{"product_id":"furtwangler-conducts-beethoven-195253-pasc370","title":"FURTWÄNGLER conducts Beethoven (1952\/53) - PASC370","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eViolin Concerto\u003c\/span\u003e\u003cbr\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eBEETHOVEN \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eGroße Fuge\u003c\/span\u003e\u003c\/span\u003e\u003cstrong\u003e\u003cspan class=\"body\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003cspan class=\"bodymidarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eLive recordings, 1952\/3\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 63:09\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eWolfgang Schneiderhan, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003eviolin\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eBerlin Philharmonic Orchestra \u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eWilhelm Furtwängler, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Review578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fThose with a serious interest in Furtwängler should find this of real value.578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eWilhelm Furtwängler left five recordings of\nBeethoven’s Violin Concerto, with three different soloists. There are\ntwo commercial studio recordings, both with Yehudi Menuhin, and three\nlive performances, one each with Menuhin, Erich Rohn, and Wolfgang\nSchneiderhan. This Schneiderhan performance (May 18, 1953) has long been\nthe neglected stepchild of the five, and now it receives what is by far\nits finest transfer, overseen by Mark Obert-Thorn. The result may lead\nto a reassessment of its merits. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eIn his invaluable book \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Furtwängler Record\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nJohn Ardoin dismisses Schneiderhan’s performance as “technically\nefficient but poetically deficient,” and calls the entire performance\n“aloof, often brusque and monochromatic.” That doesn’t match what one\nhears on this Pristine Audio reissue. Going back and listening to my\nJapanese DG version, I can see what led to that conclusion. The more\nconstricted sound of that edition (the only prior one with which I am\nfamiliar) takes away from the color of the performance. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eTo be sure, this may still be the least desirable\nof the Furtwängler performances of this concerto, and only serious\nFurtwängler collectors are likely to be interested in it. The wartime\nperformance by Rohn, part of the final concert at the old Philharmonie\nprior to its being bombed by the Allies, has about it the white heat we\nhave come to expect from Furtwängler performances of that period, and\nRohn is on fire throughout. The Menuhin performances are masterful; two\nsupreme musicians meeting on common ground. The 1947 Lucerne Festival\nperformance is perhaps the finest—in part fueled by the special\nsignificance of Menuhin’s decision to be, quite consciously, the first\nJewish soloist to appear with Furtwängler after the war. Menuhin\nvigorously defended the conductor against those who pilloried him for\nremaining in Germany during the war years, and offered to perform with\nhim just months after the conductor had been officially de-Nazified. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eGetting back to this particular performance, one\nof its singular features is Schneiderhan’s use of the Joachim cadenzas\ninstead of the more commonly heard Kreisler ones. The overall\nperformance is more middle-of-the-road than the others. Schneiderhan\ndoes not provide the incendiary passion found in the Rohn performance\nnor the majesty and extraordinarily expressive emotion in the Menuhin\nperformances. The slow movement in the Menuhin versions displays a\nfreedom that virtually renders bar lines invisible. In comparison with\nthat, Schneiderhan can seem a bit pedestrian. But when heard without\nadding the context of other performances, there is in fact real poetry\nin the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLarghetto\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e here, and genuine thrust and dramatic weight in the outer movements. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\n\u003cspan class=\"TIMES\"\u003eAs filler, Pristine has chosen the February 10, 1952, performance of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nfor string quartet, arranged here for full string orchestra.\nFurtwängler wrote that “Experience has shown that the monumental\ncharacter of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGrosse Fuge \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\nbrought out more effectively than by a string quartet.” I might not\nagree with him that the orchestral version is preferable, but neither do\nI feel it should be sneered at by purists. This music does appear to be\nstraining at its boundaries in the quartet version, though that is\nprobably a good part of its appeal. The sheer force and cumulative power\nof the music in this string orchestra version, especially under\nFurtwängler’s leadership, is a unique and valuable experience on its own\nterms. Ardoin has a strong preference for the Vienna Philharmonic\nperformance under Furtwängler, from the 1954 Salzburg Festival. While I\nagree that it is the more elegant and chamber-like of the two, there is\nsomething to be said for the gruff force and tensile strength of this\nBerlin reading. As with the concerto, the sonic restoration is\nexcellent, although Obert-Thorn was working from more limited original\nsource material. The sound quality lacks the impact heard in the\nconcerto. \u003c\/span\u003e\n\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\n\u003cspan class=\"TIMES\"\u003eOverall this constitutes an important release on\nthe Pristine Audio label, because it makes available for wider\ncirculation two Furtwängler performances that have been under the radar\nfor a long time. While general collectors will probably look elsewhere,\nthose with a serious interest in Furtwängler should find this of real\nvalue.\u003c\/span\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cb\u003e\u003cspan class=\"TIMESb\"\u003eHenry Fogel \u003c\/span\u003e\u003c\/b\u003e\n\u003c\/p\u003e\u003cp\u003eThis article originally appeared in Issue 36:6 (July\/Aug 2013) of Fanfare Magazine.\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC370.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp class=\"bodybig\" align=\"center\"\u003e\u003cem\u003e\u003cspan style=\"font-size: 24px;\"\u003eElusive live Furtwängler recordings of Beethoven's Violin Concerto \u0026amp; Große Fuge\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp align=\"center\"\u003e\u003cem class=\"bodymid\"\u003e\u003cspan style=\"font-size: 18px;\"\u003eSuperb new transfers by Mark Obert-Thorn for Pristine\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp class=\"body\"\u003eThe present recording of the Beethoven \u003cem\u003eViolin Concerto\u003c\/em\u003e with Schneiderhan and Furtwängler is among the most elusive of the conductor’s performances on CD. First released in 1964 as part of a series of Deutsche Grammophon LPs marking the tenth anniversary of the conductor’s death, this broadcast has received less attention over the years than his three recordings with Menuhin (two studio, one live) and the wartime version with Erich Röhn taped at the last BPO concert in the old Philharmonie before it was destroyed. It has been transferred here from a 1970s monaural Heliodor LP pressing, as has the \u003cem\u003eGrosse Fuge\u003c\/em\u003e, which has a similar release history.\u003c\/p\u003e\n\u003cp class=\"body\"\u003eThe pitches have been left as they appear on the LPs at around A4=445Hz when played at 33.3 rpm, which is in line with what is known about the BPO’s higher tuning during this period and the evidence of their other contemporaneous recordings.\u003c\/p\u003e\n\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cp\u003e\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003eBEETHOVEN \u003c\/strong\u003eViolin Concerto in D major, Op. 61\u003c\/span\u003e\u003cbr\u003e\u003cstrong\u003eWolfgang Schneiderhan \u003c\/strong\u003eviolin\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded during the performance of 18 May 1953 in the Titania-Palast, Berlin\u003cbr\u003eFirst issued on Deutsche Grammophon LPM 18855\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"bodybigblue\"\u003e\u003cstrong\u003e\u003cstrong\u003eBEETHOVEN \u003c\/strong\u003e\u003c\/strong\u003eGroße Fuge, Op. 133\u003c\/span\u003e\u003cbr\u003e\u003cspan class=\"bodymidarial\"\u003eRecorded during the performance of 10 February 1952 in the Titania-Palast, Berlin\u003cbr\u003eFirst issued on Deutsche Grammophon LPM 18859\u003c\/span\u003e\u003cstrong\u003e\u003cbr\u003e\u003cbr\u003eBerlin Philharmonic Orchestra \u003cbr\u003eWilhelm Furtwängler \u003c\/strong\u003econductor\u003cspan class=\"body\"\u003e\u003cstrong\u003e \u003cbr\u003e\u003c\/strong\u003e\u003c\/span\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eProducer and Audio Restoration Engineer: Mark Obert-Thorn\u003cbr\u003eCover artwork based on a photograph of Furtwängler\u003c\/p\u003e\u003cp class=\"bodysmallarial\"\u003eTotal duration: 63:09\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab3_labelfb55cd020f0643f08418183279e63a5fCover 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