Added: 5 years ago
From: kelvinmusic
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  • the problem with classic music is that they always film the ugly elderly fookerz. i mean seriously film some topless chicks and the audience will be multiplied by one hundred million!

  • The drama, intensity and atmosphere he creates at the beginning is extraordinary and cannot but take you directly into the world of the opera.

  • It is also pity that Furtwangler performed symphony # 9 to Nazis for Hitler's birthday...

  • @zdenko1945 : well there were only a few things one could do to stay alive in those times! his refusal would have probably cost him his life.

  • What no flailing hair? No little wunderkinds jumping around? Just the music? Just Mozart? Aw, c'mon...

  • As usual, Furtwaengler gives us a very personal interpretation of the Music but, alas, he is not respecting the written indications of the Composer. The difference between Andante and Molto Allegro MUST be a great difference. Furthermore 10 bars before the end, there is a subito piano (not a diminuendo of any sort) and there is no rallentando at all.

    I do not frankly understand why these corrections and changes were largely tolerated while other conductors were condemned for similar choices.

  • I still contend that Furtwaengler takes the introduction just a bit too schnell. It does not sound as sombre as it should. But also that is only a matter of opinion - no kidding. I also think taht Arturo Toscanini, and George Szell interpreted the Beethoven Symphonies too fast as well, conpared to Furtwaengler, and yes even Otto Klemperer. Only my humble opinion...

  • Is this from early Television? If so tht would explain the less than rich Audio.

    Aber der Maestro Furtwaengler ist Maestro Furtwaengler. I was acquainted with his Granddaughter Kathy when I was in High School. I remember that she had the most beautiul and florid handwriting.

  • @78timothy This film was taken by filming a television! The "real" footage - from a 1954 film - is very good and the sound is excellent. Search YouTube for a better version - you'll find one!

  • too serious

  • The music is brilliant. It's a pity the sound quality is as abysmal as it is.

  • @WilliamSGilbert

    I concur! It's a 'pity.'

    HA!

  • @WilliamSGilbert - There's a much, much better posting of this performance, both in terms of sound and image. Simply type in 'Don Giovanni Overture' above, go to the third item down on the search page, then sit back and enjoy a one for the ages!

  • lol you said sackbut

  • Furtwängler and my favorite oper.

    5*****

  • Furtwangler takes the opening a bit too fast. When you consider that this is the melody for the aria of the Roman Commandatore at the finale of the opera. It has lost it's sound of ominousness, and reflectiveness.Other than that, the tempi are spot on. This is the first piece of music written where a Trombone (Sackbut) was used in secular music.

  • completely agree! excellent point.

  • Three trombones are called for in the last act.

    However, Sackbuts were long in use for secular music by Mozart's day! Although not specified, it is known and approved practice to double male voices by sackbuts in, for example, Ockegham Chansons. Locke's 1661 Music for His Majesty's Cornetts and Sackbuts is somewhat ceremonial, but not sacred.

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  • is it hitler playing the double bass on the right??

  • No he is your close friend Stalin!!!!!!!!!

  • my god ..you could almost be right !!

  • hamjii's upload has better video and much better sound

  • Sorry but the sound quality is horrible

    Did you film a TV set?

    Thanks for uploading anyway

  • Magnificent!!! Wish the whole opera could be posted. The tempo is perfect.

  • I completly agree with lolmanerik !

  • Der Fuehrer is in percussion playing the bongos, and doing a mighty fine job at that!

  • Amazing how so many people noticed that

  • you must go to the psiquiatric, because you have many bigs problems...

  • No, no you are silly. We play them on the beach along the Volga while we have picnic. It has nothing to do with negroes. Shostakovich used bongos regularly in his music, especially in his film scores. There is a stirring section in the film "Fall of Berlin" you might like. General Paulus of the Wehrmacht was also a fan of bongos much like the Fuhrer. In fact, I believe they were part of the supplies airdropped on 6th Army at Stalingrad.

  • cont. (from immediately below)

    While Beethoven attempted to uplift it.

  • I do not understand why Furtwangler is so popular even today. I find his tempi very often too slow and compared with contemporary recordings they have too much legato. nowadays conductors play faster with more staccato which I prefer.

  • Furtwangler is still popular because he is unique among all the boring conductors playing in the most conventional typical way.

  • Why is it so powerful? Even the first two chords seem full of passion.

  • Duh, nobody who ties a white tie like that does anything unintentionally. He means what he plays and plays what he means. The Vienna would not tolerate anyone who didn't.

    It's magnificent.End of discussion.

  • I can't get past the sound quality, but thanks for posting. I wanted to buy the DVD of this Don Giovanni, but is it going to sound boxy and have a ton of pops?

  • VPO always plays behind the beat....its their trademark. European orchestras have always tended to play behind the beat,unlike american counterparts who are encouraged to play precisely on the beat.

    VPO takes to the extreme.

  • do you think the Berlin Philharmonic also plays behind the beat? I'm curious what you think, cause I heard both them and the VPO play live and I thought there was a dramatic difference between the two, and I'm not sure what to attribute it to

  • It's not just one particular like playing behind the beat, it is, also, what's expressed in the slight speeding up of the 1st violin voice in the opening 0:47 to 1:03! The focus, once again, is not on the tools. The focus is primarily on what can be done to bring out the idea here, to where, whatever is done, is still in harmony with what came before, and what will come. So the focus on particulars is akin to treating a disease, via it's effects.

  • Furtwangler did a number of unconventional things where conventional precision in rhythm is concerned!

    All that at this point can be noted is Furtwangler was not conducting on beat.

    Now comes the fun.

    Why?

  • Have you heard his version of Beethovens 9th?

    it made me cry and that was before I knew he was conducting it. hes got emotional resonance.

  • absolutely!!! the first movement is awesome and I was brought up on Toscanini who sounds too Germanic.

  • I think it's another way to convey the idea of the piece. There's a pianist named Andras Schiff who played "behind" the beat. Why wouldn't it be a valid tool in the artists arsennal?

  • DerekPaz it's not so much about another "tool in the arsenal", as you seem to hint at, but more the overall meaning, the direction of the piece steers toward. The direction is the focus, how one arrives at the destination is primary. So a discussion on valid tools in an arsenal, is secondary; what is primary is how certain actions "beyond the music", so to say, accomplish the valid communication of the composer's original intention.

  • I agree most assuredly. I think the reason Furtwangler plays 'behind the notes' is to communicate his understanding of Mozart's Don Giovanni; and he uses this tool (albeit, a secondary consideration when it comes to composition), to get "beyond the music."

    But,

    How do we know whether Furtwangler's interpretation is right? Is it like Andy Warhol says? (i.e. it's all in your subjective interpretation). Or, is there a knowable idea that can be discovered?

  • Mr. PAZ, do you think the individual that was responsible for the combustion engine is less right, than the gentleman responsible for the commercial hydrogen Fuel cell vehicle?

  • Ah! I understand.

  • Furtwangler is actually off a beat or two. You can see it in his movements on the 32nd notes in the first few bars...

  • Someone has not watched enough Furtwangler to observe his technique!!

  • yes, dear, you're right, who the hell cares for his carisma, his presence and his incomparable musical sensitiveness when he's "off a beat or two on the 32nd notes in the first few bars..."? you don't, it seems.

  • Part of the mystique of early 20th century conductors lies in their power to destroy careers on a whim. I've always considered Furtwangler's recordings to be uneven. This one seems a bit unremarkable.

  • Historique, au dela des querelles politiques

    et des commentaires parfois haineux de personnes visiblement mal informées ou allors

    de mauvaise foi il est indispensable de connaitre le leg de Furtwaengler particulièrement ses enregistrement de guerre

    surtout sa neuvième de Beethoven. On croirait

    entendre Beethoven parler à hittler, sidérent et terrifiant. pour moi Furtwaengler n'était pas un chef d'orchestre mais un médium.

  • Et Celibidache ne l'a pas rate, du tres grand

  • This is ridiculous. The "finest you've ever heard"? The sound is so tinny, you can barely hear the music at all.

    The whole bit about Furtwangler being a great conductor is a myth -- owing larely to the fact that his recordings are so garbled (thanks to the pitiful technology of the day) that you can hardly hear the music.

  • Though I agree that the sound quality is bad there is something to be said that Arturo Toscanini considered him the best conductor in the world other than himself.

  • Perhaps--and it is true that such an opinion is worth considering. However, it doesn't change the fact that any attempt to claim that a barely-audible recording is the finest redition of a work ever recorded is pure fantasy. It's like claiming that the Colossus of Rhodes was the greatest-ever sculpture. Maybe it was and maybe it wasn't, but the surviving evidence is too minimal to many any conclusions.

  • I do agree that you can't make that determination from that recording it is just sad that no high quality recordings of these pieces exist conducted by this man.

  • Nazi conductors were the greatest, you Shylocks!

  • U SISSIES WOULD HAVE TOED THELINE LIKE EVERYBODY ELSE.TERRIBLE THINGS  N AFRICA BUT U BUY DIAMONDS WITHOUT SETTING UP DECENT INFRASTRUCTURE50 YEARS AGO AND MAKE MID EAST RICHER EVERDYA EVEN AFTER BEST ATTEPTS OF kISSINGER nIXON.

  • Furtwangler hated the nazis. There is even evidence of him shaking Goebbels' hand, then turning away and wiping his hand with a handkerchief. I am not sure the same could be said about Karajan.

  • It's ironic, that Furtwangler, who despised the Nazis, had so many problems with denazification process. And von Karajan, who was eager to join the Nazi party for his career, got away with it only because he forgot the lines of Wagner's piece (while conducting) and Hitler said he never wants to see his face again..

  • The greatest conductor ever!

  • best ever. european tradition forever.

  • This is awesome! The mysterious and terrible evoked in this performance. Moving expressive and so powerful! Wow! OMG!

  • I love his directing, but I find the overture just a tad too slow. Well, I'm just used to a quicker tempo in Mozart.

  • I agree

  • 音悪過ぎ

  • absolutely marvelous

  • The master at the command of the most profound of mozart overture. Wagner Style here.

  • Uh... my good friend 1st,Mozart came before Wagner, 2nd please abstain from the comparisons of the genius and revolutionizer Mozart, from the, "how fast can you cum" antics of Wagner. Thank you.

  • what's your justification in calling Wagner a wanker? You didnt happen to catch him in the action, did you?

  • It's a question of Classical composition vs.romanticism. Romanticism is the childish obsession of 'tittle my senses' profane love, opposed to what the human classical conception of what Mozart, in the lineage of Johann Sebastian Bach, represents; the idea of sacred love, his Ave Verum Corpus aptly demonstrates.

    Mozart's use of dissonance, there, is the heart of the argument I make here.

    Wagner's Tristan Und Isolde, for instance, employs dissonance to unnerve the mind, and excite the senses.

  • I agree with what you're saying regarding classicism, but I think you're being biased towards romanticism. It has a bit to do with sensual love, but higher ideals such as freedom of expression has alot to do with it. I see how you can reject wanger, (i'm not even gonna bother argue) but could you say the same towards beethoven, who basically forced romanticism to the musical scene?

  • For instance, Johann Sebastian Bach is the father of Classical Composition. There was an explicit method enumerated in the Well Tempered Clavier, that was the foundation, scientifically, and artistically, for what is the mode of expression of a classical nature. This consists of allowing the human singing voice to be primarily the metric, for which the 'musical idea' of the piece is founded upon.

  • Development of any piece, consists of valid communication of a singular concept to the mind of the listener.

    The Well Tempered Clavier, unshackled communication by representing Bach's scientific breakthrough, in an artistically dense form, of being able to represent the full spectrum of human singing voice, via keyboard. That ascended to previously unattainable levels, the communication of musical ideas, and did away with the previous restricting clavier complications.

  • How do you mean? One has only to see the Egmont Overture of Beethoven, or his choral 9th symphony translated in order to see the ideas of Beethoven.

    There is a bit of an assumption here as well. Primarily, look to the question of periods, or this idea that there are the Baroque, then Classical period, then Romantic and so on. That idea is wholly based on a philosophy that is ignorant of what classical composition is truly about.

  • Lastly, upon reading any of the early memoirs of Beethoven, it is very clear his greatness, along with any, today, we call great in this realm, came from not only the study of Bach's Well Tempered Clavier, but the attempt at furthering the ideas, and successful accomplishment of that immense task.

    Classical Composition, as a unified idea, is not a period of music, it is a method of communication, as the Well Tempered Clavier demonstrates.

    Wagner was very explicit in attacking this lineage.

  • shut up and feel the music once in your life. dissonance is just a word. hear it, feel it.

  • If you really like dissonance try the adagio of Mahlers Tenth Symphony (directed by Ricardo Chailly) with its multiple harmony on nine sounds. Mahler anticipated Schoenbergs twelve tone chord! Its a pity that the great Furtwangler didnt have much chance to conduct Mahler, due to Nazi repression. Furtwangler stands head and shoulders above the rest, especially above the little demented Fuhrer.

  • What a transcendental artist he was!! It's always inspirational everytime I watch or listen to his performances. I could only wish he had lived longer so America would have a chance of hearing him live, he died a few months before his first scheduled US tour with BPO, how tragic!!!!

  • It could be a fantastic music event for this county. The idea of classical music in US is oposite of his philosophy and goes more and more on that way .

  • Overwhelming. I've never heard any performance of this overture like this one.

  • I think I like Sir Colin Davis' version on Phillips better...just kidding.  Sieg Heil Herr Furtwangler!

  • you might be misinformed

  • It is unfair to tar Furtwangler with the Nazi brush. He was the greatest conductor, and helped many Jewish musicians. Suppose you were the conductor of the NY Philharmonic and the USA was taken over by radical extremists; would you stay, and let music rise above the situation, or would you flee to Germany?

  • If the situation required me to pander to miscreants in order to sustain my position, I'd opt to flee to Germany.

  • Horrible remark. Furtwangler just happened to be there when the Nazis were in power. Menuhin and other great Jewish artists immediately accepted him after WW2 was over. He was creating great music not war or Holocaust. Furtwangler was loved by musicians from all countries including the USA. Let that be his legacy, not the one you propose.

  • Honestly, I prefer Bohm, as he was totally unapologetic about his Nazi affiliations, unlike Furtwangler who groveled before the de-nazification committee to downplay his glaring collaboration with the Nazis. If he makes good music, then I don't care if he's a Nazi. But don't whitewash history by claiming he was impelled by such a deep love for Jews that he risked his life for them. If he saved Jews at all, it was only for the incidental fact that he needed them as players, not as a protest.

  • Furtwangler wasn't even a member of NSDAP, though they invited him several times. Nazis only made him look like their mascott, he had nothing to do about it. The only other conductor of his caliber in Germany, Karajan got discredited after he ruined some Wagner piece at Bayreuth. They had to choose someone..

  • Get the DVD of the greatest Don Giovanni ever!

  • it's a bit laboured...

  • Better quality of the same clip here:

    http://www.youtube.com/watch?v­=UgPQuq9Z0As

  • I couldn't agree MORE! How does he achieve this? Incredible!

  • A trascendent Performance, Master of Masters Mr Furtwangler.

  • I'm amazed that there was color footage taken of this master conductor. It's unfortunate that the audio is full of pops and crackles.

  • This DVD (Don Giovanni, Salzburg Festival)

    is availble for some years. Highly recommended.

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