The vitality with which Furtwängler bursts upon the listener in the entry cannot leave anyone indifferent. Rhythmic precision, full-blooded sound… as well as the unfathomable genius of the conductor, all constitute the key to his performance. Note the two interventions of the timpani at the 4th and 10th seconds.

Only two crescendo bars are needed by Furtwängler to give more strength, or rather more power, to the second passage of the Introduction. The amply justified piano subito e crescendo used by the conductor serves as a basis for the momentum in the conclusion of the first part.

After this volcanic beginning, the second theme brings the necessary appeasement. Furtwängler has fully gripped the evocative power of this innovating score.

The violins and the woodwinds bring about a rapid change of climate. The binary and ternary rhythms create a more sombre atmosphere.

The interpretation of this passage offers yet another example of the conductor’s genius for creating a particular climate with a minimum of means. The dotted rhythm subsides gradually. The concluding timpani stroke bears the unmistakable and characteristic “signature” of the conductor (Note: the compression of the sound makes the timpani at the 31st second of this excerpt a bit difficult to hear. Sound is clearer on the original CD)

What we shall notice in this passage, to begin with, is the perfect balance of the orchestral voices. The nocturnal atmosphere of these bars is wonderfully rendered by the conductor. The tone of the violins (con sordino) goes through constant changes.

This fugato, coming from the depths of the orchestra, marks the return of the dotted rhythm. All the weight that Furtwängler knew how to put upon the strings is there: this is one of the Overture’s great moments.

In these bars, Weber announces Brahms. The conductor does not deprive himself from pointing it out.

Furtwängler’s interpretations of Codas are always astonishing. This is no exception: the orchestra becomes quickly white-hot. One must listen with attention to the triplets on violins and violas. The whole final flight depends upon this rhythm.