I need to say that I particularly share his non-acceptance about the end of tonality. Ok, it may not be something to be proud of - and believe me, I am not - but I would not be 100% honest if I stated otherwise. I really appreciate the repertoire he developed.
If you want to know a bit more about his impact as a conductor, I encourage you to read Daniel Barenboim's post Why Furtwängler still moves us today, originally published at the German's newspaper Der Tagesspiegel.
And before closing, I give you 3 petit-cadeaus:
- A special free track of Furtwängler's 1951 Haydn recording with the Berliner Philharmoniker (you need to register at Deutsche Grammophon in order to get access to free tracks);
- The 2014 documentary Furtwängler's Love (free trailer and film available online at the Digital Concert Hall of the Beliner Philharmoniker);
- Schumman's 4th Symphony in D minor, Op. 120, in a studio recording made in Berlin 1953 conducted by Furtwängler (watch the video in youtube).
Elisabeth Furtwängler, wife of the former Conductor, and central source in the Documentary "Furtwängler's Love" |
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