Furtwängler Symphony 2/Barenboim

[Alan Howe]

How about this for a eulogy:

Wilhelm Furtwängler's conducting recalled that of an earlier era, but his compositions are even more redolent of the 19th century. He began his Second Symphony in the waning days of World War II but it's as if Schoenberg and Stravinsky never existed. This sprawling, lengthy, 80-plus-minute work is firmly in the Bruckner mold, recalling the Austrian master in its rhythmic profile and in its alternations between relaxed song and screwed-to-the-max tension. But there's no mistaking it for a lost work by Bruckner or anyone else, for within the broad Brucknerian model Furtwängler works his own brand of magic. And magic it is, not just in the long-limbed melodies and sustained argument, but also in masterfully original orchestration and wind writing that truly merits the "magical" label.

The crown jewel among Furtwängler's works, it's hard to account for this symphony's neglect over the years, especially with the current interest in Bruckner, Mahler, and the post-Romantics. As Barenboim's superb performance demonstrates, Furtwängler's Second may not be a masterpiece (and could you prove it one way or the other--and should we even care?), but it certainly deserves to be heard more frequently in concert and on disc, and this smashing release could be the catalyst that makes it happen.

For this is one of those rare recordings pervaded by the conductor's love of the music and the orchestra's flawless rendition of it. Barenboim's always identified with Furtwängler the conductor, but he's never been just a clone. He has his own way of conducting this work, and while it's similar to Furtwängler's, there are numerous differences between them. Here, Barenboim captures the Furtwänglerian long line and arch of the Symphony, fully conveying the mood of nostalgia and sadness that permeates each of its movements. Dynamics are carefully graded and climaxes are placed in their context--the mezzoforte orchestral climax at the center of the second movement isn't overblown, and the megawatt power of this great orchestra isn't unleashed until the last movement, where it belongs. Barenboim elicits playing that's committed and extraordinarily skillful--the critical wind solos are impeccable, the strings lush, the brass forceful without being overly dominant.

The Symphony may have longueurs but it also sustains interest and it's full of highlight passages that linger in the memory. The work's hushed opening in the lower woodwinds is pregnant with a promise fulfilled by the expansive opening theme, the strings weighted with nostalgia and sadness, haloed by lovely wind figures. The second movement Andante has a sighing string theme that passes to brief wind solos, and shortly thereafter Furtwängler screws up the tension with a rising string figure. This movement has an indeterminate quality; the brooding feeds on itself, the regretful mood a flip side to the first movement's more overt dramatics. The third movement is best of all, featuring compelling wind writing that brings out some of the Chicagoans' finest playing. It also illustrates Furtwängler's knack for borrowing elements from other composers and turning them into sounds uniquely his own. So the opening wind solos have a Russian cast to them that recalls the wide steppes; the music modulates into a galloping string figure reminiscent of Sibelius; and there's a Rimsky-like brass interjection. But in the end, it's all Furtwängler. The last movement too, has such unforgettable passages as the mystery-laden opening and, among others, the stirring brass chorales that simultaneously surprise and enchant.

Barenboim's is the clear choice among stereo recordings of this work. Indeed, its only rival is Furtwängler's own live 1953 performance with the Vienna Philharmonic. In terms of orchestral execution, the Chicagoans are hands-down winners; the sour Vienna winds and trumpet bloopers are from a different, lesser universe of orchestral execution. But if you love this symphony, you should hear the composer's interpretation as well as Barenboim's. Overall they share a similar conception and only two minutes separate their timings. But Furtwängler's more clearly etched rhythms consistently prove more telling. Thus, Furtwängler's sharply accented lurching wind figures in the first movement (Barenboim 4:25, Furtwängler 4:35) are more striking, and throughout the work his rhythmic command makes him sound faster (even when he isn't) and lends a stronger contour to the melodic lines. Barenboim's grand climax in the finale is more measured and thus more powerful, but there's no denying the excitement of Furtwängler's headlong rush to the finish line. On the other hand, who would guess until now that the work actually has some extra percussion writing in its finale for bass drum and tam-tam?

Which to get? Barenboim will be the clear first choice for most people. It is a splendid interpretation that fully captures the score and enjoys superlative orchestral playing in modern sonics. But I'd hate to be without Furtwängler's own recording. After all, he was a great conductor, and perhaps (at least for 80 minutes or so) a great composer too. Get them both.

Dan Davis, ClassicsToday.com

[sdtom]

Is Mr. Davis related to him? Has anyone heard the work?
Tom

[eschiss1]

I've heard this recording quite a few times. I incline to agree with this review mostly, on the whole, etc. It's not especially or solely Brucknerian, the range of reference is considerably wider for one thing (here I and - Walter Simmons, I think, in a Fanfare review- are in agreement) (and there -are- near-quotes from several works one knows Furtwängler was well-known for conducting, like the pizzicato-passage from the introduction to the finale of Brahms sym.1).

Does anyone know, btw, how the two published editions of the work- Brucknerverlag 1950s, and a more recent Ries & Erler Furtwängler complete edition publication - differ in detail ? I am guessing that the earlier recordings were either from manuscript or in some cases (Asahina maybe?) used the Brucknerverlag score, while Barenboim, Walter, and Albrecht -maybe- have used the new edition, but I can't be positive.

The brief notes to the Barenboim recording aren't helpful at all in this or in much else (for shame); the tempo labels to the movements do differ from the movement headers in the 1950s edition (which I interloaned/borrowed for a bit), though, suggesting that the later edition or the manuscript were used...

That said, I have listened and relistened to the work- it does tend to carry me along in its flow.  To the passages mentioned by the reviewer I'd add some especially inspired music in the other three movements- particularly some rhythmic material in the 2nd theme-group in the finale (starting in the basses, I think?) that keeps overlapping stretto-style- fortunately for the listener, Furtwängler does know what to do with such things and doesn't leave one hanging emotionally in mid-air

[Alan Howe]

It's a recording in a million - of a fascinating work. Not a great one, but certainly a mightily involving one.

[adriano]

You are perfectly right, eschiss1 and Alan!
After a Barenboim listening I urgently needed to go back to (no matter which) Furtwängler's own interpretation: he is the genius. He was no perfectionist, but simply an incredibly involving artist, making of each performance a new experience! What a pity I could never attend one of his concerts!

HIS available versions:
Berliner Philahrmoniker (1952 DGG)
Radio-Sinfonieorchester Stuttgart (1954 Archipel)
Wiener Philharmoniker (1953 Orfeo)
Hamburger Philharmonie (1948 WF Society)
Hessischer Rundfunk (1952 Once an LP, still not available on CD) - my own private transfer

and the later recordings by other conductors:
Eugen Jochum (1954 BR Klassik)
Takashi Asahina (1984, JVC)
Alfred Walter (1993, Marco Polo)
G.A. Albrecht (2004, Arte Nova)
Baremboim (2001, Telarc)

I have them all in my collection, except the Marco Polo one
(This is, actually, my favorite Symphonies of the 20th century; I could not imagine myself anymore without it. It's an experience like Tchaikovsky's "Pathétique")

[Alan Howe]

Fascinating. Which of the Furtwängler recordings is the best, do you think - in particular, which has the best sound?

[alberto]

There is also another modern recording on Marco Polo: Alfred Walter with the BBC Symphony Orchestra.
(I have it alongside the Furtwaengler DG and Orfeo, and the E.Jochum).

[Alan Howe]

The Marco Polo recording was never highly thought of, though. So which is the best performance conducted by the composer himself?

[mbhaub]

For me, it's this:

Wiener Philharmoniker (1953 Orfeo)

[Alan Howe]

How good is the sound for 1953?

[mbhaub]

Both the DG and Orfeo are mono and in no way can completely capture the complex, dense orchestration. The DG had more presence than the Orfeo, which is an off-air live recording. Nonetheless, if you turn the volume up the Orfeo is completely listenable - and the performance is better - but then any live Furtwangler performance is better than a  studio version. But don't expect great sound in either version. Any of the modern stereo versions has vastly superior sound. In the loudest passages the details are completely swallowed by a mass of sound in the Orfeo. This score screams for the sound and performance that Barenboim got. Still, to those people interested in the art of Furtwangler, the Orfeo is essential.

[adriano]

Sorry I forgot to mention the (unsatisfactory) Marco Polo version. The Orfeo version is, indeed, a very exciting one, but I am also very fond of the Hessische Rundfunk version, and I wonder why this has not been reissued on CD yet...
Just found this link:
http://classical-music-online.net/en/production/11854

[Alan Howe]

Thanks to both of you for your expertise and insights.

[eschiss1]

I know of two other modern options- Albrecht (I think?) on Arte Nova and Asahina (on Camerata, I think) - besides Walter, Barenboim and Furtwängler. Haven't heard the first two, though. The Arte Nova received two (at least) fair reviews in Fanfare when it was released, I think (though I gather its documentation is no better than that for the Barenboim recording for Teldec- well, maybe it at least mentions the keys of the inner movements, for example..., its price is less, anyway).

(Have heard Asahina in at least one other recording but of a better-known work...)

[mbhaub]

The Albrecht also satisfy that peculiar itch the rabid collectors have: since he recorded all three symphonies the set is complete. And given the low price and respectable performances and sound, it's well worth seeking them out.