Beethoven: The 9 Symphonies (Furtwängler)

This is a 5 CD set from EMI Classics. As the booklet acknowledges, these interpretations will lack the free will and brave exploration of the more trying years. Perhaps Wilhelm Furtwängler wanted a more parsimonious work than in previous endeavours. This must be because the situation did not call for such a stern position on his part, but as well, for the weight of the tradition of the Wiener Philharmonic which he was conducting, for the most part.

In any case, delightful. I think that Furtwängler has a respect for the work and its details that was unheard before, and certainly not with Karajan, afterwards. A respect for little accents, flute colorings, strings rhythms, etc. I think that, novel phrasings (esp. of repetitions), the tempo and dynamics are what made Furtwängler's interpretations so magnificent and noteworthy ;-)

Symphony 1

It makes so much sense; I think it is so straightforward, simple, almost naïve. Furtwängler extracts the lyricism that it begs for. Listen particularly to the majestic crescendos in the fourth movement, like a true community rising for a single cause, enthusiasm brooding collectively. And what a nice unpretentious finale. I am delighted with it all.

Symphony 2

The more I listen to the first movement, the more I like it. The struggling to pull through, two thirds into the first movement. The passing of theme from one instrument to the others (I think it is strings and flute).

I lament the quality of the recording. Notice Furtwängler's dry and short attacks.

Symphony 3

Amazing Marica Funebre. What an undoubtedly funerary narrative by Furtwängler... with its orchestral sound languishing towards the end... how many of the musicians are still alive in the end?

Furtwängler signature (among others) is the use of tempo to reinforce the turns and twists of emotion in beethoven's work. This can be seen as well in the famous live recording of the 5th. What a precise and non-traditional use of metals in the grand finale.

Symphony 4

A more impetuous, more mature orchestration appears in Beethoven. Playful, courtly 3rd movement. Forceful 4th movement. Great contrasts in fortissimo and piano achieved by Furtwängler, can hardly imagine someone doing any better. Beethoven managed to sustain the tension a bit longer here than in previous symphonies. Magnificent sort of severe inhalaltions by the whole orchestra, as if the room would expand and contract. (I could not make sense of a little percussion like accent or noise made during those "inhalations").

Symphony 5

Since I am familiar, and who isn't, with the famous 5th, I can notice things that otherwise remain hidden to me. For sintance, I can compare Furtwängler's version with Karajan's, since Karajan's is often played, and was my father's favorite. So my ear was conformed to Karajan's style. Today I can compare Furtwängler's style with a healthy meal, simple powerful recipe. Karajan's is more like a fatty meal, more comparable to comfort food. Furtwängler always adds spices, and each can be tasted, where as Karajan's is like excellent puffy or crispy, but salty fatty fries.

With Furtwängler, along with the interpretative effort, the simple orchestration allows for more enjoyment of the particular instruments, in ornamentations, accents, and timbres, be them in drums, violins, metals... hidden gems, that are brought to light, that would otherwise be only known to a few.
Amazing 3rd movement! An amazing and novel phrasing of the violins, which makes so much sense, until he decides to break it up, to give way to the beautiful demonstration of basses, strings and metals. And so generous and pious pizzicato.

Symphony 6

Very nice storm in the 4th movement.

Symphony 7

Extraordinary impetus in the opening raising scales of movement 1. Quite a nimble flute contrasting with the struggling orchestra in the 4th. Lovely galloping orchestra during the resolution.  Fantastic Finale, even if one has little time, and one wants the finale, it is worth going through the rest, to build that frantic load of excitement.

Symphony 8

Too bad the sound is too muddled. As per the booklet's information, there is no studio recording from Furtwängler of the 8th. Perhaps of all, this is the one of the set where Furtwängler's guillotine-like tempo is more clearly perceived, in the 1st movement. Great touch of strings accents by the strings in the 2nd, contrasting with the pianissimo of the melody and harmony. The staccato reinforces the precision tempo just mentioned, further marked by clear attacks on each note. I think the fanfarre theme of the 3rd is a bit overdone, and the least interesting.

Symphony 9

It boasts Furtwängler's control on attacks, dynamics, and theme lines. The 1st movement is so powerful yet clear, even its frantic sections. The 2nd works like half a dozen chariots darting or struggling through different terrains, sometimes apart - sometimes reunited, with a few stops to rest and talk. Personally, this version's 3rd movement does not tell me anything, and I think it is too slow. For the 4th, in its full majesticness, has, with Furtwängler, a Slavic more than a Germanic flavor. I might guess the tempo and the emphasis on the metals.

Name	Key	Catalogue	Musicians	Observations
CD 1
Symphony #1	C	Op.21	Wiener Philharmoniker	1952
Symphony #3	Eb	Op.55	Wiener Philharmoniker	Eroica, 1952
CD 2
Symphony #2	D	Op.36	Wiener Philharmoniker	1948, live
Symphony #4	Bb	Op.60	Wiener Philharmoniker	1952
CD 3
Symphony #5	Cm	Op.67	Wiener Philharmoniker	1954
Symphony #7	A	Op.92	Wiener Philharmoniker	1950
CD 4
Symphony #6	F	Op.68	Wiener Philharmoniker	Pastoral, 1952
Symphony #8	F	Op.93	Stockholm Philharmonic Orchestra	1948, live
CD 5
Symphony #9	Dm	Op.125	Wiener Philharmoniker Elisabeth Schwarzkopf, soprano Elisabeth Höngen, alto Hans Hopf, tenor Otto Edelmann, basso Chor & Orchester der Bayreuther Festspiele	Choral, 1951, live