Word: ngler
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HINDEMITH: SYMPHONIC METAMORPHOSES ON THEMES BY CARL MARIA VON WEBER (Wilhelm Furtwängler conducting the Berlin Philharmonic; Deutsche Grammophon). Choreographer George Balanchine composed his Metamorphoses to this music: beetlelike creatures eventually turn into birds. Furtwängler, an early champion of Hindemith, calls upon his own powerful magic to translate the themes into various musical modes, from unsettling nervous buzzings to biting jazz. On the other side, Furtwängler conjures up a more peaceful succession of Metamorphoses, also written in the 1940s, by the 81-year-old Richard Strauss...
...Wilhelm Furtwangler, backed by Goebbels, clearly could not stomach the competition given him by young Conductor Herbert von Karajan, a Goring protege, and undercut him at every opportunity. Von Karajan (pronounced approximately carryon) coldly played a waiting game. His attitude: "I have time." He was right. When Furtwängler died in 1954, Von Karajan assumed all the old man's prestige and more. Today, Austrian-born Herbert von Karajan is lord of a unique musical empire: he controls the Berlin Philharmonic Orchestra, the Salzburg Festival and the Vienna State Opera, directs the major recordings of London...
...Puccini's Girl of the Golden West. Euryanthe was presented in its uncut version and the audience learned to appreciate the program note from a Weber contemporary: "This man writes for eternity and so his operas never end." Other festival events were concerts under Wilhelm Furtwängler, Guido Cantelli and Bruno Walter...
...direction of Hermann Scherchen (Westminster, 4 LPs); all ten of Beethoven's Violin & Piano Sonatas, played by Violinist Joseph Fuchs and Pianist Artur Balsam (Decca; 5 LPs); Wagner's complete Tristan and Isolde, with Kirsten Flagstad, Ludwig Suthaus and the Philharmonia Orchestra conducted by Wilhelm Furtwängler (Victor...
...atonal music we find tensions ... an infinite mobility ... a deep disquietude . . . The listener is seized for a moment, but afterward he wonders what he has really heard." Then why have composers been writing atonal music for 40 years? And why do they keep on writing it? Furtwängler: "It cannot be denied that modern man finds in this music an echo of his own feelings . . . Atonal music expresses something of the enigmatic times in which we live." What will the upshot be? Furtwängler: "We must let matters ripen . . . The final decision will rest with human nature...