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1-13 　　Carlo Maria Giulint

Carlo Maria Giulini (1914) – Beethoven: Symphony # 7; Schumann: Symphony # 3 ("Rhenish") (Mahler reorchestration); Stravinsky Firebird Suite; Ravel: Ma Mere l’oye; Bizet: Jeux d’enfants.
Of the two dozen conductors represented in this series so far, Giulini is the only one still with us (physically, at least – he retired nearly a decade ago).  None of the others even came close – the next youngest was Evgeny Mravinsky, who died in 1988. If the producers’ choices imply that those with the most interesting and significant personalities all were trained in the ethos of the previous century and reached their peak in the first half of the twentieth, I wholeheartedly agree. Indeed, this volume illustrates the point. While all of the Giulini performances, whichever orchestra he leads, are solidly idiomatic, wonderfully detailed and richly played and recorded, none really stands out as unique or special. Toscanini, Furtwangler, Stokowski, Mengelberg, Beecham – their records can’t be mistaken for anyone else’s. The truly great conductors of the 20th century boldly asserted their own domineering personality and stood apart from, rather than blended into, the current norm of deferential respect for the composer. The Giulini performances here are all superb, among the finest you’ll ever hear, but there’s just not much feeling – not in the startling precision of the Stravinsky, the exquisite detail of the Ravel or even in the slow unfolding of the Beethoven Seventh. Of course, it’s a matter of personal taste – those who dismiss the earlier approach as vulgar and misguided egotism will breathe a huge sign of relief at the prospect of Guilini’s impeccable, careful guidance. But my preferences lie elsewhere. Even so, one of the pieces here is especially valuable, although for reasons other than the performance – the Schumann Third, as reorchestrated by Mahler. It’s hard to believe, but until the 1956 Paray/Detroit Symphony record of the original orchestration, it was thought necessary to compensate for the pianistic composer’s alleged deficiencies as a clumsy arranger. Nowadays, the tables are reversed – the original sounds just fine and Mahler’s “retouches,” which vary the texture, strengthen internal harmonies and add blaring brass and thundering tympani, can seem more a parody of the later romantic style than helpful or essential to eliciting Schumann’s aim. Even so, an A/B comparison with the Paray reveals that Mahler’s emendations are relatively mild (given all the flack they generally sustain), but fascinating nonetheless.

1-14 　　Wilhelm Rurtwangler

Wilhelm Furtwängler (1886 - 1954) – Beethoven: Symphonies 3 ("Eroica"), 5 and 9 ("Choral").
I truly consider Wilhelm Furtwängler to be the greatest conductor on record (although, ironically, his actual studio recordings are eclipsed by acetates and tapes of his concerts, which preserve his full glory).  Others surely agree, as is evidenced by a constant flood of LPs and now CDs of “new” Furtwängler releases. Yet, with few exceptions, most repackage – and occasionally reprocess – the same material as before. Thus, a prospect of genuine newly-found performances of his core repertoire promises to be a major event. This volume is a fabulous collection, even though it isn’t quite what it purports to be. Furtwängler’s wartime concerts project his frighteningly intense struggle between pure artistic truth and sordid political reality, soaring human aspirations and appalling social depravity. Nowhere is this more distilled than in his Beethoven and especially in the symphonies heard here. Until now we’ve had only a single Fifth from this era (June 1943) but the producers claim to have found another from February 1944, when Furtwängler’s emotions were screwed even tighter. Alas, beyond identical timings, every cough and glitch (of which there are amazingly few) are the same. So instead of the promised find, all we have is yet another reissue of the familiar version (regardless of whether, as previously identified, it was from 1943 or, as now corrected, 1944), albeit in a richer and more powerful transfer than ever before. (Its previous best incarnation is in Maggi Payne’s 1999 restoration in Music and Arts CD set xxx.) Even so, this is a stunning performance, my favorite of all the dozens of Beethoven Fifths I’ve heard. The allegro con brio treads a perilous balance between resolute hope and grim despair, the scherzo is downright malevolent and comes to perch on a excruciating suspended brink of desperation, and the triumphant finale is suffused with anger and doubt and drained of any sense of fulfillment. The coda is devastating in its edgy ambiguity – accelerating with sheer mindless energy far too rushed for any sense of comfort, and then winding down to leave the final chord an exhausted and resounding question mark. The Eroica here does seem truly new and it’s mesmerizing, vaulting to the top of my personal list. If the producers’ attribution to February 1954 is correct it would be the last of Furtwängler’s recorded Eroica performances. While just missing the subtle nervous tension that made his 1944 Vienna recording uniquely compelling, it’s a superb melding of the sensitivity of his Berlin Philharmonic work with the smooth subtlety of the Vienna Philharmonic into an intensely human document. Its exquisite attention to detail elucidates the structural components within the overall architecture and is conveyed through a remarkably sharp, well-balanced recording (and with a fortunately quiet audience). The Ninth is the earliest of Furtwangler’s dozen. The producers’ claim that it was only available in Japan ignores the 1994 Music and Arts edition (CD 818), but here the oversight is gladly forgiven, as the transfer is vastly better – still several degrees below hi-fi, but now good AM rather than short-wave quality and with far more mid-bass (and, alas, annoying rumble that should have been filtered) that compels a re-evaluation on artistic terms, as it now resembles listenable music rather than a merely curious primitive artifact. Frankly, there are more compelling Furtwängler Ninths – a frightening 1943 Berlin concert drenched with pain and agony, a 1951 Bayreuth dedication in which the slashing wartime ferocity yields to heartfelt humanistic triumph, and a luminous 1954 Lucerne Philharmonia performance. Yet, all the elements of Furtwängler’s unique way with this work are firmly in place in this May 1937 Berlin Philharmonic London concert, from a barely audible opening to a vertiginous coda – indeed the ending is more startling than he would ever achieve again. Despite disappointment over the “new” Fifth, this is a fabulous collection both for devotees and for those eager to discover why Furtwängler is still able to muster such enthusiasm a half-century after his demise

catbutterfly:谢谢你的补充，说实话，这两位大师的资料，我找了好多时间，也未能整理出，你的补档很及时，谢谢！

炒饭DD的英文不是太好 ，什么时候能搜集到中文的介绍，也请哪位高人予以补档

不了解，权当入门！

xiexie!!!

谢谢分亨

只有聆聽的份,謝謝!

非常感謝分享！