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205:, one reviewer wrote, "Few conductors have the courage to take this opera slowly enough. Professor Knappertsbusch, however, gave a thoroughly well-balanced interpretation … full of life, full of philosophy and full of charm". The same reviewer observed that Knappertsbusch's experience at Bayreuth before the war had given him an advantage over rival conductors such as
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the theatre, and the comfortable feeling that in the theatre you can, as a conductor, take huge risks in the knowledge that if something ends in disaster only a minority of the audience will realise it at all, while the orchestra will know what it was about and will be forgiving. None of this applies to recording, and the resulting inhibitions were too much for him.
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It is not often that there is a true bond of affection between an orchestra and a conductor, and especially so in the case of an orchestra with so long and proud a tradition of its own as the Vienna
Philharmonic. The older members still talk with awe about Furtwängler and Richard Strauss. They speak
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The truth was that
Knappertsbusch took very badly to recording conditions, and, no matter what we did, the genius which he so certainly revealed in the theatre refused to come alive in the studio. … He needed the smell of greasepaint, and the waft of air from backstage. He needed the uncertainty of
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He was the kindest, most modest conductor I have ever worked with. He was unfailingly generous to his colleagues. He would never join the rat race for fame and honour. In the theatre I believe that he was a Wagner conductor of supreme ability. I know why orchestras loved him. I know why we loved
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Of all the people who might have had reason to resent my appointment in Munich after the war, there was one who had more reason than anyone else: that was Hans
Knappertsbusch. There was in fact one man who really helped me, in my inexperience: that was Hans Knappertsbusch. He was a father to
312:, London. He was allowed to go on conducting under Nazi rule, although Munich remained closed to him. In Vienna, on 30 June 1944, he conducted the last performance at the old Staatsoper, which was destroyed by bombing hours later. The president of the Vienna Philharmonic recalled:
289:, who had been in power in Germany since 1933, revoked Knappertsbusch's lifetime contract at the State Opera. There were evidently several reasons for this: he refused to join the Nazi Party and was frequently rude about the régime; budgetary constraints meant little to him; and
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Knappertsbusch followed the traditional route for an aspiring conductor in
Germany in the early 20th century, starting as a musical assistant and progressing to increasingly senior conducting posts. In 1922, at the age of 34, he was appointed general music director of the
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Wiegand. He played the violin as a child, and later the cornet. By the age of 12 he was conducting his high school orchestra. His parents did not approve of his aspirations to a musical career, and he was sent to study philosophy at
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with profound respect for the memories of Erich
Kleiber and Clemens Krauss and Bruno Walter. For others, still living, they have mixed feelings ranging from loathing to admiration. But for Hans Knappertsbusch, they had love.
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plays down this factor, suggesting that
Knappertsbusch's ideological hostilty to the Nazis was not particularly strong, and ascribing his dismissal more to Nazi complaints about his administration of the opera and to
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he served in the German army as a non-combatant musician based in Berlin. In May 1918 he married Ellen Selma
Neuhaus, who also came from Elberfeld. They had one child, Anita (1919–1938). After conducting in
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ever recorded, and one that for various reasons will not easily be surpassed. Nobody today … can match
Knappertsbusch's combination of line and emotional power". In 1951 the Decca team also recorded
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After the war there was a widespread desire in Munich for
Knappertsbusch's return, but like the other leading musicians who had worked under the Nazi régime he was subject to a process of
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Studio recording did not suit
Knappertsbusch, whose best-known recordings were made live during performances at Bayreuth. He died at the age of 77, following a bad fall the previous year.
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188:. In 1925 Knappertsbusch and his wife divorced. The following year he married Marion von Leipzig (1888–1984); this marriage, which was childless, lasted for the rest of his life.
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in more senses than one: it was the end of an era. … everyone had this same feeling. Knappertsbusch conducted, and I think it was one of the greatest performances of his life.
364:: of his 95 appearances at Bayreuth, 55 of them were conducting it. He worked mainly in Germany and Austria, but conducted in Paris from time to time, including a 1956
378:. He returned to the Bavarian State Opera in 1954, and continued to conduct there for the rest of his life. In 1955 he returned to the Vienna State Opera, to conduct
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in New York, but continued to appear as a guest artist in Vienna and elsewhere, and became a pillar of the Bayreuth Festival. He conducted the first performances of
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Knappertsbusch did not take the gramophone as seriously as some of his colleagues did. Although he was praised for such recordings as his 1931 Munich version of
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In 1964 Knappertsbusch had a bad fall, from which he never fully recovered. He died on 25 October the following year at the age of 77, and was buried in the
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409:("rough humanist"). He was capable of ferocious tirades in rehearsal – usually at singers: he got on much better with orchestras. Culshaw wrote of him:
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The bombardment of Vienna was beginning. Already in June shells were falling on the outskirts of the city, and every member of the orchestra knew that
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as general music director of the State Opera. Solti, a young Jewish musician who had been in exile in Switzerland during the war, later recalled:
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Some of Knappertsbusch's best-received recordings were made during live performances at Bayreuth in the 1950s and 1960s. A
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41:(12 March 1888 – 25 October 1965) was a German conductor, best known for his performances of the music of
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conducted by Knappertsbusch, but for contractual reasons it could not be published at the time.
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cemetery in Munich. He was greatly mourned by his colleagues. In 1967, the record producer
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After this Knappertsbusch mostly freelanced. He declined an invitation to conduct at the
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Knappertsbusch remained in Munich for eleven years. He invited guest conductors such as
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During the next nine years, Knappertsbusch worked mostly in Austria conducting at the
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régime dismissed him. As a freelance he was a frequent guest conductor in Vienna and
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at the festival's post-war reopening in 1951. He was outspoken in his dislike of
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643:"Hans Knappertsbusch", Radio Swiss Classic. (In German). Retrieved 29 May 2020
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was going to be our final performance in the old house. It was
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The Twisted Muse: Musicians and their Music in the Third Reich
908:"Hans Knappertsbusch: the complete RIAS recordings", WorldCat
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Knappertsbusch, known familiarly as "Kna", was described as a
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could not have produced a more overwhelming performance of
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772:, 12 January 1937, p. 10; and "Tannhäuser from Budapest",
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669:, Oxford University Press, 2001. Retrieved 29 May 2020
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1019:. Chapel Hill: University of North Carolina Press.
452:. Wagner, including a complete studio recording of
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141:Elberfeld, Leipzig, Dessau and Munich
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707:Boult, Adrian. "Musical Festivals",
661:Crichton, Ronald and José A. Bowen.
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1065:Hans Knappertsbusch Life and Work
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108:. From 1908 he also attended the
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978:. London: Secker & Warburg.
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950:"Götterdämmerung", WorldCat
502:). The same forces recorded
464:in symphonies by Beethoven (
423:Beethoven's Seventh Symphony
215:Don Gil von den grĂĽnen Hosen
69:, where his performances of
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154:(1918–1919), he succeeded
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576:Knappertsbusch conducted
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899:. Retrieved 25 May 2020.
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671:(subscription required)
582:in Budapest (1937) and
353:Der Ring des Nibelungen
663:"Knappertsbusch, Hans"
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1290:People from Elberfeld
1015:Monod, David (2016).
839:"Hans Knappertsbusch"
738:"Salzburg Festival",
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401:Reputation and legacy
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875:, 26 May 1931, p. 10
505:The Nutcracker Suite
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110:Cologne Conservatory
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926:"Wagner – Parsifal"
681:"Munich Festival",
462:Berlin Philharmonic
438:London Philharmonic
306:Vienna Philharmonic
241:Die geliebte Stimme
211:Wilhelm Furtwängler
75:became celebrated.
39:Hans Knappertsbusch
34:Hans Knappertsbusch
941:Culshaw, pp. 30–31
884:Culshaw, pp. 66–67
819:Culshaw, pp. 26–27
810:in Culshaw, p. 226
798:in Culshaw, p. 156
759:, 16 February 1937
755:" from Budapest",
667:Grove Music Online
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348:Metropolitan Opera
274:Tristan und Isolde
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1026:978-1-4696-3404-3
1007:978-0-19-513242-7
985:978-0-436-11800-5
768:"Covent Garden",
588:in London (1937).
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55:
38:
37:
1285:1965 deaths
1280:1888 births
1237:Kent Nagano
1231:Zubin Mehta
1195:Georg Solti
1165:Felix Mottl
1067:(in German)
932:, June 1986
567:'s dislike.
387:Bogenhausen
337:Georg Solti
165:in 1919 at
159: [
87:Early years
1274:Categories
930:Gramophone
753:TannhaĂĽser
610:References
579:Tannhäuser
526:Gramophone
521:Alan Blyth
499:Unfinished
417:Recordings
298:Staatsoper
95:, today's
956:841929296
914:874139648
873:The Times
774:The Times
770:The Times
757:The Times
740:The Times
709:The Times
696:The Times
683:The Times
523:wrote in
97:Wuppertal
93:Elberfeld
1045:AllMusic
996:(1999).
974:(1967).
535:The Ring
531:Parsifal
513:Parsifal
493:Schubert
488:Surprise
470:Bruckner
448:and the
362:Parsifal
327:Post-war
300:and the
257:Das Herz
202:Parsifal
184:and the
135:Bayreuth
72:Parsifal
67:Bayreuth
47:Bruckner
1079:of the
1075:in the
965:Sources
517:Philips
491:), and
393:wrote:
374:at the
249:Lucedia
152:Leipzig
1251:(2021)
1245:(2013)
1239:(2006)
1233:(1998)
1227:(1992)
1221:(1971)
1215:(1959)
1209:(1956)
1203:(1952)
1197:(1946)
1191:(1945)
1185:(1937)
1179:(1922)
1173:(1913)
1167:(1904)
1161:(1901)
1155:(1894)
1149:(1872)
1143:(1870)
1137:(1867)
1131:(1836)
1023:
1004:
982:
954:
912:
808:Quoted
796:quoted
585:Salome
444:, the
440:, the
255:, and
178:Munich
167:Dessau
43:Wagner
546:Notes
482:Haydn
478:No. 9
474:No. 8
466:No. 8
434:Decca
376:Opéra
370:with
287:Nazis
176:left
172:When
163:]
1021:ISBN
1002:ISBN
980:ISBN
952:OCLC
910:OCLC
497:The
486:The
476:and
458:RIAS
432:For
413:him.
343:me."
209:and
195:and
129:and
63:Nazi
49:and
1081:ZBW
1043:at
480:),
468:),
259:by
251:by
243:by
235:by
227:by
217:by
133:at
101:née
1276::
928:,
846:^
665:,
648:^
618:^
277:.
247:,
239:,
231:,
221:,
161:de
137:.
116:.
53:.
45:,
1109:e
1102:t
1095:v
1029:.
1010:.
988:.
751:"
495:(
484:(
472:(
20:)
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