An analysis by Audrey Roncigli
Symphony n°7 (adagio) by Bruckner
Coriolan Overture by Beethoven
Conclusion
Conclusion
Through these two examples of works, a
common characteristic emerges: the
tension, tragedy and hope contained tin
the version of the early 1940s contrast
with the more relaxed and serene
atmosphere of the later versions.
Anticipated by the attempts of
interpretation of the 1930s’ versions,
the recurring tendency to push for the
extreme reflects the weight of the
moment in the war-time recordings.
In fact, the climactic crescendo, the
violent chords and accents, the very
quick and free tempi, the brusque
breaks, the range of dynamics and
orchestral colours – all these variables
are present in Furtwängler as a seed and
have only waited for the moment, the
right time, to be expressed. By applying
these means in his interpretations
between 1942 and 1945, Furtwängler
echoes and reflects the social and
political context that surrounds him.
Joy and hope are also present and can be
perceived at a few precise moments in
the presented pieces: hope and joyous
anticipation of a better post-war time,
of finding the “true Germany”.
So, if the quick tempo is used for
tension (which is not always the case as
the conductor sometimes creates drama by
slowing down the tempo), it is, as a
general rule, by contrasting slower
tempi that he obtains appeasement and
glimpses of hope.
Can one therefore go so far as to
propose that the interpretations should
be viewed as an expression of the inner
sentiment of the conductor in troubled
times, an expression of the weight of
the moment and of the alternative which
the conductor would like it replaced
with? As Furtwängler does not limit
himself to the musical picture of the
surrounding context of Germany by
offering glimpses of hope and
“otherness” in his war recordings,
should we regard these interpretations
as carriers of thoughts of resistance,
or at least of confidence in better days
to come? Indeed, one is allowed to think
of these interpretations as messages of
hope, but despite the rumblings of
revolt (think back to Coriolan, to
certain passages of Bruckner) it is
historically unjustifiable to attribute
a spirit of resistance to them. Spirit
of resistance or not, these war
recordings remain unique testimonies of
the personal situation of an artist at
wartime and, at the same time, of the
contextual landscape of the
performances.
In short, this analysis is only intended
as a first venture into the domain of
political interpretation of
Furtwängler’s war-time performances: it
has at least proved, if it was indeed
necessary, the unbelievable genius of
the artist in those troubled times and
his will to let the moment prevail over
the ordinary.
The composer | The man - | The conductor