My listening post this morning is the same as it was last night: my recliner.
Only this time, the movie on in the background (that I can’t hear because I’m listening to German conductor Wilhelm Furtwangler (1886-1954), the Vienna Philharmonic Orchestra, and Beethoven’s Symphony No. 5 in C minor) is The Exorcist.
Take that, wife!
It’s a creepy movie even with the sound off.
But it’s Maestro Furtwangler on whom I’m focused this morning.
So far, I’ve encountered Maestro Furtwangler four times in my Beethoven project, on…
Day 7. Rating: Almost “Huzzah!”
Day 25. Rating: “Meh!”
Day 43. Rating: “Huzzah!”
Day 61. Rating: “Meh!”
The results have been mixed.
Before I listen to this symphony, I think it’s important to put this performance in context – what it meant to Maestro Furtwangler.
According to the exhaustive, fascinating (if a bit too detailed) book The Furtwangler Record by John Ardoin (p. 125),
No symphonic work obsessed Furtwangler or stimulated his imagination more than the C-minor Symphony. It was central to the Beethoven symphonies, and it was central to the art of Furtwangler. The Fifth played so prominent a part throughout Furtwangler’s concert and recording career that it is hardly an exaggeration to see his performances as a lifelong grappling with its myriad challenges and problems. It was almost as though the work were an alien force that had provoked him into a duel of wills. There was rarely a season when this work was absent from his repertory. Each new performance mean another change to attempt to solve its expressive and technical complexities.
Well, that certainly sets the stage, doesn’t it?
I expect big things from today’s recording.
Beethoven wrote his symphonies in four parts (except for the Sixth, which is in five). The time breakdown of this particular one (Symphony No. 5 in C minor), from this particular conductor (Furtwangler, at age 64) and this particular orchestra (Wiener Philharmoniker), at this particular time in history (January 18-19, 1950) on this particular record label (Warner Classics) is as follows:
I. Allegro con brio (C minor)………………………………………………………8:37
II. Andante con moto (A♭ major)…………………………………………..11:21
III. Scherzo: Allegro (C minor)……………………………………………………6:03
IV. Allegro (C major)…………………………………………………….. …………9:46
Total running time: 35:07
My Rating:
Recording quality: 4 (slight tape hiss, not unexpected for the age of this recording, and a discernibly mono recording – sounds flat and I can tell it’s old – but its a piece of history that must be heard to be believed, and it’s so clear that I can hear chairs squeaking at times, and maybe even pages turning)
Overall musicianship: 5 (electrifying, powerful, emotional)
CD liner notes: 4 (essays on Furtwangler written in English, German, and French, however historical details missing or hard to find: Where was this recorded? When? What orchestra? That information is in small print on the back of the CD sleeves)
How does this make me feel: 5 (speechless – “Huzzah!”)
Ardoin’s book about Wilhelm Furtwangler set the bar high for this performance.
But, boy, did Furtwangler pay off.
This is a tremendous performance – heavy, ponderous, reverent when needed (Movement I), lush and beautiful (Movement II), then stately, majestic, complex, and absolutely magical (Movement III – the Scherzo), and then grand, explosive, presidential, gorgeous (Movement IV).
Honest to God, this is a performance that has to be heard to be believed.
This sounds like it was recorded by a man on a mission, and an orchestra ready and willing to help get him there. It’s immense. Majestic. Magical. Powerful. Moving.
“Huzzah!”
Double “Huzzah!”
This performance, alone, is worth the price of the CD box set.
By the middle of Movement IV I was fighting back tears, choked up by the grand beauty of this performance.
Hello,
Are you sure this 5th was recorded on January 18-19, 1950? I can be wrong, but according to the several resources I have (including the back cover of the 5th & 7th SACD published by EMI), it was the 7th that was recorded at this date.
If I refer to the fact that Warner acquired EMI and they often resell the same version, only changing the packaging, I think the 5th you reviewed was recorded on 28 February & 1 March 1954, at the Großer Musikvereinssaal, Vienna. Of course it was with the Wiener Philharmoniker.
A great version, but since like me you like the last 2 movements, may I suggest you listen to the version redorded in 1943 (30 June 1943 at Berlin) with Furtwängler conducting the Berliner Philharmoniker (quite easy to find on CD, often bundled with the 7th – publishers are really predictable !). Hear how Furtwängler was patiently building the climax near the end of the 3rd movement, and how long he sustained it before the outburst at the beginning of the 4th movement. Never heard something like that. Even the Kleber didn’t sustain the climax so far (although globally I still prefer its 5th version than Furtwängler’s 5ths).
Enjoy!
Greetings!
I’m glad you posted a comment. Thank you!
Also very glad that you suggested another version to check out:
“1943 (30 June 1943 at Berlin) with Furtwängler conducting the Berliner Philharmoniker”
I do love a good recommendation from someone who knows his/her stuff. I also love a treasure hunt. Tracking down your recommendation will be fun.
I wonder which version is in my Furtwangler Legacy box set? I ‘ll have to take a look when I get back home later today.
Anyway, regarding the recording date I posted for Furtwanger’s Fifth (“January 18-19, 1950”) I’m only fairly sure that’s correct. I went by the information on the back of the CD sleeve. If I can post a photo in the comments section, I’ll show you. Otherwise, I’ll e-mail it to you.
The info at the bottom of the back of the CD sleeve is this:
“Recorded: Musikvereinssaal, Wien, 18-19 I.1950 (5-8).”
I interpreted that to mean January 18-19, 1950, for symphonies 5-8, which would also include the Seventh. That would make us both correct: me citing the Fifth and you citing the Seventh.
However, that doesn’t preclude an error on the part of Warner Music Group, which would mean Warner is wrong and you are correct.
Let me check the data from iTunes.
Hmmm. The track information from iTunes tells me it’s 1954. But I’ve known iTunes to be incorrect as well.
This is, indeed, a mystery.
I’ll get back you.