' Song. Glad And Grateful Feelings After The Storm)

Customer Reviews:

Supernatural perfection.......2005-04-11

I have no hesitation in saying that Furtwangler was the greatest interpreter of Beethoven the world has ever known. His live performances were almost always special, but these are on a plane of inspiration unusual even for him. Especially the Pastoral has a radiant beauty and a sense of spiritual exaltation that I have been unable to find anywhere else. Added to this the sound is incredibly good for the time. Any lover of great music cannot afford to miss this.

Average customer rating:

Splendid Performance of Furtwangler's Best Symphony
Definitive
Interesting Piece, Great Performance.
Barenboim's Labor of Love
Furtwangler the composer played by a major orchestra !!

Furtwangler: Symphony No. 2
Wilhelm Furtwangler , Daniel Barenboim , and Chicago Symphony Orchestra
Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Wilhelm Furtwängler: Symphony No. 1
Furtwangler: Symphony No. 3
Wilhelm Furtwängler: Symphony No. 2
Weingartner: Symphony 2 [Hybrid SACD]
Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

ASIN: B000067DO3
Release Date: 2002-07-09

Tracks:

Symphony No.2: I. Assai Moderato
Symphony No.2: II. Andante Semplice
Symphony No.2: III. Un Poco Moderato

Tracks:

Symphony No.2: IV. Langsam - Allmahlich Vorwarts - Allegro Molto

Amazon.com

Wilhelm Furtwängler is best known as a conductor; he saw himself, however, as a composer who conducted. His first symphony is somewhat of a bore, and while the second, composed in 1944-45, does not break any new compositional ground, it still fascinates. At 82 minutes, it's seen as a long last gasp of German Romanticism (Bruckner comes to mind). The third movement, probably the most entertaining, has Russian and Finnish (Sibelian) overtones, and the wind writing, over and under the swirling strings, is distinguished. In fact, Furtwängler proves himself to be a wise orchestrator--note the prominent bassoons in the first movement, the bass clarinet near the close of the third, and the near-epic brass chorales in the last. This recording, led by the Furtwängler-like Barenboim and gloriously played by the Chicago Symphony Orchestra, replaces the scrappy Marco Polo release and certainly sonically outclasses the composer's own performance on Orfeo, but the leisurely tempi employed by Barenboim (seven minutes slower than on Marco Polo and two minutes slower than the composer's) mean that it requires two CDs rather than one. Not a masterpiece, but a masterly performance of a work that deserves to be heard more often. --Robert Levine

Customer Reviews:

Splendid Performance of Furtwangler's Best Symphony.......2004-03-28

Composed in Switzerland during the waning days of Hitler's infamous Third Reich, Wilhelm Furtwangler demonstrates that he was a brilliant orchestrator, if not a splendid composer, working along the same lines of Mahler, and especially, Bruckner. In a sense, this symphony can be described as Brucknerian, especially with respect to the score's intricate sonic architecture, while showing a fine ear for melody - most notably in the third movement - that is akin to Mahler's. Daniel Barenboim, a protege of Furtwangler's, is the appropriate choice as the conductor of this neglected work, making a persuasive case in this recording why it should be performed more often. The Chicago Symphony Orchesta yields yet another of its brilliant performances, rich with ample brilliance from the winds, strings, and especially brass.

Definitive.......2003-06-09

As soon as I learned that Furtwangler had composed some symphonies, I knew Barenboim would've done at least 1 of them. The second symphony is my personal favorite from Furtwangler's series. Feauturing many epic themes, this symphony shows much influence from Mahler and Bruckner, with some Dvorak. Furtwangler uses a lot of solo woodwinds such as the bassoon and flute, thankfully, this is the Chicago Symphony Orchestra so you don't need to be worried about the quality of the performance. Although this was recorded live, the sound quality is incredible and presents the CSO in all of their big lush sound Barenboim as always is very bold and very heavy handed, playing around with the tempos here and there. Although Furtwangler's music is often called a lot of notes, nothing else, this is a very dense, aggressive (especially the third movement, wow) and polished work that has a lot to offer the avid classical listener. Recommended for fans of Mahler and Bruckner.

Interesting Piece, Great Performance........2003-02-08

Until this important recording was released, it's likely that very few people, including myself, realized Furtwangler was a talented composer. Though maybe not quite in the compositional league of Bruckner or Mahler, Furtwangler clearly had a lot to offer with his interestingly creative melodies, rhythmic motives, and harmonic textures (listen to the third movement!).

To be sure, the nuances and sonic impact of his second symphony are conveyed to full effect in this remarkable performance by the Chicago Symphony. The brass section of this orchestra usually receives the highest praise, and they certainly deserve it here. But the string playing is really something. Their burnished tone and eloquent phrasing adds enormously to the quieter and reflective moments of the piece. The winds also play with a great deal of skill and confidence, particularly in the exposed solo sections.

Barenboim deserves credit for leading this terrific performance, as well as taking the initiative to perform and record this virtually unknown work. With Teldec's recording quality, the orchestra is presented in a clear, full sound.

Barenboim's Labor of Love.......2002-10-30

Wilhelm Furtwangler thought of himself as a composer first and only then as a conductor of orchestras: posterity knows him -- who in fact disdained the recording studio -- as one of the stellar interpreters of the symphonic and operatic repertory of the twentieth century, thanks to the fact that so many of his concerts were recorded, beginning in the earliest part of the 1940s. Furtwangler did not compose prolifically, but his final tally of works is respectable. It includes three symphonies of Brucknerian proportions, a similarly vast Symphonic Concerto for Piano and Orchestra, some shorter orchestral compositions, a choral Te Deum, and four or five chamber scores. Of the symphonies, the best known is the Second (1945) in E Minor; with the Symphonic Concerto, the E Minor Symphony has gained tenuous currency over the years and has enjoyed a number of recordings (including off-air or concert recordings). Furtwangler himself was its original interpreter and he made a commercial registration for Deutsche Gramophon in 1952, with the Berlin Philharmonic, since reissued. At least two air-checks of Furtwangler performing this symphony also exist (one from Vienna and one from Stuttgart). A lion where it concerned leading Beethoven or Brahms, Furtwangler approached his own work with some diffidence. He said famously regarding the premiere of the Second Symphony that he felt as a young girl might if asked to shed her clothes in front of a lecherous old man ' conspicuously not the attitude of a creative artist supremely confident of his own talent. In the studio recording, especially, of the Second Symphony one hears this hesitancy, this authentic shyness. There is a slight but noticeable awkwardness in the phrasing which the listener might mistakenly attribute to the score itself had not one or two others found greater plasticity in the same grand paragraphs. Along comes what must now be granted the title of the definitive recorded version of Furtwangler's Second, with an orchestra that, briefly in 1948, Furtwangler hoped to make his own, the Chicago Symphony. The interpreter, Daniel Barenboim, met Furtwangler and received his blessing in 1954, when the former was an eleven-year-old piano prodigy and the latter was an Old Man of the Arts only a few months from his death. 'Genius,' Furtwangler proclaimed. Barenboim has understood himself (why not?) as a spiritual heir of the master since he was in his twenties, performing the keyboard part in the Symphonic Concerto, applying a Furtwanglerian style in his interpretations of Wagner and Bruckner, and now breathing new life into the E Minor Symphony. What about the Symphony itself? It comprises the standard four movements, the outer movements both being on a large scale while the two inner movements, a scherzo and an adagio, are more or less conventional in their proportions. As in the case of the Bruckner symphonies, none of the movements, even the Scherzo, uses truly rapid tempi. In the opening movement, Assai Moderato, Barenboim does not hesitate, as Furtwangler himself does, in setting things in motion. Barenboim endows the music with inevitability and under his direction it acquires a surety that Furtwangler's own interpretation (perhaps modestly) does not quite have. (Sample Barenboim's handling of the first great climax at about 5.30 into the movement.) A reviewer of another, mid-1990s, recording of the Second Symphony once accused it of having negligible melodic value, a charge that Barenboim's confident reading strongly refutes. The primary motives have always been immediately recallable, a point that Barenboim underlines. The Andante Semplice, begins with a woodwind theme that might have migrated from a Mozart serenade; a wonderful tenderness marks the melodic matter of the movement, which derives from the falling cadences of the first subject of the Assai Moderato. The mood becomes clouded. Barenboim understands the drama of it perfectly. He likewise grasps the moodiness of the Scherzo. At a half-an-hour, the Finale (Langsam -- Allmaehlich Vorwaerts -- Allegro Molto) is the most difficult of the Symphony's four panels to 'bring off.' Again, Barenboim makes it sound inevitable. I hope that nearly sixty years after the premiere of Furtwangler's Second Symphony, we have gotten over the collective delusion that twentieth century works need to sound like Stravinsky, or Schoenberg, or Webern, to be 'authentic.' The E-Minor Symphony is a work of deep emotional content and it might well be that it has awaited its due in Barenboim's dedicated comprehension of its plan. Buy this before it disappears.

Furtwangler the composer played by a major orchestra !!.......2002-10-23

Daniel Barenboim, a great admirer of Furtwangler (he played Furtwangler's piano concerto under Zubin Mehta on a private label) recorded Furtwangler's second symphony. This work, perhaps his greatest composition requires much concentration and many listenings to yield its mysteries.

The work opens with a tragic and mysterious first movement of enormous dimensions. A relatively short slow movement follows functioning like an intermezzo and leading to a vigorous scherzo. The opening movement's conflict is resolved in the great finale. When the motto theme is played at the coda (here Barenboim's cannot compare to the composer's performance) one is in tears. This is one of the greatest symphonies written. It has to be heard to be believed.

The recording is top notch. The performance, while naturally failing to match Furtwangler's own interpretation is both masterful and eloquent. The Chicago Symphony plays its collective heart out. Thirty years ago, when I discovered Furtwangler the composer, I dreamt of recordings by major artists of his greatest works. At long last, here is the first installment. On to the piano concerto, which should be next. Thank you Mr. Barenboim.

Beethoven: The 9 Symphonies
Average customer rating:

Not An Ideal Collection Of Furtwangler's Beethoven

+ (4-1/2) Furtwangler's LvB pays long-term rewards

interesting only from a historic perspective

Furtwangler's Beethoven: A Towering Achievement

Beethoven: The 9 Symphonies
Ludwig van Beethoven , Otto Edelmann , Hans Hopf , Elisabeth Schwarzkopf , and Wilhelm Furtwangler
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
Romantic | Symphonies | Forms & Genres | Classical | Styles | Music
General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
Vienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
Similar Items:

Furtwangler Conducts Brahms - Complete Symphonies, etc / North German RSO, Berlin PO

Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

Recordings 1942-1944, Vol. 1

Beethoven: The Complete Symphonies and Piano Concertos

Maestro Classico, Vol. 2 (Box Set)

ASIN: B00004YU8G
Release Date: 2001-01-09

Tracks:

Sym No.1 in C, Op.21: I. Adagio Molto - Allegro Con Brio
Sym No.1 in C, Op.21: II. Andante Cantabile Con Moto
Sym No.1 in C, Op.21: III. Menuetto (Allegro Molto E Vivace) & Trio
Sym No.1 in C, Op.21: IV. Adagio - Allegro Molto E Vivace
Sym No.3 in E flat, Op.55, 'Eroica:' I. Allegro Con Brio
Sym No.3 in E flat, Op.55, 'Eroica:' II. Marcia Funebre (Adagio Assai)
Sym No.3 in E flat, Op.55, 'Eroica:' III. Scherzo (Allegro Vivace) & Trio
Sym No.3 in E flat, Op.55, 'Eroica:' IV. Finale (Allegro Molto - Poco Andante - Presto)

Tracks:

Sym No.2 in D, Op.36: I. Adagio Molto - Allegro Con Brio
Sym No.2 in D, Op.36: II. Larghetto
Sym No.2 in D, Op.36: III. Scherzo (Allegro) & Trio
Sym No.2 in D, Op.36: IV. Allegro Molto
Sym No.4 in B flat, Op.60: I. Adagio - Allegro Vivace
Sym No.4 in B flat, Op.60: II. Adagio
Sym No.4 in B flat, Op.60: III. Menuetto (Allegro Vivace) & Trio (Un Poco Meno Allegro)
Sym No.4 in B flat, Op.60: IV. Allegro Ma Non Troppo

Tracks:

Sym No.5 in c, Op.67: I. Allegro Con Brio
Sym No.5 in c, Op.67: II. Andante Con Moto
Sym No.5 in c, Op.67: III. Allegro
Sym No.5 in c, Op.67: IV. Allegro - Presto
Sym No.7 in A, Op.92: I. Poco Sostenuto - Vivace
Sym No.7 in A, Op.92: II. Allegretto
Sym No.7 in A, Op.92: III. Presto - Assai Meno Presto
Sym No.7 in A, Op.92: IV. Allegro Con Brio

Tracks:

Sym No.6 in F, Op.68, 'Pastoral:' I. Awakening Of Pleasant Feelings Upon Arriving In The Country...
Sym No.6 in F, Op.68, 'Pastoral:' II. Scene At The Brook (Andante Molto Mosso)
Sym No.6 in F, Op.68, 'Pastoral:' III. Peasant's Merrymaking (Allegro)
Sym No.6 in F, Op.68, 'Pastoral:' IV. Storm And Tempest (Allegro)
Sym No.6 in F, Op.68, 'Pastoral:' V. Shepherds' Song. Happy And Thankful Feelings After The Storm...
Sym No.8 In F, Op.93: I. Allegro Vivace E Con Brio - Wilhelm Furtwangler/Stockholm PO
Sym No.8 In F, Op.93: II. Allegro Scherzando - Wilhelm Furtwangler/Stockholm PO
Sym No.8 In F, Op.93: III. Tempo Di Menuetto - Wilhelm Furtwangler/Stockholm PO
Sym No.8 In F, Op.93: IV. Allegro Vivace - Wilhelm Furtwangler/Stockholm PO

Tracks:

Sym No.9 in d, Op.125 'Choral': I. Allegro Ma Non Troppo, Un Poco Maestoso - Chor/Orch Der Bayreuther Festspiele/Wilhelm Furtwangler
Sym No.9 in d, Op.125 'Choral': II. Molto Vivace - Presto - Chor/Orch Der Bayreuther Festspiele/Wilhelm Furtwangler
Sym No.9 in d, Op.125 'Choral': III. Adagio Molto E Cantabile - Andante Moderato - Adagio - Chor/Orch Der Bayreuther Festspiele/Wilhelm Furtwangler
Sym No.9 in d, Op.125 'Choral': IV. Presto - Allegro Ma Non Troppo - Allegro Assai - Presto -... - Chor/Orch Der Bayreuther Festspiele/Wilhelm Furtwangler

Customer Reviews:

Not An Ideal Collection Of Furtwangler's Beethoven.......2004-06-08

I own this fine set and plan to keep it. But if you are a relative newcomer to Furtwangler's Beethoven, please be warned that this set is rather uneven in quality. There are Furtwangler performances available elsewhere that, in several cases, are far superior to what is offered here. As a general rule, Furtwangler was more eloquent in live concert than he was in the recording studio. Symphonies 1 and 3-7 here are studio recordings with the Vienna Philharmonic. The other general rule: Furtwangler's greatest performances were mostly with the Berlin Philharmonic. Here is a rundown of this set:

1. This 1952 VPO First Symphony is one of Furtwangler's best studio efforts - I think it's his finest First.

2. This live 1948 VPO Second from London has really awful sound. Unfortunately, it's the only surviving recorded 2nd with Furtwangler. I also feel it is one of Furtwangler's less impressive interpretations. Other conductors, such as Schuricht and Weingartner (in different EMI sets) are more persuasive.

3. The 1952 VPO "Eroica" here has fine sound, but it pales as a performance compared with the live 1944 VPO (M&A 4049)or - my favorite of ALL Beethoven 3rds - the live 1952 Berlin (in good sound) on Tahra 1054/7.

4. Although the 1943 Berlin (M&A 4049) is a far more dramatic reading, this 1952 VPO has much better sound. Take your pick.

5. This rather benign 5th from 1954 is a lesser example of Furtwangler's commanding way with this score than either the 1943 Berlin (M&A 4049) or the 1954 BPO (Tahra 1054/7). The 1943 is my favorite, but the Tahra has much better sound. There are two other exceptional 5ths: the 1937 Berlin studio (Biddulph) and the rather eccentric 1947 live Berlin (M&A 789). All in all, I think the 1954 BPO on Tahra is the safest bet.

6. This 1952 VPO "Pastoral" is a lovely reading in good sound. But the live BPO 1954 (Tahra 1054/7) is even better, and the sound is excellent. Both are rather slow - the 1944 BPO (M&A 4049) was more dramatic but in lesser sonics.

7. I am very fond of this 1950 VPO - it was my first Furtwangler 7th on LP. However, the 1943 live Berlin (M&A 4049) is my favorite by far: it's one of the most dramatic of ALL 7ths.

8. There is a somewhat better Furtwangler 8th (1953 Berlin on a deleted DG CD) than this 1948 Stockholm Phil. But as with the 2nd Symphony, Furtwangler is a little heavy here and a bit short on humor. There are better 8ths out there from Rosbaud (Hanssler), Weingartner (Memories), and Scherchen (EMI), to name just three.

9. The gem of this set. This 1951 live Bayreuth would be my desert island choice for a Beethoven 9th. Fortunately, it is available by itself on EMI in an identical transfer (see my review of it elsewhere at Amazon). But anyone who loves this symphony should also try to hear Furtwangler's 1942 BPO (M&A 4049) - the most dramatic of ALL 9ths - and the conductor's last one: 1954 Lucerne with the Philharmonia, just 3 months before his death (Tahra 1054/7).

This EMI set is definitely worth having - the 1st, 6th, 7th and 9th are among Furtwangler's finest. But to hear what he was fully capable of in these magnificent works, the alternatives cited above are definitely worth your time. Anyway, this is great music that should be heard in readings by more than just one conductor. So I would want to have an alternative complete set or two for contrast. Two of my favorites in that category are the Schuricht/Paris Conservatory (EMI) and Konwitschny with the Leipzig Gewandhaus (Berlin Classics). Both of these have better sound - and the Konwitschny is (gasp!) in stereo. Here's wishing you many hours of happy listening!

+ (4-1/2) Furtwangler's LvB pays long-term rewards.......2004-04-26

While I may have to agree when a previous reviewer says don't buy this Furtwangler set if you must have modern stereo sound production, I have to differ with specific recommendations for Abbado and von Karajan based on DG stereo production values. Bohm, Szell, Walter, and Klemperer also made legendary Beethoven recordings in stereo that are just as worthy of my money, and we consumers are no longer blinded by the commercial myth-making that once made DG and von Karajan everybody's top choice for any kind of orchestral music from Bach to Bartok. To be fair, von Karajan certainly made great music at times, and still remains my personal favorite for Sibelius, but for Beethoven I look elsewhere.

So the question remains why this Furtwangler set should have a spot in anybody's classical music collection. Listeners must be willing to accept late mono sound quality to experience these legendary interpretations, and allow plenty of listening time for all the positives to be heard. Those who already admire Furtwangler's conducting may need no persuasion, though conneissuers may argue the merits of EMI's archives versus other performances on specialty labels. To my ears, Furtwangler's music-making easily transcends any limits in sound quality in this collection. Most of all, the 1951 Bayreuth 9th seems utterly impossible to improve upon and some listeners may suffice by acquiring the single-CD reissue of that performance alone.

But the complete set reinforces Furtwangler's legendary reputation even more, as we hear him plunge deeply into every performance and his orchestra breathes like a powerful athlete at one point or a sleeping baby at another. Few conductors ever master this combination of spontaneity and control as Furtwangler did and the dynamics can be exhilarating. Comparisons with Toscanini, not von Karajan or Abbado, are perhaps more appropriate for an appreciation of how differently two contemporary conductors can interpret the same music with successful results, and how much the interpretation of classical music has been altered by the advent of the recording industry.

In conclusion, the intrinsic musical merits of this collection are its strongest recommendation, and packaging is excellent with all 5 CDs in one double-size jewelbox. Perhaps the 2nd and 8th are weak inconsistencies here, but no complete Beethoven set can be perfect, and I also suggest complementing this set with affordable alternate stereo sources such as Bohm (3/8), Klemperer (5/7), Szell (1/6), and Wand(9).

interesting only from a historic perspective.......2002-07-17

Undoubtedly Furtwangler is one of the greatest conductors of the first half of the 20th century and probably the most prominent exponent of the romantic and emotional style of music interpretation. I should preface my review review by saying that I intensely dislike this style, and this collection of Beethoven symphonies perfectly illustrates the reasons why. Most of all the paces are very inconsistent, and there is virtually no sound transparency. If you like the recent Abbado interpretation of the Beethoven symphonies or Karajan's great 1963 recording, don't get this one. This is also not a set that was recorded as a cycle with one single orchestra, it is a collection of Furtwangler's recordings with the Vienna Philharnonic and the Stockholm philharmonic over a period of time. The overall pace, if you can name one, is slow and heavy, even in the early symphonies that definitely to me have a lightness that is very reminiscent of Mozart, this is squahed by a heavyhanded and overbearing style that completely covers all the fine nuances that are in these great pieces.
The sound quality of the set does not help. Clearly these are historic recordings, but there is definitely better-restored stuff out there.

Furtwangler's Beethoven: A Towering Achievement.......2002-03-10

Beethoven was a central part of Furtwangler's art, and he returned again and again to the symphonies, leaving a recorded legacy that appears not only in this EMI set, but in live performances on numerous smaller labels as well. With the exception of the 2nd, the 8th, and the legendary Bayreuth 9th, all of which were recorded live, this set consists of Furtwangler's EMI studio recordings, made between 1948 and 1954. The sound is decent mono, remastered for this set in 2000 with EMI's "Abbey Road Technology".

Furtwangler's Beethoven cannot be easily described the way Toscanini's or Klemperer's might be (though such characterizations are generally unfair in any case, no matter who the conductor may be). He had the ability to sustain slow tempos that in other hands would threaten to topple the entire structure of the symphony, but under Furtwangler's direction, seem to be just right. His approach never distorts the music, and almost always offers the listener new insight and pleasure in the music.

These recordings were made near the end of Furtwangler's life. For interpretations that are more spontaneous, his war-time performances are available on the Music and Arts label (as well as other labels, but the Music and Arts set was the easiest to find). They tend to be more driven, reflecting the turmoil of the time, but with surprisngly good sound (including some audience noise).

All of the recordings in the EMI set are also avaialable on separate discs. The 9th is part of EMI's "Great Recordings of the Century" and is considered by many to be one of the best 9ths ever recorded.

Notes by Richard Osborne are interesting and informative.

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