Wilhelm Furtwängler

673:, a professor of literature, a communist Jew exiled from Germany, reported after the war that Furtwängler had voluntarily chosen a cast made up almost entirely of Jews or of people driven out of Germany during these concerts. Likewise, during the Universal Exhibition in Paris in 1937, Furtwängler performed a series of Wagnerian concerts which were a triumph. Goebbels announced in the German press that Furtwängler and Wagner had been acclaimed in Paris. In fact, those who made Furtwängler a triumph were precisely German exiles, including many Jews, who lived in Paris and who saw Furtwängler as a symbol of anti-Nazi Germany. Furtwängler also refused to conduct the Nazi anthem and demanded that all swastikas be removed from his concert halls The Nazis realized and complained that Furtwängler did not bring back any money from his tours abroad. They initially believed that Furtwängler was spending everything for him, and later realized that he was giving all the money to the German emigrants. It confirmed after the war that the conductor gave them everything he had "to the last penny" when he met them. Furtwängler always refused to practice the Nazi salute and conduct the Nazi hymns. When the Berlin orchestra performed abroad, he had to start the concert with the Nazi anthem Horst-Wessel-Lied. As the English and French could see during the period 1935–1939, Furtwängler was replaced by the steward Hans von Benda and only entered the room afterwards. 1145:

did at the start of the Nazi period; she left Germany in 1936 but returned from exile. Curt Riess did not know Furtwängler at all and initially had a very negative outlook on the conductor. Geissmar had collected hundreds of files to prepare the conductor's defense, files which contained a list of over 80 Jewish and non-Jewish people who had claimed to have been helped or saved by him. This list was not exhaustive, but it concerned cases where Geissmar had managed to find indisputable concrete evidence. Among the many people involved were Communists, Social Democrats, as well as former Nazis whom the regime had turned against. Berta Geissmar had forwarded the documents to General Robert A. McClure in charge of the Furtwängler trial, but the documents had mysteriously disappeared in Berlin, when they were to be handed over to the general of the American zone of occupation. Curt Riess also did not find these documents in the Washington archives. Furtwängler therefore found himself without a means of proving the help he had given to many people. However, three people of Jewish origin had made the trip to Berlin and certified on 17 December 1946, the second day of the trial, that Furtwängler had risked his life to protect them. One of them was Paul Heizberg, former opera director. The other two were members of the Philharmonic such as Hugo Strelitzer, who declared:

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testify to accuse Furtwängler of anti-Semitism. He said he heard, during an argument with another German musician, that Furtwängler allegedly said: "a Jew like Sabata cannot play Brahms' music" . This story soon became ridiculous: Furtwängler had played Brahms' music with many Jewish musicians (especially those from his orchestra). This was either a mistake or a misunderstanding: Furtwängler probably had no anti-Semitic feelings towards Sabata who had been his friend. On the other hand, Hans von Benda was forced to admit that he was not directly present when Furtwängler allegedly spoke these words, and his testimony was therefore not taken seriously by the prosecution. The reason for Hans von Benda's behavior was as follows: he had been dismissed from his post as artistic director of the Berlin Orchestra on 22 December 1939 for numerous serious professional misconduct. He had wished to take the opportunity of the lawsuit for take revenge on Furtwängler, considering him responsible for his dismissal because he would have supported Karajan, a version very strongly contested by Furtwängler and his wife. Moreover, historian Fred Prieberg has proved that, on the contrary, Hans von Benda had never ceased to send information to the Nazis (to denounce it) proving that Furtwängler was helping Jews and opposing their policies.

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life, yes, the decisive dividing line between good and bad, seems to have far too little significance attributed to it ... If concerts offer nothing then people will not attend; that is why the QUALITY is not just an idea: it is of vital importance. If the fight against Judaism concentrates on those artists who are themselves rootless and destructive and who seek to succeed in kitsch, sterile virtuosity and the like, then it is quite acceptable; the fight against these people and the attitude they embody (as, unfortunately, do many non-Jews) cannot be pursued thoroughly or systematically enough. If, however, this campaign is also directed at truly great artists, then it ceases to be in the interests of Germany's cultural life ... It must therefore be stated that men such as Walter, Klemperer, Reinhardt etc. must be allowed to exercise their talents in Germany in the future as well, in exactly the same way as Kreisler, Huberman, Schnabel and other great instrumentalists of the Jewish race. It is only just that we Germans should bear in mind that in the past we had Joseph Joachim one of the greatest violinists and teachers in the German classical tradition, and in Mendelssohn even a great German composer – for Mendelssohn is a part of Germany's musical history."

3063:"Furtwängler's interpretations of Brahms go beyond the merely 'composed' notation and realise the vision of the organic form that hovered before Brahms but can no longer be attained. Herein lies the explanation of the flawless formal architecture of his interpretations as well as the psychical compulsion of their musical performance that never becomes lost in detail but, to the contrary, always keeps the work as a whole in view. In this recording, notwithstanding his traditional interpretative style Furtwängler, unlike many a younger composer, lays more stress on the characteristics beyond the classical model symphony that herald the new trend: 'Spiritual life' which Furtwängler traces and creates anew in each work – in this symphony, energetic and vigorous though it is, spiritual life is not concentrated on the dualism of the themes, the dramatic development and the intensity of the finale, but above all on the variety of tone-colours which are here formative energy that puts a constantly changing complexion on the scarcely modulated themes and motifs and becomes the favourite means of musical expression.", Sigurd Schimpf, EMI C 049-01 146. 3161:"Produced in 1952, this recording, now reissued, has long been something of a landmark in recent history – rightly so, for its importance and its uniqueness are unquestionable ... Wilhelm Furtwängler's architectural greatness is communicated so directly, so forcefully from the very first bar that one immediately forgets the small imperfections of the mono recording ... The most striking thing is certainly the cogency of this interpretation. Nowhere are there hiatuses, breaks in the music's flow. Furtwängler, though far from being a perfectionist in individual detail, invariably seems to see the entire conception before him, so grippingly does he span the work's long arches, so magnificently does he weld together the various components. ... His feeling for form is so compelling in its certainty that one does not stop to consider for a moment that it is not the only way of interpreting a particular phrase or sequence ... The idea of Furtwängler seeking effect from a series of 'purple passages' is unthinkable; and yet the great emotional crescendi, the great climaxes, have a dramatic power scarcely matched elsewhere", Gerhard Brunner, CD 734:, a prominent anti-fascist, was furious to learn that Furtwängler would be at the Festival. He accepted his engagement in Salzburg on the condition that he would not have to meet Furtwängler. But the two did meet, and argued over Furtwängler's actions. Toscanini argued: "I know quite well that you are not a member of the Party. I am also aware that you have helped your Jewish friends ... But everyone who conducts in the Third Reich is a Nazi!". Furtwängler emphatically denied this and said: "By that, you imply that art and music are merely propaganda, a false front, as it were, for any Government which happens to be in power. If a Nazi Government is in power, then, as a conductor, I am a Nazi; under the communists, I would be a Communist; under the democrats, a democrat... No, a thousand times no! Music belongs to a different world, and is above chance political events." Toscanini disagreed and that ended the discussion. 3046:"This Brahms 1st turned out to be Furtwängler's best version ... More than ever, the broad opening, with the hammering of Friedrich Weber on the timpani and the soaring strings of that magnificent ensemble, impress the listener. The special quality of the string section, miraculously dense and transparent at the same time, permeates the whole work. The four great fortissimi of the first movement have an irresistible 'élan', the long lyrical phrases of the second movement enchant the listener with their intensity. The third movement is Furtwängler at his most feverish here, and full of serenity is reached only after the repeated trumpet calls ... The 4th movement is played with unmistakable grandeur and solemnity, as indeed the whole work is. While keeping Brahms' personality in mind, Furtwängler nevertheless brings out Beethoven's influence on Brahms ... No wonder the French critics bestowed upon this recording the 891: 1415:'s conducting style, which was "characterized by quick, even tempos and imbued with what many people regarded as model logic and precision ..., Wagner's way was broad, hyper-romantic and embraced the idea of tempo modulation". Wagner considered an interpretation as a re-creation and put more emphasis on the phrase than on the measure. The fact that the tempo was changing was not something new; Beethoven himself interpreted his own music with a lot of freedom. Beethoven wrote: "my tempi are valid only for the first bars, as feeling and expression must have their own tempo", and "why do they annoy me by asking for my tempi? Either they are good musicians and ought to know how to play my music, or they are bad musicians and in that case my indications would be of no avail". Beethoven's disciples, such as 942:, Goebbels had decided to make a long speech on the eve of Hitler's birthday to galvanize the German nation. The speech would be followed by Beethoven's ninth symphony. Goebbels wanted Furtwängler to conduct the symphony by whatever means to give a transcendent dimension to the event. He called Furtwängler shortly before to ask him to agree to conduct the symphony but the latter refused arguing that he had no time to rehearse and that he had to perform several concerts in Vienna. But Goebbels forced the organizers in Vienna (by threatening them: some were physically assaulted by the Nazis) to cancel the concerts and ordered Furtwängler to return to Berlin In 1943 and 1944, Furtwängler provided false medical certificates in advance to be sure that such a situation would not happen again. 592:, a "national treasure". Goebbels asked him to pledge allegiance publicly to the new regime. Furtwängler refused. Goebbels then proposed that Furtwängler acknowledge publicly that Hitler was in charge of cultural policy. Furtwängler accepted: Hitler was a dictator and controlled everything in the country. But he added that it must be clear that he wanted nothing to do with the policy and that he would remain as a non-political artist, without any official position. The agreement was reached. Goebbels made an announcement declaring that Furtwängler's article on Hindemith was not political: Furtwängler had spoken only from an artistic point of view, and it was Hitler who was in charge of the cultural policy in Germany. 611:

conducting the same program, he was informed that Hitler and his entire staff would attend the concert. He was given the order to welcome Hitler with the Nazi salute. Furtwängler was so furious that he ripped the wooden panelling off a radiator. Franz Jastrau, the manager of the orchestra, suggested that he keep his baton in his right hand all the time. When he entered the hall, all the Nazi leaders were present making the Hitler salute, but Furtwängler kept hold of his baton and began the concert immediately. Hitler probably could not have imagined that such an affront was possible but decided to put up a good show: he sat down and the concert went on.

22: 1104:. The charges were very low. He was charged with having conducted two official Nazi concerts during the period 1933–1945. Furtwängler declared that for two concerts that had been "extorted" from him, he had avoided sixty. The first was for the Hitler Youth on 3 February 1938. It was presented to Furtwängler as a way to acquaint younger generations with classical music. According to Fred Prieberg: "when he looked at the audience he realized that this was more than just a concert for school kids in uniform; a whole collection of prominent political figures were sitting there as well ... and it was the last time he raised his baton for this purpose". 1076:

1945. Furtwängler asked to meet him and when Riess had studied all the documents concerning Furtwängler, he completely changed his mind. Realizing that Furtwängler had never been a Nazi and had helped many people of Jewish origin, he became his "denazification advisor". A long friendship ensued and Curt Riess spent the next two years doing everything to get Furtwängler exonerated. As Roger Smithson writes at the conclusion of his article "Furtwängler's Silent Years (1945–1947)": "Ultimately Furtwängler's return to conducting was very largely the result of skill and stubbornness of Curt Riess. Furtwängler's admirers owe him a great debt".

690:(the first time this work was performed at the festival since 1909) for which Hitler ensured no expense was spared; the costume and set design were on a larger and more expensive scale than anything previously seen at Bayreuth. This performance was broadcast throughout Europe and in the Americas, and was used as part of a propaganda effort intended to portray the "New Germany" as the triumphant inheritor of the German musical tradition rather than a break from the past, to which Furtwängler's place at the podium was instrumental. Both Hitler and Goebbels attended the festival and attempted to force him to accept an official position. 383:, this letter proved that if the concepts of nation and patriotism had a deep meaning for him, "it is clear that race meant nothing to him". In June 1933, for a text which was to be the basis for a discussion with Goebbels, Furtwängler went further, writing, "The Jewish question in musical spheres: a race of brilliant people!" He threatened that if boycotts against Jews were extended to artistic activities, he would resign all his posts immediately, concluding that "at any rate to continue giving concerts would be quite impossible without – to remove them would be an operation which would result in the death of the patient." 1333:, musicologist Walter Frisch writes that Furtwängler's recordings show him to be "the finest Brahms conductor of his generation, perhaps of all time", demonstrating "at once a greater attention to detail and to Brahms' markings than his contemporaries and at the same time a larger sense of rhythmic-temporal flow that is never deflected by the individual nuances. He has an ability not only to respect, but to make musical sense of, dynamic markings and the indications of crescendo and diminuendo... What comes through amply... is the rare combination of a conductor who understands both sound and structure." He notes 922:(My Country), and ... was intended to support his compatriots' fight for the independence from Austrian domination ... When Furtwängler began with the 'Moldau' it was not a deliberate risk, but a statement of his stance towards the oppressed Czechs". The 1944 concert marked the fifth anniversary of the German occupation and was the result of a deal between Furtwängler and Goebbels: Furtwängler did not want to perform in April for Hitler's birthday in Berlin. He said to Goebbels in March (as he had in April 1943) that he was sick. Goebbels asked him to perform in Prague instead, where he conducted the 8101: 1391:– it was easy to understand what he was trying to do: you didn't need any reference to spiritual dimension. There was a certain order in the way the music was presented. With Toscanini I never felt anything spiritual. With Furtwängler on the other hand, I understood that there I was confronted by something completely different: metaphysics, transcendence, the relationship between sounds and sonorities ... Furtwängler was not only a musician, he was a creator ... Furtwängler had the ear for it: not the physical ear, but the spiritual ear that captures these parallel movements. 1203: 387: 1396: 4721: 5225: 8360: 1799: 1093:, which was in the Soviet zone, to Furtwängler. General Robert A. McClure was forced to pass Furtwängler by the normal denazification procedure. He explained to Curt Riess, by telephone, that otherwise it gave the impression that the Americans had ceded to the Soviets on the Furtwängler file. The American authorities knew that the conductor would necessarily be cleared by the denazification court and the Soviet authorities declared that this trial made no sense and was "ridiculous". Thus, with the backdrop of the 442:, or to sign his letters with "Heil Hitler", even those he wrote to Hitler. Prieberg has found all the letters from the conductor to the dictator: these are always requests for an audience to defend Jewish musicians or musicians considered to be "degenerate". The fact that he refused to sign them 'Heil Hitler' was considered a major affront by the Nazi leadership and explains why many of these requests for a hearing were refused. However, Furtwängler was appointed as the first vice-president of the 8616: 1768:"Well", she sighed, "you see what we have been reduced to. We are now in a time when a Szell is considered a master. How small he was next to Furtwängler." Reeling this disbelief – not at her verdict, with which I agreed, but from the unvarnished acuteness of it – I stammered, "But how do you know Furtwängler? You never sang with him." "How do you think?" she stared at me with equal disbelief. "He started his career after the war in Italy . I heard dozens of his concerts there. To me, he 3072:"The interpretation is typically manic: very fast, and very slow. It lurches about impulsively and has thrilling moments–but also some pretty distressing examples of shoddy ensemble, particularly in the scherzo and finale. It was all too seldom that Furtwängler managed to keep his band together to allow him to time his climaxes optimally. A classic case of 'overshoot' occurs at the end of the first movement, which sounds terribly rushed. The Adagio, though, is magnificent...", 176: 8173: 6727: 2479: 1235:

friends and colleagues. Do not believe that the fact of remaining in one's own country is alone sufficient to condemn a man. On the contrary, as a military man, you would know that remaining at one's post often requires greater courage than running away. He saved, and for that we are deeply his debtors, the best part of his own German culture... I believe it patently unjust and most cowardly for us to make of Furtwängler a scapegoat for our own crimes.

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any of my activities", describing him as "an out-and-out chauvinist". However, he regularly complained that Furtwängler was helping Jews and 'half-Jews', and his complaints continued during the war. Goebbels wrote in his diary that Furtwängler's goal was to bypass Nazi cultural policy. For instance, Goebbels wrote that Furtwängler supported the Salzburg festival to counterbalance the Bayreuth Festival, a keystone of the Nazi regime.

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the following morning. This concert, along with one given in Berlin in 1942 for Hitler's birthday, led to heavy criticism of Furtwängler after the war. However, Furtwängler had managed not to participate in the party congress. He had also succeeded in conserving the Vienna Philharmonic, and the musical collections of Vienna and the Vienna Opera, where he persuaded Hitler and Goebbels to agree to the appointment of

482:, and Jewish members of the Berlin Philharmonic. Hitler did not listen to Furtwängler, who lost patience, and the meeting became a shouting match. Berta Geissmar wrote, "After the audience, he told me that he knew now what was behind Hitler's narrow-minded measures. This is not only antisemitism, but the rejection of any form of artistic, philosophical thought, the rejection of any form of free culture..." 661:'s orders. It suggested Furtwängler would probably be reappointed as director of the Berlin State Opera and of the Berlin Philharmonic. This caused the mood in New York to turn against him: it seemed that Furtwängler was now a supporter of the Nazi Party. On reading the American press reaction, Furtwängler chose not to accept the position in New York. Nor did he accept any position at the Berlin Opera. 8643: 7478: 7108: 7075: 7056: 6967: 6927: 6859: 6826: 1470:

academic position in Austria and Germany, in spite of Furtwängler's efforts to support him. Schenker depended on several patrons including Furtwängler. Furtwängler's second wife certified much later that Schenker had an immense influence on her husband. Schenker considered Furtwängler as the greatest conductor in the world and as the "only conductor who truly understood Beethoven".

847:, he conducted concerts (often with the Vienna Philharmonic) in the presence of German leaders during this period in exchange for the conservation of the orchestra. He organized several concerts of Austrian music in Berlin and Vienna for Hitler, to highlight Austrian culture. The Nazi leadership, who wanted to take advantage of this situation, invited Furtwängler in 1938 to conduct 8655: 1379:. He walked out of a Toscanini concert once, calling him "a mere time-beater!". Unlike Toscanini, Furtwängler sought a weighty, less rhythmically strict, more bass-oriented orchestral sound, with a more conspicuous use of tempo changes not indicated in the printed score. Instead of perfection in details, Furtwängler was looking for the spiritual in art. 1326:: "I admire Furtwängler for his originality and honesty. He liberated himself from slavery to the score; he realized that notes printed in the score, are nothing but SYMBOLS. The score is neither the essence nor the spirit of the music. Furtwängler had this very rare and great gift of going beyond the printed score and showing what music really was." 3005:, SWF 891R, 2001, pp. 8–10."The 1942 performance in Berlin is one of the most convincing proofs of Furtwängler's rebellion during Germany's tragic era, while the nazis tried in vain to bury the great German musical heritage by using it for their sinister ends. Furtwängler fought for it and strived to save it from their cluthes", Sami Habra, 1541:(who decided to become a conductor when he was eight years old during a concert of the Passion Saint Matthew by Bach conducted by Furtwängler in 1950 in Buenos Aires ), of whom Furtwängler's widow, Elisabeth Furtwängler, said, "Er furtwänglert" ("He furtwänglers"). Barenboim has conducted a recording of Furtwängler's 2nd Symphony, with the 1003:(an outspoken supporter and a friend of Hitler) during the war, to the effect that Hitler did not trust or like Furtwängler, and that Göring and Goebbels were upset with Furtwängler's continuous support for his "undesirable friends". Yet Hitler, in gratitude for Furtwängler's refusal to leave Berlin even when it was being bombed, ordered 615:

the occasion: the photo of the famous handshake between Furtwängler and Hitler was distributed everywhere by Goebbels. Goebbels had obtained what he desired: to keep Furtwängler in Germany and to give the impression to those who were not well informed (especially outside the country) that Furtwängler was now a supporter of the regime.

402:. Goebbels and Göring ordered their administration to listen to Furtwängler's requests and to give him the impression that they would do what he asked. This led him to believe that he had some positive influence to stop the racial policy. He subsequently invited several Jewish and anti-fascist artists (such as 1085:

tell Furtwängler not to speak to the press, so as not to give the impression that he was exerting pressure on the Allied forces. He said the case would be closed within weeks. Riess sent a telegram to Furtwängler to this effect, but the telegram took a long time to reach its destination and arrived too late.

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in a piece of music. Furtwängler read Schenker's famous monograph on Beethoven's Ninth symphony in 1911, subsequently trying to find and read all his books. Furtwängler met Schenker in 1920, and they continuously worked together on the repertoire which Furtwängler conducted. Schenker never secured an

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The prosecution itself acknowledging that no charge of anti-Semitism or sympathy for Nazi ideology could be brought against the conductor, Furtwängler was cleared on all the counts. Even after Furtwängler's acquittal at the denazification trials, Mann still criticized him for continuing to conduct in

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who was in charge of the Furtwängler file. The general, after meeting Riess and having all the documents translated into English, admitted that no serious charge could be brought against Furtwängler and that they had made a mistake concerning the conductor who was "a very good man". He asked Riess to

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who had fled Germany in 1933. The latter was a musician and writer, he later wrote a book on Furtwängler. Riess was then a journalist and correspondent in Switzerland for American newspapers. He thought Furtwängler was a Nazi collaborator and objected to having Furtwängler directing in Switzerland in

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During the war, Furtwängler tried to avoid conducting in occupied Europe. He said: "I will never play in a country such as France, which I am so much attached to, considering myself a 'vanquisher'. I will conduct there again only when the country has been liberated". He refused to go to France during

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Goebbels was satisfied that Furtwängler had conducted the concerts in Vienna, Prague and Nürnberg, thinking that these concerts gave a "cultural" justification to the annexation of Austria and Czechoslovakia. During this period he said that Furtwängler was "willing to place himself at my disposal for

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as artistic director. At the Vienna Philharmonic, as at the Berlin Philharmonic, Furtwängler succeeded in protecting 'half-Jews' or members with 'non-aryan' wives until the end of the war (these were exceptional cases in Germany during the Nazi period). However, in contrast to his experience with the

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in Berlin in late 1938, Göring decided to take the initiative. The music critic Edwin von der Nüll wrote a review of these concerts with the support of Göring. Its title, "The Karajan Miracle", was a reference to the famous article "The Furtwängler Miracle" that had made Furtwängler famous as a young

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was considered to be a festival of the "free world" and a centre for anti-fascist artists. Hitler had forbidden all German musicians from performing there. In 1937, Furtwängler was asked to conduct Beethoven's ninth symphony in Salzburg. Despite strong opposition from Hitler and Goebbels, he accepted

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Although Furtwängler achieved fame chiefly from his conducting, he regarded himself foremost as a composer. He began conducting in order to perform his own works. By age of twenty, he had composed several works. However, they were not well received, and that, combined with the financial insecurity of

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has said of Furtwängler 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". Furtwängler desired to retain an element of improvisation and of the unexpected in his concerts, each interpretation being conceived as

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Furtwängler's recordings are characterized by an "extraordinary sound wealth ", special emphasis being placed on cellos, double basses, percussion and woodwind instruments. According to Furtwängler, he learned how to obtain this kind of sound from Arthur Nikisch. This richness of sound is partly due

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report, Horowitz said that he "was prepared to forgive the small fry who had no alternative but to remain and work in Germany." But Furtwängler "was out of the country on several occasions and could have elected to keep out". Rubinstein likewise wrote in a telegram, "Had Furtwängler been firm in his

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I knew Germany was in a terrible crisis; I felt responsible for German music, and it was my task to survive this crisis, as much as I could. The concern that my art was misused for propaganda had to yield to the greater concern that German music be preserved, that music be given to the German people

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Two of the main people who prepared Furtwängler's defense for his denazification trial were two German Jews who had to flee the Nazi regime: his secretary Berta Geissmar and Curt Riess. The two had very different backgrounds. Berta Geissmar knew Furtwängler personally and had witnessed everything he

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worse than ever. He did not appear again in Bayreuth until 1943. He wrote a letter to Winifred Wagner, sending copies to Hitler, Göring and Goebbels, accusing her of having betrayed Wagner's heritage by applying racial and not artistic rules in the choice of the artists, and of putting her "trust in

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At the end of the concert, Furtwängler continued to keep his baton in his right hand. Hitler understood the situation and jumped up and demonstratively held out his right hand to him. The same situation occurred during another concert later on, when a photographer had been mobilized by the Nazis for

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increased the persecution of Jews, Jewish musicians were forced out of work and began to leave Germany. The Nazis were aware that Furtwängler was opposed to the policies and might also decide to go abroad, so the Berlin Philharmonic, which employed many Jews, was exempted from the policies. In 1933,

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under Furtwängler's baton? Many critics have raised this question, troubled by the spaciousness even more than in Berlin than in Vienna . And yet, why hesitate? From the first bars, this perfection overrules us – beyond doubt, this is humanely, organically the right tempo and it would be completely

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In the meantime, Furtwängler had made a very serious mistake: he had gone to Berlin, which was occupied by the Soviets. The latter received him as a Head of State because they wanted to recover the one that Arsenyi Gouliga, the representative of the Soviet Union at the Furtwängler trial, called the

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to build a special air raid shelter for the conductor and his family. Furtwängler refused it, but the shelter was nevertheless built in the house against his will. Speer related that in December 1944 Furtwängler asked whether Germany had any chance of winning the war. Speer replied in the negative,

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In April 1942, Furtwängler conducted a performance of Beethoven's ninth symphony with the Berlin Philharmonic for Hitler's birthday. At least the final minutes of the performance were filmed and can be seen on YouTube. At the end, Goebbels came to the front of the stage to shake Furtwängler's hand.

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with the Vienna Philharmonic in Nürnberg for the Nazi party congress. Furtwängler accepted to conduct, as long as the performance was not during the party congress. Hitler eventually accepted Furtwängler's conditions: the concert took place on 5 September and the political event was formally opened

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that had occurred on 12 March 1938. But he quickly disagreed with the Nazi leaders' decision to "annex Austrian culture" by abolishing independent cultural activity in Austria and subordinating it to Berlin. Just after the Anschluss, Furtwängler discovered that a huge Swastika flag was displayed in

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I remember Hitler turning to Furtwängler and telling him that he would now have to allow himself to be used by the party for propaganda purposes, and I remember that Furtwängler refused categorically. Hitler flew into a fury and told Furtwängler that in that case there would be a concentration camp

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In September 1935, the baritone Oskar Jölli, a member of the Nazi party, reported to the Gestapo that Furtwängler had said, "Those in power should all be shot, and things in Germany would not change until this was done". Hitler forbade him to conduct for several months, until Furtwängler's fiftieth

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Furtwängler resumed conducting. On 25 April 1935, he returned to the Berlin Philharmonic with a program dedicated to Beethoven. Many people who had boycotted the orchestra during his absence came to the concert to support him. He was called out seventeen times. On 3 May, in his dressing room before

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Hitler now allowed him to have a new passport. When they met again in April, Hitler attacked Furtwängler for his support of modern music, and made him withdraw from regular conducting for the time being, save for his scheduled appearance at Bayreuth. However, Hitler confirmed that Furtwängler would

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Goebbels refused to meet Furtwängler to clarify his situation for several months. During the same period, many members of the orchestra and of his public were begging him not to emigrate and desert them. In addition, Goebbels sent him a clear signal that if he left Germany he would never be allowed

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On 26 April 1933, Furtwängler and the Berlin Philharmonic performed a joint concert in Mannheim with the local orchestra to mark the 50th anniversary of Wagner's death and to raise money for the Mannheim orchestra. The concert had been organised before the Nazis came to power. The Nazified Mannheim

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I am told that the more you rehearse, the better you play. This is wrong. We often try to reduce the unforeseen to a controllable level, to prevent a sudden impulse that escapes our ability to control, yet also responds to an obscure desire. Let's allow improvisation to have its place and play its

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The prosecution believed it had something more substantial because Hans von Benda, a former member of the Nazi Party who had been the artistic director of the Berlin Philharmonic during the Nazi period and had therefore been in constant contact with Furtwängler for many years, absolutely wanted to

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said to Furtwängler after the war: "In the circle of our resistance movement it was an accepted fact that you were the only one in the whole of our musical world who really resisted, and you were one of us." Graf Kaunitz, also a member of that circle, stated: "In Furtwängler's concerts we were one

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was one of these emigrants. Mayer later observed that for performances of Wagner operas in Paris prior to the war, Furtwängler cast only German emigrants (Jews or political opponents to the Nazis) to sing. Georg Gerullis, a director at the Ministry of Culture remarked in a letter to Goebbels, "Can

784:

However, Furtwängler's position was weakened: he knew that if he left Germany, Karajan would immediately become the conductor of the Berlin Philharmonic. It was the beginning of an obsessive hate and contempt for Karajan that never left him until his death. He often refused to call Karajan by his

602:

Other Nazi leaders were not satisfied with the compromise, since they believed that Furtwängler had not capitulated: Rosenberg demanded in vain that Furtwängler apologise to the regime. Goebbels, who wanted to keep Furtwängler in Germany, wrote in his diary that he was satisfied with the deal and

374:

Ultimately there is only one dividing line I recognize: that between good and bad art. However, while the dividing line between Jews and non-Jews is being drawn with a downright merciless theoretical precision, that other dividing line, the one which in the long run is so important for our music

3115:) ... Before the boisterous last movement starts, there is the famous transitional passage in which Furtwängler builds up the most impressive crescendo ever heard. This crescendo is referred to by Conservatoire teachers and conductors as being the very perfection, in spite of its infeasibility. 2973:

the highest achievement of Wilhelm Furtwängler's art? Certainly no other conductor allowed himself such interpretative scope, and none put himself so much at risk. Yet on actual hearing the tempi prove so right, so natural lending themselves so perfectly to the whole presentation of the musical

1234:

Unless you have secret incriminating evidence against Furtwängler supporting your accusation that he was a tool of Nazi Party, I beg to take violent issue with your decision to ban him. The man never was a Party member. Upon numerous occasions, he risked his own safety and reputation to protect

780:

The article was part of a broader attack made against Furtwängler. The Nazi press criticized him for being "a man of the nineteenth century" whose political ideas were obsolete and who did not understand and accept the new changes in Germany. The situation became intolerable for Furtwängler. He

566:

Furtwängler, although he had decided to remain in Germany, was certainly no Nazi ... He had a private telephone line to me which was not connected via the exchange ... Before going to bed, he used to chat with me over telephone. Sometimes I told him amusing stories to cheer him up, sometimes we

3018:

Sami Habra wrote regarding this very famous concert: "Yet, after the war, he had to prove to the World that German musical Art had indeed survived that fateful period as well as some attempts by the Allies to ignore or undermine German culture. The whole musical world retained its breath while

2940:

was always one of Furtwängler's great warhorses and undoubtedly the summit of this interpretation ... Furtwängler relives his unbelievable performance of the end of the Fifth Symphony in June 1943, four months before, launching into a break-taking acceleration without the unleashed forces ever

3032:

Sami Habra said: "The Lucerne 1954 concert, Furtwängler's last performance of the Ninth, allowed the listener an even deeper insight into the great conductor's art, the most important impression being that of abyssal depths that permeate this Swan song: no doubt Furtwängler sensed his end was

553:

Furtwängler decided to leave Germany, but the Nazis prevented him. They seized the opportunity to Aryanise the orchestra and its administrative staff. Most of the Jewish musicians of the orchestra had already left the country and found positions outside Germany, with Furtwängler's assistance.

3144:, in his house at Riverdale, played this recording again and again to his guests on a memorable day, pointing out with enthusiasm all its fine points ... We can safely say that no one has probed as deeply as Furtwängler into the abyss of the tragic contents and pessimistic forebodings of the 498:

Before the banquet organized for the evening, members of the Mannheim Orchestra Committee came to remonstrate with Furtwängler, accusing him of "a lack of national sentiment". Furtwängler furiously left before the banquet to rejoin Berta Geissmar and her mother. The fact that Furtwängler had

1183:' one should not be permitted to play Beethoven? Could he not realize that people never needed more, never yearned more to hear Beethoven and his message of freedom and human love, than precisely these Germans, who had to live under Himmler's terror? I do not regret having stayed with them. 557:

The main target of the Nazis was Berta Geissmar. She wrote in her book about Furtwängler that she was so close to the conductor that the Nazis had begun an investigation to know if she was his mistress. After being harassed for a period of two years, she moved to London when she became Sir

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a re-creation. However, melodic line as well as the global unity were never lost with Furtwängler, even in the most dramatic interpretations, partly due to the influence of Heinrich Schenker and to the fact that Furtwängler was a composer and had studied composition during his whole life.

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the powers of an authoritarian state". This clear attack on Hitler caused a sharp reaction: Hitler wanted to drop Furtwängler from Bayreuth after all. Goebbels wrote in two entries of his diary in 1937 that Furtwängler was constantly helping Jews, "half-Jews" and "his small Hindemith".

830:

Goebbels wanted to eliminate the Vienna Philharmonic and to convert the Vienna Opera and the Salzburg Festival into branches of the Berlin Opera and the Bayreuth Festival respectively. In addition, he wished to confiscate the largest musical collection in the world, belonging to the

452:, and accepted these honorary positions to try to bend the racial policy of Nazis in music and to support Jewish musicians. For concerts in London and Paris before the war, Furtwängler refused to conduct the Nazi anthems or to play music in halls adorned with swastikas. During the 250:

as principal conductor of the Mannheim Opera and Music Academy in 1915, remaining until 1920. As a boy he had sometimes stayed with his grandmother in Mannheim. Through her family he met the Geissmars, a Jewish family who were leading lawyers and amateur musicians in the town.

991:

Furtwängler has never been a National Socialist. Nor has he ever made any bones about it, which Jews and emigrants thought was sufficient to consider him as one of them, a key representative of so-called 'inner emigration'. Furtwängler stance towards us has not changed in the

1371:'s sculptures are perfect, others are just outlined and the latter ones move me more than the first perfect ones because here I find the essence of desire, of the wakening dream. That's what really moves me: fixing without freezing in cement, allowing chance its opportunity. 1653:, who in his early years was Furtwängler's rival, maintained throughout his life that Furtwängler was one of the great influences on his music making, even though his cool, objective, modern style had little in common with Furtwängler's white-hot Romanticism. Karajan said: 2936:

insensitive and unmusical to argue otherwise ... Who could describe the incredible beauty of phrasing of the song of violas and cellos ... the sublime expressiveness of the violins? ... The second theme on its reappearance seems still more moving and expressive ... This

1298:

He was totally German and he remained so, despite the attacks. This is why he did not leave his defiled country, which was later counted to him as a stain by those who did not know him well enough. But he did not stay with Hitler and Himmler, but with Beethoven and

3148:... The last movement would probably have contained a glimmer of hope, had it not been for the fateful events that were to plunge the World into its darkest hours. Many observers have asserted that Furtwängler had foreseen what was to happen", Sami Habra, CD 1321:

in 1954 of Furtwängler's conducting style: "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..." And the conductor

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Wilhelm Furtwängler died on 30 November 1954 of pneumonia, in Baden-Baden. He was buried in Heidelberg cemetery, the Bergfriedhof, in his mother's vault. A large number of personalities from the artistic and political world were present, including Chancellor

1113:

with the Vienna Philharmonic on 5 September 1938, on the evening before the Nazi congress in Nüremberg. Furtwängler had agreed to conduct this concert to help preserve the Vienna Philharmonic, and at his insistence the concert was not part of the congress.

1198:

magazine, Mann praises Furtwängler for assisting Jewish musicians and as a "preeminent musician", but ultimately presents him as a representative example of a fatal "lack of understanding and lack of desire to understand what had seized power in Germany".

3098:"Furtwängler has always been Bruckner's greatest exponent ... Again, the tragic element and grandeur are unequalled here. This is a 'desert island' recording, fortunately restored for music lovers of this World to cherish all their life", Sami Habra, CD 777:

conductor in Mannheim. Von der Nüll championed Karajan saying, "A thirty-year-old man creates a performance for which our great fifty-year-olds can justifiably envy him". Furtwängler's photo was printed next to the article, making the reference clear.

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If I am alive today, I owe this to this great man. Furtwängler helped and protected a great number of Jewish musicians and this attitude shows a great deal of courage since he did it under the eyes of the Nazis, in Germany itself. History will be his

255:

wrote, "Furtwängler became so good at as to attain almost professional skill...Almost every sport appealed to him: he loved tennis, sailing and swimming...He was a good horseman..." She also reports that he was a strong mountain climber and hiker.

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sharply criticizes what he terms "the Furtwängler wackos" who "will forgive him virtually any lapse, no matter how severe", and characterizes the conductor himself as "occasionally incandescent but criminally sloppy". Unlike conductors such as

2917:– human and historical, individual and universal – more powerfully or eloquently than Furtwängler. Of his 11 extant recordings, it is this 1944 Vienna account, closely followed by the 1950 Berlin version, which most merits pride of place. 576:

back, frightening him with the prospect of permanent separation from his mother (to whom he was very close) and his children. Furtwängler considered himself responsible for the Berlin Philharmonic and for his family, and decided to stay.

2423:, studio recording with the Berlin Philharmonic, 1951 (Deutsche Grammophon). The first movement is a supreme example of Furtwaengler's style. Note the sharp accelerandi at the end of the introduction and the middle of the recapitulation. 567:

talked about politics. One of the main threats the Nazis used against Furtwängler and myself later on was the assertion that they had recorded all these conversations. I should not have thought that it was possible! Was there enough

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name, calling him simply "Herr K". Hitler's opinion was that even if Furtwängler was infinitely better than Karajan as a conductor, it was necessary to keep Karajan "in reserve" since Furtwängler was "not politically trustworthy".

1677:

Furtwängler is the greatest of all ; Admittedly, one can sometimes dispute his choices, his options, but enthusiasm almost always prevails, especially in Beethoven. He is the musician who had the greatest influence on my artistic

639:

birthday in January 1936. Hitler and Goebbels allowed him to conduct again and offered him presents: Hitler an annual pension of 40,000 Reichsmarks, and Goebbels an ornate baton made of gold and ivory. Furtwängler refused them.

1490:, Furtwängler did not try to suppress emotion in performance, instead giving a hyper romantic aspect to his interpretations. The emotional intensity of his World War II recordings is particularly famous. Conductor and pianist 938:

This concert led to heavy criticism of Furtwängler after the war. In fact, Furtwängler had planned several concerts in Vienna during this period to avoid this celebration. But after the defeat of the German army during the

835:

in Vienna and to move it to Berlin. Hitler's goal was to deny that Austria had developed its own culture independently of Germany. Austrian musical circles asked Furtwängler, who was the honorary president of the Vienna

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The investigations showed that Furtwängler had not been a member of any organization, that he tried to help people persecuted because of their race, and that he also avoided... formalities such as giving the Hitler

980:, but not Furtwängler. Goebbels also asked Furtwängler to direct the music in a film about Beethoven, again for propaganda purposes. They quarrelled violently about this project. Furtwängler told him "You are wrong, 1649:, usually regarded as Furtwängler's complete antithesis (and sharply critical of Furtwängler on political grounds), once said – when asked to name the World's greatest conductor apart from himself – "Furtwängler!". 3123:

have tried to imitate Furtwängler in this part on some occasions, but both conductors run out of breath towards the middle of the crescendo. This Furtwängler performance has yet to be equalled...", Sami Habra, CD

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who says that his sound "is never rough. It's very weighty but at the same time is never heavy. In his fortissimo you always feel every voice.... I have never heard so beautiful a fortissimo in an orchestra", and

1079:

Furtwängler initially wanted Curt Riess to write articles about him based on the many documents he had provided him because Curt Riess was a journalist. However, Curt Riess preferred to go himself to meet General

809:, who saw him also in Paris, wrote that he was a "very unhappy man". Andrew Schulhof, who met him in Budapest said that "he had the impression that what he had done before for his Jewish friends had been lost". 425:

The Gestapo built a case against Furtwängler, noting that he was providing assistance to Jews. Furtwängler gave all his fees to German emigrants during his concerts outside Germany. The German literary scholar

2941:

escaping the control of the brilliant leader. 'I am the Bacchus who distils the delicious nectar for mankind, and brings them to divine frenzy of the spirit': thus Beethoven explained himself. But it takes a

1997:

but purported by the president of the Wilhelm Furtwängler Society of America to actually be dress-rehearsal takes edited by EMI into one recording, all performed prior to the actual public performance. (EMI,

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to his "vague" beat, often called a "fluid beat". This fluid beat created slight gaps between the sounds made by the musicians, allowing listeners to distinguish all the instruments in the orchestra, even in

707:

in Berlin, and canceled all his public engagements during the following winter season in order to compose. He returned to the Berlin Philharmonic in 1937, performing with them in London for the coronation of

499:

preferred to spend the evening with his "Jewish friends" rather than with Nazi authorities caused a controversy. He subsequently refused to conduct again in Mannheim, only returning 21 years later in 1954.

259:

Berta Geissmar subsequently became his secretary and business manager, in Mannheim and later in Berlin, until she was forced to leave Germany in 1935. From 1921 onwards, Furtwängler shared holidays in the

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not be given any official titles, and would be treated as a private individual. But Hitler refused Furtwängler's request to announce this, saying that it would be harmful for the "prestige of the State".

464:(he has his hand on his shoulder). This picture was suppressed at the time. The photo was, however, carefully preserved by the Gestapo, providing new proof that Furtwängler was opposed to Nazi policy. 1119: 964:. Goebbels wanted Furtwängler to feature in it, but Furtwängler declined to take part. The film was finished in December 1943 showing many conductors connected with the Berlin Philharmonic, including 315:

Following the war, he resumed performing and recording, and remained a popular conductor in Europe, although his actions in the 1930s and 40s were a subject of ongoing criticism. He died in 1954 in

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The difference is sometimes mis-characterized by the terms "objective" and "subjective", but Furtwängler's tempo inflections were often planned and reflected his studies with the harmonic theorist

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Furtwängler had attended several of his concerts, praising his technical gifts but criticizing his conducting style; he did not consider him a serious competitor. However, when Karajan conducted

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its occupation, although the Nazis tried to force him to conduct there. Since he had said that he would conduct there only at the invitation of the French, Goebbels forced the French conductor

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and advised him to flee to Switzerland from possible Nazi retribution. In 1944, he was the only prominent German artist who refused to sign the brochure 'We Stand and Fall with Adolf Hitler'.

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for decades, and have only recently become widely available, often on multiple labels. In spite of their limitations, the recordings from this era are widely admired by Furtwängler devotees.

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role. I think that the true interpreter is the one who improvises. We have mechanized the art of conducting to an awful degree, in the quest of perfection rather than of dream ... As soon as

887:

to send him a personal invitation. But Munch wrote in small characters at the bottom of his letter "in agreement with the German occupation authorities." Furtwängler declined the invitation.

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says he "had a subtlety of tone color that was extremely rare. His sound was always 'rounded,' and incomparably more interesting than that of the great German conductors of his generation."

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is obtained and calculated scientifically, it ceases to be true. Music making is something else than searching to achieve an accomplishment. But striving to attain it is beautiful. Some of

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wrote in his analysis of this performance that, for the first movement, "nobody has ever approached Furtwängler in the evocation of this terrifying release of cosmic forces" and about the

713: 467:

In 1933, Furtwängler met with Hitler to try to stop his new antisemitic policy in the domain of music. He had prepared a list of significant Jewish musicians: these included the composer

453: 2584:, his last recording in 1954. EMI planned to record "Der Ring des Nibelungen" in the studio under Furtwängler, but he only finished this work shortly before his death. The cast includes 874:

in 1939, which may support the theory that western diplomatic services knew Furtwängler was not a supporter of the Nazi regime. Hitler forbade news of the award to be spread in Germany.

359:, the Nazis asked Furtwängler to replace him for an international tour. Their goal was to show to the world that Germany did not need Jewish musicians. Furtwängler refused, and it was 5501:"Maybe the greatest conductor in history, probably the greatest Beethovenian", "L'orchestre des rites et des dieux", editor: Autrement, series mutation, vol. 99, 1994, p. 206. 1748:

who have played music with almost all the major conductors of the 20th century have clearly declared upon several occasions that, for them, Furtwängler was the most important one.

945:

It is now known that Furtwängler continued to use his influence to help Jewish musicians and non-musicians escape Nazi Germany. He managed to have Max Zweig, a nephew of conductor

1279:

was upset with this boycott, declaring that some of the main organizers had admitted to him that they had organized it only to eliminate Furtwängler's presence in North America.

287:, again in succession to Nikisch. Furtwängler made his London debut in 1924, and continued to appear there before the outbreak of World War II as late as 1938, when he conducted 699:

ready for him. Furtwängler quietly replied: "In that case, Herr Reichskanzler, at least I will be in very good company." Hitler couldn't even answer, and vanished from the room.

669:

Furtwängler included Jewish and other non-Aryan musicians during his overseas tours in the 1930s. This was the case in France in April 1934 where he conducted operas by Wagner.

1175:, still had to go on living under the control of a regime obsessed with total war. No one who did not live here himself in those days can possibly judge what it was like. Does 1039:. Furtwängler's concerts were sometimes chosen by the members of the German resistance as a meeting point. Rudolf Pechel, a member of the resistance group which organized the 540:, the Nazi Party's chief racial theorist) formed a violent conspiracy against the conductor, who resigned from his official positions, including as the vice-president of the 137:

and operatic conductors of the 20th century. He was a major influence for many later conductors, and his name is often mentioned when discussing their interpretative styles.

8730: 571:? If the Nazis really did this, their ears must certainly have burnt, and it was not surprising that Furtwängler was eventually put on their black list, let alone myself. 5586: 1815: 8740: 2860:

About Furtwängler's second symphony, Honneger wrote: "the man who can write a score so rich as this is not to be argued about. He is of the race of great musicians".

2712:

Symphony in B minor (Largo movement) (1908; the principal theme of this work was used as the leading theme of the 1st movement of the Symphony No. 1, in the same key)

1097:, Furtwängler, who absolutely wanted to recover the Berlin Philharmonic which was in the British occupation zone, was obliged to go through the denazification court. 167:' insistence, for propaganda reasons. This situation caused lasting controversy, and the extent to which his presence lent prestige to Nazi Germany is still debated. 2274: 8207: 1665:, which I didn't know at the time, opened up a new world for me. I was deeply impressed. I didn't want to forget this concert, so I immediately returned to Aachen. 650:, who had declared that Furtwängler was the only man to succeed him. Furtwängler accepted the post, but his telephone conversations were recorded by the Gestapo. 343:, and was convinced that Hitler would not stay in power for long. He had said of Hitler in 1932, "This hissing street pedlar will never get anywhere in Germany". 1682:

Furtwängler's performances of Beethoven, Wagner, Bruckner, and Brahms remain important reference points today, as do his interpretations of other works such as

1127:) (he had resigned from this title in 1934, but the Nazis had refused his resignation) and with making an anti-Semitic remark against the part-Jewish conductor 618:

Furtwängler wrote in his diary in 1935 that there was a complete contradiction between the racial ideology of the Nazis and the true German culture, the one of

2877:

wrote: "The magnificent 1944 performance with the Vienna Philharmonic an authenticated performance that is not only Furtwängler's noblest and most compelling

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trial, Furtwängler was charged with conducting only two official concerts for the period 1933–1945. Furtwängler appeared in only two short propaganda films.

1019:("indispensable artists"; the others were Richard Strauss and Hans Pfitzner). He was removed on 7 December 1944, however, because of his relationships with 8391: 1717:

The musicians who have expressed the highest opinion about Furtwängler are some of the most prominent ones of the 20th century such as Arnold Schoenberg,

1407:

Furtwängler's art of conducting is considered the synthesis and the peak of the so-called "Germanic school of conducting". This "school" was initiated by

8715: 2913:

In the high peaks of the Marcia funebre and in the finale, the 1944 Vienna performance remains unsurpassed ... No conductor articulates the drama of the

1419:, testified that the composer varied the tempo when he conducted his works. Wagner's tradition was followed by the first two permanent conductors of the 761:. Karajan had been a member of the Nazi Party since 1935, and was much more willing to participate in the propaganda of the new regime than Furtwängler. 6018: 1035:

very well and his doctor, Johannes Ludwig Schmitt, who wrote him many false health prescriptions to bypass official requirements, was a member of the

304:

In January 1945 Furtwängler fled to Switzerland. It was during this period that he completed what is considered his most significant composition, the

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According to the historian Fred Prieberg, by the end of 1937 nobody who was correctly informed could accuse Furtwängler of working for the Nazis.

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Furtwängler had a unique philosophy of music. He saw symphonic music as creations of nature that could only be realised subjectively into sound.

6730: 1617:(who decided to become a conductor as a child and bedridden while listening to a Furtwängler concert on the radio during the second world war), 757:

The Nazi leaders searched for another conductor to counterbalance Furtwängler. A young, gifted Austrian conductor now appeared in Nazi Germany:

2986:

of bar 330 followed by a timeless pause, a divine vision in which Beethoven, thanks to an interpreter worthy of him, equals the stature of the

536:, although the work had been banned by the Nazis. The concert received enormous acclaim and unleashed a political storm. The Nazis (especially 5627:, "probably the greatest conductor of all time" ("probabilmente è il più grande direttore d'orchestra di tutti i tempi"), Giovanni Giammarino. 1908:, live performance with the Berlin Philharmonic, June 1943 (Classica d'Oro, Deutsche Grammophon, Enterprise, Music and Arts, Opus Kura, Tahra) 8000: 4215: 2482: 1937: 1645:, whose precise musicianship was in many ways antithetical to Furtwängler's, always kept a picture of Furtwängler in his dressing room. Even 5553: 8200: 859:

Berlin Philharmonic, he could not save the lives of 'full-blooded' Jews: they were persecuted, with a number dying in concentration camps.

890: 8775: 8770: 8745: 2891: 1089:"greatest conductor in the world" to lead a great cultural policy in Berlin. Precisely, the Soviets offered the post of director of the 550:. His resignation from the latter position was refused by Göring. He was also forced by Goebbels to give up all his artistic positions. 8125: 2101:, Otto Edelmann, Gottlob Frick, Sena Jurinac, Rudolf Schock, Alfred Poell, Alwin Hendriks, Franz Bierbach, and the Vienna Philharmonic. 2969:: "in its superhuman spaciousness, which seems to seek to renounce human time and to align itself with that of creation, was not this 8705: 8516: 5584:"An artist frequently regarded as the most important conductor in the history of phonography, or even of all time", Maciej Chiżyński 5460:"Wilhelm Furtwängler is widely considered the one of the greatest – if not the very greatest – conductors of the twentieth century", 8760: 8384: 1131:(see below). The chair of the commission, Alex Vogel, known for being a communist, started the trial with the following statement: 595:

Goebbels did not reveal the second part of the deal. However, the agreement between them was largely respected. At his subsequent

8690: 8193: 1243:. However the orchestra was forced to rescind the offer under the threat of a boycott from several prominent musicians including 495:, give way to the leader of the Mannheim orchestra for the evening. Furtwängler refused, and the concert took place as planned. 133:; 25 January 1886 – 30 November 1954) was a German conductor and composer. He is regarded as one of the greatest 8765: 5608: 5466: 2182:, live performance with the Berlin Philharmonic, October 1942 (Classica d'Oro, Deutsche Grammophon, Music and Arts, Testament). 200: 1929:, live performance with the Berlin Philharmonic, October 1943 (Classica d'Oro, Deutsche Grammophon, Music and Arts, Opus Kura) 264:

with Berta and her mother. In 1924 he bought a house there. After he married, the house was open to a wide circle of friends.

163:. Despite his open opposition to antisemitism and the ubiquity of Nazi symbolism, the regime did not seek to suppress him, at 6769: 6636: 6512: 6493: 6455: 6436: 6414: 6287: 6137: 5652: 5446: 5303: 5114: 3247: 2629: 2112: 1537:

who was killed by the Nazis in 1943 because he had criticized Hitler. He was an important influence on the pianist/conductor

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Germany and for believing that art could be apolitical in a regime such as Nazi Germany, which was so intent on using art as

547: 3019:

Beethoven was universally re-born when Furtwängler conducted the Ninth for the re-opening of Bayreuth in 1951." Sami Habra,

694:, the composer's anti-Nazi granddaughter, witnessed a meeting between Hitler and Furtwängler at her mother's Bayreuth home: 211:

a career as a composer, led him to concentrate on conducting. He made his conducting debut with the Kaim Orchestra (now the

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In 1934, Furtwängler publicly described Hitler as an "enemy of the human race" and the political situation in Germany as a

6565: 297:. (Furtwängler later conducted in London many times between 1948 and 1954). In 1925 he appeared as guest conductor of the 8377: 6825: 1521:

orchestra documents hardly anything intelligible, only hums and mumbling. On the other hand, a collection of his essays,

6595: 5389: 1358:, Furtwängler did not try to reach the perfection in details, and the number of rehearsals with him was small. He said: 1031:

that he knew an attack was being organized against Hitler, although he did not participate in its organization. He knew

584:

On 28 February 1935, Furtwängler met Goebbels, who wanted to keep Furtwängler in Germany, since he considered him, like

8725: 8695: 4191: 1711: 7993: 6323: 910:

Furtwängler did conduct in Prague in November 1940 and March 1944. The 1940 program, chosen by Furtwängler, included

119: 79: 7477: 5444:"Amazing, spur-of-the-moment inspirational intensity, probably unsurpassed by any other conductor before or since", 5104: 2430:, live performance with the Berlin Philharmonic, 1942 (Deutsche Grammophon, Magic Master, Music and Arts, Opus Kura) 1869: 1109: 849: 8780: 6762: 6642: 2644: 2044: 1781:

There are a huge number of Furtwängler recordings currently available, mostly live. Many of these were made during

1703: 949:, released from Dachau concentration camp. Others, from an extensive list of Jews he helped, included Carl Flesch, 6630: 2618: 1661:

in Aachen, a friend invited me to a concert that Furtwängler gave in Cologne ... Furtwängler's performance of the

1517:

service tried to interview him, and thought he had an imbecile before him. A live recording of a rehearsal with a

646:, which was then the most desirable and best paid position in international musical life. He was to have followed 308:. It was given its premiere in 1948 by the Berlin Philharmonic under Furtwängler's direction and was recorded for 8240: 2823:, is about U.S. accusations against Furtwängler of having served the Nazi regime. In 2001 the play was made into 2295: 2284: 1226:, among the Jewish musicians who had a positive view of Furtwängler. In February 1946, he sent a wire to General 394:

Because of his high profile, Furtwängler's public opposition prompted a mixed reaction from the Nazi leadership.

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Many commentators and critics regard him as the greatest conductor in history. In his book on the symphonies of

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on 28 January 1945. The Nazis had begun to crack down on German liberals. At the concert he conducted Brahms's

2189:(the first movement is missing), live performance with the Berlin Philharmonic, November 1943 (Music and Arts) 7548: 5994: 2313: 2158: 1189: 8176: 7986: 7107: 2507: 2500: 2221: 1346: 1015:("God-gifted List") of September 1944 as one of only three musicians in the special category designated as 923: 356: 280: 8459: 1303:

At the end of his life, Yehudi Menuhin said of Furtwängler, "It was his greatness that attracted hatred".

8115: 6926: 6541: 2033: 1020: 518: 6157: 5344: 3186: 2247:, Concerto Grosso Opus 6 No. 10, live performance with the Berlin Philharmonic, February 1944 (Melodiya) 8633: 8258: 6966: 6648: 3001: 2654: 2002: 1990: 1963: 1933: 1926: 1919: 1912: 1905: 1894: 1887: 1542: 1431:

stressed the magnificence of tone. The styles of these two conductors were synthesized by Furtwängler.

1240: 623: 21: 7140: 1486:, Furtwängler's fluid beat was more difficult but superior than Toscanini's very precise beat. Unlike 7813: 6224: 2446: 2427: 2420: 2410: 2234: 2211: 2204: 2193: 2186: 2179: 2172: 1687: 1662: 884: 220: 6402: 8586: 8574: 8562: 8246: 8234: 7224: 7055: 6858: 2496: 2299: 2288: 2207:, live performance with the Vienna Philharmonic, October 1944 (Deutsche Grammophon, Music and Arts) 2147: 2122:, live performance with the Vienna Philharmonic, January 1945 (Deutsche Grammophon, Music and Arts) 1726: 532: 129: 8483: 4225: 7133: 7074: 6785: 3231: 2559: 2542: 2323: 2264: 2140: 2133: 2126: 2119: 2108: 1824: 1683: 1168: 1060: 293: 2277:, studio recording with the Berlin Philharmonic, 16 September 1947 (Deutsche Grammophon, Urania) 1792:

The following represents only a small selection of some of Furtwängler's most famed recordings.

8647: 8453: 5488: 2336:

recordings (in live performance). These have been made available on several labels, but mostly

2303: 2250: 2244: 2052: 2010: 1890:, live performance with the Vienna Philharmonic, December 1944 (Music and Arts, Preiser, Tahra) 1877: 1808: 1690:, and Schumann's Fourth Symphony. He was also a champion of modern music, notably the works of 1323: 1032: 918:. According to Prieberg, "This piece is part of the cycle in which the Czech master celebrated 843:

Furtwängler campaigned to convince Nazi leaders to abandon their plans. According to historian

8501: 6684: 5644: 5638: 5516: 3239: 984:, if you think you can exploit Beethoven in a film." Goebbels gave up his plans for the film. 927: 8141: 7852: 7792: 7364: 7096: 6532: 6307: 5921: 5558: 3221: 3191: 2900: 2439:

Overture, live performance with the Berlin Philharmonic, September 1953 (Deutsche Grammophon)

2063: 2014: 1994: 1971: 1967: 1845: 1745: 1498:

Furtwängler was famous for his exceptional inarticulacy when speaking about music. His pupil

1160: 643: 340: 298: 7473: 7168: 1219: 8680: 8675: 8146: 7940: 7343: 6934: 2873:

About this recording, often considered one of the most important ones of the 20th century,

1952: 1883: 1658: 1634: 1610: 1586: 1491: 1462: 1461:

with whom he worked between 1920 and Schenker's death in 1935. Schenker was the founder of

1264: 1164: 1028: 903: 899: 704: 627: 268: 204: 145: 7666: 6678: 2836: 2359: 1202: 386: 188: 8: 8532: 8447: 8441: 8216: 8071: 8009: 7866: 7831: 7569: 7287: 6955: 6941: 6915: 6908: 6709: 6701: 6045: 5718: 3120: 2824: 2815: 2634: 2564: 2450: 2388: 2098: 1898: 1855: 1757: 1650: 1594: 1582: 1558: 1420: 1395: 1317: 1056: 1012: 973: 895: 824: 758: 309: 284: 212: 149: 141: 1975: 1948: 144:

between 1922 and 1945, and from 1952 until 1954. He was also principal conductor of the

8556: 8465: 8369: 8228: 8059: 8023: 7785: 7757: 7576: 7438: 6873: 6345: 6118:, Martin Müller and Wolfgang Mertz (eds.), Rainer Wunderlich Verlag, 1965, pp. 180–187. 6023: 5702: 5284: 3116: 2525: 1850: 1566: 1534: 1499: 1479: 1466: 1380: 1355: 1334: 1090: 1047:

Grove Online states that Furtwängler was "within a few hours of being arrested" by the

870:

describes Furtwängler in 1939 as a "broken man". The French government awarded him the

772: 619: 399: 8100: 7210: 5282:(6 January 1949). "Musicians' Ban on Furtwaengler Ends His Chicago Contract for '49". 2371: 2267:, studio recording with the Berlin Philharmonic, 5 December 1951 (Deutsche Grammophon) 911: 562:'s main assistant. In the book she wrote on Furtwängler in England in 1943, she said: 8592: 8550: 8336: 8318: 8306: 8252: 8120: 7966: 7947: 7583: 7492: 7350: 7082: 7016: 6995: 6833: 6508: 6489: 6465: 6451: 6432: 6410: 6381: 6319: 6283: 6259: 6133: 5690: 5672: 5648: 5299: 5110: 4187: 3243: 2978:, he says: "from bar 321 Furtwängler imperiously asserts his presence with a gradual 2828: 2782: 2624: 2333: 2309: 1695: 1626: 1514: 1508: 1458: 1412: 1256: 1252: 1227: 1215: 1081: 1072: 996: 954: 806: 738: 724: 717: 691: 686: 677: 542: 468: 444: 439: 203:. He was given a musical education from an early age, and developed an early love of 8411: 8324: 8029: 7859: 7806: 7161: 6981: 5856: 3074: 2945:

like Furtwängler, that autumn day in 1943, to bring that frenzy to life in sound!",

1959:, and the Bruno Kittel Choir (Classica d'Oro, Music and Arts, Opus Kura, Tahra, SWF) 1618: 1482:

once said: "I never heard such beautiful fortissimi as Furtwängler's." According to

1424: 658: 8659: 8342: 8264: 8185: 7562: 7520: 7417: 7399: 7308: 7294: 7252: 7245: 7231: 7217: 7196: 7103: 7002: 6880: 6866: 6814: 6369: 6311: 6228: 5658: 3235: 3141: 3047: 2673: 2640: 2614: 2601: 2551: 2530: 2380: 2214:, live performance with the Berlin Philharmonic, October 1944 (Deutsche Grammophon) 2067: 2006: 1865: 1737: 1707: 1699: 1646: 1538: 1388: 1376: 1339: 1244: 1180: 1128: 939: 871: 867: 844: 731: 654: 647: 537: 395: 380: 96: 90: 41: 7631: 7590: 7238: 7182: 6448:

The Devil's Music Master: The Controversial Life and Career of Wilhelm Furtwängler

207:, a composer with whose works he remained closely associated throughout his life. 8477: 8417: 8400: 8089: 8035: 7845: 7838: 7750: 7729: 7701: 7680: 7659: 7604: 7466: 7424: 7371: 7154: 7037: 6922: 6894: 6807: 6658: 6537: 6424: 5330:

Yehudi Menuhin, Le violon de la paix, Paris, éditions alternatives, 2000, p. 154.

4855: 4220: 3508: 2995: 2962: 2946: 2928: 2668: 2663: 2442: 2435: 2392: 2355: 2238: 2104: 2079: 2022: 1722: 1622: 1614: 1606: 1416: 1330: 1284: 1223: 1000: 977: 742: 681: 585: 492: 457: 419: 367: 360: 272: 164: 35: 8359: 6098: 2886: 2254: 2217: 8604: 8435: 8423: 8348: 8312: 8288: 8077: 8041: 7907: 7893: 7886: 7778: 7771: 7764: 7743: 7736: 7708: 7694: 7687: 7611: 7597: 7555: 7506: 7445: 7385: 7378: 7357: 7329: 7301: 7266: 7203: 7044: 7030: 6974: 6962: 6948: 6821: 6800: 6333: 5511: 5471: 5431:"The most influential and important orchestral conductor of the recorded era" ( 5279: 4805: 2991: 2931:

wrote in his analysis of this performance: "Does the second movement remain an

2810: 2650: 2593: 2589: 2568: 2520: 2416: 2406: 2376: 2317: 2270: 2168: 2151: 2037: 1942: 1873: 1785:

using experimental tape technology. After the war they were confiscated by the

1730: 1718: 1706:(with the composer at the piano) on 31 October 1932 as well as performances of 1691: 1670: 1638: 1590: 1570: 1554: 1550: 1546: 1502:

remembered that the best he could say was, "Well, just listen" (to the music).

1487: 1483: 1439: 1428: 1408: 1351: 1312: 1276: 1211: 1172: 1101: 1036: 931: 596: 559: 527: 523: 418:. Furtwängler subsequently invited Jewish musicians from his orchestra such as 407: 403: 288: 276: 252: 247: 216: 5080: 3111:"Schumann's Fourth long as the recording of the century (along with the HMV 2585: 2580: 2572: 2094: 1859: 1154:

As part of his closing remarks at his denazification trial, Furtwängler said:

805:. Berta Geissmar, who met him in Paris, described him as "greatly depressed". 680:

in 1936 for the first time since 1931, in spite of his poor relationship with

8669: 8615: 8580: 8429: 8282: 8159: 7921: 7914: 7513: 7499: 7485: 7431: 7336: 7322: 7273: 7189: 7023: 6847: 6153: 5530: 5393: 5340: 3705: 2832: 2597: 2456: 2400: 2363: 2351: 2280: 2162: 2083: 2075: 2071: 2048: 2026: 1983: 1956: 1756:

in August 1968 after having listened to Beethoven's Eighth Symphony with the

1741: 999:(an outspoken opponent of the Nazis) reported a conversation with her mother 801: 589: 491:

Orchestra Committee demanded that the Jewish leader of the Berlin orchestra,

316: 148:(1922–26), and was a guest conductor of other major orchestras including the 6741: 5417: 2575:, 1953 (EMI) (recorded live in the RAI (Radiotelevisione Italiana) studios). 1657:

He certainly had an enormous influence on me ... I remember that when I was

1629:(who had worked as an assistant to Furtwängler in Berlin during the 1920s), 1023:. Furtwängler had strong links to the German resistance which organized the 630:. He added in 1936: "living today is more than ever a question of courage". 414:) to perform as soloists in his 1933/34 season, but they refused to come to 184: 8568: 8544: 8489: 8300: 8276: 8083: 8053: 7954: 7933: 7900: 7799: 7715: 7673: 7652: 7645: 7638: 7534: 7175: 7115: 7089: 7063: 7051: 6988: 6854: 6162: 5574:[any saw and see him as the greatest conductor of the 20th century] 5349: 5106:

Settling Scores: German Music, Denazification, and the Americans, 1945–1953

4179: 2987: 2677: 2396: 2347: 2342: 2328: 2260: 2136:, live performance with the Berlin Philharmonic, December 1943 (Tahra, SWF) 2018: 1786: 1782: 1761: 1753: 1733: 1642: 1598: 1578: 1562: 1457:

Furtwängler's art was deeply influenced by the great Jewish music theorist

1368: 1291: 1248: 1040: 1024: 1004: 965: 568: 415: 411: 352: 347: 336: 175: 160: 8736:

Knights Commander of the Order of Merit of the Federal Republic of Germany

6840: 6754: 2759:

Piano Quintet (for two violins, viola, cello, and piano) in C major (1935)

1574: 969: 855: 522:, "Der Fall Hindemith" ("The Hindemith Case"), in support of the composer 8471: 7459: 7452: 7392: 7315: 7280: 7147: 7070: 7009: 6887: 6275: 5462: 3503: 2874: 2200:

only), live performance with the Berlin Philharmonic] April 1942 (Tahra).

1749: 1602: 1443: 1435: 1400: 1260: 1176: 1063:, which was recorded and is considered one of his greatest performances. 950: 946: 820: 479: 461: 435: 320: 192: 6528: 6253: 5587:"Wilhelm Furtwängler le géant, enregistrements radio à Berlin 1939–1945" 5572:

Viele sahen und sehen in ihm den größten Dirigenten des 20. Jahrhunderts

5510:"Why was Wilhelm Furtwängler the greatest conductor in history?" Critic 1239:

In 1949 Furtwängler accepted the position of principal conductor of the

1071:

In February 1946, Furtwängler met in Vienna a German Jew by the name of

919: 8330: 8270: 7259: 6357: 2384: 1836: 1630: 670: 475: 472: 427: 324: 228: 187:(now a district/borough of Berlin) into a prominent family. His father 7978: 6550: 6064:, Robert Parienté, Éditions de La Martinière, Paris, 2004, p. 249-259. 5219: 2799:

for Choir and Orchestra (1902–1906) (rev. 1909) (first performed 1910)

2231:, live performance with the Vienna Philharmonic, February 1953 (Orfeo) 7541: 7527: 5257: 5255: 4321: 4319: 2129:, live performance with the Berlin Philharmonic, December 1949 (EMI). 1979: 1518: 1117:

He was charged for his honorary title of "Prussian State Counselor" (

930:. He conducted in Oslo in 1943, where he helped the Jewish conductor 814: 709: 5924:, CD Beethoven's 5th and 6th Symphonies, 427 775–2, DG, 1989, p. 16. 5884: 4922: 2621:, the composer as soloist, Theater Orchestra, Frankfurt, 1 July 1927 2465:, live performance with the Berlin Philharmonic, February 1943 (SWF) 2413:, live performance with the Berlin Philharmonic, December 1944 (SWF) 2241:

Ouverture, studio recording with the Vienna Philharmonic, 1954 (SWF)

2175:, live performance with the Berlin Philharmonic, October 1941 (WFCJ) 1545:. Other conductors known to speak admiringly of Furtwängler include 232: 7722: 5613: 5370: 5368: 2942: 2547: 2143:, live performance with the Berlin Philharmonic, October 1948 (EMI) 1922:, live performance with the Berlin Philharmonic, March 1944 (Tahra) 1094: 431:

you name me a Jew on whose behalf Furtwängler has not intervened?"

236: 134: 5252: 4316: 3848: 1993:, ostensibly a live performance at the 29 July 1951 re-opening of 1823:

Furtwängler's handling of this passage from the first movement of

1290:

After Furtwängler's death, the Jewish writer and theater director

5948:

Patrick Szersnovicz, Le Monde de la musique, December 2004, p. 66

4681: 4679: 4555: 4553: 4551: 4549: 3280: 2974:

thought that one can hardly imagine anything different". For the

2795: 2461: 2090: 2059: 1936:, live performance with the Berlin Philharmonic, March 1942 with 1915:, live performance with the Berlin Philharmonic, May 1954 (Tahra) 1427:

highlighted more the unitary structure of symphonic works, while

1048: 766: 261: 5486:"Maybe the greatest conductor in history", Patrick Szersnovicz, 5365: 4419: 4417: 4392: 4390: 4013: 4011: 3557: 3555: 3553: 3551: 3549: 460:. In the picture, Furtwängler is the only German not giving the 434:

Furtwängler never joined the Nazi Party. He refused to give the

8531: 4791:, Helmut Heiber (ed.), Düsseldorf, Droste Verlag, 1972, p. 282. 4666: 4664: 4570: 4568: 3224:(2001). "Furtwängler, (Gustav Heinrich Ernst Martin) Wilhelm". 2820: 2647:, the composer as soloist, Berlin Philharmonic, 31 October 1932 1465:, which emphasized underlying long-range harmonic tensions and 1364: 1194: 1052: 827:"as long as the rag is visible". The flag was finally removed. 530:

by the Nazis. Furtwängler also conducted a piece by Hindemith,

456:, a picture of the German delegation was taken in front of the 240: 224: 196: 159:, he was the leading conductor to remain in Germany during the 156: 6350:

The Twisted Muse: Musicians and Their Music in the Third Reich

4711: 4709: 4696: 4694: 4676: 4546: 4470: 4468: 3947: 3945: 3838: 3836: 3834: 2892:"A guide to the best recordings of Beethoven's Symphony No 3, 642:

Furtwängler was offered the principal conductor's post at the

355:

was dismissed from his position as principal conductor of the

111: 71: 50: 5999: 5890: 5829: 4414: 4387: 4008: 3546: 3136:"According to Friedland Wagner, this 1938 performance of the 2503:, studio recording with the Vienna Philharmonic, 1951 (Tahra) 1475: 5960:, Tahra, harmonia mundi distribution, FURT 1054/1057, p. 15. 5162: 4860:

Führertreu und gottbegnadet: Künstlereliten im Dritten Reich

4733: 4661: 4565: 3304: 2154:

and with the Lucerne Festival Orchestra, 1949 (Tahra, Naxos)

1827:

has been widely praised] for its handling of tempo and mood.

1375:

His style is often contrasted with that of his contemporary

5976: 5203: 5201: 4706: 4691: 4465: 4040: 4038: 3942: 3831: 2253:, Concerto Grosso Opus 6 No. 10, live performance with the 2224:, live performance with the Vienna Philharmonic, 1945 (SWF) 1673:

said in an interview about his career (published in 2004):

653:

While Furtwängler was travelling, the Berlin branch of the

195:, his mother a painter. Most of his childhood was spent in 105: 102: 62: 59: 6374:

Trial of Strength: Wilhelm Furtwängler and the Third Reich

5673:"Historical Gems: Furtwängler RIAS Recordings from Audite" 5140: 5138: 4627: 4625: 4524: 4522: 4497: 4495: 4377: 4375: 4163: 4161: 3974: 3972: 960:

Furtwängler refused to participate in the propaganda film

866:

Furtwängler was very affected by the events of the 1930s.

6338:

The Baton and the Jackboot: Recollections of Musical Life

6223: 5958:

CD Wilhelm Furtwängler, his legendary post-war recordings

5240: 4902: 4890: 4086: 4074: 3879: 3869: 3867: 3865: 3863: 3663: 3567: 3352: 3052:

CD Wilhelm Furtwängler, his legendary post-war recordings

2534: 2514: 2337: 2275:

Symphonic Metamorphosis of Themes by Carl Maria von Weber

2040:

and with the Lucerne Festival Orchestra, 1947 (Testament)

720:

or to attend the political speeches of German officials.

283:. Shortly afterwards he was appointed to the prestigious 65: 8399: 5932: 5930: 5740: 5198: 5186: 5174: 5054: 5027: 4878: 4866: 4836: 4769: 4745: 4649: 4592: 4534: 4453: 4343: 4256: 4196: 4062: 4035: 3429: 3328: 1100:

Furtwängler was thus required to submit to a process of

781:

obtained from Goebbels a pledge to cease these attacks.

6318:. Translated by Ursula Wetzel. Geneva: Éditions Georg. 5135: 5073: 5071: 5069: 5015: 5003: 4940: 4622: 4519: 4492: 4480: 4441: 4429: 4402: 4372: 4244: 4158: 4122: 4110: 4098: 3996: 3984: 3969: 3903: 3795: 3771: 3747: 3711: 3603: 3591: 3453: 3376: 3126:

Furtwängler "revisited", FURT 1099, Tahra, 2005, p. 11.

1159:

by its own musicians. These people, the compatriots of

366:

On 10 April 1933, Furtwängler wrote a public letter to

6316:

Carnets 1924–1954 : suivis d'Écrits fragmentaires

6205: 4952: 4580: 4292: 4280: 4232: 3860: 3735: 3675: 3639: 3627: 3480: 3441: 3400: 3388: 3364: 3340: 2660:, Berlin Philharmonic Orchestra, Berlin, 11 March 1934 1752:

has reported the following discussion he has had with

1533:

One of Furtwängler's protégés was the pianist prodigy

8631: 6067: 5927: 5817: 5765: 5728: 5123: 4811: 4757: 4637: 3957: 3723: 3292: 3268: 3256: 2819:(1995), set in 1946 in the American zone of occupied 2062:, live performance with the Vienna Philharmonic with 1966:, live performance at the 29 July 1951 re-opening of 120: 80: 47: 8731:

Members of the Prussian State Council (Nazi Germany)

8215: 6200:

The Art of Conducting – Great Conductors of the Past

5971:

The Art of Conducting – Great Conductors of the Past

5514:, course in German available on the web site of the 5390:"The Furtwangler Legacy on BBC radio, November 2004" 5312: 5291: 5066: 4976: 4964: 4507: 4331: 4304: 4268: 4146: 4134: 4050: 4023: 3915: 3891: 3819: 3807: 3783: 3759: 3687: 3651: 3615: 3579: 3519: 2375:, a live performance from 27 August 1949, featuring 1450:

of conducting led to Furtwängler, and Mendelssohn's

1275:

democratic convictions he would have left Germany".

1051:

when he fled to Switzerland, following a concert in

108: 99: 68: 56: 53: 5150: 5109:. University of North Carolina Press. p. 149. 4993: 4991: 4920: 3932: 3930: 3470: 3468: 2320:

and with the Berlin Philharmonic, 1952 (Naxos, EMI)

1107:The second concert was the performance of Wagner's 301:, making return visits in the following two years. 44: 5079: 4362: 4360: 4358: 3316: 2709:Symphony in D major (1st movement: Allegro) (1902) 2165:and with the Berlin Philharmonic, 1942 (Testament) 788: 5707:CD Wilhelm Furtwängler in Memoriam FURT 1090–1093 5447:"Sinfini Music, Top 20 conductors, November 2012" 5376:CD Wilhelm Furtwängler in Memoriam FURT 1090–1093 5044: 5042: 3708:by Philippe Jacquard, Société Wilhelm Furtwängler 3536: 3534: 2513:, studio recording with the Berlin Philharmonic, 2449:, studio recording with the Berlin Philharmonic, 603:remarked on "the incredible naïvety of artists". 502: 275:. In January 1922, following the sudden death of 8667: 5274: 5272: 5270: 4988: 3927: 3465: 3419: 3417: 3415: 2115:, Hamburg, October 1951 (Music and Arts, Tahra). 2097:, his preferred soprano, in the title role, and 1434:In Munich (1907–1909), Furtwängler studied with 30:Gustav Heinrich Ernst Martin Wilhelm Furtwängler 6127: 5803: 5801: 5799: 5797: 5795: 5782: 5780: 5387:"Arguably the greatest conductor of all time", 4355: 3054:, Tahra, Harmonia Mundi, FURT 1054/1057, p. 19. 1641:thought that "nobody could equal Furtwängler". 799:Furtwängler was very affected by the events of 8741:Recipients of the Pour le Mérite (civil class) 6409:. Portland, Oregon: Timber Press. p. 53. 6296: 6005: 5896: 5835: 5554:"Als mitten im Weltkrieg große Musik entstand" 5292:McLanathan, Richard B. K.; Gene Brown (1978). 5039: 3854: 3531: 516:On 25 November 1934, he wrote a letter in the 330: 8517: 8385: 8201: 7994: 6770: 6746: 6566: 6538:Newspaper clippings about Wilhelm Furtwängler 5267: 4609: 4607: 3412: 1970:(not to be confused with EMI's release) with 1854:(first half only), live performance with the 6130:Jupiter und ich: Begegnungen mit Furtwängler 5792: 5777: 5551: 3215: 3213: 3211: 3209: 508: 6784: 6305: 6019:"Carlos Kleiber, un don et une malédiction" 5982: 5870:CD Furtwängler, Beethoven's Choral Symphony 5760:CD Furtwängler, Beethoven's Choral Symphony 5461: 4092: 4080: 3219: 3035:CD Furtwängler, Beethoven's Choral Symphony 3021:CD Furtwängler, Beethoven's Choral Symphony 3007:CD Furtwängler, Beethoven's Choral Symphony 223:. He subsequently held conducting posts at 140:Furtwängler was principal conductor of the 8716:Musicians from the Province of Brandenburg 8524: 8510: 8392: 8378: 8208: 8194: 8126:The 12 Cellists of the Berlin Philharmonic 8001: 7987: 6777: 6763: 6573: 6559: 6401: 6229:"Shannon, Beethoven, and the Compact Disc" 5995:Christoph Eschenbach Own Words on His Life 4923:"Brahms: The Symphonies/Charles Mackerras" 4908: 4896: 4604: 4459: 4325: 4262: 4068: 4044: 3435: 2723:Symphonic Concerto for Piano and Orchestra 454:universal exposition held in Paris in 1937 370:to denounce the new rulers' antisemitism: 267:In 1920 he was appointed conductor of the 6445: 6103:Furtwängler, une Biographie par le disque 4739: 4616:Wilhelm Furtwängler im Urteil seiner Zeit 4613: 3206: 2291:and the Vienna Philharmonic, 1951 (Orfeo) 2086:, and Hans Braun, August 1950 (Opus Kura) 16:German conductor and composer (1886–1954) 8711:EMI Classics and Virgin Classics artists 6392: 6368: 6332: 5910:Furtwängler, Beethoven's Choral Symphony 5207: 5192: 5180: 5168: 5077: 5060: 5048: 5033: 5021: 5009: 4997: 4958: 4946: 4884: 4872: 4854: 4842: 4775: 4751: 4727: 4715: 4700: 4685: 4670: 4655: 4631: 4598: 4574: 4559: 4540: 4486: 4474: 4447: 4435: 4423: 4408: 4396: 4381: 4366: 4298: 4286: 4250: 4238: 4128: 4116: 4104: 4017: 4002: 3990: 3951: 3936: 3909: 3885: 3842: 3801: 3777: 3753: 3741: 3717: 3681: 3669: 3645: 3633: 3609: 3597: 3573: 3561: 3540: 3486: 3474: 3459: 3447: 3406: 3394: 3382: 3370: 3358: 3346: 3334: 3310: 3298: 3286: 3274: 3262: 3140:by Furtwängler was so overwhelming that 2093:, both live and studio recordings, with 1399:Furtwängler commemorated on a stamp for 1394: 1387:Everybody was influenced at the time by 1201: 902:in February 1941, organized by the Nazi 889: 716:, where he again refused to conduct the 633: 513:("disgrace", literally: "swinishness"). 485: 385: 199:, where his father taught at the city's 174: 20: 8008: 6580: 6470:Seelenzauber: Thomas Mann und die Musik 6217: 6183: 5847:SchenkerGUIDE By Tom Pankhurst, p. 5 ff 5278: 5081:"Furtwängler's Silent Years: 1945–1947" 3240:10.1093/gmo/9781561592630.article.40052 2843: 2684: 1192:. In a drafted letter to the editor of 1179:really believe that in 'the Germany of 1011:Furtwängler's name was included on the 8701:20th-century German conductors (music) 8668: 6423: 6274: 6211: 6158:"It is the start of the final episode" 6152: 5936: 5823: 5786: 5771: 5746: 5734: 5636: 5432: 5415:"The greatest conductor of all time", 5339: 5261: 5234: 4817: 4586: 3963: 3729: 3621: 3525: 3423: 3075:"Bruckner: Symphony No. 5/Furtwängler" 2779:Schwindet ihr dunklen Wölbungen droben 2489:) with the Berlin Philharmonic in 1938 1438:, a disciple of Wagner. He considered 752: 684:. Here, he conducted a new staging of 8505: 8373: 8189: 7982: 6758: 6745: 6637:Variations for Orchestra (Schoenberg) 6554: 6505:Furtwängler and the Art of Conducting 6464: 6380: 6344: 6073: 5887:, Luciane Beduschi and Nicolas Meeùs. 5298:. New York: Arno Press. p. 349. 5246: 5220:"In Memoriam Furtwängler", Tahra 2004 5129: 5102: 4982: 4970: 4802:Finale furioso. Mit Goebbels zum Ende 4763: 4643: 4528: 4513: 4501: 4349: 4337: 4310: 4274: 4202: 4167: 4152: 4140: 4056: 4029: 3978: 3921: 3897: 3825: 3813: 3789: 3765: 3693: 3657: 3585: 3322: 3184: 2803: 2765:Violin Sonata No. 2 in D major (1939) 2762:Violin Sonata No. 1 in D minor (1935) 2113:North German Radio Symphony Orchestra 1809:Symphony No. 2 (Brahms), 1st movement 1776: 1066: 579: 128: 8401:Vienna Symphony Principal Conductors 8153:Karajan: Beethoven Symphonies (1963) 6356: 5951: 5318: 5156: 5144: 3873: 2608: 1698:and conducted the World premiere of 6507:. London: London : Duckworth. 6450:. Oxford: Oxford University Press. 6364:(in French). Paris: Buchet/Chastel. 6282:. Portland, Oregon: Amadeus Press. 6132:. Berlin: Berlin University Press. 6052:FURT 1090–1093, Tahra, 2004, p. 57. 5467:"Ten Perfect Orchestral Recordings" 1306: 13: 8776:19th-century German male musicians 8771:20th-century German male musicians 8746:Commanders of the Legion of Honour 6477: 6429:Hitler and the Power of Aesthetics 6352:. Oxford: Oxford University Press. 6233:IEEE Information Theory Newsletter 6128:Fischer-Dieskau, Dietrich (2009). 5643:. Yale University Press. pp. 1797: 170: 14: 8792: 6522: 2951:CD Furtwängler conducts Beethoven 2862:CD Wilhelm Furtwängler The Legend 2453:, May 1953 (Deutsche Grammophon). 2257:Orchester, 1950 (Disques Refrain) 335:Furtwängler was very critical of 8706:20th-century classical composers 8653: 8641: 8614: 8358: 8172: 8171: 8099: 7476: 7106: 7073: 7054: 6965: 6925: 6857: 6824: 6726: 6725: 6643:Piano Concerto No. 5 (Prokofiev) 6247: 6192: 6177: 6146: 6121: 6108: 6092: 6079: 6055: 6039: 6011: 5988: 5963: 5942: 5915: 5902: 5875: 5862: 5850: 5841: 5752: 5712: 5696: 5683: 5665: 5630: 5601: 5578: 5545: 5523: 5504: 5495: 5480: 5454: 5438: 5425: 5409: 5381: 5333: 5324: 5213: 5096: 4914: 4848: 4823: 4794: 4781: 4216:"Music: Partisans on the Podium" 3155: 3130: 3105: 3102:, FURT 1099, Tahra, 2005, p. 10. 3092: 3066: 3057: 3050:of the century...", Sami Habra, 3040: 3026: 3012: 2956: 2922: 2867: 2854: 2753: 2477: 1835:Problems playing this file? See 1813: 1454:of conducting led to Toscanini. 1206:Furtwängler's tomb in Heidelberg 526:. Hindemith had been labelled a 398:wished to send Furtwängler to a 390:Etching of Furtwängler from 1928 183:Wilhelm Furtwängler was born in 95: 40: 8761:German male classical composers 8241:Johann Philipp Christoph Schulz 6301:(in French). Paris: L'Archipel. 6297:Furtwängler, Elisabeth (2004). 6089:, p.128 (London: Phaidon, 1998) 6050:Wilhelm Furtwängler in Memoriam 5531:"Wilhelm Furtwängler Biography" 5492:, December 2004, p. 62–67. 4618:. Atlantis Verlag. p. 215. 4224:. 25 April 1949. Archived from 4208: 4173: 3699: 3492: 3152:, FURT 1099, Tahra, 2005, p. 9. 2296:Lieder eines fahrenden Gesellen 2285:Lieder eines fahrenden Gesellen 2005:, live performance at the 1954 1044:big family of the resistance." 987:In April 1944, Goebbels wrote: 877: 664: 8691:German male conductors (music) 6386:Furtwängler, Musik und Politik 5912:, Tahra FURT 1101–1104, p. 19. 5872:, Tahra FURT 1101–1104, p. 18. 5762:, Tahra FURT 1101–1104, p. 28. 5609:"La tradizione di Furtwängler" 3178: 3037:, Tahra FURT 1101–1104, p. 19. 3023:, Tahra FURT 1101–1104, p. 19. 3009:, Tahra FURT 1101–1104, p. 19. 2485:Tchaikovsky's Symphony No. 6 ( 2483:Wilhelm Furtwängler conducting 1345:On the other hand, the critic 1110:Die Meistersinger von Nürnberg 850:Die Meistersinger von Nürnberg 1: 8766:20th-century German composers 7549:Arturo Benedetti Michelangeli 6631:Piano Concerto No. 1 (Bartók) 6484:Furtwängler, Wilhelm (1995). 6472:. Frankfurt am Main: Fischer. 6306:Furtwängler, Wilhelm (1995). 5084:. Société Wilhelm Furtwängler 4921:Bernard D. Sherman. (1997) . 3171: 2864:, 9 08119 2, EMI, 2011, p. 7. 2689: 2346:is also available, featuring 898:in a "work-break" concert at 838:Gesellschaft der Musikfreunde 833:Gesellschaft der Musikfreunde 676:Furtwängler conducted at the 130:[ˈvɪlhɛlmˈfʊɐ̯tvɛŋlɐ] 3187:"Furtwängler – Man and Myth" 3185:Cowan, Rob (14 March 2012). 2982:building up to the colossal 2546:, 1950 (live recording from 2111:, live performance with the 1897:, live performance with the 1528: 823:. He refused to conduct the 812:Furtwängler approved of the 737:Furtwängler returned to the 357:Leipzig Gewandhaus Orchestra 281:Leipzig Gewandhaus Orchestra 201:Ludwig Maximilian University 155:Although not an adherent of 7: 8756:Pupils of Josef Rheinberger 8751:Pupils of Heinrich Schenker 8721:Deutsche Grammophon artists 8116:Philharmonia Quartet Berlin 6542:20th Century Press Archives 5725:, Simon and Schuster, 1967. 5640:Brahms: The Four Symphonies 5552:Stefan Dosch (7 May 2019). 4862:. Vienna: ÖBV. p. 176. 3165:, EMI CDS 7 47322 8, p. 20. 2839:in the role of Furtwängler. 1442:as his model. According to 894:Furtwängler conducting the 519:Deutsche Allgemeine Zeitung 379:As stated by the historian 331:Relationship with the Nazis 10: 8797: 6446:Shirakawa, Sam H. (1992). 6397:(in French). Paris: Imago. 6362:Celibidache et Furtwängler 6188:. Flammarion. p. 242. 5814:, December 2004, p. 62–67. 5418:"Furtwangler's love, 2004" 4614:Hürlimann, Martin (1955). 3498:Galo, Gary A., "Review of 3289:, pp. 20–25, 143–147. 2340:. A filmed performance of 2332:, the 1950, 1953 and 1954 2013:, Lucerne Festival Choir, 1543:Chicago Symphony Orchestra 1241:Chicago Symphony Orchestra 279:, he was appointed to the 8726:German resistance members 8696:German Romantic composers 8612: 8540: 8460:Rafael Frühbeck de Burgos 8407: 8356: 8224: 8169: 8134: 8108: 8097: 8016: 7876: 7823: 7621: 7409: 7125: 6792: 6752: 6747:Links to related articles 6721: 6694: 6671: 6623: 6588: 6393:Roncigli, Audrey (2009). 6225:Kees A. Schouhamer Immink 6027:(in French). 17 July 2012 5857:Schenker Documents Online 2781:(Chorus of Spirits, from 2769: 2735:Symphony No. 2 in E minor 2729:Symphony No. 1 in B minor 2637:, Berlin, 2 December 1928 2537:, June 1952 (EMI, Naxos). 2476: 2471: 1688:Schubert's Ninth Symphony 306:Symphony No. 2 in E minor 8781:Music & Arts artists 8587:Joseph Hellmesberger Jr. 8247:Christian August Pohlenz 8235:Johann Gottfried Schicht 7225:Dietrich Fischer-Dieskau 6503:Pirie, Peter J. (1980). 6502: 6184:Menuhin, Yehudi (2009). 5589:. ResMusica. 23 May 2019 5078:Smithson, Roger (1997). 4833:(1970) Macmillan pp 548. 2889:, EMI C 051-63332, 1969. 2848: 2630:Variations for Orchestra 2529:, studio recording with 2316:, studio recording with 2300:Dietrich Fischer-Dieskau 2298:, studio recording with 2289:Dietrich Fischer-Dieskau 2287:, live performance with 2161:, live performance with 2150:, studio recording with 2047:, studio recording with 2036:, studio recording with 2029:(Music and Arts, Tahra). 1872:, studio recording with 1825:Brahms's Second Symphony 1727:Dietrich Fischer-Dieskau 741:, his relationship with 703:Furtwängler avoided the 8535:Subscription Conductors 7879:record label executives 7141:Victoria de los Ángeles 6786:Gramophone Hall of Fame 6403:Schönzeler, Hans-Hubert 6105:, Belfond, 1986, p. 51. 5637:Frisch, Walter (2003). 3232:Oxford University Press 3150:Furtwängler "revisited" 3100:Furtwängler "revisited" 2953:, SWF 941, 1994, p. 11. 2560:Der Ring des Nibelungen 2543:Der Ring des Nibelungen 1901:, December 1952 (Tahra) 1027:. He stated during his 712:, and in Paris for the 657:leaked a news story on 546:and as a member of the 8454:Gennady Rozhdestvensky 6431:. London: Hutchinson. 6280:The Furtwängler Record 6062:La symphonie des chefs 5812:Le Monde de la musique 5489:Le Monde de la musique 4831:Inside the Third Reich 3500:The Furtwängler Record 3033:near...", Sami Habra, 2678:Philharmonia Orchestra 2304:Philharmonia Orchestra 2053:Philharmonia Orchestra 1878:Philharmonia Orchestra 1802: 1774: 1712:Concerto for Orchestra 1680: 1667: 1525:reveals deep thought. 1404: 1393: 1373: 1301: 1237: 1207: 1185: 1152: 1138: 1124: 1033:Claus von Stauffenberg 1017:unersetzliche Künstler 994: 907: 701: 573: 548:Prussian State Council 509: 391: 377: 323:. He is buried in the 246:Furtwangler succeeded 180: 26: 8686:Musicians from Berlin 8484:Andrés Orozco-Estrada 8142:Berliner Philharmonie 7793:Mstislav Rostropovich 7365:Elisabeth Schwarzkopf 7097:Michael Tilson Thomas 5885:Biography of Schenker 5810:Patrick Szersnovicz, 5709:, Tahra, 2004, p. 57. 5559:Augsburger Allgemeine 5378:, Tahra, 2004, p. 54. 5374:Wilhelm Furtwängler, 5103:Monod, David (2005). 3706:"L'atelier du Maître" 3313:, pp. 20–25, 30. 2680:, London, 22 May 1950 2064:Elisabeth Schwarzkopf 2015:Elisabeth Schwarzkopf 1995:Bayreuther Festspiele 1986:. (Orfeo D'or, 2008). 1972:Elisabeth Schwarzkopf 1968:Bayreuther Festspiele 1870:Violin Concerto No. 2 1846:Johann Sebastian Bach 1801: 1766: 1746:Elisabeth Schwarzkopf 1684:Haydn's 88th Symphony 1675: 1655: 1398: 1385: 1360: 1296: 1232: 1205: 1156: 1147: 1133: 1125:Preußischer Staatsrat 989: 893: 696: 644:New York Philharmonic 634:New York Philharmonic 564: 486:1933 Mannheim concert 422:to play as soloists. 389: 372: 363:who replaced Walter. 341:Chancellor of Germany 299:New York Philharmonic 178: 24: 8147:Digital Concert Hall 7877:Producers/engineers/ 7344:Anne Sofie von Otter 6935:Nikolaus Harnoncourt 6340:. Morrison and Gibb. 6202:, Elektra/Wea, 2002. 6186:La légende du violon 5973:, Elektra/Wea, 2002. 5969:Yehudi Menuhin, DVD 5723:The Great Conductors 5343:(26 November 2004). 3857:, pp. 51, 128.. 2844:Notes and references 2725:(1937, rev. 1952–54) 2685:Notable compositions 2645:Piano Concerto No. 5 2619:First Piano Concerto 2517:, 1938 (EMI, Naxos). 2159:Piano Concerto No. 2 2045:Piano Concerto No. 5 1704:Fifth Piano Concerto 1659:Generalmusikdirektor 1635:Christian Thielemann 1611:Nikolaus Harnoncourt 1587:Christoph Eschenbach 1492:Christoph Eschenbach 1463:Schenkerian analysis 1265:Alexander Brailowsky 1029:denazification trial 904:Strength Through Joy 714:universal exposition 705:1936 Summer Olympics 503:"The Hindemith Case" 450:Staatsrat of Prussia 269:Staatskapelle Berlin 205:Ludwig van Beethoven 146:Gewandhaus Orchestra 8599:Wilhelm Furtwängler 8533:Vienna Philharmonic 8448:Carlo Maria Giulini 8442:Wolfgang Sawallisch 8295:Wilhelm Furtwängler 8072:Herbert von Karajan 8066:Wilhelm Furtwängler 8048:Wilhelm Furtwängler 8010:Berlin Philharmonic 7867:The Tallis Scholars 7832:Alban Berg Quartett 7570:Sergei Rachmaninoff 7288:Dmitri Hvorostovsky 6956:Herbert von Karajan 6942:Christopher Hogwood 6916:Carlo Maria Giulini 6909:John Eliot Gardiner 6902:Wilhelm Furtwängler 6685:Andreas Furtwängler 6582:Wilhelm Furtwängler 6529:Wilhelm Furtwängler 6255:Taking Sides (2001) 6046:Herbert von Karajan 6006:E. Furtwängler 2004 5897:E. Furtwängler 2004 5836:E. Furtwängler 2004 5719:Harold C. Schonberg 5517:Süddeutsche Zeitung 5249:, pp. 483–484. 5171:, pp. 171–194. 4800:Wilfried von Oven, 4352:, pp. 168–169. 4228:on 31 January 2011. 4205:, pp. 157–159. 4186:, Prima Lifestyles 3855:E. Furtwängler 2004 2809:British playwright 2741:Symphony No. 3 in C 2706:Major, Op. 3 (1899) 2635:Berlin Philharmonic 2565:Wolfgang Windgassen 2451:Deutsche Grammophon 2389:Gertrud Grob-Prandl 2306:, 1952 (Naxos, EMI) 2099:Wolfgang Windgassen 2011:London Philharmonia 1899:Berlin Philharmonic 1856:Vienna Philharmonic 1758:Cleveland Orchestra 1725:. Soloists such as 1651:Herbert von Karajan 1595:Philippe Herreweghe 1583:Dimitri Mitropoulos 1559:Carlo Maria Giulini 1421:Berlin Philharmonic 1318:Manchester Guardian 1057:Vienna Philharmonic 1013:Gottbegnadeten list 974:Hans Knappertsbusch 934:to flee to Sweden. 896:Berlin Philharmonic 825:Vienna Philharmonic 759:Herbert von Karajan 753:Herbert von Karajan 310:Deutsche Grammophon 285:Berlin Philharmonic 213:Munich Philharmonic 179:Furtwängler in 1925 150:Vienna Philharmonic 142:Berlin Philharmonic 25:Furtwängler in 1912 8557:Felix Otto Dessoff 8466:Vladimir Fedoseyev 8229:Johann Adam Hiller 8217:Leipzig Gewandhaus 8060:Sergiu Celibidache 8024:Ludwig von Brenner 7853:The King's Singers 7786:Jean-Pierre Rampal 7758:Anne-Sophie Mutter 7577:Sviatoslav Richter 7474:Marc-André Hamelin 7439:Vladimir Ashkenazy 7169:Montserrat Caballé 6874:Sergiu Celibidache 6596:Symphonic Concerto 6486:Notebooks, 1924–54 6466:Vaget, Hans Rudolf 6395:Le cas Furtwängler 6308:Jean-Jacques Rapin 6024:Le Huffington Post 5703:Sergiu Celibidache 5693:from 1920 to 1935. 5285:The New York Times 3227:Grove Music Online 3163:Tristan und Isolde 2804:In popular culture 2774:(all early works) 2526:Tristan und Isolde 1851:St Matthew Passion 1803: 1777:Notable recordings 1567:Sergiu Celibidache 1535:Karlrobert Kreiten 1500:Sergiu Celibidache 1480:Vladimir Ashkenazy 1405: 1381:Sergiu Celibidache 1356:Sergiu Celibidache 1335:Vladimir Ashkenazy 1230:in February 1946: 1220:Bronisław Huberman 1208: 1091:Berlin State Opera 1067:After World War II 908: 773:Tristan und Isolde 580:Compromise of 1935 400:concentration camp 392: 339:'s appointment as 181: 27: 8629: 8628: 8623: 8622: 8593:Felix Weingartner 8551:Karl Anton Eckert 8499: 8498: 8367: 8366: 8337:Herbert Blomstedt 8319:Franz Konwitschny 8307:Hermann Abendroth 8253:Felix Mendelssohn 8183: 8182: 8121:Scharoun Ensemble 7976: 7975: 7967:Kenneth Wilkinson 7948:Goddard Lieberson 7667:Jacqueline du Pré 7584:Arthur Rubinstein 7493:Vladimir Horowitz 7351:Luciano Pavarotti 7083:Leopold Stokowski 7017:Yevgeny Mravinsky 6996:Charles Mackerras 6834:Leonard Bernstein 6739: 6738: 6679:Adolf Furtwängler 6514:978-0-7156-1486-0 6495:978-0-7043-0220-4 6488:. Quartet Books. 6457:978-0-19-506508-4 6438:978-0-09-179394-4 6416:978-0-7156-2313-8 6370:Prieberg, Fred K. 6346:Kater, Michael H. 6289:978-0-931340-69-7 6139:978-3-940432-66-7 5749:, pp. 19–20. 5691:Heinrich Schenker 5654:978-0-300-09965-2 5305:978-0-405-11153-2 5116:978-0-8078-2944-8 4787:Joseph Goebbels, 3672:, pp. 81–82. 3516:(2): pp. 483–485. 3506:(December 1995). 3361:, pp. 57–60. 3337:, pp. 66–67. 3249:978-1-56159-263-0 3079:classicstoday.com 2837:Stellan Skarsgård 2609:Notable premieres 2493: 2492: 2360:Elisabeth Grümmer 2334:Salzburg Festival 1818: 1696:Arnold Schoenberg 1663:Schumann's Fourth 1627:Jascha Horenstein 1459:Heinrich Schenker 1257:Arthur Rubinstein 1253:Vladimir Horowitz 1228:Robert A. McClure 1216:Arnold Schoenberg 1082:Robert A. McClure 1021:German resistance 997:Friedelind Wagner 955:Arnold Schoenberg 953:and the composer 807:Friedelind Wagner 739:Bayreuth Festival 725:Salzburg Festival 718:Horst-Wessel-Lied 692:Friedelind Wagner 678:Bayreuth Festival 543:Reichsmusikkammer 528:degenerate artist 469:Arnold Schoenberg 445:Reichsmusikkammer 440:Horst-Wessel-Lied 438:, to conduct the 239:, Frankfurt, and 8788: 8658: 8657: 8656: 8646: 8645: 8644: 8637: 8618: 8526: 8519: 8512: 8503: 8502: 8394: 8387: 8380: 8371: 8370: 8362: 8343:Riccardo Chailly 8265:Ferdinand Hiller 8210: 8203: 8196: 8187: 8186: 8175: 8174: 8103: 8003: 7996: 7989: 7980: 7979: 7969: 7962: 7957: 7950: 7943: 7936: 7929: 7924: 7917: 7910: 7903: 7896: 7889: 7869: 7862: 7855: 7848: 7841: 7834: 7816: 7809: 7802: 7795: 7788: 7781: 7774: 7767: 7760: 7753: 7746: 7739: 7732: 7725: 7718: 7711: 7704: 7697: 7690: 7683: 7676: 7669: 7662: 7655: 7648: 7641: 7634: 7624:woodwind players 7614: 7607: 7600: 7593: 7586: 7579: 7572: 7565: 7563:Maurizio Pollini 7558: 7551: 7544: 7537: 7530: 7523: 7521:Gustav Leonhardt 7516: 7509: 7502: 7495: 7488: 7481: 7480: 7469: 7462: 7455: 7448: 7441: 7434: 7427: 7420: 7418:Leif Ove Andsnes 7402: 7400:Fritz Wunderlich 7395: 7388: 7381: 7374: 7367: 7360: 7353: 7346: 7339: 7332: 7325: 7318: 7311: 7309:Simon Keenlyside 7304: 7297: 7295:Gundula Janowitz 7290: 7283: 7276: 7269: 7262: 7255: 7253:Nicolai Ghiaurov 7248: 7246:Angela Gheorghiu 7241: 7234: 7232:Kirsten Flagstad 7227: 7220: 7218:Kathleen Ferrier 7213: 7206: 7199: 7197:Feodor Chaliapin 7192: 7185: 7178: 7171: 7164: 7157: 7150: 7143: 7136: 7118: 7111: 7110: 7104:Arturo Toscanini 7099: 7092: 7085: 7078: 7077: 7066: 7059: 7058: 7047: 7040: 7033: 7026: 7019: 7012: 7005: 7003:Neville Marriner 6998: 6991: 6984: 6977: 6970: 6969: 6958: 6951: 6944: 6937: 6930: 6929: 6918: 6911: 6904: 6897: 6890: 6883: 6881:Riccardo Chailly 6876: 6869: 6867:Benjamin Britten 6862: 6861: 6850: 6843: 6836: 6829: 6828: 6817: 6815:Daniel Barenboim 6810: 6803: 6779: 6772: 6765: 6756: 6755: 6743: 6742: 6729: 6728: 6651:Mathis der Maler 6575: 6568: 6561: 6552: 6551: 6518: 6499: 6473: 6461: 6442: 6425:Spotts, Frederic 6420: 6398: 6389: 6377: 6376:. Quartet Books. 6365: 6353: 6341: 6329: 6302: 6293: 6262: 6251: 6245: 6244: 6242: 6240: 6221: 6215: 6209: 6203: 6196: 6190: 6189: 6181: 6175: 6174: 6172: 6170: 6150: 6144: 6143: 6125: 6119: 6116:Diener der Musik 6112: 6106: 6096: 6090: 6087:Sergey Prokofiev 6083: 6077: 6071: 6065: 6059: 6053: 6043: 6037: 6036: 6034: 6032: 6015: 6009: 6003: 5997: 5992: 5986: 5983:Furtwängler 1995 5980: 5974: 5967: 5961: 5955: 5949: 5946: 5940: 5934: 5925: 5919: 5913: 5906: 5900: 5894: 5888: 5883: 5879: 5873: 5866: 5860: 5854: 5848: 5845: 5839: 5833: 5827: 5821: 5815: 5809: 5805: 5790: 5784: 5775: 5769: 5763: 5756: 5750: 5744: 5738: 5732: 5726: 5716: 5710: 5700: 5694: 5687: 5681: 5680: 5669: 5663: 5662: 5659:Internet Archive 5634: 5628: 5626: 5624: 5622: 5605: 5599: 5598: 5596: 5594: 5582: 5576: 5575: 5569: 5567: 5549: 5543: 5542: 5540: 5538: 5527: 5521: 5508: 5502: 5499: 5493: 5484: 5478: 5476: 5458: 5452: 5450: 5442: 5436: 5429: 5423: 5421: 5413: 5407: 5405: 5403: 5401: 5392:. Archived from 5385: 5379: 5372: 5363: 5362: 5360: 5358: 5337: 5331: 5328: 5322: 5316: 5310: 5309: 5289: 5276: 5265: 5259: 5250: 5244: 5238: 5232: 5223: 5217: 5211: 5205: 5196: 5190: 5184: 5178: 5172: 5166: 5160: 5154: 5148: 5142: 5133: 5127: 5121: 5120: 5100: 5094: 5093: 5091: 5089: 5083: 5075: 5064: 5058: 5052: 5046: 5037: 5031: 5025: 5019: 5013: 5007: 5001: 4995: 4986: 4980: 4974: 4968: 4962: 4956: 4950: 4944: 4938: 4937: 4935: 4933: 4918: 4912: 4906: 4900: 4894: 4888: 4882: 4876: 4870: 4864: 4863: 4856:Rathkolb, Oliver 4852: 4846: 4840: 4834: 4827: 4821: 4815: 4809: 4798: 4792: 4785: 4779: 4773: 4767: 4761: 4755: 4749: 4743: 4737: 4731: 4725: 4719: 4713: 4704: 4698: 4689: 4683: 4674: 4668: 4659: 4653: 4647: 4641: 4635: 4629: 4620: 4619: 4611: 4602: 4596: 4590: 4584: 4578: 4572: 4563: 4557: 4544: 4538: 4532: 4526: 4517: 4511: 4505: 4499: 4490: 4484: 4478: 4472: 4463: 4457: 4451: 4445: 4439: 4433: 4427: 4421: 4412: 4406: 4400: 4394: 4385: 4379: 4370: 4364: 4353: 4347: 4341: 4335: 4329: 4323: 4314: 4308: 4302: 4296: 4290: 4284: 4278: 4272: 4266: 4260: 4254: 4248: 4242: 4236: 4230: 4229: 4212: 4206: 4200: 4194: 4177: 4171: 4165: 4156: 4150: 4144: 4138: 4132: 4126: 4120: 4114: 4108: 4102: 4096: 4093:Furtwängler 1995 4090: 4084: 4081:Furtwängler 1995 4078: 4072: 4066: 4060: 4054: 4048: 4042: 4033: 4027: 4021: 4015: 4006: 4000: 3994: 3988: 3982: 3976: 3967: 3961: 3955: 3949: 3940: 3934: 3925: 3919: 3913: 3907: 3901: 3895: 3889: 3883: 3877: 3871: 3858: 3852: 3846: 3840: 3829: 3823: 3817: 3811: 3805: 3799: 3793: 3787: 3781: 3775: 3769: 3763: 3757: 3751: 3745: 3739: 3733: 3727: 3721: 3715: 3709: 3703: 3697: 3691: 3685: 3679: 3673: 3667: 3661: 3655: 3649: 3643: 3637: 3631: 3625: 3619: 3613: 3607: 3601: 3595: 3589: 3583: 3577: 3571: 3565: 3559: 3544: 3538: 3529: 3523: 3517: 3496: 3490: 3484: 3478: 3472: 3463: 3457: 3451: 3445: 3439: 3433: 3427: 3421: 3410: 3404: 3398: 3392: 3386: 3380: 3374: 3368: 3362: 3356: 3350: 3344: 3338: 3332: 3326: 3320: 3314: 3308: 3302: 3296: 3290: 3284: 3278: 3272: 3266: 3260: 3254: 3253: 3230:(8th ed.). 3217: 3204: 3203: 3201: 3199: 3182: 3166: 3159: 3153: 3134: 3128: 3109: 3103: 3096: 3090: 3089: 3087: 3085: 3070: 3064: 3061: 3055: 3044: 3038: 3030: 3024: 3016: 3010: 2960: 2954: 2926: 2920: 2919: 2910: 2908: 2883:placed on record 2871: 2865: 2858: 2825:a motion picture 2789:Religöser Hymnus 2746: 2745: 2705: 2704: 2674:Kirsten Flagstad 2657:Mathis der Maler 2602:Ferdinand Frantz 2552:Kirsten Flagstad 2481: 2480: 2469: 2468: 2381:Irmgard Seefried 2194:Seventh Symphony 2068:Kirsten Flagstad 2007:Lucerne Festival 1976:Elisabeth Höngen 1949:Elisabeth Höngen 1946: 1927:Seventh Symphony 1820: 1819: 1800: 1738:Kirsten Flagstad 1700:Sergei Prokofiev 1647:Arturo Toscanini 1637:. For instance, 1539:Daniel Barenboim 1512: 1448:subjective style 1389:Arturo Toscanini 1377:Arturo Toscanini 1340:Daniel Barenboim 1307:Conducting style 1245:Arturo Toscanini 1129:Victor de Sabata 1122: 940:Battle of Moscow 872:Legion of Honour 868:Fred K. Prieberg 845:Fred K. Prieberg 840:, to help them. 819:the hall of the 732:Arturo Toscanini 728:the invitation. 655:Associated Press 648:Arturo Toscanini 538:Alfred Rosenberg 533:Mathis der Maler 512: 478:, the violinist 396:Heinrich Himmler 381:Fred K. Prieberg 132: 127: 118: 117: 114: 113: 110: 107: 104: 101: 94: 83: 78: 77: 74: 73: 70: 67: 64: 61: 58: 55: 52: 49: 46: 39: 8796: 8795: 8791: 8790: 8789: 8787: 8786: 8785: 8666: 8665: 8664: 8654: 8652: 8648:Classical music 8642: 8640: 8632: 8630: 8625: 8624: 8619: 8610: 8536: 8530: 8500: 8495: 8478:Philippe Jordan 8418:Hugo Gottesmann 8403: 8398: 8368: 8363: 8354: 8259:Ferdinand David 8220: 8214: 8184: 8179: 8165: 8130: 8104: 8095: 8090:Kirill Petrenko 8036:Richard Strauss 8012: 8007: 7977: 7972: 7965: 7960: 7953: 7946: 7939: 7932: 7927: 7920: 7913: 7906: 7899: 7892: 7885: 7878: 7872: 7865: 7858: 7851: 7846:Beaux Arts Trio 7844: 7839:Amadeus Quartet 7837: 7830: 7819: 7812: 7805: 7798: 7791: 7784: 7777: 7770: 7763: 7756: 7751:Nathan Milstein 7749: 7742: 7735: 7730:Wynton Marsalis 7728: 7721: 7714: 7707: 7702:Steven Isserlis 7700: 7693: 7686: 7681:Arthur Grumiaux 7679: 7672: 7665: 7660:Kyung Wha Chung 7658: 7651: 7644: 7637: 7630: 7623: 7617: 7610: 7605:Grigory Sokolov 7603: 7596: 7589: 7582: 7575: 7568: 7561: 7554: 7547: 7540: 7533: 7526: 7519: 7512: 7505: 7498: 7491: 7484: 7472: 7467:Friedrich Gulda 7465: 7458: 7451: 7444: 7437: 7430: 7425:Martha Argerich 7423: 7416: 7405: 7398: 7391: 7384: 7377: 7372:Joan Sutherland 7370: 7363: 7356: 7349: 7342: 7335: 7328: 7321: 7314: 7307: 7300: 7293: 7286: 7279: 7272: 7265: 7258: 7251: 7244: 7237: 7230: 7223: 7216: 7211:Plácido Domingo 7209: 7202: 7195: 7188: 7181: 7174: 7167: 7160: 7155:Cecilia Bartoli 7153: 7146: 7139: 7132: 7121: 7114: 7102: 7095: 7088: 7081: 7069: 7062: 7050: 7043: 7038:Antonio Pappano 7036: 7029: 7022: 7015: 7008: 7001: 6994: 6987: 6980: 6973: 6961: 6954: 6947: 6940: 6933: 6923:Bernard Haitink 6921: 6914: 6907: 6900: 6895:Gustavo Dudamel 6893: 6886: 6879: 6872: 6865: 6853: 6846: 6839: 6832: 6820: 6813: 6808:John Barbirolli 6806: 6799: 6788: 6783: 6748: 6740: 6735: 6717: 6690: 6667: 6660:Four Last Songs 6619: 6584: 6579: 6525: 6515: 6496: 6483: 6480: 6478:Further reading 6458: 6439: 6417: 6388:. Bern: Scherz. 6334:Geissmar, Berta 6326: 6290: 6266: 6265: 6252: 6248: 6238: 6236: 6222: 6218: 6210: 6206: 6197: 6193: 6182: 6178: 6168: 6166: 6156:(20 May 2005). 6151: 6147: 6140: 6126: 6122: 6114:Leins Hermann, 6113: 6109: 6097: 6093: 6084: 6080: 6072: 6068: 6060: 6056: 6044: 6040: 6030: 6028: 6017: 6016: 6012: 6004: 6000: 5993: 5989: 5981: 5977: 5968: 5964: 5956: 5952: 5947: 5943: 5935: 5928: 5920: 5916: 5907: 5903: 5895: 5891: 5881: 5880: 5876: 5867: 5863: 5855: 5851: 5846: 5842: 5834: 5830: 5822: 5818: 5807: 5806: 5793: 5785: 5778: 5770: 5766: 5757: 5753: 5745: 5741: 5733: 5729: 5717: 5713: 5701: 5697: 5688: 5684: 5671: 5670: 5666: 5655: 5635: 5631: 5620: 5618: 5617:. 12 April 2021 5607: 5606: 5602: 5592: 5590: 5585: 5583: 5579: 5565: 5563: 5550: 5546: 5536: 5534: 5529: 5528: 5524: 5509: 5505: 5500: 5496: 5485: 5481: 5459: 5455: 5445: 5443: 5439: 5430: 5426: 5416: 5414: 5410: 5399: 5397: 5388: 5386: 5382: 5373: 5366: 5356: 5354: 5345:"Second coming" 5338: 5334: 5329: 5325: 5317: 5313: 5306: 5280:Taubman, Howard 5277: 5268: 5260: 5253: 5245: 5241: 5233: 5226: 5218: 5214: 5206: 5199: 5191: 5187: 5179: 5175: 5167: 5163: 5155: 5151: 5143: 5136: 5128: 5124: 5117: 5101: 5097: 5087: 5085: 5076: 5067: 5059: 5055: 5047: 5040: 5032: 5028: 5020: 5016: 5008: 5004: 4996: 4989: 4981: 4977: 4969: 4965: 4957: 4953: 4945: 4941: 4931: 4929: 4919: 4915: 4909:Schönzeler 1990 4907: 4903: 4897:Schönzeler 1990 4895: 4891: 4883: 4879: 4871: 4867: 4853: 4849: 4841: 4837: 4828: 4824: 4816: 4812: 4808:, 1974, p. 268. 4799: 4795: 4789:Reden 1932–1939 4786: 4782: 4774: 4770: 4762: 4758: 4750: 4746: 4738: 4734: 4726: 4722: 4714: 4707: 4699: 4692: 4684: 4677: 4669: 4662: 4654: 4650: 4642: 4638: 4630: 4623: 4612: 4605: 4597: 4593: 4585: 4581: 4573: 4566: 4558: 4547: 4539: 4535: 4527: 4520: 4512: 4508: 4500: 4493: 4485: 4481: 4473: 4466: 4460:Schönzeler 1990 4458: 4454: 4446: 4442: 4434: 4430: 4422: 4415: 4407: 4403: 4395: 4388: 4380: 4373: 4365: 4356: 4348: 4344: 4336: 4332: 4326:Schönzeler 1990 4324: 4317: 4309: 4305: 4297: 4293: 4285: 4281: 4273: 4269: 4263:Schönzeler 1990 4261: 4257: 4249: 4245: 4237: 4233: 4214: 4213: 4209: 4201: 4197: 4178: 4174: 4166: 4159: 4151: 4147: 4139: 4135: 4127: 4123: 4115: 4111: 4103: 4099: 4091: 4087: 4079: 4075: 4069:Schönzeler 1990 4067: 4063: 4055: 4051: 4045:Schönzeler 1990 4043: 4036: 4028: 4024: 4016: 4009: 4001: 3997: 3989: 3985: 3977: 3970: 3962: 3958: 3950: 3943: 3935: 3928: 3920: 3916: 3908: 3904: 3896: 3892: 3884: 3880: 3872: 3861: 3853: 3849: 3841: 3832: 3824: 3820: 3812: 3808: 3800: 3796: 3788: 3784: 3776: 3772: 3764: 3760: 3752: 3748: 3740: 3736: 3728: 3724: 3716: 3712: 3704: 3700: 3692: 3688: 3680: 3676: 3668: 3664: 3656: 3652: 3644: 3640: 3632: 3628: 3620: 3616: 3608: 3604: 3596: 3592: 3584: 3580: 3572: 3568: 3560: 3547: 3539: 3532: 3524: 3520: 3497: 3493: 3485: 3481: 3473: 3466: 3458: 3454: 3446: 3442: 3436:Schönzeler 1990 3434: 3430: 3422: 3413: 3405: 3401: 3393: 3389: 3381: 3377: 3369: 3365: 3357: 3353: 3345: 3341: 3333: 3329: 3321: 3317: 3309: 3305: 3297: 3293: 3285: 3281: 3273: 3269: 3261: 3257: 3250: 3218: 3207: 3197: 3195: 3183: 3179: 3174: 3169: 3160: 3156: 3135: 3131: 3110: 3106: 3097: 3093: 3083: 3081: 3073: 3071: 3067: 3062: 3058: 3045: 3041: 3031: 3027: 3017: 3013: 2996:Harry Halbreich 2963:Harry Halbreich 2961: 2957: 2947:Harry Halbreich 2929:Harry Halbreich 2927: 2923: 2906: 2904: 2890: 2872: 2868: 2859: 2855: 2851: 2846: 2806: 2772: 2756: 2743: 2742: 2702: 2701: 2692: 2687: 2669:Four Last Songs 2664:Richard Strauss 2611: 2600:(Hunding), and 2508:Sixth Symphony 2501:Fourth Symphony 2478: 2447:Fourth Symphony 2436:Die Zauberharfe 2411:Eighth Symphony 2393:Ernst Haefliger 2372:Die Zauberflöte 2356:Lisa Della Casa 2314:Violin Concerto 2229:Second Symphony 2205:Eighth Symphony 2173:Fourth Symphony 2148:Violin Concerto 2141:Fourth Symphony 2134:Fourth Symphony 2120:Second Symphony 2080:Paul Schoeffler 2034:Violin Concerto 2023:Ernst Haefliger 1940: 1842: 1841: 1833: 1831: 1830: 1829: 1828: 1821: 1814: 1811: 1804: 1798: 1779: 1723:Arthur Honegger 1623:Gustavo Dudamel 1615:Bernard Haitink 1607:Ernest Ansermet 1531: 1506: 1452:objective style 1417:Anton Schindler 1331:Johannes Brahms 1309: 1285:Konrad Adenauer 1270:According to a 1224:Nathan Milstein 1118: 1069: 1061:Second Symphony 1001:Winifred Wagner 978:Richard Strauss 880: 797: 755: 743:Winifred Wagner 682:Winifred Wagner 667: 636: 586:Richard Strauss 582: 505: 493:Szymon Goldberg 488: 458:Arc de Triomphe 420:Szymon Goldberg 361:Richard Strauss 333: 273:Richard Strauss 173: 171:Life and career 165:Joseph Goebbels 125: 98: 89: 88: 81: 43: 34: 33: 17: 12: 11: 5: 8794: 8784: 8783: 8778: 8773: 8768: 8763: 8758: 8753: 8748: 8743: 8738: 8733: 8728: 8723: 8718: 8713: 8708: 8703: 8698: 8693: 8688: 8683: 8678: 8663: 8662: 8650: 8627: 8626: 8621: 8620: 8613: 8611: 8609: 8608: 8605:Clemens Krauss 8602: 8596: 8590: 8584: 8578: 8572: 8566: 8560: 8554: 8548: 8541: 8538: 8537: 8529: 8528: 8521: 8514: 8506: 8497: 8496: 8494: 8493: 8487: 8481: 8475: 8469: 8463: 8457: 8451: 8445: 8439: 8436:Hans Swarowsky 8433: 8427: 8424:Oswald Kabasta 8421: 8415: 8412:Ferdinand Löwe 8408: 8405: 8404: 8397: 8396: 8389: 8382: 8374: 8365: 8364: 8357: 8355: 8353: 8352: 8349:Andris Nelsons 8346: 8340: 8334: 8328: 8325:Václav Neumann 8322: 8316: 8313:Herbert Albert 8310: 8304: 8298: 8292: 8289:Arthur Nikisch 8286: 8280: 8274: 8268: 8262: 8256: 8250: 8244: 8238: 8232: 8225: 8222: 8221: 8213: 8212: 8205: 8198: 8190: 8181: 8180: 8170: 8167: 8166: 8164: 8163: 8156: 8149: 8144: 8138: 8136: 8132: 8131: 8129: 8128: 8123: 8118: 8112: 8110: 8106: 8105: 8098: 8096: 8094: 8093: 8092:(2019–present) 8087: 8081: 8078:Claudio Abbado 8075: 8069: 8063: 8057: 8051: 8045: 8042:Arthur Nikisch 8039: 8033: 8030:Hans von Bülow 8027: 8020: 8018: 8014: 8013: 8006: 8005: 7998: 7991: 7983: 7974: 7973: 7971: 7970: 7963: 7958: 7951: 7944: 7937: 7930: 7928:Alain Lanceron 7925: 7918: 7911: 7908:C. Robert Fine 7904: 7897: 7894:Bernard Coutaz 7890: 7887:Emile Berliner 7882: 7880: 7874: 7873: 7871: 7870: 7863: 7860:Takács Quartet 7856: 7849: 7842: 7835: 7827: 7825: 7821: 7820: 7818: 7817: 7810: 7807:Andrés Segovia 7803: 7796: 7789: 7782: 7779:Itzhak Perlman 7775: 7772:Emmanuel Pahud 7768: 7765:David Oistrakh 7761: 7754: 7747: 7744:Yehudi Menuhin 7740: 7737:Albrecht Mayer 7733: 7726: 7719: 7712: 7709:Fritz Kreisler 7705: 7698: 7695:Heinz Holliger 7691: 7688:Jascha Heifetz 7684: 7677: 7670: 7663: 7656: 7649: 7642: 7635: 7627: 7625: 7619: 7618: 7616: 7615: 7612:Mitsuko Uchida 7608: 7601: 7598:Artur Schnabel 7594: 7587: 7580: 7573: 7566: 7559: 7556:Murray Perahia 7552: 7545: 7538: 7531: 7524: 7517: 7510: 7507:Wilhelm Kempff 7503: 7496: 7489: 7482: 7470: 7463: 7456: 7449: 7446:Alfred Brendel 7442: 7435: 7428: 7421: 7413: 7411: 7407: 7406: 7404: 7403: 7396: 7389: 7386:Kiri Te Kanawa 7382: 7379:Renata Tebaldi 7375: 7368: 7361: 7358:Leontyne Price 7354: 7347: 7340: 7333: 7330:Birgit Nilsson 7326: 7319: 7312: 7305: 7302:Jonas Kaufmann 7298: 7291: 7284: 7277: 7270: 7267:Thomas Hampson 7263: 7256: 7249: 7242: 7235: 7228: 7221: 7214: 7207: 7204:Joyce DiDonato 7200: 7193: 7186: 7179: 7172: 7165: 7162:Jussi Björling 7158: 7151: 7144: 7137: 7129: 7127: 7123: 7122: 7120: 7119: 7112: 7100: 7093: 7086: 7079: 7067: 7060: 7048: 7045:Trevor Pinnock 7041: 7034: 7031:Eugene Ormandy 7027: 7020: 7013: 7006: 6999: 6992: 6985: 6982:Rafael Kubelík 6978: 6975:Otto Klemperer 6971: 6963:Carlos Kleiber 6959: 6952: 6949:Mariss Jansons 6945: 6938: 6931: 6919: 6912: 6905: 6898: 6891: 6884: 6877: 6870: 6863: 6851: 6844: 6837: 6830: 6822:Thomas Beecham 6818: 6811: 6804: 6801:Claudio Abbado 6796: 6794: 6790: 6789: 6782: 6781: 6774: 6767: 6759: 6753: 6750: 6749: 6737: 6736: 6734: 6733: 6722: 6719: 6718: 6716: 6715: 6707: 6698: 6696: 6692: 6691: 6689: 6688: 6682: 6675: 6673: 6669: 6668: 6666: 6665: 6656: 6646: 6640: 6634: 6627: 6625: 6621: 6620: 6618: 6617: 6614:Symphony No. 3 6611: 6608:Symphony No. 2 6605: 6602:Symphony No. 1 6599: 6592: 6590: 6586: 6585: 6578: 6577: 6570: 6563: 6555: 6549: 6548: 6535: 6524: 6523:External links 6521: 6520: 6519: 6513: 6500: 6494: 6479: 6476: 6475: 6474: 6462: 6456: 6443: 6437: 6421: 6415: 6399: 6390: 6378: 6366: 6354: 6342: 6330: 6324: 6303: 6294: 6288: 6264: 6263: 6246: 6216: 6214:, p. 120. 6204: 6191: 6176: 6154:Kettle, Martin 6145: 6138: 6120: 6107: 6091: 6078: 6076:, p. 198. 6066: 6054: 6038: 6010: 5998: 5987: 5985:, p. 103. 5975: 5962: 5950: 5941: 5926: 5914: 5901: 5889: 5874: 5861: 5849: 5840: 5828: 5816: 5791: 5776: 5764: 5751: 5739: 5727: 5711: 5695: 5682: 5677:Classics Today 5664: 5653: 5629: 5600: 5577: 5544: 5522: 5512:Joachim Kaiser 5503: 5494: 5479: 5472:The New Yorker 5465:(1 May 2012). 5453: 5437: 5424: 5408: 5396:on 30 May 2016 5380: 5364: 5341:Kettle, Martin 5332: 5323: 5321:, p. 137. 5311: 5304: 5266: 5251: 5239: 5224: 5212: 5210:, p. 133. 5197: 5195:, p. 344. 5185: 5183:, p. 103. 5173: 5161: 5149: 5134: 5132:, p. 188. 5122: 5115: 5095: 5065: 5063:, p. 226. 5053: 5038: 5036:, p. 131. 5026: 5014: 5002: 4987: 4975: 4963: 4951: 4939: 4913: 4901: 4889: 4887:, p. 174. 4877: 4875:, p. 171. 4865: 4847: 4845:, p. 317. 4835: 4829:Albert Speer, 4822: 4810: 4806:Grabert Verlag 4793: 4780: 4778:, p. 306. 4768: 4766:, p. 191. 4756: 4754:, p. 320. 4744: 4740:Shirakawa 1992 4732: 4720: 4705: 4690: 4675: 4660: 4658:, p. 285. 4648: 4646:, p. 185. 4636: 4621: 4603: 4601:, p. 272. 4591: 4589:, p. 295. 4579: 4564: 4545: 4543:, p. 235. 4533: 4518: 4516:, p. 176. 4506: 4491: 4489:, p. 231. 4479: 4464: 4452: 4450:, p. 352. 4440: 4438:, p. 244. 4428: 4413: 4411:, p. 241. 4401: 4386: 4384:, p. 102. 4371: 4354: 4342: 4340:, p. 166. 4330: 4315: 4313:, p. 165. 4303: 4291: 4279: 4277:, p. 270. 4267: 4255: 4253:, p. 254. 4243: 4231: 4207: 4195: 4192:978-0761501374 4172: 4157: 4155:, p. 156. 4145: 4143:, p. 155. 4133: 4131:, p. 191. 4121: 4119:, p. 104. 4109: 4107:, p. 188. 4097: 4085: 4073: 4061: 4059:, p. 153. 4049: 4034: 4032:, p. 152. 4022: 4007: 4005:, p. 253. 3995: 3993:, p. 150. 3983: 3968: 3966:, p. 293. 3956: 3941: 3926: 3924:, p. 145. 3914: 3912:, p. 172. 3902: 3900:, p. 143. 3890: 3878: 3859: 3847: 3830: 3828:, p. 144. 3818: 3816:, p. 142. 3806: 3804:, p. 159. 3794: 3792:, p. 141. 3782: 3780:, p. 132. 3770: 3768:, p. 139. 3758: 3756:, p. 144. 3746: 3734: 3732:, p. 291. 3722: 3720:, p. 138. 3710: 3698: 3696:, p. 110. 3686: 3674: 3662: 3660:, p. 109. 3650: 3638: 3626: 3614: 3612:, p. 100. 3602: 3600:, p. 187. 3590: 3588:, p. 113. 3578: 3566: 3545: 3530: 3518: 3491: 3479: 3464: 3462:, p. 319. 3452: 3440: 3428: 3411: 3399: 3387: 3385:, p. 340. 3375: 3363: 3351: 3339: 3327: 3315: 3303: 3291: 3279: 3267: 3255: 3248: 3220:Ellis, James; 3205: 3176: 3175: 3173: 3170: 3168: 3167: 3154: 3129: 3104: 3091: 3065: 3056: 3039: 3025: 3011: 3002:Ninth Symphony 3000:CD Beethoven, 2992:Sistine Chapel 2955: 2921: 2884: 2866: 2852: 2850: 2847: 2845: 2842: 2841: 2840: 2835:and featuring 2811:Ronald Harwood 2805: 2802: 2801: 2800: 2792: 2786: 2783:Goethe's Faust 2771: 2768: 2767: 2766: 2763: 2760: 2755: 2752: 2751: 2750: 2738: 2732: 2726: 2714: 2713: 2710: 2707: 2691: 2688: 2686: 2683: 2682: 2681: 2661: 2648: 2638: 2622: 2610: 2607: 2606: 2605: 2594:Ludwig Suthaus 2590:Leonie Rysanek 2588:(Brünnhilde), 2576: 2569:Ludwig Suthaus 2555: 2550:in Milan with 2538: 2518: 2504: 2491: 2490: 2474: 2473: 2472:External audio 2467: 2466: 2454: 2440: 2431: 2428:Ninth Symphony 2424: 2421:Ninth Symphony 2414: 2404: 2377:Walther Ludwig 2367: 2321: 2318:Yehudi Menuhin 2307: 2292: 2278: 2268: 2258: 2248: 2242: 2232: 2225: 2215: 2212:Ninth Symphony 2208: 2201: 2190: 2187:Sixth Symphony 2183: 2180:Fifth Symphony 2176: 2166: 2155: 2152:Yehudi Menuhin 2144: 2137: 2130: 2127:Third Symphony 2123: 2116: 2109:First Symphony 2102: 2087: 2056: 2055:, 1951 (Naxos) 2041: 2038:Yehudi Menuhin 2030: 2003:Ninth Symphony 1999: 1991:Ninth Symphony 1987: 1964:Ninth Symphony 1960: 1934:Ninth Symphony 1930: 1923: 1920:Sixth Symphony 1916: 1913:Fifth Symphony 1909: 1906:Fifth Symphony 1902: 1895:Third Symphony 1891: 1888:Third Symphony 1881: 1874:Yehudi Menuhin 1863: 1832: 1822: 1812: 1807: 1806: 1805: 1796: 1795: 1794: 1778: 1775: 1771: 1731:Yehudi Menuhin 1719:Paul Hindemith 1692:Paul Hindemith 1671:Claudio Abbado 1639:Carlos Kleiber 1619:Rafael Kubelík 1591:Alexander Frey 1571:Otto Klemperer 1555:Carlos Kleiber 1551:Claudio Abbado 1547:Valery Gergiev 1530: 1527: 1504:Carl Brinitzer 1488:Otto Klemperer 1484:Yehudi Menuhin 1440:Arthur Nikisch 1429:Arthur Nikisch 1425:Hans von Bülow 1409:Richard Wagner 1352:Carlos Kleiber 1313:Neville Cardus 1308: 1305: 1277:Yehudi Menuhin 1272:New York Times 1212:Yehudi Menuhin 1210:The violinist 1102:denazification 1068: 1065: 1037:Kreisau Circle 962:Philharmoniker 932:Issay Dobrowen 928:Antonín Dvořák 924:Symphony No. 9 879: 876: 796: 787: 754: 751: 666: 663: 659:Hermann Göring 635: 632: 597:denazification 581: 578: 560:Thomas Beecham 524:Paul Hindemith 504: 501: 487: 484: 408:Artur Schnabel 404:Yehudi Menuhin 332: 329: 327:Bergfriedhof. 289:Richard Wagner 277:Arthur Nikisch 253:Berta Geissmar 248:Artur Bodanzky 221:Ninth Symphony 217:Anton Bruckner 172: 169: 15: 9: 6: 4: 3: 2: 8793: 8782: 8779: 8777: 8774: 8772: 8769: 8767: 8764: 8762: 8759: 8757: 8754: 8752: 8749: 8747: 8744: 8742: 8739: 8737: 8734: 8732: 8729: 8727: 8724: 8722: 8719: 8717: 8714: 8712: 8709: 8707: 8704: 8702: 8699: 8697: 8694: 8692: 8689: 8687: 8684: 8682: 8679: 8677: 8674: 8673: 8671: 8661: 8651: 8649: 8639: 8638: 8635: 8617: 8606: 8603: 8600: 8597: 8594: 8591: 8588: 8585: 8582: 8581:Gustav Mahler 8579: 8576: 8573: 8570: 8567: 8564: 8561: 8558: 8555: 8552: 8549: 8546: 8543: 8542: 8539: 8534: 8527: 8522: 8520: 8515: 8513: 8508: 8507: 8504: 8491: 8488: 8485: 8482: 8479: 8476: 8473: 8470: 8467: 8464: 8461: 8458: 8455: 8452: 8449: 8446: 8443: 8440: 8437: 8434: 8431: 8430:Hans Weisbach 8428: 8425: 8422: 8419: 8416: 8413: 8410: 8409: 8406: 8402: 8395: 8390: 8388: 8383: 8381: 8376: 8375: 8372: 8361: 8350: 8347: 8344: 8341: 8338: 8335: 8332: 8329: 8326: 8323: 8320: 8317: 8314: 8311: 8308: 8305: 8302: 8299: 8296: 8293: 8290: 8287: 8284: 8283:Carl Reinecke 8281: 8278: 8275: 8272: 8269: 8266: 8263: 8260: 8257: 8254: 8251: 8248: 8245: 8242: 8239: 8236: 8233: 8230: 8227: 8226: 8223: 8219:Kapellmeister 8218: 8211: 8206: 8204: 8199: 8197: 8192: 8191: 8188: 8178: 8168: 8162: 8161: 8160:Rhythm Is It! 8157: 8155: 8154: 8150: 8148: 8145: 8143: 8140: 8139: 8137: 8133: 8127: 8124: 8122: 8119: 8117: 8114: 8113: 8111: 8107: 8102: 8091: 8088: 8085: 8082: 8079: 8076: 8073: 8070: 8067: 8064: 8061: 8058: 8055: 8052: 8049: 8046: 8043: 8040: 8037: 8034: 8031: 8028: 8025: 8022: 8021: 8019: 8015: 8011: 8004: 7999: 7997: 7992: 7990: 7985: 7984: 7981: 7968: 7964: 7959: 7956: 7952: 7949: 7945: 7942: 7938: 7935: 7931: 7926: 7923: 7922:Klaus Heymann 7919: 7916: 7915:Fred Gaisberg 7912: 7909: 7905: 7902: 7898: 7895: 7891: 7888: 7884: 7883: 7881: 7875: 7868: 7864: 7861: 7857: 7854: 7850: 7847: 7843: 7840: 7836: 7833: 7829: 7828: 7826: 7822: 7815: 7814:John Williams 7811: 7808: 7804: 7801: 7797: 7794: 7790: 7787: 7783: 7780: 7776: 7773: 7769: 7766: 7762: 7759: 7755: 7752: 7748: 7745: 7741: 7738: 7734: 7731: 7727: 7724: 7720: 7717: 7713: 7710: 7706: 7703: 7699: 7696: 7692: 7689: 7685: 7682: 7678: 7675: 7671: 7668: 7664: 7661: 7657: 7654: 7650: 7647: 7643: 7640: 7636: 7633: 7632:Maurice André 7629: 7628: 7626: 7622:String/brass/ 7620: 7613: 7609: 7606: 7602: 7599: 7595: 7592: 7591:András Schiff 7588: 7585: 7581: 7578: 7574: 7571: 7567: 7564: 7560: 7557: 7553: 7550: 7546: 7543: 7539: 7536: 7532: 7529: 7525: 7522: 7518: 7515: 7514:Evgeny Kissin 7511: 7508: 7504: 7501: 7500:Stephen Hough 7497: 7494: 7490: 7487: 7486:Angela Hewitt 7483: 7479: 7475: 7471: 7468: 7464: 7461: 7457: 7454: 7450: 7447: 7443: 7440: 7436: 7433: 7432:Claudio Arrau 7429: 7426: 7422: 7419: 7415: 7414: 7412: 7408: 7401: 7397: 7394: 7390: 7387: 7383: 7380: 7376: 7373: 7369: 7366: 7362: 7359: 7355: 7352: 7348: 7345: 7341: 7338: 7337:Jessye Norman 7334: 7331: 7327: 7324: 7323:Anna Netrebko 7320: 7317: 7313: 7310: 7306: 7303: 7299: 7296: 7292: 7289: 7285: 7282: 7278: 7275: 7274:Marilyn Horne 7271: 7268: 7264: 7261: 7257: 7254: 7250: 7247: 7243: 7240: 7239:Renée Fleming 7236: 7233: 7229: 7226: 7222: 7219: 7215: 7212: 7208: 7205: 7201: 7198: 7194: 7191: 7190:Enrico Caruso 7187: 7184: 7183:José Carreras 7180: 7177: 7173: 7170: 7166: 7163: 7159: 7156: 7152: 7149: 7145: 7142: 7138: 7135: 7131: 7130: 7128: 7124: 7117: 7113: 7109: 7105: 7101: 7098: 7094: 7091: 7087: 7084: 7080: 7076: 7072: 7068: 7065: 7061: 7057: 7053: 7049: 7046: 7042: 7039: 7035: 7032: 7028: 7025: 7024:Riccardo Muti 7021: 7018: 7014: 7011: 7007: 7004: 7000: 6997: 6993: 6990: 6986: 6983: 6979: 6976: 6972: 6968: 6964: 6960: 6957: 6953: 6950: 6946: 6943: 6939: 6936: 6932: 6928: 6924: 6920: 6917: 6913: 6910: 6906: 6903: 6899: 6896: 6892: 6889: 6885: 6882: 6878: 6875: 6871: 6868: 6864: 6860: 6856: 6852: 6849: 6848:Pierre Boulez 6845: 6842: 6838: 6835: 6831: 6827: 6823: 6819: 6816: 6812: 6809: 6805: 6802: 6798: 6797: 6795: 6791: 6787: 6780: 6775: 6773: 6768: 6766: 6761: 6760: 6757: 6751: 6744: 6732: 6724: 6723: 6720: 6714: 6712: 6708: 6706: 6704: 6700: 6699: 6697: 6693: 6686: 6683: 6680: 6677: 6676: 6674: 6670: 6663: 6661: 6657: 6654: 6652: 6647: 6644: 6641: 6638: 6635: 6632: 6629: 6628: 6626: 6622: 6615: 6612: 6609: 6606: 6603: 6600: 6597: 6594: 6593: 6591: 6587: 6583: 6576: 6571: 6569: 6564: 6562: 6557: 6556: 6553: 6547: 6543: 6539: 6536: 6534: 6530: 6527: 6526: 6516: 6510: 6506: 6501: 6497: 6491: 6487: 6482: 6481: 6471: 6467: 6463: 6459: 6453: 6449: 6444: 6440: 6434: 6430: 6426: 6422: 6418: 6412: 6408: 6404: 6400: 6396: 6391: 6387: 6383: 6379: 6375: 6371: 6367: 6363: 6359: 6355: 6351: 6347: 6343: 6339: 6335: 6331: 6327: 6325:9782825705100 6321: 6317: 6313: 6312:Pierre Brunel 6309: 6304: 6300: 6295: 6291: 6285: 6281: 6277: 6273: 6272: 6271: 6270: 6261: 6257: 6256: 6250: 6234: 6230: 6226: 6220: 6213: 6208: 6201: 6195: 6187: 6180: 6165: 6164: 6159: 6155: 6149: 6141: 6135: 6131: 6124: 6117: 6111: 6104: 6100: 6095: 6088: 6085:Daniel Jaffé 6082: 6075: 6070: 6063: 6058: 6051: 6047: 6042: 6026: 6025: 6020: 6014: 6008:, p. 55. 6007: 6002: 5996: 5991: 5984: 5979: 5972: 5966: 5959: 5954: 5945: 5939:, p. 12. 5938: 5933: 5931: 5923: 5918: 5911: 5905: 5899:, p. 54. 5898: 5893: 5886: 5878: 5871: 5865: 5858: 5853: 5844: 5838:, p. 32. 5837: 5832: 5826:, p. 25. 5825: 5820: 5813: 5804: 5802: 5800: 5798: 5796: 5789:, p. 22. 5788: 5783: 5781: 5774:, p. 21. 5773: 5768: 5761: 5755: 5748: 5743: 5737:, p. 18. 5736: 5731: 5724: 5720: 5715: 5708: 5704: 5699: 5692: 5686: 5678: 5674: 5668: 5660: 5656: 5650: 5646: 5642: 5641: 5633: 5616: 5615: 5610: 5604: 5588: 5581: 5573: 5561: 5560: 5555: 5548: 5532: 5526: 5519: 5518: 5513: 5507: 5498: 5491: 5490: 5483: 5474: 5473: 5468: 5464: 5457: 5448: 5441: 5434: 5428: 5419: 5412: 5395: 5391: 5384: 5377: 5371: 5369: 5352: 5351: 5346: 5342: 5336: 5327: 5320: 5315: 5307: 5301: 5297: 5296: 5290:reprinted in 5287: 5286: 5281: 5275: 5273: 5271: 5263: 5258: 5256: 5248: 5243: 5236: 5231: 5229: 5221: 5216: 5209: 5208:Roncigli 2009 5204: 5202: 5194: 5193:Prieberg 1991 5189: 5182: 5181:Roncigli 2009 5177: 5170: 5169:Roncigli 2009 5165: 5159:, p. 80. 5158: 5153: 5146: 5141: 5139: 5131: 5126: 5118: 5112: 5108: 5107: 5099: 5082: 5074: 5072: 5070: 5062: 5061:Prieberg 1991 5057: 5050: 5049:Smithson 1997 5045: 5043: 5035: 5034:Roncigli 2009 5030: 5024:, p. 78. 5023: 5022:Roncigli 2009 5018: 5012:, p. 79. 5011: 5010:Roncigli 2009 5006: 4999: 4998:Roncigli 2009 4994: 4992: 4985:, p. 17. 4984: 4979: 4973:, p. 16. 4972: 4967: 4960: 4959:Smithson 1997 4955: 4949:, p. 76. 4948: 4947:Roncigli 2009 4943: 4928: 4924: 4917: 4911:, p. 94. 4910: 4905: 4899:, p. 93. 4898: 4893: 4886: 4885:Roncigli 2009 4881: 4874: 4873:Roncigli 2009 4869: 4861: 4857: 4851: 4844: 4843:Prieberg 1991 4839: 4832: 4826: 4820:, p. 87. 4819: 4814: 4807: 4803: 4797: 4790: 4784: 4777: 4776:Prieberg 1991 4772: 4765: 4760: 4753: 4752:Prieberg 1991 4748: 4741: 4736: 4729: 4728:Geissmar 1944 4724: 4717: 4716:Roncigli 2009 4712: 4710: 4702: 4701:Roncigli 2009 4697: 4695: 4688:, p. 291 4687: 4686:Prieberg 1991 4682: 4680: 4673:, p. 115 4672: 4671:Roncigli 2009 4667: 4665: 4657: 4656:Prieberg 1991 4652: 4645: 4640: 4634:, p. 60. 4633: 4632:Roncigli 2009 4628: 4626: 4617: 4610: 4608: 4600: 4599:Prieberg 1991 4595: 4588: 4583: 4576: 4575:Roncigli 2009 4571: 4569: 4562:, p. 236 4561: 4560:Prieberg 1991 4556: 4554: 4552: 4550: 4542: 4541:Prieberg 1991 4537: 4531:, p. 175 4530: 4525: 4523: 4515: 4510: 4504:, p. 174 4503: 4498: 4496: 4488: 4487:Prieberg 1991 4483: 4476: 4475:Roncigli 2009 4471: 4469: 4462:, p. 89. 4461: 4456: 4449: 4448:Geissmar 1944 4444: 4437: 4436:Prieberg 1991 4432: 4426:, p. 242 4425: 4424:Prieberg 1991 4420: 4418: 4410: 4409:Prieberg 1991 4405: 4399:, p. 239 4398: 4397:Prieberg 1991 4393: 4391: 4383: 4382:Roncigli 2009 4378: 4376: 4369:, p. 221 4368: 4367:Prieberg 1991 4363: 4361: 4359: 4351: 4346: 4339: 4334: 4327: 4322: 4320: 4312: 4307: 4301:, p. 54. 4300: 4299:Roncigli 2009 4295: 4289:, p. 53. 4288: 4287:Roncigli 2009 4283: 4276: 4271: 4265:, p. 84. 4264: 4259: 4252: 4251:Roncigli 2009 4247: 4241:, p. 56. 4240: 4239:Roncigli 2009 4235: 4227: 4223: 4222: 4217: 4211: 4204: 4199: 4193: 4189: 4185: 4181: 4176: 4170:, p. 157 4169: 4164: 4162: 4154: 4149: 4142: 4137: 4130: 4129:Prieberg 1991 4125: 4118: 4117:Roncigli 2009 4113: 4106: 4105:Prieberg 1991 4101: 4095:, p. 11. 4094: 4089: 4083:, p. 39. 4082: 4077: 4071:, p. 75. 4070: 4065: 4058: 4053: 4047:, p. 74. 4046: 4041: 4039: 4031: 4026: 4020:, p. 177 4019: 4018:Prieberg 1991 4014: 4012: 4004: 4003:Roncigli 2009 3999: 3992: 3991:Prieberg 1991 3987: 3981:, p. 151 3980: 3975: 3973: 3965: 3960: 3953: 3952:Roncigli 2009 3948: 3946: 3939:, p. 173 3938: 3937:Prieberg 1991 3933: 3931: 3923: 3918: 3911: 3910:Prieberg 1991 3906: 3899: 3894: 3887: 3886:Prieberg 1991 3882: 3875: 3870: 3868: 3866: 3864: 3856: 3851: 3844: 3843:Roncigli 2009 3839: 3837: 3835: 3827: 3822: 3815: 3810: 3803: 3802:Geissmar 1944 3798: 3791: 3786: 3779: 3778:Geissmar 1944 3774: 3767: 3762: 3755: 3754:Geissmar 1944 3750: 3744:, p. 48. 3743: 3742:Roncigli 2009 3738: 3731: 3726: 3719: 3718:Prieberg 1991 3714: 3707: 3702: 3695: 3690: 3684:, p. 82. 3683: 3682:Geissmar 1944 3678: 3671: 3670:Geissmar 1944 3666: 3659: 3654: 3648:, p. 45. 3647: 3646:Roncigli 2009 3642: 3636:, p. 86. 3635: 3634:Geissmar 1944 3630: 3624:, p. 50. 3623: 3618: 3611: 3610:Prieberg 1991 3606: 3599: 3598:Prieberg 1991 3594: 3587: 3582: 3575: 3574:Prieberg 1991 3570: 3564:, p. 220 3563: 3562:Prieberg 1991 3558: 3556: 3554: 3552: 3550: 3542: 3541:Prieberg 1991 3537: 3535: 3528:, p. 47. 3527: 3522: 3515: 3511: 3510: 3505: 3501: 3495: 3489:, p. 94. 3488: 3487:Prieberg 1991 3483: 3477:, p. 109 3476: 3475:Roncigli 2009 3471: 3469: 3461: 3460:Prieberg 1991 3456: 3450:, p. 46. 3449: 3448:Roncigli 2009 3444: 3438:, p. 53. 3437: 3432: 3425: 3420: 3418: 3416: 3409:, p. 74. 3408: 3407:Prieberg 1991 3403: 3397:, p. 55. 3396: 3395:Prieberg 1991 3391: 3384: 3383:Prieberg 1991 3379: 3373:, p. 44. 3372: 3371:Prieberg 1991 3367: 3360: 3359:Prieberg 1991 3355: 3349:, p. 37. 3348: 3347:Roncigli 2009 3343: 3336: 3335:Geissmar 1944 3331: 3325:, p. 89. 3324: 3319: 3312: 3311:Geissmar 1944 3307: 3301:, p. 23. 3300: 3299:Geissmar 1944 3295: 3288: 3287:Geissmar 1944 3283: 3277:, p. 15. 3276: 3275:Geissmar 1944 3271: 3265:, p. 12. 3264: 3263:Geissmar 1944 3259: 3251: 3245: 3241: 3237: 3233: 3229: 3228: 3223: 3222:Cairns, David 3216: 3214: 3212: 3210: 3194: 3193: 3188: 3181: 3177: 3164: 3158: 3151: 3147: 3143: 3139: 3133: 3127: 3122: 3118: 3114: 3108: 3101: 3095: 3080: 3076: 3069: 3060: 3053: 3049: 3048:Diapason d'Or 3043: 3036: 3029: 3022: 3015: 3008: 3004: 3003: 2997: 2993: 2989: 2985: 2981: 2977: 2972: 2968: 2964: 2959: 2952: 2948: 2944: 2939: 2934: 2930: 2925: 2918: 2916: 2903: 2902: 2897: 2895: 2888: 2882: 2880: 2876: 2870: 2863: 2857: 2853: 2838: 2834: 2833:Harvey Keitel 2831:and starring 2830: 2826: 2822: 2818: 2817: 2812: 2808: 2807: 2798: 2797: 2793: 2790: 2787: 2785:) (1901–1902) 2784: 2780: 2777: 2776: 2775: 2764: 2761: 2758: 2757: 2754:Chamber music 2748: 2739: 2736: 2733: 2730: 2727: 2724: 2721: 2720: 2719: 2718: 2711: 2708: 2700:Overture in E 2699: 2698: 2697: 2696: 2679: 2675: 2671: 2670: 2665: 2662: 2659: 2658: 2652: 2649: 2646: 2642: 2639: 2636: 2632: 2631: 2626: 2623: 2620: 2616: 2613: 2612: 2603: 2599: 2598:Gottlob Frick 2595: 2592:(Sieglinde), 2591: 2587: 2583: 2582: 2577: 2574: 2570: 2566: 2562: 2561: 2556: 2553: 2549: 2545: 2544: 2539: 2536: 2532: 2528: 2527: 2522: 2519: 2516: 2512: 2511: 2506:Tchaikovsky, 2505: 2502: 2498: 2495: 2494: 2488: 2484: 2475: 2470: 2464: 2463: 2458: 2455: 2452: 2448: 2444: 2441: 2438: 2437: 2432: 2429: 2425: 2422: 2418: 2415: 2412: 2408: 2405: 2402: 2401:Josef Greindl 2398: 2394: 2390: 2386: 2382: 2378: 2374: 2373: 2368: 2365: 2364:Anton Dermota 2361: 2357: 2353: 2352:Otto Edelmann 2349: 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7134:Thomas Allen 7116:Bruno Walter 7090:George Szell 7064:Fritz Reiner 7052:Simon Rattle 6989:James Levine 6901: 6855:Adrian Boult 6711:Taking Sides 6710: 6703:Taking Sides 6702: 6659: 6650: 6581: 6504: 6485: 6469: 6447: 6428: 6406: 6394: 6385: 6373: 6361: 6349: 6337: 6315: 6299:Pour Wilhelm 6298: 6279: 6276:Ardoin, John 6268: 6267: 6254: 6249: 6237:. 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Retrieved 4926: 4916: 4904: 4892: 4880: 4868: 4859: 4850: 4838: 4830: 4825: 4813: 4804:. Tübingen, 4801: 4796: 4788: 4783: 4771: 4759: 4747: 4735: 4723: 4718:, p. 64 4703:, p. 75 4651: 4639: 4615: 4594: 4582: 4577:, p. 57 4536: 4509: 4482: 4477:, p. 59 4455: 4443: 4431: 4404: 4345: 4333: 4328:, p. 81 4306: 4294: 4282: 4270: 4258: 4246: 4234: 4226:the original 4219: 4210: 4198: 4183: 4180:Harvey Sachs 4175: 4148: 4136: 4124: 4112: 4100: 4088: 4076: 4064: 4052: 4025: 3998: 3986: 3959: 3954:, p. 51 3917: 3905: 3893: 3881: 3876:, p. 55 3850: 3845:, p. 52 3821: 3809: 3797: 3785: 3773: 3761: 3749: 3737: 3725: 3713: 3701: 3689: 3677: 3665: 3653: 3641: 3629: 3617: 3605: 3593: 3581: 3569: 3521: 3513: 3512:(2nd ser.), 3507: 3499: 3494: 3482: 3455: 3443: 3431: 3426:, p. 56 3402: 3390: 3378: 3366: 3354: 3342: 3330: 3318: 3306: 3294: 3282: 3270: 3258: 3225: 3196:. Retrieved 3190: 3180: 3162: 3157: 3149: 3145: 3137: 3132: 3125: 3112: 3107: 3099: 3094: 3082:. Retrieved 3078: 3068: 3059: 3051: 3042: 3034: 3028: 3020: 3014: 3006: 2999: 2988:Michelangelo 2983: 2979: 2975: 2970: 2966: 2958: 2950: 2937: 2932: 2924: 2914: 2912: 2905:. Retrieved 2899: 2893: 2887:André Tubeuf 2878: 2869: 2861: 2856: 2829:István Szabó 2827:directed by 2816:Taking Sides 2814: 2794: 2788: 2778: 2773: 2716: 2715: 2694: 2693: 2676:as soloist, 2667: 2656: 2628: 2596:(Siegmund), 2579: 2558: 2541: 2524: 2509: 2486: 2460: 2434: 2397:Hermann Uhde 2370: 2348:Cesare Siepi 2343:Don Giovanni 2341: 2329:Don Giovanni 2327: 2255:Teatro Colón 2197: 2019:Elsa Cavelti 1953:Peter Anders 1880:, 1953 (EMI) 1849: 1834: 1791: 1787:Soviet Union 1783:World War II 1780: 1767: 1762:George Szell 1754:Maria Callas 1734:Pablo Casals 1716: 1681: 1676: 1668: 1656: 1643:George Szell 1599:Eugen Jochum 1579:Bruno Walter 1563:Simon Rattle 1532: 1522: 1497: 1472: 1456: 1451: 1447: 1433: 1406: 1386: 1374: 1369:Michelangelo 1361: 1344: 1328: 1316: 1310: 1302: 1297: 1292:Ernst Lothar 1289: 1281: 1271: 1269: 1249:George Szell 1238: 1233: 1209: 1193: 1186: 1157: 1153: 1148: 1143: 1139: 1134: 1116: 1108: 1106: 1099: 1087: 1078: 1070: 1046: 1041:20 July plot 1025:20 July plot 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6705:(1995 play) 6653:(Hindemith) 6407:Furtwängler 6382:Riess, Curt 6358:Lang, Klaus 6239:12 December 6212:Ardoin 1994 6169:15 February 6031:15 February 5937:Ardoin 1994 5882:(in French) 5824:Ardoin 1994 5808:(in French) 5787:Ardoin 1994 5772:Ardoin 1994 5758:Beethoven, 5747:Ardoin 1994 5735:Ardoin 1994 5562:(in German) 5463:David Denby 5433:Kettle 2004 5262:Ardoin 1994 5237:, p. . 5235:Ardoin 1994 5051:, p. 7 4932:5 September 4818:Spotts 2002 4730:, p. . 4587:Spotts 2002 3964:Spotts 2002 3730:Spotts 2002 3622:Ardoin 1994 3526:Ardoin 1994 3504:John Ardoin 3424:Ardoin 1994 3117:Celibidache 3084:10 November 2875:John Ardoin 2717:Later works 2695:Early works 2586:Martha Mödl 2581:Die Walküre 2573:Martha Mödl 2497:Tchaikovsky 2310:Mendelssohn 2095:Martha Mödl 2089:Beethoven, 2058:Beethoven, 2043:Beethoven, 2032:Beethoven, 2001:Beethoven, 1989:Beethoven, 1962:Beethoven, 1941: [ 1938:Tilla Briem 1932:Beethoven, 1925:Beethoven, 1918:Beethoven, 1911:Beethoven, 1904:Beethoven, 1893:Beethoven, 1860:Südwestfunk 1772:Beethoven." 1750:John Ardoin 1708:Béla Bartók 1603:Zubin Mehta 1507: [ 1467:resolutions 1446:, Wagner's 1444:John Ardoin 1436:Felix Mottl 1413:Mendelssohn 1401:West Berlin 1383:explained, 1324:Henry Lewis 1261:Isaac Stern 1177:Thomas Mann 951:Josef Krips 947:Fritz Zweig 821:Musikverein 510:Schweinerei 480:Carl Flesch 462:Nazi salute 436:Nazi salute 321:Baden-Baden 319:, close to 271:succeeding 161:Nazi regime 121:-⁠lər 8670:Categories 8331:Kurt Masur 8271:Niels Gade 8017:Conductors 7260:Tito Gobbi 6793:Conductors 6649:Symphony: 6074:Kater 1997 5520:newspaper. 5247:Vaget 2006 5130:Riess 1953 4983:Riess 1953 4971:Riess 1953 4764:Riess 1953 4644:Riess 1953 4529:Riess 1953 4514:Riess 1953 4502:Riess 1953 4350:Riess 1953 4338:Riess 1953 4311:Riess 1953 4275:Vaget 2006 4203:Riess 1953 4168:Riess 1953 4153:Riess 1953 4141:Riess 1953 4057:Riess 1953 4030:Riess 1953 3979:Riess 1953 3922:Riess 1953 3898:Riess 1953 3826:Riess 1953 3814:Riess 1953 3790:Riess 1953 3766:Riess 1953 3694:Riess 1953 3658:Riess 1953 3586:Riess 1953 3543:, p. 3323:Riess 1953 3192:Gramophone 3172:References 3146:Pathetique 3138:Pathetique 2984:fortissimo 2980:allargando 2933:Allegretto 2901:Gramophone 2690:Orchestral 2655:Symphony: 2633:, Op. 31, 2625:Schoenberg 2510:Pathétique 2487:Pathétique 2433:Schubert, 2426:Schubert, 2385:Wilma Lipp 2210:Bruckner, 2203:Bruckner, 2192:Bruckner, 2185:Bruckner, 2178:Bruckner, 1837:media help 1678:education. 1631:Kurt Masur 1515:German BBC 1478:sections. 1214:was, with 1190:propaganda 1073:Curt Riess 671:Hans Mayer 476:Curt Sachs 428:Hans Mayer 325:Heidelberg 229:Strasbourg 185:Schöneberg 84:-veng-glər 8660:Biography 7961:Ted Perry 7824:Ensembles 7542:Radu Lupu 7528:Lang Lang 6841:Karl Böhm 6662:(Strauss) 6624:Premieres 5319:Lang 2012 5157:Lang 2012 5145:Lang 2012 4742:, ch. 15. 4184:Toscanini 3874:Lang 2012 3142:Toscanini 2651:Hindemith 2641:Prokofiev 2271:Hindemith 2009:with the 1980:Hans Hopf 1884:Beethoven 1575:Karl Böhm 1529:Influence 1523:On Music, 1519:Stockholm 1513:from the 1411:. Unlike 1165:Beethoven 1120:‹See Tfd› 1055:with the 970:Karl Böhm 856:Karl Böhm 815:Anschluss 794:Anschluss 710:George VI 687:Lohengrin 628:Beethoven 135:symphonic 8177:Category 7723:Yo-Yo Ma 6731:Category 6681:(father) 6533:AllMusic 6468:(2006). 6427:(2002). 6405:(1990). 6384:(1953). 6372:(1991). 6360:(2012). 6348:(1997). 6336:(1944). 6314:(eds.). 6278:(1994). 6227:(2007). 5621:12 April 5614:HuffPost 5353:. London 5295:The Arts 4858:(1991). 4182:(1995), 3888:, ch. 5. 3576:, ch. 2. 3198:10 April 2943:demiurge 2813:'s play 2744:♯ 2703:♭ 2604:(Wotan). 2578:Wagner, 2557:Wagner, 2548:La Scala 2540:Wagner, 2531:Flagstad 2457:Sibelius 2443:Schumann 2417:Schubert 2407:Schubert 2369:Mozart, 2302:and the 2294:Mahler, 2222:Symphony 2169:Bruckner 2157:Brahms, 2146:Brahms, 2139:Brahms, 2132:Brahms, 2125:Brahms, 2118:Brahms, 1858:, 1952 ( 1173:Schubert 1123:German: 1095:Cold War 920:Má vlast 792:and the 620:Schiller 368:Goebbels 237:Mannheim 8634:Portals 8135:Related 7126:Singers 6695:Related 6544:of the 6540:in the 6269:Sources 6235:: 42–46 5645:183–185 5566:24 July 5537:21 July 5533:. 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Wilhelm Furtwängler

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