1933 - The Furtwänglerian art of conducting
   

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The Furtwänglerian art of conducting: a panorama

 

1933

 

Wagner, Götterdämmerung, Trauermusik

 

by Felix Matus-Echaiz

 

 

 

CD SWF 042-4

 

                                 Wagner

               Götterdämmerung, Trauermusik

                   Berlin Philharmonic Orchestra

                                        1933, Berlin

 

Furtwängler’s recording of the Funeral March is, we believe, one of the greatest made by the conductor in the thirties and possibly in his entire career. His reserve in this extraordinary score, prohibiting all grandiloquence, as well as the expressive power he gives to each of the ten leitmotivs, are there to testify to the greatness of this performance.

 

 
1

 Trauermusik
0'00 - 0'40

The entrance of the timpani, veritable summons, plunges us directly into the tragedy that has just occurred. The ascending theme of the violas and celli, a guiding thread all through the work, responds to the summons. From this theme rises the leitmotiv of the Wälsung’s race. The pizzicato which punctuates the entrance of this leitmotiv, bears unmistakably the "stamp" of the conductor, it being played as a brief timpani stroke..

       
 
2

  Trauermusik
1'20 - 2'10

The tightening and the diminuendo of the timpani motive as well as that of the viola-celli lead to the Wälsungen’s Heroïsm leitmotiv. To our knowledge, this theme has never before conjured up with so much intensity the tragic destiny of Wotan’s lineage.

 

Any general remark to be made on these two passages should concern the "poco espressivo" - or rather the "ohne ausdruck" the conductor often used to request from the orchestra. This practice of playing without expression in the most intense passages is one of the main features of Furtwängler’s art.

       
 
3

  Trauermusik
3'29 - 4'26

The crescendo leading to the climax of the Funeral March is one of the most difficult moments of the score.

In his performance, the conductor entrusts the proper weight of the crescendo to the triplets on the violins. Every note, played with flexibility, contributes to the gradual building-up of the momentum. The Sword theme (Nothung) on the trumpet seems to stem from these triplets. It is to be noted that even in this most powerful of passages Furtwängler never deviates from his reserve mentioned earlier. He allows Wagner’s great music to speak for itself. This is pure Greek Tragedy transcribed into music.

       
 
4

  Trauermusik
6'07 - 6'52

With wonderful subtlety Furtwängler offers us Brünnhilde’s theme with all its tenderness ! Words fail one if one wants to analyze this unique moment, so simple and yet so strong emotionally. By what means has the conductor obtained from the Berliners this phrasing and these shadings ? We shall never know. Undoubtly, this is an unavoidable example for all who wish to be impregnated by the genius of the conductor.

       
 
5

  Trauermusik
6'53 - 7'37

Brünnhilde’s theme is interrupted by the leitmotiv of the Servitude, indissoluble with that of the Curse. A last reminder of Siegfried’s Heroïsm announces the end of the score.

The contrast with the preceding passages is quite striking : as soon as the Servitude theme appears, the conductor introduces an expressionless «blank tone » which only he knew when and how to use; and that is precisely when the intensity is at its peak. The destiny of the hero is achieved.

 

 

Translation: Sami Habra

(c) 2005

 

 

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