1936 FURTWAENGLER MOZART Eine KLEINE NACHTMUSIK Berlin Philharmonic E COND 78

$

25

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WEEK 2 of 3 weeks of great auctions – this is the SECOND week of three weeks of great records. As a default, I will not send you an invoice until the end of my sales cycle on September 27 – that way you can see my next listings and you can combine your wins into one parcel for a low postage.

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I am currently selling a series of great Richard Wagner and classic European 78 rpm orchestral recordings on all the great European labels:

1936 Wilhelm Furtwaengler &BERLIN Philharmonic in

Mozarts KLEINE NACHTMUSIK - Serenata Notturna

on 3x12" Deutsche Grammophon/ Polydor  records Polydor Gold and black, in great unmarked album

EXCELLENT pristine, . Album is like new

A series of great Violin, Piano and Orchestra records on rare labels, from 1902 Monarch to 1940 War Germany recordings.

Wilhelm Furtw?ngler (January 25, 1886 û November 30, 1954) was a German conductor and composer.

Biography
Furtw?ngler was born in Berlin into a prominent family. His father Adolf was an archaeologist, his mother a painter. Most of his childhood was spent in Munich, where his father taught at the university. He was given a musical education from an early age, and developed an early love of Beethoven, a composer he remained closely associated with throughout his life. Though his chief posthumous fame rests on his work as a conductor, he was also a composer and regarded himself first and foremost as such, having in fact first taken up the baton in order to perform his own works.

By the time of Furtw?ngler's conducting debut at the age of twenty, he had written several pieces of music. However, they were not well received, and that combined with the financial insecurity a career as a composer would provide led him to concentrate on conducting. At his first concert, he led the Kaim Orchestra (now the Munich Philharmonic Orchestra) in Anton Bruckner's Ninth Symphony. He subsequently held posts at Munich, L?beck, Mannheim, Frankfurt, and Vienna, before securing a job at the Berlin Staatskapelle in 1920, and in 1922 at the Leipzig Gewandhaus Orchestra where he succeeded Arthur Nikisch, and concurrently at the prestigious Berlin Philharmonic Orchestra. Later he became music director of the Vienna Philharmonic Orchestra, the Salzburg Festival and the Bayreuth Festival, which was regarded as the greatest post a conductor could hold in Germany at the time.

Towards the end of the war, under extreme pressure from the Nazi Party, Furtw?ngler fled to Switzerland. It was during this troubled period that he composed what is largely considered his most significant work, the Symphony No.2 in E minor. Work on the symphony was begun in 1944, and carried on into 1945. It was given its premiere in 1948 by the Berlin Philharmonic Orchestra under Furtw?ngler's direction. Furtw?ngler and the Philharmonic recorded the symphony for Deutsche Grammophon; the music was much in the tradition of Anton Bruckner and Gustav Mahler, composed on a grand scale for very large orchestra with romantic, dramatic themes. Another important work is the Sinfonie-Konzert (Symphonic Concerto) for piano and orchestra, completed in 1937 and revised in 1944. Many themes from this work were also incorporated into Furtw?ngler's unfinished 3rd Simphony. The Sinfonie-Konzert is profoundly tragic, and the incorporation of a motif, seemingly from American popular music, in the third movement raises interesting questions of Furtw?ngler's view of his culture's future, not unlike the "ragtime" theme in the last movement of Brahms' Second Piano Concerto.

He resumed performing and recording following the war and remained a popular conductor in Europe, although he was always under somewhat of a shadow. He died in 1954 in Ebersteinburg close to Baden-Baden. He is buried in Heidelberg's Bergfriedhof.

Furtw?ngler is most famous for his performances of Beethoven, Brahms, Bruckner, and Wagner. However, he was also a champion of modern music, and was known to give performances of thoroughly modern works, such as B?la Bart?k's Concerto for Orchestra.

Conducting style
Furtw?ngler had a unique conducting technique. He saw symphonic music as creations of nature that could only be realised subjectively into sound. This is why composers such as Beethoven, Brahms and Bruckner were so central to Furtw?ngler's repertoire, because he identified them as great forces of nature. He disliked Toscanini's approach to the German repertoire. He walked out of a Toscanini concert once, calling him "a mere time-beater!". Furtw?ngler did not have a strong beat, as you can see in video recordings [1] that show him making awkward, gawky movements like a medium in a trance. He wished that the sense of time be established by the players in themselves, as in chamber music. Furtw?ngler would then show the orchestra when he wished to use rubato. His gestures bear seemingly little relationship to the rhythms of the music, while his physical motions were described as "like a puppet on a string" by one orchestra member [2]. Furtw?ngler would generally hold his baton hand closer to his body and his left would be outstretched giving the expression of the phrase to the orchestra. On occasion he would violently shake his baton hand when he would get into conducting fits onstage. In the video above you can see Furtw?ngler conducting Beethoven's Ninth Symphony on 19.4.42 in celebration of Hitler's birthday. In the symphony's coda, Furtw?ngler can be seen having tremendous fits as he leads the orchestra through the chorus' final cries of "G÷tterfunken, G÷tterfunken!". Despite, or perhaps because of, this unorthodox style, musicians were mesmerized by his leadership. His best performances are characterized by deep, bass-driven sonorities, soaring lyricism and wrenching extremes of emotion co-existing with logical cogency. Neville Cardus wrote in the Manchester Guardian in 1954 of Furtw?ngler's conducting style as follows:

"He did not regard the printed notes of the score as a final statement, but rather as so many symbols of an imaginative conception, ever changing and always to be felt and realised subjectively...Not since Nikisch, of whom he was a disciple, has a greater personal interpreter of orchestral and opera music than Furtw?ngler been heard."[10]

Many commentators and critics regard him as the one of the greatest conductors in history.[11]

Conductor Christoph Eschenbach has said of Furtw?ngler that he was a "formidable magician, a man capable of setting an entire ensemble of musicians on fire, sending them into a state of ecstasy".[12]

Furtw?ngler commemorated on a stamp for West Berlin, 1955Furtw?ngler was famous for his exceptional inarticulacy. His pupil Sergiu Celibidache remembered that the best he could say was "Well, just listen" (to the music). Carl Brinitzer from the German BBC service tried to interview him, and thought he had an imbecile before him. A live recording of a rehearsal with a Stockholm orchestra documents hardly anything intelligible, only hums and mumbling. On the other hand, a collection of his essays, On Music, reveals some deep thought below the surface. Still, Furtw?ngler remained highly respected amongst musicians. Even Arturo Toscanini, usually regarded as Furtw?ngler's complete antithesis (and sharply critical of Furtw?ngler on political grounds), once said û when asked to name the world's greatest conductor apart from himself û "Furtw?ngler!"

[edit] Influences
One of Furtw?ngler's proteg?s was pianist Karlrobert Kreiten. He was also an important influence on the pianist/conductor Daniel Barenboim, of whom Furtw?ngler's widow, Elisabeth Furtw?ngler, said, "Er furtw?nglert." ("He furtw?nglers.") Barenboim recently recorded Furtw?ngler's 2nd Symphony with the Chicago Symphony Orchestra. Furtw?ngler's performances of Beethoven, Bruckner and Wagner remain important reference-points today.

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