Search - Furtwangler, Berlin Philharmonic :: Early Works 1

Historical musical documents!

Hiram Gomez Pardo | Valencia, Venezuela | 08/11/2006

(5 out of 5 stars)

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It results particularly revealing to listen these wonderful recordings when Furtwangler was barely in his 42 so well preserved for the posterity for this label.



The Bach sounds filled of brio and anima, affording us a renovated splendor and vigorous approach. The Air on the G string is simply unique.



I find personally Le Nozze di Figaro a mite dark and obtrusive. Nothing to do with the vibrant version of Bruno Walter of 1933 with the Vienna Philharmonic. The Mozart' s Serail exudes grace, impregnated of that inimitable Dionysian cheer and resplendent glister. Serenade in G , best known as Little Nocturne Serenade is very peculiar and interesting.



It' s not a secret Furtwangler always felt by Rosamunde (Incidental music) a very special fondness. Somehow there are so many affinities with Karl Maria von Weber. But he made that occasional music was important, conferring it notable specific weight and abysmal notoriety. Listen carefully the lovable intermission. Finally this finale is simply overwhelming, filled of dreamy landscapes.



But this version is so lively, with that radiant rapture, so refulgent and expressive that constitutes a peerless treasure.



We have come to Egmont overture, one of the most emblematic and fiery of the whole Symphonic repertoire. Dark shadows surround that taciturn penumbra of epic tragedy. Here you have why Furtwangler' s Beethoven sounded so vivid, so energetic and virile with this due proportion and sense of the inner drama that must be remarked without a bit of cheap sentimentalism. Please realize the previous moments to the final code how Furt made the orchestra looks like a enraged sea, before the final climax. The Fifth Symphony was as you know the most played work of Furtwangler. As a matter of fact, he directed it about 120 times along his existence. It's propulsive and contains very interesting details you should hear to compare with his last stage spanning 1949 to 1954.



Weber `s Der Freischutz of 1926 is extraordinary. Wilhelm goes to the core of the work and extracts all the glorious splendor of this emblematic piece that undoubtedly nourished the febrile musical imagination of Hector Berlioz.



It' results extremely curious and in the meantime interesting to listen this director conducting these two overtures of Pessaro' s swan, but the result is overwhelming. If you are seeking fundamental recordings, regarding the quality the sound because of in last instance, it's minor detail, taking into account the huge importance of this document, go for this.







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