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Pain & Pleasure. Both Furtwängler and his fellow essayist, Swiss Conductor Ertiest Ansermet (who called his 34-page opus Musical Experience and the Modern World), had played their share of contemporary music, Furtwängler dutifully, Ansermet enthusiastically. Yet both found that conducting it, like listening to it, had sometimes been more pain than pleasure...
...During the winter two world-famed musicians, Wilhelm Furtwängler and Walter Gieseking...
Regarding the denunciation of German musicians Furtwängler and Gieseking by Messrs. Rubinstein, Heifetz, et al. [TIME, Jan. 17], it should be apparent that if these men are prevented from performing in this country, the far greater loss will be ours, not theirs; the cause of music in America will suffer more than the personal fortunes of these men . . . It is curious to observe with what seeming fervor some people insist on tilting with ideological windmills long after the cause in question is supposed to have been...
...generally been the American custom to assume a person innocent unless proven guilty. From all that I have read, Mr. Furtwängler was cleared by a court which I must assume had all the records, and it seems a pretty sorry business that a group of musicians high in box-office estimation feel that they know better...
...cozy attitude toward the Japanese; it was quietly restored to the repertory five months after V-J day. Since war's end, Norwegian Soprano Kirsten Flagstad had been allowed to return to U.S. concert halls (despite protests and picket lines), but German Conductor Wilhelm Furtwängler (TIME, Jan 17) had been told by some of the most outstanding of concert soloists that he'd better not try. Gieseking's own case had raised the biggest postwar...