How about this for a eulogy:
Wilhelm Furtwängler's conducting recalled that of an earlier era, but his compositions are even more redolent of the 19th century. He began his Second Symphony in the waning days of World War II but it's as if Schoenberg and Stravinsky never existed. This sprawling, lengthy, 80-plus-minute work is firmly in the Bruckner mold, recalling the Austrian master in its rhythmic profile and in its alternations between relaxed song and screwed-to-the-max tension. But there's no mistaking it for a lost work by Bruckner or anyone else, for within the broad Brucknerian model Furtwängler works his own brand of magic. And magic it is, not just in the long-limbed melodies and sustained argument, but also in masterfully original orchestration and wind writing that truly merits the "magical" label.
The crown jewel among Furtwängler's works, it's hard to account for this symphony's neglect over the years, especially with the current interest in Bruckner, Mahler, and the post-Romantics. As Barenboim's superb performance demonstrates, Furtwängler's Second may not be a masterpiece (and could you prove it one way or the other--and should we even care?), but it certainly deserves to be heard more frequently in concert and on disc, and this smashing release could be the catalyst that makes it happen.
For this is one of those rare recordings pervaded by the conductor's love of the music and the orchestra's flawless rendition of it. Barenboim's always identified with Furtwängler the conductor, but he's never been just a clone. He has his own way of conducting this work, and while it's similar to Furtwängler's, there are numerous differences between them. Here, Barenboim captures the Furtwänglerian long line and arch of the Symphony, fully conveying the mood of nostalgia and sadness that permeates each of its movements. Dynamics are carefully graded and climaxes are placed in their context--the mezzoforte orchestral climax at the center of the second movement isn't overblown, and the megawatt power of this great orchestra isn't unleashed until the last movement, where it belongs. Barenboim elicits playing that's committed and extraordinarily skillful--the critical wind solos are impeccable, the strings lush, the brass forceful without being overly dominant.
The Symphony may have longueurs but it also sustains interest and it's full of highlight passages that linger in the memory. The work's hushed opening in the lower woodwinds is pregnant with a promise fulfilled by the expansive opening theme, the strings weighted with nostalgia and sadness, haloed by lovely wind figures. The second movement Andante has a sighing string theme that passes to brief wind solos, and shortly thereafter Furtwängler screws up the tension with a rising string figure. This movement has an indeterminate quality; the brooding feeds on itself, the regretful mood a flip side to the first movement's more overt dramatics. The third movement is best of all, featuring compelling wind writing that brings out some of the Chicagoans' finest playing. It also illustrates Furtwängler's knack for borrowing elements from other composers and turning them into sounds uniquely his own. So the opening wind solos have a Russian cast to them that recalls the wide steppes; the music modulates into a galloping string figure reminiscent of Sibelius; and there's a Rimsky-like brass interjection. But in the end, it's all Furtwängler. The last movement too, has such unforgettable passages as the mystery-laden opening and, among others, the stirring brass chorales that simultaneously surprise and enchant.
Barenboim's is the clear choice among stereo recordings of this work. Indeed, its only rival is Furtwängler's own live 1953 performance with the Vienna Philharmonic. In terms of orchestral execution, the Chicagoans are hands-down winners; the sour Vienna winds and trumpet bloopers are from a different, lesser universe of orchestral execution. But if you love this symphony, you should hear the composer's interpretation as well as Barenboim's. Overall they share a similar conception and only two minutes separate their timings. But Furtwängler's more clearly etched rhythms consistently prove more telling. Thus, Furtwängler's sharply accented lurching wind figures in the first movement (Barenboim 4:25, Furtwängler 4:35) are more striking, and throughout the work his rhythmic command makes him sound faster (even when he isn't) and lends a stronger contour to the melodic lines. Barenboim's grand climax in the finale is more measured and thus more powerful, but there's no denying the excitement of Furtwängler's headlong rush to the finish line. On the other hand, who would guess until now that the work actually has some extra percussion writing in its finale for bass drum and tam-tam?
Which to get? Barenboim will be the clear first choice for most people. It is a splendid interpretation that fully captures the score and enjoys superlative orchestral playing in modern sonics. But I'd hate to be without Furtwängler's own recording. After all, he was a great conductor, and perhaps (at least for 80 minutes or so) a great composer too. Get them both.
Dan Davis, ClassicsToday.com
Is Mr. Davis related to him? Has anyone heard the work?
Tom
I've heard this recording quite a few times. I incline to agree with this review mostly, on the whole, etc. It's not especially or solely Brucknerian, the range of reference is considerably wider for one thing (here I and - Walter Simmons, I think, in a Fanfare review- are in agreement) (and there -are- near-quotes from several works one knows Furtwängler was well-known for conducting, like the pizzicato-passage from the introduction to the finale of Brahms sym.1).
Does anyone know, btw, how the two published editions of the work- Brucknerverlag 1950s, and a more recent Ries & Erler Furtwängler complete edition publication - differ in detail ? I am guessing that the earlier recordings were either from manuscript or in some cases (Asahina maybe?) used the Brucknerverlag score, while Barenboim, Walter, and Albrecht -maybe- have used the new edition, but I can't be positive.
The brief notes to the Barenboim recording aren't helpful at all in this or in much else (for shame); the tempo labels to the movements do differ from the movement headers in the 1950s edition (which I interloaned/borrowed for a bit), though, suggesting that the later edition or the manuscript were used...
That said, I have listened and relistened to the work- it does tend to carry me along in its flow. To the passages mentioned by the reviewer I'd add some especially inspired music in the other three movements- particularly some rhythmic material in the 2nd theme-group in the finale (starting in the basses, I think?) that keeps overlapping stretto-style- fortunately for the listener, Furtwängler does know what to do with such things and doesn't leave one hanging emotionally in mid-air :)
It's a recording in a million - of a fascinating work. Not a great one, but certainly a mightily involving one.
You are perfectly right, eschiss1 and Alan!
After a Barenboim listening I urgently needed to go back to (no matter which) Furtwängler's own interpretation: he is the genius. He was no perfectionist, but simply an incredibly involving artist, making of each performance a new experience! What a pity I could never attend one of his concerts!
HIS available versions:
Berliner Philahrmoniker (1952 DGG)
Radio-Sinfonieorchester Stuttgart (1954 Archipel)
Wiener Philharmoniker (1953 Orfeo)
Hamburger Philharmonie (1948 WF Society)
Hessischer Rundfunk (1952 Once an LP, still not available on CD) - my own private transfer
and the later recordings by other conductors:
Eugen Jochum (1954 BR Klassik)
Takashi Asahina (1984, JVC)
Alfred Walter (1993, Marco Polo)
G.A. Albrecht (2004, Arte Nova)
Baremboim (2001, Telarc)
I have them all in my collection, except the Marco Polo one
(This is, actually, my favorite Symphonies of the 20th century; I could not imagine myself anymore without it. It's an experience like Tchaikovsky's "Pathétique")
Fascinating. Which of the Furtwängler recordings is the best, do you think - in particular, which has the best sound?
There is also another modern recording on Marco Polo: Alfred Walter with the BBC Symphony Orchestra.
(I have it alongside the Furtwaengler DG and Orfeo, and the E.Jochum).
The Marco Polo recording was never highly thought of, though. So which is the best performance conducted by the composer himself?
For me, it's this:
Wiener Philharmoniker (1953 Orfeo)
How good is the sound for 1953?
Both the DG and Orfeo are mono and in no way can completely capture the complex, dense orchestration. The DG had more presence than the Orfeo, which is an off-air live recording. Nonetheless, if you turn the volume up the Orfeo is completely listenable - and the performance is better - but then any live Furtwangler performance is better than a studio version. But don't expect great sound in either version. Any of the modern stereo versions has vastly superior sound. In the loudest passages the details are completely swallowed by a mass of sound in the Orfeo. This score screams for the sound and performance that Barenboim got. Still, to those people interested in the art of Furtwangler, the Orfeo is essential.
Sorry I forgot to mention the (unsatisfactory) Marco Polo version. The Orfeo version is, indeed, a very exciting one, but I am also very fond of the Hessische Rundfunk version, and I wonder why this has not been reissued on CD yet...
Just found this link:
http://classical-music-online.net/en/production/11854
(http://classical-music-online.net/en/production/11854)
Thanks to both of you for your expertise and insights.
I know of two other modern options- Albrecht (I think?) on Arte Nova and Asahina (on Camerata, I think) - besides Walter, Barenboim and Furtwängler. Haven't heard the first two, though. The Arte Nova received two (at least) fair reviews in Fanfare when it was released, I think (though I gather its documentation is no better than that for the Barenboim recording for Teldec- well, maybe it at least mentions the keys of the inner movements, for example..., its price is less, anyway).
(Have heard Asahina in at least one other recording but of a better-known work...)
The Albrecht also satisfy that peculiar itch the rabid collectors have: since he recorded all three symphonies the set is complete. And given the low price and respectable performances and sound, it's well worth seeking them out.
Has anyone heard the Asahina?
Yes I have, but years ago... Must just find the time these days to revisit it 8) I remember having been rather satisfied...
Asahina has an exalted reputation in some circles, Adriano. What is your professional opinion of him?
I am rather partial to Furtwangler's music, and it was a great thing to be able to get a recording by such capable performers as the Barenboim CD. The 1st symphony I have only ever heard in the Walter performance on Marco Polo, and really, Walter is not up to the demands of the work - no grasp of the structure. Would be nice if Barenboim took up some more neglected pieces.
I don't know of much neglected _Romantic_ repertoire aside from that that he's performed and recorded, but he's recorded a fair amount of neglected repertoire from other eras. (He conducted the premiere of Josef Tal's 5th symphony, for example (1993-02-23) (no commercial recording, I think, but BBC has a tape of it).)
In operaville, so to speak, he's recorded Busoni (Die Brautwahl, for example)- borderline Romantic?, definitely unsung still... (it may still be possible to hear a performance of Busoni's violin concerto he conducted here (http://symphonycast.publicradio.org/display/programs/2014/07/21/).)
@Alan. No idea - Have only this item and don't know anybody who knew Asahina. He died in 2001. Apparently he knew Furtwängler and he was a Bruckner expert.
Yes, I had read this. Thanks anyway.
I have the symphonies on CD, having long ago discarded the LPs (on EMI or HMV, which I can't see in the discographies at http://www.furtwangler.net/doc/Discography%20of%20Furtwanglers%20works.pdf (http://www.furtwangler.net/doc/Discography%20of%20Furtwanglers%20works.pdf) and http://www.furtwangler.net/doc/jacquardcompo.pdf (http://www.furtwangler.net/doc/jacquardcompo.pdf) but I seem to recall they were conducted by the composer and were recorded at a very low level).
In any case, I find them all rather dull, despite the big crescendos, which is consistent with my general reaction to Bruckner!
It might be worth seeking out Barenboim's recording of No.2 - the magnificence of the playing and recording make a big difference in this sort of music.
Perhaps this is why I've gotten little out of him. My recording of the D symphony is Walter and the Slovak state.
Tom :)
Quote from: sdtom on Monday 02 March 2015, 15:48
Perhaps this is why I've gotten little out of him. My recording of the D symphony is Walter and the Slovak state
It's not just the playing and the recording; Barenboim knows how to interpret this sort of music and Walter doesn't.
Absolutely right.
@sdtom. The Slovak State CD was so horrible that they invested into a new one with the BBC Symphony Orchestra. Better orchestra and a bit better conducting :-)
I wish Marco Polo would have let me redo my CD with 3 Respighi ballets. Instead of the usual Slovak Radio SO (which was on a Japan tour), they gave me a substitute ad hoc ensemble with another concertmaster who was not motivated at all and did not like the music. Of course I was not told this before I went down, otherwise I would have refused. These session were nightmarish; I can say that only "La Pentola Magica" came out quite satisfactory...
Listening to the Walter discs, I always feel the music is about to burst into a field of bright light and soaring inspiration, but it never quite makes it. Maybe it does under Barenboim! ;)