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(Amadeus). Furtw ngler's recordings remain for many the standard by which all subsequent performances are judged. This study offers an overview of his career and his place in the mainstream of the German school of conducting, with commentaries on all his recorded performances.

Furtwangler Conducts: Palestrina / Symphony 4 Wilhelm Furtwngler - CD 717281904308

Wilhelm Furtwängler left not only some of the greatest interpretations of operatic and symphonic music on record, but also expressed his views on musical issues of the moment in a number of outspoken essays and talks. His writings range from practical matters of performance and interpretation to aesthetic reflections on what he saw as the alarming direction in which music was developing in the wake of Schoenberg and the twelve-tone system of composition. Professor Ronald Taylor has here, for the first time, translated and annotated a selection of Furtwängler's writings covering the four decades from the First World War to the conductor's death in 1954, and prefaced them with an essay on Furtwängler's controversial career and complicated personality. The result is a collection of stimulating pieces with a claim on our attention, made all the greater for reflecting the musical and philosophical ideals of one of the great conductors of the twentieth century.

When the great conductor Wilhelm Furtwangler (1886-1954) decided to remain in Germany under the Third Reich, he was widely and bitterly condemned as a Nazi collaborator who gave cultural and moral credibility to Hitler's regime. Although Furtwangler was exonerated at a de-nazification trial in 1947, his reputation as a Nazi sympathizer continued to darken both his personal and professional life.In this meticulously researched book, Fred K. Prieberg thoroughly investigates the renowned musician's uneasy position in Nazi Germany. Prieberg reveals in fascinating detail that Furtwangler, by persisting with his direction of the Berlin Philharmonic Orchestra and the Berlin Staatsoper, waged a heroic struggle to preserve and nurture the masterpieces of German music. For Furtwangler, the sacred traditions of German art transcended politics.Prieberg argues that Furtwangler resisted efforts by the Third Reich to exploit him as a propaganda tool. As the preeminent conductor in Germany, he used his influence to protect Jewish musicians and staff in his orchestra. He never gave the obligatory Nazi salute at concerts, even when Hitler was present, and avoided performing in occupied countries or for grand Nazi Party occasions. Furtwangler's unquestioning belief in the higher ideals of German art gave him the strength and courage to sustain his quiet yet effective opposition to the Third Reich.Trial of Strength presents convincing evidence that Wilhelm Furtwangler was neither Nazi nor Nazi sympathizer. It also illuminates the perils of artistic collaboration with a totalitarian regime.

Used VG. This is a new copy but slightly shelf worn. 12mo (19 x 12cm). 175 pages. Paperback. A few plates.

First American edition. 8vo. 394 pp. Near Fine in Near Fine dust jacket. Slight shelfwear to boards and jacket. Trans. Christopher Dolan.

New copy. 12mo (19 x 12cm). 175 pages. Paperback. A few plates.

When the great conductor Wilhelm Furtwangler (1886-1954) decided to remain in Germany under the Third Reich, he was widely and bitterly condemned as a Nazi collaborator who gave cultural and moral credibility to Hitler's regime. Although Furtwangler was exonerated at a de-nazification trial in 1947, his reputation as a Nazi sympathizer continued to darken both his personal and professional life.In this meticulously researched book, Fred K. Prieberg thoroughly investigates the renowned musician's uneasy position in Nazi Germany. Prieberg reveals in fascinating detail that Furtwangler, by persisting with his direction of the Berlin Philharmonic Orchestra and the Berlin Staatsoper, waged a heroic struggle to preserve and nurture the masterpieces of German music. For Furtwangler, the sacred traditions of German art transcended politics.Prieberg argues that Furtwangler resisted efforts by the Third Reich to exploit him as a propaganda tool. As the preeminent conductor in Germany, he used his influence to protect Jewish musicians and staff in his orchestra. He never gave the obligatory Nazi salute at concerts, even when Hitler was present, and avoided performing in occupied countries or for grand Nazi Party occasions. Furtwangler's unquestioning belief in the higher ideals of German art gave him the strength and courage to sustain his quiet yet effective opposition to the Third Reich.Trial of Strength presents convincing evidence that Wilhelm Furtwangler was neither Nazi nor Nazi sympathizer. It also illuminates the perils of artistic collaboration with a totalitarian regime.

John Hunt was born in Windsor and Graduated from University College London, in German language and literature. He has worked in personnel administration, record retailing and bibliographic research for a government agency and is on the lecture panel of the National Federation of Music Societies. In his capacity as Chairman of the Furtwängler Society UK, John Hunt has attended conventions in Rome, Paris and Zürich and has contributed to important reference works about Furtwängler by John Ardoin and Joachim Matzner. He has also translated from the German Jürgen Kesting's important monograph on Maria Callas. John Hunt has published discographies of over 100 performing artists, several of which have run into two or more editions. Several Titles have been nominated for awards for Recorded Sound Research (historical section) by the American Association of Recorded Sound Collections.

Furtwangler Conducts Mozart Wilhelm Furtwngler - CD 017685109720

Furtwangler Conducts Bruckner Wilhelm Furtwngler - CD 017685120923

Furtwangler Conducts Brahms Wilhelm Furtwngler - CD 717281904322

Furtwangler Conducts Beethoven Furtwangler - CD 017685094224

Edition Wilhelm Furtwangler: Complete Rias Record Beethoven / Taschner / Berlin Philharmoniker - CD 402143214038

Furtwangler Conducts Wagner's Konetzni / Flagstad / Weber - CD 017685091421

Wilhelm Furtwangler: Piano Quintet in C Major Furtwangler / Clarens Quintet - BR 4009850011958

Furtwangler Conducts 3 Symphonies By Beethoven Wilhelm Furtwngler - CD 017685111723

Classical music was central to German national identity in the early twentieth century. The preeminence of composers such as Bach and Beethoven and artists such as conductor Wilhelm Furtwangler and pianist Walter Gieseking was cited by the Nazis as justification for German expansionism and as evidence of Aryan superiority. In the minds of many Americans, further German aggression could be prevented only if the population's faith in its moral and cultural superiority was shattered. In Settling Scores, David Monod examines the attempted "denazification" of the German music world by the Music Control Branch of the Information Control Division of Military Government. The occupying American forces barred from the stage and concert hall all former Nazi Party members and even anyone deemed to display an "authoritarian personality." They also imported European and American music. These actions, however, divided American officials and outraged German audiences and performers. Nonetheless, the long-term effects were greater than has been previously recognized, as German government officials regained local control and voluntarily limited their involvement in artistic life while promoting "new" (anti-Nazi) music.

Meriwether Lewis and William Clark wove science and raw adventure together in their journals as they blazed a trail from St. Louis to the Pacific. Now, with fresh information drawn from many fields, Albert Furtwangler mines those journals for valuable insights into western American history as well as the process of discovery. Acts of Discovery argues that Lewis and Clark surpassed the enlightened instructions given to them by President Thomas Jefferson. They made a literal, large-scale experiment, probing the interior of a continent and weighing information that eventually would supersede the science, the politics, and even the artistic ideals of Jefferson and his age. Drawing on a background of interdisciplinary learning, Furtwangler illuminates the achievements of Lewis and Clark as naturalists, navigators, and diplomats who faced ever-new surprises as they worked their way west. He shows that their journals trace two very different patterns at the same time - as records of modern scientific reasoning and as a narrative of epic deeds in an American epic setting. Furtwangler also attempts to define Lewis and Clark's place in American history. He examines some ironic outcomes of westward expansion and conquest and brings out the peculiar courage of explorers who were the first (and almost the last) to cross the continent by pulling their way up the Missouri. He also compares Lewis and Clark's discoveries to those of other generations (from George Washington's early years as a surveyor of the new American interior, to the Apollo moon landings), discussing them in light of questions about progress posed by Francis Bacon, Henry Adams, and modern experimental scientists.

Classical music was central to German national identity in the early twentieth century. The preeminence of composers such as Bach and Beethoven and artists such as conductor Wilhelm Furtwangler and pianist Walter Gieseking was cited by the Nazis as justification for German expansionism and as evidence of Aryan superiority. In the minds of many Americans, further German aggression could be prevented only if the population's faith in its moral and cultural superiority was shattered. In Settling Scores, David Monod examines the attempted "denazification" of the German music world by the Music Control Branch of the Information Control Division of Military Government. The occupying American forces barred from the stage and concert hall all former Nazi Party members and even anyone deemed to display an "authoritarian personality." They also imported European and American music. These actions, however, divided American officials and outraged German audiences and performers. Nonetheless, the long-term effects were greater than has been previously recognized, as German government officials regained local control and voluntarily limited their involvement in artistic life while promoting "new" (anti-Nazi) music.