Wilhelm Furtwängler: Symphony No. 3

Editorial Reviews
Album Details
Ddd. The Listener Becomes a Moved Witness of an Unusually Intimate Understanding Between Conductor and Orchestra. The Aim of this Relationship Quckly Becomes Clear: Both Parties Are Dedicated to a Specifically German Orchestra Sound.

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.

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

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Furtwangler's Beethoven
Amazing! Outstanding! Essential!
Glorious
Remastering an old recording
Just Get It

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

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

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ASIN: B00001W09Z
Release Date: 2006-01-01

Tracks:

Beethoven Symphonies

Tracks:

Sym No.5 in c, Op.67: I. Allegro Con Brio

Amazon.com essential recording

These may be the most gripping performances of Beethoven's symphonies you'll ever hear. No, not necessarily the most enjoyable or even the most accurate, but gripping--to say the least. In these wartime performances of Symphonies Nos. 3, 4, 5, 6, 7, and 9, Wilhelm Furtwängler is at his most expressive, angry self. Conducting six of the world's greatest symphonies for audiences in Nazi Germany, Furtwängler has an inner turmoil that seems to shoot straight through his baton. He drives the Vienna and Berlin Philharmonics to the edge of disaster, but miraculously they keep up--rising to the occasion. The Eroica and the Ninth are particularly emotion-filled; the latter features the great Bruno Kittel Choir and the BPO in fine form, but they--like everyone else here--are overshadowed by the conductor's bipolar mood swings and furious pacings. Brace yourself. These are shocking, awesome, thought-provoking performances that--thanks to a great remastering--have never sounded better. --Jason Verlinde

Customer Reviews:

Furtwangler's Beethoven.......2007-04-14

This set belongs next to Schnabel's piano sonatas and the Busch's string quartets as one of the great Beethoven sets in recorded history. There certainly is no better monetary value for Furtwangler's Beethoven. The 3rd, 4th, and 9th are especially definitive. Compared to Furtwangler's later performances, these are tighter, more intense, and faster-paced. It is mainly in the 6th and 7th that you miss the warmer Furtwangler of his later recordings.

No. 3 is intense, concentrated, and perfectly proportioned. I differ with some who consider the 12/8/52 to be Furtwangler's greatest 3rd. While the sound of that one is fantastic, to my ear it is just the slightest bit more slack in concentration when compared to the '44. In any case, these are easily the two best recordings of the work available, and they are both essential. Listen to the '52 for beauty of sound and phrases lengthened to their max, but the '44 would still be my desert island 3rd.

No. 4 is simply the greatest performance on record, giving a whole new level of emotional depth to this symphony.

No. 5 is for many Furtwangler's best. It is certainly well-played and perfectly proportioned. There are several Furtwangler recordings of No. 5 that are deserving of attention, and choosing between them is a matter of strong debate. For me, the two that arise above all others are the 5/23/54 and 5/25/47. The '54 is simply astounding. It is a perfect performance in fantastic sound for its time. It really knocks you out of your chair. This is the recording for people who want to know what all the fuss was about Furtwangler's Beethoven. (How on Earth did the man conduct like this just 6 months before his death?) The '47 is also special for its edge-of-your-seat spontanaity. While not as good in sound quality as the '54, it is more fleet and rhythmically free. The rousing coda of the finale has to be heard to be believed - Furtwangler at his most magical. There is also a deleted DG recording two days later in better sound, but not quite as inspired. The '44 is still a great performance, but for me Furtwangler reached greater heights in these two later recordings.

No. 6 is one that perhaps misses some of the warmth of Furtwangler's later recordings. It is still a great one, particularly in the storm, and the playing of the Berlin Philharmonic is magnificent. You really get the sense of the storm slowly subsiding and sunshine peering through the clouds in the final movement. Like the 5th's with which they are paired, the 5/23/54 and 5/25/47 are the performances that show Furtwangler at his best. The '54 is pretty definitive and in great sound.

No. 7 is exciting and dramatic. Though it has much to recommend it (listen to the beautiful tempo fluctuations in the scherzo), I sometimes miss the more patient pacing of Furtwangler's later recordings. The '53 DG recording is probably his best, with excellent tempo transitions and a rousing conclusion to the finale. The sound is also very present and clean for the period. The '50 EMI recording is not far behind.

No. 9 is simply the greatest orchestral recording ever made of anything. Yes, some will say it is too intense, but what else do you want with this symphony? You simply cannot go back to other interpretations after hearing this one. Only the '51 Bayreuth performance comes close. That one is a good alternative for hearing cleaner sound and some strong brass playing. The '54 Lucerne is by far the best-sounding. However, it does not have the same intensity as the other two. By comparison, it almost sounds tired. Of course this is all relative: The '54 Lucerne still puts every other recorded version after Furtwangler in the shade. And then there is also the '37, which is dimly recorded but still exhibiting Furtwangler's unique intensity.

And let us not forget the overtures, particularly the '43 Coriolan. Along with the '42 9th, this is also one of the greatest orchestral recordings ever made. Astounding drama and concentration. Unfortunately, Furtwangler's definitive '47 Egmont on DG is not presently available.

In short, run out and grab this set while also complementing it with a few of Furtwangler's later recordings. My desert island choices for Furtwangler's Beethoven symphonies would be:

3rd: '44 and 12/8/52, 4th: '43, 5th & 6th: 5/25/47 and 5/23/54, 7th: '53, 9th: '42 and '51

Amazing! Outstanding! Essential!.......2007-04-12

This set collects some of the greatest and awesome Beethoven interpretations in world history. Their classical status is unmatched: at the conductor's rostrum, we have Wilhelm Furtwängler at the height of his exceptional understanding of Beethoven's music. The context of the recordings is WWII, mainly in the wartime Germany (of course, Vienna belonged to Germany after the 1938 "Anschluss", but I choose to see Vienna as the capital of Austria). Like some other great artists and intellectuals, Furtwängler decided to stay in Germany during the Second World War. But unlike disgusting opportunists like von Karajan, he never joined the Nazi party - in fact, he even refused to shake Hitler's hand.

Of course, Furtwängler's impeccable moral contributes to his greatness. Just listen to his magnificent ninth, with its humanist message. It's a breathtaking performance that should move everyone to tears.

Here are the recordings dates of the performances in this box:

Symphony 3: Vienna Philharmonic Orchestra, 19-20 December, 1944.
Symphony 4: Berlin Philharmonic, 27-30 June, 1943.
Symphony 5: Berlin Philharmonic, 27-30 June, 1943.
Symphony 6: Berlin Philharmonic, 20-22 March, 1944.
Symphony 7: Berlin Philharmonic, 31 October-3 November, 1943.
Symphony 9: Berlin Philharmonic, 22-24 March 1942. (Solists are Tilla Briem, Peter Anders, Elisabeth Höngen, and Rudolf Watzke.)

Music & Arts' remasterings (made by Maggi Payne) are very good. Of course, what we have here are old mono, live recordings, so don't expect HiFi quality. But what you can expect are recordings of the century, essential for any music collection.

Strongly and warmly recommended!

Glorious.......2007-02-10

Impossible to put into mere words the effect of these tremendous performances: they are glorious, powerful, sublime. True these are
(excellently remastered) mono recordings of live performances more than 50 years old, so there is some noise and some harmonic distortions also. But the music and the performances completely and thoroughly transcend this, even on the finest audio equipment. Your Beethoven collection is simply not complete unless you have this one, and also the Bayreuther 9th from 1951 (also available on EMI classics). Indeed, once you have these, you may find you don't want to listen to any other cycles of these symphonies that you may have, however fine and technically perfect they may be.

Remastering an old recording.......2007-01-09

If you want to experience how Beethoven was played 40 years ago, then buy this CD set. But beware of sound quality and some technical glitches. In addition, audience noise can be distracting.

Just Get It.......2006-09-22

...even if this is the only CD of Beethoven's Orchestral Works you ever buy.
Even though they are in mono, old, noisy, with pitch variations at places (but still remarkably good transfers), for many of the works here it's safe to say that you have not really heard them unless you have experienced these recordings.
Four of the works (4,5,6,7) are great performances, but there are other great ones out there as well.
However, the recordings of the ninth (BPO Mar'42) and third (VPO Dec'44)symphonies as well as the Coriolan and Leonore III overtures are definitive and unique, and each of them is by itself worth the price of the whole set. The only downside to getting them is that it might become hard to be attentive to most other recordings afterwards.

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Another Splendid Furtwangler Box in Original Masters Series

An Anniversary Tribute

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Release Date: 2004-09-14

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.

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Beethoven: Symphony No. 3 "Eroica"

Manufacturer: Grammofono 2000
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B0000067RX
Release Date: 1998-04-21

Tracks:

Sym No.3 in E flat 'Eroica' Op.55: I. Allegro Con Brio
Sym No.3 in E flat 'Eroica' Op.55: II. Marcia funebre. Adagio assai
Sym No.3 in E flat 'Eroica' Op.55: III. Scherzo. Allegro vivace
Sym No.3 in E flat 'Eroica' Op.55: IV. Finale. Allegro molto. Poco andante. Presto
Leonore III, Ov op.138
Coriolan, Ov To Von Collins' Play Op.62 - Berliner Phil

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Brahms: The Four Symphonies

Manufacturer: Andante
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000649NT
Release Date: 2002-04-09

Wilhelm Furtwängler Conducts Beethoven Symphonies

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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:

Furtwängler: Maestro Classico (Box Set)

Manufacturer: Trumpets of Jericho
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Furtwängler: Maestro Classico, Vol. 3 (Box Set)
Maestro Classico, Vol. 2 (Box Set)

ASIN: B000035X66
Release Date: 1999-11-30

Average customer rating:

Furtwängler: Early Orchestral Works

Manufacturer: Marco Polo
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Tracks:

Overture In E Flat Major, Op. 3
Symphony In D Major Allegro (1st Movement)
Symphony In B Minor Largo (1st Movement)

Beethoven: Symphony No. 1; Symphony No. 3 'Eroica'

Average customer rating:

Truly "Heroic" performance
Furtwangler's most polished, least heroic "Eroica"

Beethoven: Symphony No. 1; Symphony No. 3 'Eroica'

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Beethoven: Symphonies Nos. 5 & 7
Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf
Wagner: Extracts from the operas
Bach: Brandenburg Concertos No. 5 & 6/Orchestral Suite No. 1; Neville Marriner; Academy of St. Martin in the Fields
Bach: Brandenburg Concertos No. 1-4; Neville Marriner; Academy of St. Martin in the Fields

ASIN: B0001O3Y6W
Release Date: 2004-04-20

Tracks:

I: Adagio Molto - Allegro Con Brio
II: Andante Cantabile Con Moto
III: Menuetto (Allegro Molto E Vivace) & Trio
IV: Adagi - Allegro Molto E Vivace
I: Allegro Con Brio
II: marcia Funebre (Adagio Assai)
III: Scherzo (Allegro Vivace) & Trio
IV: Finale (Allegro Molto - Poco Andante - Presto)

Customer Reviews:

Truly "Heroic" performance.......2006-01-27

In my opinion, Wilhelm Furtwangler's Beethoven readings are definitive. Actually, there are "authentic" readings with period instruments made by Harnoncourt, Norrington, Hogwood. But these Furtwangler readings (may be both in modern and authentic reading) are reference, I think. Wiener Philharmoniker, played with sensitive, powerful too. Furtwangler, of course, one of the greatest conductors of century, and these Beethoven recs. are his best.

The Symphony No. 1 performed joyful, lovely. Still, this symphony has a Haydn atmosphere and yet, it has the energy of youth. But the "Eroica" Symphony, has a typic Beethoven character. As you know, Beethoven had a soul of hero! And he actually loved Napoleon Bonaparte, becaues of he was a hero of French Revolution. And actually Beethoven called that symphony as "dedicaded to Napoleon". But then, Napoleon was to be Emperor and he started to attack to Austria, all of Wiener. So, Beethoven, in all during his life, hated Napoleon, and erased his name, then replaced it as "Symphony for a dead great hero" in other words "Eroica".

And Wiener Philharmoniker under the baton of Furtwangler, feels that soul of hero. They are played Beethovenian "sforzandos" (very accented fortissimo notes) very striking. The Marcia funebre is played drammatic, impressive.

The sound quality is very good mono, recorded in 1950's. Even, these are historic recs. And worth to listening.

At this price, you can not wrong with it. Highly recommended.

Furtwangler's most polished, least heroic "Eroica".......2006-01-07

Furtwangler's discography has expnaded enormously--to over 250 CDs--thanks to live concerts and air checks. If we only had the present studio recordings from 1952, we would think that his approach to the Eroica was smoth, beautifully balanced, full-voiced, and not very dramatic. The frst movement is almost an amble, not just in its deliberate tempo but in mood as well---it's the most relaxed Eroica I've ever heard. The great funeral march is far from tragic; it sounds like a serene elegy. How strange that this emotional, frequently volaatile Beethoven conductor should take such a phlegmatic view. The Vienna Phil. plays with golden tone, despite the lack of attack in all movements, including the opening of the finale, which is low-key to a fault.

The Sym. 1 from the same sessions is just as genial and even more romantic than Bruno Walter's late recording in Los Angeles with the Columbia Sym., except that the Vienna Phil. plays much better. The moderato finale eschews any hint of Haydnesque wit. The mono sound on this remastering is quite natural, a bit murky, and blessedly free of wiry strings.

I'm not sure what to make of these two readings. They are masterful in their way, of course, but so far removed from what we think of as Beethoven's revolutionary impulse that listeners should be prepared.

Average customer rating:

A fine sampler of Furtwangler remastered, but buy it used

The Fascination of Furtwängler

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Recordings 1942-1944, Vol. 1
Recordings 1942-1944, Vol. 2
Wilhelm Furtwängler: Live Recordings 1944-1953
Great Recordings Of The Century - Beethoven; Mendelssohn: Violin Concertos / Furtwangler, Menuhin

ASIN: B0002YC5RA
Release Date: 2005-01-11

Customer Reviews:

A fine sampler of Furtwangler remastered, but buy it used.......2006-02-12

This 2-CD set contains mostly bits and pieces, so although there are great performances here, it only makes sense to buy them in completed form. The first CD is devoted to studio ecordings from 1951 to 1954, the year Furtwangler died. Famed performances of the Schubert Ninth, Haydn 88th, and Schumann Fourth Sym. have come out beautifully in DG's latest remastering, only the Schumann retaining a bit too much steeliness. The only complete work is a Handel Concerto Grosso Op. 6 No. 5, done in a measured, old-fashioned style. The scherzo from Furtwangler's own Sym. #2 is intriguing enough to make me want to hunt down the whole work.

CD 2 will dismay anyone not used to old shellac recordings from 1930, the year almost everything here was done. But once you adjust to the thin sound, you discover that DG has done an even better job of making this material listenable. A Rossini La Gazza Ladra Over. is delightful, as are two Brahms Hungarian Dances and a single Dvorak Slavonic Dance. The opening work, a wonderful Mendelssohn Hebrides Over., unfortunatley is in inferior sound compared to the rest. It comes with a segment of Furtwangler in rehearsal for the same work, which isn't of much interest even for German speakers.

In all, DG is asking too much for the casual buyer to spend on a sampler, but it can be had cheap at Amazon Marketplace. If you purchase it that way, this is a wonderful introduction to Furtwangler's unique artistry.

Track Listings:

Track Listings

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