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Johann STRAUSS II (1825–1899): Die Fledermaus 8.111005 7 Overture 8:21 Recorded on 28th December, 1936 Great Conductors • Furtwängler ADD Matrices: 786 1/2 ge I and 787 3/4 ge I Also available First issued on Grammophon 67121
8 Richard STRAUSS (1864–1949): Till Eulenspiegel’s Merry Pranks, Op. 28 15:05 Recorded in 1930 The Early Recordings Matrices: 1093 1/2 bi I, 1096 1/2 bi I and 1097 bi I First issued on Grammophon 95410 and 95411 Vol. 4
All recordings made in the Hochschule für Musik, Berlin WAGNER Liebestod Berlin Philharmonic Orchestra • Wilhelm Furtwängler Siegfried’s Funeral Music 8.111136 8.111003 Producer and Audio Restoration Engineer: Mark Obert-Thorn BRAHMS Special thanks to Nathan Brown, Richard Kaplan and Charles Niss for providing source material Hungarian Dances Nos. 1 and 10 J. STRAUSS II Die Fledermaus – Overture R. STRAUSS Till Eulenspiegel’s Merry Pranks
8.111004 8.110999 Berlin Philharmonic Orchestra Wilhelm Furtwängler Historical Recordings 1930 - 1936 8.111005 5 8.111005 6 8.111005 bk Furtwangler EU 26/8/09 11:20 Page 2
Great Conductors: Wilhelm Furtwängler (1886-1954) opera Hänsel und Gretel. Furtwängler’s conception of scoring’s dynamic range), Furtwängler and the Berlin GREAT CONDUCTORS • WILHELM FURTWÄNGLER Tristan und Isolde’s beginning and end is seamless and Philharmonic Orchestra, with no editing possible in The Early Recordings, Vol. 4 • Wagner • Brahms • J. Strauss II • R. Strauss intensely wrought, the accomplishment of a musician those days, give a rambunctious, graphic and lovingly Gustav Heinrich Ernst Martin Wilhelm Furtwängler recordings begins with music by Richard Wagner, who knew the music-drama as a whole. From three turned account, quite teasing at times, and also with The Early Recordings, Vol. 4 was born in Berlin on 25th January 1886 and died in selections from three of his operas, a composer closely years later, in terms of Furtwängler’s discography, the dramatic increases in pace (not least leading to the point Baden-Baden on 30th November 1954. His father was associated with Furtwängler, and continues with music opening of Siegfried’s Funeral Music, from Act III of of Till’s execution), of this concise yet eventful an archaeologist and his mother a painter; such by Brahms, Johann Strauss (the second) and Richard Götterdämmerung, the last opera of the tetralogy Der masterpiece. Eighty years on, there’s a relish here of Richard WAGNER (1810–1883): Lohengrin exploratory and creative qualities might be perceived in Strauss, all composers being associated, to a greater or Ring des Nibelungen, finds the opening timpani strokes Strauss’s music that still thrills. 1 Prelude (Act I) 9:37 Furtwängler’s distinctive and personal brand of lesser extent, with this conductor. Not that as quietly baleful; the expressive burden is palpable and The inclusion in this collection of music by Richard musicianship. Wilhelm Furtwängler’s musical Furtwängler’s repertoire was limited to the Austro- finds outlet in the nobly uplifting climaxes, the hero Wagner, and these particular recordings’ provenance, Recorded in 1930 education began at an early age (with his instrument German classics, for he conducted the premières of, for borne aloft. from the Berlin of the early 1930s, perhaps recalls the Matrices: 1085 1/2 bi I and 1086 3/4 bi I To lighter fare now and two of the three (of 21) connection between Wagner’s music and Adolf Hitler’s being the piano) and was fuelled in particular by a love example, Hindemith’s Symphony Mathis der Maler, in First issued on Grammophon 95408 of Beethoven’s music, which would develop into a 1934, and Schoenberg’s masterly if then ‘newly Hungarian Dances that Brahms himself orchestrated fondness for it, and the political and tarnishing lifetime’s engrossment for him. Although his complex’ Variations for Orchestra, Op. 31, in 1928. from the original versions for piano/four hands. In the connections that have since been applied. Leading up to posthumous reputation is as a conductor of the Austro- Nor was Furtwängler a stranger to Bartók’s music; in first of them, Hungarian Dance No. 1, which is music the years of World War II, and during that conflict, WAGNER: Tristan und Isolde German classics, kept alive through a relatively small 1927 he had conducted the first performance of Piano often mauled by conductors, pulling it one way, then the Furtwängler, because he remained in Germany (other official discography now swelled by many releases of Concerto No. 1 with the composer as the soloist, and other, Furtwängler allows some fluctuation but without prominent musicians went into exile), was branded a 2 Prelude (Act I) 10:33 exhumed concert-performances, Furtwängler was also a over twenty years later recorded the Violin Concerto obvious contrivance, the music’s frisky energy and Nazi (or certainly a member of the Nazi Party). 3 Liebestod (Act III) 6:23 composer (and not the only composer-conductor to put No. 2 with Yehudi Menuhin. There are also in alluring melody given with improvisatory abandon. Although, post-war, he was cleared of such the act of creation above that of re-creation: Boulez is, circulation concert-recordings of Furtwängler Hungarian Dance No. 10 is more sectionalised by associations, this stigma dogged his career for some Recorded in 1930 and Klemperer was, of a similar mind). Furtwängler’s conducting Ravel and Stravinsky, and also pieces by his Furtwängler; heavily underlined at the opening and time. (The afore-mentioned Yehudi Menuhin – a Jew – Matrices: 1087 1/2 bi I, 1088 1/2 bi I, 1089 bi I and 1090 1/2 bi I developing into a heady mixture of controlled worked with Furtwängler in the conductor’s last years. compositions include several pieces of expansive German composer contemporaries such as Hans First issued on Grammophon 95438 and 95439 chamber music, a piano concerto, and three Bruckner- Pfitzner and Wolfgang Fortner. inebriation. Pre-war, though, he had refused to do so.) Furtwängler size symphonies. Beginning this selection of recordings made by The most recent recording of this selection is from explained his actions thus: ‘I knew Germany was in a Bruckner’s music was also a very important part of Furtwängler and the Berlin Philharmonic between 1930 1936. The Overture to Johann Strauss II’s frothy terrible crisis. I felt responsible for German music, and WAGNER: Götterdämmerung Furtwängler’s repertoire and recordings, approved or and 1936 is the Prelude to Act I of Wagner’s Lohengrin, operetta Die Fledermaus finds Furtwängler in rather it was my task to survive this crisis, as much as I could. otherwise, exist of Furtwängler conducting several of a solemn if radiant traversal, its spiritual journey to and serious mood. There is a lack of wit and sparkle if no The concern that my art was misused for propaganda 4 Siegfried’s Funeral Music (Act III) 8:24 Bruckner’s symphonies). Indeed it was Bruckner’s away from the brass-laden climax undimmed by the lack of musical care, yet the spontaneity this music had to yield to the greater concern that German music Recorded in November, 1933 Symphony No. 9 that Furtwängler included in 1907 in limited recording technology of the day and the many needs is missing. Not so in the final selection, from be preserved, that music be given to the German people his first concert, which was with the Munich decades that have passed since it was made. With another Strauss (Richard, born in Munich, was not a by its own musicians. These people, the compatriots of Matrices: 733 1/2 be I and 734 1/2 be I Philharmonic Orchestra (owing to his father’s teaching Tristan und Isolde we enter very different territory, member of the Austrian dynasty of composers), one of Bach and Beethoven, of Mozart and Schubert, still had First issued on Grammophon 67054 commitments, Wilhelm had spent his childhood in this Wagner’s forward-looking musical thinking for this his most-brilliant orchestral showpieces, Till to go on living under the control of a regime obsessed city). Furtwängler then received engagements with boundary-breaking and influential music-drama. Later Eulenspiegel’s Merry Pranks, a fifteen-minute scherzo with total war. No one who did not live here himself in various Austrian and German orchestras and opera in Furtwängler’s career, during a two-week period in that takes us through Till’s various adventures until he those days can possibly judge what it was like.’ Johannes BRAHMS (1833–1897): Hungarian Dances is captured and hanged. Through a remarkably vivid houses until, in 1922, he was appointed to the celebrated June 1952 in Kingsway Hall, London, he would make a 5 No. 1 in G minor * 3:00 Leipzig Gewandhaus Orchestra, in succession to the celebrated recording of the complete opera for HMV recording from 1930 (particularly so given the large and Colin Anderson legendary Arthur Nikisch, and also to the Berlin (EMI) with the Philharmonia Orchestra and a cast colourful orchestral forces that Strauss calls for and his 6 No. 10 in in F major ** 1:57 Philharmonic. For all that Furtwängler would have including Suthaus (Tristan), Flagstad (Isolde), Schock, Recorded in 1930 success with the Vienna Philharmonic and the Greindl and Fischer-Dieskau. Philharmonia Orchestra in London, it is with the Berlin In 1930 Furtwängler had set down the Prelude and Matrices: (*) 2580 1/2 bh I and (**) 2587 1/2 bh I Philharmonic that he was and is most closely Liebestod, effectively the bookends of the opera, a First issued on Grammophon 90190 associated, and it is the Berliners that are heard on all stitching together that was probably effected by the recordings on this release. Engelbert Humperdinck, an assistant to Wagner and a This fourth volume of Furtwängler’s early fine composer in his own right, not least in his popular 8.111005 2 8.111005 3 4 8.111005 8.111005 bk Furtwangler EU 26/8/09 11:20 Page 2
Great Conductors: Wilhelm Furtwängler (1886-1954) opera Hänsel und Gretel. Furtwängler’s conception of scoring’s dynamic range), Furtwängler and the Berlin GREAT CONDUCTORS • WILHELM FURTWÄNGLER Tristan und Isolde’s beginning and end is seamless and Philharmonic Orchestra, with no editing possible in The Early Recordings, Vol. 4 • Wagner • Brahms • J. Strauss II • R. Strauss intensely wrought, the accomplishment of a musician those days, give a rambunctious, graphic and lovingly Gustav Heinrich Ernst Martin Wilhelm Furtwängler recordings begins with music by Richard Wagner, who knew the music-drama as a whole. From three turned account, quite teasing at times, and also with The Early Recordings, Vol. 4 was born in Berlin on 25th January 1886 and died in selections from three of his operas, a composer closely years later, in terms of Furtwängler’s discography, the dramatic increases in pace (not least leading to the point Baden-Baden on 30th November 1954. His father was associated with Furtwängler, and continues with music opening of Siegfried’s Funeral Music, from Act III of of Till’s execution), of this concise yet eventful an archaeologist and his mother a painter; such by Brahms, Johann Strauss (the second) and Richard Götterdämmerung, the last opera of the tetralogy Der masterpiece. Eighty years on, there’s a relish here of Richard WAGNER (1810–1883): Lohengrin exploratory and creative qualities might be perceived in Strauss, all composers being associated, to a greater or Ring des Nibelungen, finds the opening timpani strokes Strauss’s music that still thrills. 1 Prelude (Act I) 9:37 Furtwängler’s distinctive and personal brand of lesser extent, with this conductor. Not that as quietly baleful; the expressive burden is palpable and The inclusion in this collection of music by Richard musicianship. Wilhelm Furtwängler’s musical Furtwängler’s repertoire was limited to the Austro- finds outlet in the nobly uplifting climaxes, the hero Wagner, and these particular recordings’ provenance, Recorded in 1930 education began at an early age (with his instrument German classics, for he conducted the premières of, for borne aloft. from the Berlin of the early 1930s, perhaps recalls the Matrices: 1085 1/2 bi I and 1086 3/4 bi I To lighter fare now and two of the three (of 21) connection between Wagner’s music and Adolf Hitler’s being the piano) and was fuelled in particular by a love example, Hindemith’s Symphony Mathis der Maler, in First issued on Grammophon 95408 of Beethoven’s music, which would develop into a 1934, and Schoenberg’s masterly if then ‘newly Hungarian Dances that Brahms himself orchestrated fondness for it, and the political and tarnishing lifetime’s engrossment for him. Although his complex’ Variations for Orchestra, Op. 31, in 1928. from the original versions for piano/four hands. In the connections that have since been applied. Leading up to posthumous reputation is as a conductor of the Austro- Nor was Furtwängler a stranger to Bartók’s music; in first of them, Hungarian Dance No. 1, which is music the years of World War II, and during that conflict, WAGNER: Tristan und Isolde German classics, kept alive through a relatively small 1927 he had conducted the first performance of Piano often mauled by conductors, pulling it one way, then the Furtwängler, because he remained in Germany (other official discography now swelled by many releases of Concerto No. 1 with the composer as the soloist, and other, Furtwängler allows some fluctuation but without prominent musicians went into exile), was branded a 2 Prelude (Act I) 10:33 exhumed concert-performances, Furtwängler was also a over twenty years later recorded the Violin Concerto obvious contrivance, the music’s frisky energy and Nazi (or certainly a member of the Nazi Party). 3 Liebestod (Act III) 6:23 composer (and not the only composer-conductor to put No. 2 with Yehudi Menuhin. There are also in alluring melody given with improvisatory abandon. Although, post-war, he was cleared of such the act of creation above that of re-creation: Boulez is, circulation concert-recordings of Furtwängler Hungarian Dance No. 10 is more sectionalised by associations, this stigma dogged his career for some Recorded in 1930 and Klemperer was, of a similar mind). Furtwängler’s conducting Ravel and Stravinsky, and also pieces by his Furtwängler; heavily underlined at the opening and time. (The afore-mentioned Yehudi Menuhin – a Jew – Matrices: 1087 1/2 bi I, 1088 1/2 bi I, 1089 bi I and 1090 1/2 bi I developing into a heady mixture of controlled worked with Furtwängler in the conductor’s last years. compositions include several pieces of expansive German composer contemporaries such as Hans First issued on Grammophon 95438 and 95439 chamber music, a piano concerto, and three Bruckner- Pfitzner and Wolfgang Fortner. inebriation. Pre-war, though, he had refused to do so.) Furtwängler size symphonies. Beginning this selection of recordings made by The most recent recording of this selection is from explained his actions thus: ‘I knew Germany was in a Bruckner’s music was also a very important part of Furtwängler and the Berlin Philharmonic between 1930 1936. The Overture to Johann Strauss II’s frothy terrible crisis. I felt responsible for German music, and WAGNER: Götterdämmerung Furtwängler’s repertoire and recordings, approved or and 1936 is the Prelude to Act I of Wagner’s Lohengrin, operetta Die Fledermaus finds Furtwängler in rather it was my task to survive this crisis, as much as I could. otherwise, exist of Furtwängler conducting several of a solemn if radiant traversal, its spiritual journey to and serious mood. There is a lack of wit and sparkle if no The concern that my art was misused for propaganda 4 Siegfried’s Funeral Music (Act III) 8:24 Bruckner’s symphonies). Indeed it was Bruckner’s away from the brass-laden climax undimmed by the lack of musical care, yet the spontaneity this music had to yield to the greater concern that German music Recorded in November, 1933 Symphony No. 9 that Furtwängler included in 1907 in limited recording technology of the day and the many needs is missing. Not so in the final selection, from be preserved, that music be given to the German people his first concert, which was with the Munich decades that have passed since it was made. With another Strauss (Richard, born in Munich, was not a by its own musicians. These people, the compatriots of Matrices: 733 1/2 be I and 734 1/2 be I Philharmonic Orchestra (owing to his father’s teaching Tristan und Isolde we enter very different territory, member of the Austrian dynasty of composers), one of Bach and Beethoven, of Mozart and Schubert, still had First issued on Grammophon 67054 commitments, Wilhelm had spent his childhood in this Wagner’s forward-looking musical thinking for this his most-brilliant orchestral showpieces, Till to go on living under the control of a regime obsessed city). Furtwängler then received engagements with boundary-breaking and influential music-drama. Later Eulenspiegel’s Merry Pranks, a fifteen-minute scherzo with total war. No one who did not live here himself in various Austrian and German orchestras and opera in Furtwängler’s career, during a two-week period in that takes us through Till’s various adventures until he those days can possibly judge what it was like.’ Johannes BRAHMS (1833–1897): Hungarian Dances is captured and hanged. Through a remarkably vivid houses until, in 1922, he was appointed to the celebrated June 1952 in Kingsway Hall, London, he would make a 5 No. 1 in G minor * 3:00 Leipzig Gewandhaus Orchestra, in succession to the celebrated recording of the complete opera for HMV recording from 1930 (particularly so given the large and Colin Anderson legendary Arthur Nikisch, and also to the Berlin (EMI) with the Philharmonia Orchestra and a cast colourful orchestral forces that Strauss calls for and his 6 No. 10 in in F major ** 1:57 Philharmonic. For all that Furtwängler would have including Suthaus (Tristan), Flagstad (Isolde), Schock, Recorded in 1930 success with the Vienna Philharmonic and the Greindl and Fischer-Dieskau. Philharmonia Orchestra in London, it is with the Berlin In 1930 Furtwängler had set down the Prelude and Matrices: (*) 2580 1/2 bh I and (**) 2587 1/2 bh I Philharmonic that he was and is most closely Liebestod, effectively the bookends of the opera, a First issued on Grammophon 90190 associated, and it is the Berliners that are heard on all stitching together that was probably effected by the recordings on this release. Engelbert Humperdinck, an assistant to Wagner and a This fourth volume of Furtwängler’s early fine composer in his own right, not least in his popular 8.111005 2 8.111005 3 4 8.111005 8.111005 bk Furtwangler EU 26/8/09 11:20 Page 2
Great Conductors: Wilhelm Furtwängler (1886-1954) opera Hänsel und Gretel. Furtwängler’s conception of scoring’s dynamic range), Furtwängler and the Berlin GREAT CONDUCTORS • WILHELM FURTWÄNGLER Tristan und Isolde’s beginning and end is seamless and Philharmonic Orchestra, with no editing possible in The Early Recordings, Vol. 4 • Wagner • Brahms • J. Strauss II • R. Strauss intensely wrought, the accomplishment of a musician those days, give a rambunctious, graphic and lovingly Gustav Heinrich Ernst Martin Wilhelm Furtwängler recordings begins with music by Richard Wagner, who knew the music-drama as a whole. From three turned account, quite teasing at times, and also with The Early Recordings, Vol. 4 was born in Berlin on 25th January 1886 and died in selections from three of his operas, a composer closely years later, in terms of Furtwängler’s discography, the dramatic increases in pace (not least leading to the point Baden-Baden on 30th November 1954. His father was associated with Furtwängler, and continues with music opening of Siegfried’s Funeral Music, from Act III of of Till’s execution), of this concise yet eventful an archaeologist and his mother a painter; such by Brahms, Johann Strauss (the second) and Richard Götterdämmerung, the last opera of the tetralogy Der masterpiece. Eighty years on, there’s a relish here of Richard WAGNER (1810–1883): Lohengrin exploratory and creative qualities might be perceived in Strauss, all composers being associated, to a greater or Ring des Nibelungen, finds the opening timpani strokes Strauss’s music that still thrills. 1 Prelude (Act I) 9:37 Furtwängler’s distinctive and personal brand of lesser extent, with this conductor. Not that as quietly baleful; the expressive burden is palpable and The inclusion in this collection of music by Richard musicianship. Wilhelm Furtwängler’s musical Furtwängler’s repertoire was limited to the Austro- finds outlet in the nobly uplifting climaxes, the hero Wagner, and these particular recordings’ provenance, Recorded in 1930 education began at an early age (with his instrument German classics, for he conducted the premières of, for borne aloft. from the Berlin of the early 1930s, perhaps recalls the Matrices: 1085 1/2 bi I and 1086 3/4 bi I To lighter fare now and two of the three (of 21) connection between Wagner’s music and Adolf Hitler’s being the piano) and was fuelled in particular by a love example, Hindemith’s Symphony Mathis der Maler, in First issued on Grammophon 95408 of Beethoven’s music, which would develop into a 1934, and Schoenberg’s masterly if then ‘newly Hungarian Dances that Brahms himself orchestrated fondness for it, and the political and tarnishing lifetime’s engrossment for him. Although his complex’ Variations for Orchestra, Op. 31, in 1928. from the original versions for piano/four hands. In the connections that have since been applied. Leading up to posthumous reputation is as a conductor of the Austro- Nor was Furtwängler a stranger to Bartók’s music; in first of them, Hungarian Dance No. 1, which is music the years of World War II, and during that conflict, WAGNER: Tristan und Isolde German classics, kept alive through a relatively small 1927 he had conducted the first performance of Piano often mauled by conductors, pulling it one way, then the Furtwängler, because he remained in Germany (other official discography now swelled by many releases of Concerto No. 1 with the composer as the soloist, and other, Furtwängler allows some fluctuation but without prominent musicians went into exile), was branded a 2 Prelude (Act I) 10:33 exhumed concert-performances, Furtwängler was also a over twenty years later recorded the Violin Concerto obvious contrivance, the music’s frisky energy and Nazi (or certainly a member of the Nazi Party). 3 Liebestod (Act III) 6:23 composer (and not the only composer-conductor to put No. 2 with Yehudi Menuhin. There are also in alluring melody given with improvisatory abandon. Although, post-war, he was cleared of such the act of creation above that of re-creation: Boulez is, circulation concert-recordings of Furtwängler Hungarian Dance No. 10 is more sectionalised by associations, this stigma dogged his career for some Recorded in 1930 and Klemperer was, of a similar mind). Furtwängler’s conducting Ravel and Stravinsky, and also pieces by his Furtwängler; heavily underlined at the opening and time. (The afore-mentioned Yehudi Menuhin – a Jew – Matrices: 1087 1/2 bi I, 1088 1/2 bi I, 1089 bi I and 1090 1/2 bi I developing into a heady mixture of controlled worked with Furtwängler in the conductor’s last years. compositions include several pieces of expansive German composer contemporaries such as Hans First issued on Grammophon 95438 and 95439 chamber music, a piano concerto, and three Bruckner- Pfitzner and Wolfgang Fortner. inebriation. Pre-war, though, he had refused to do so.) Furtwängler size symphonies. Beginning this selection of recordings made by The most recent recording of this selection is from explained his actions thus: ‘I knew Germany was in a Bruckner’s music was also a very important part of Furtwängler and the Berlin Philharmonic between 1930 1936. The Overture to Johann Strauss II’s frothy terrible crisis. I felt responsible for German music, and WAGNER: Götterdämmerung Furtwängler’s repertoire and recordings, approved or and 1936 is the Prelude to Act I of Wagner’s Lohengrin, operetta Die Fledermaus finds Furtwängler in rather it was my task to survive this crisis, as much as I could. otherwise, exist of Furtwängler conducting several of a solemn if radiant traversal, its spiritual journey to and serious mood. There is a lack of wit and sparkle if no The concern that my art was misused for propaganda 4 Siegfried’s Funeral Music (Act III) 8:24 Bruckner’s symphonies). Indeed it was Bruckner’s away from the brass-laden climax undimmed by the lack of musical care, yet the spontaneity this music had to yield to the greater concern that German music Recorded in November, 1933 Symphony No. 9 that Furtwängler included in 1907 in limited recording technology of the day and the many needs is missing. Not so in the final selection, from be preserved, that music be given to the German people his first concert, which was with the Munich decades that have passed since it was made. With another Strauss (Richard, born in Munich, was not a by its own musicians. These people, the compatriots of Matrices: 733 1/2 be I and 734 1/2 be I Philharmonic Orchestra (owing to his father’s teaching Tristan und Isolde we enter very different territory, member of the Austrian dynasty of composers), one of Bach and Beethoven, of Mozart and Schubert, still had First issued on Grammophon 67054 commitments, Wilhelm had spent his childhood in this Wagner’s forward-looking musical thinking for this his most-brilliant orchestral showpieces, Till to go on living under the control of a regime obsessed city). Furtwängler then received engagements with boundary-breaking and influential music-drama. Later Eulenspiegel’s Merry Pranks, a fifteen-minute scherzo with total war. No one who did not live here himself in various Austrian and German orchestras and opera in Furtwängler’s career, during a two-week period in that takes us through Till’s various adventures until he those days can possibly judge what it was like.’ Johannes BRAHMS (1833–1897): Hungarian Dances is captured and hanged. Through a remarkably vivid houses until, in 1922, he was appointed to the celebrated June 1952 in Kingsway Hall, London, he would make a 5 No. 1 in G minor * 3:00 Leipzig Gewandhaus Orchestra, in succession to the celebrated recording of the complete opera for HMV recording from 1930 (particularly so given the large and Colin Anderson legendary Arthur Nikisch, and also to the Berlin (EMI) with the Philharmonia Orchestra and a cast colourful orchestral forces that Strauss calls for and his 6 No. 10 in in F major ** 1:57 Philharmonic. For all that Furtwängler would have including Suthaus (Tristan), Flagstad (Isolde), Schock, Recorded in 1930 success with the Vienna Philharmonic and the Greindl and Fischer-Dieskau. Philharmonia Orchestra in London, it is with the Berlin In 1930 Furtwängler had set down the Prelude and Matrices: (*) 2580 1/2 bh I and (**) 2587 1/2 bh I Philharmonic that he was and is most closely Liebestod, effectively the bookends of the opera, a First issued on Grammophon 90190 associated, and it is the Berliners that are heard on all stitching together that was probably effected by the recordings on this release. Engelbert Humperdinck, an assistant to Wagner and a This fourth volume of Furtwängler’s early fine composer in his own right, not least in his popular 8.111005 2 8.111005 3 4 8.111005 8.111005 bk Furtwangler EU 26/8/09 11:20 Page 5
Johann STRAUSS II (1825–1899): Die Fledermaus 8.111005 7 Overture 8:21 Recorded on 28th December, 1936 Great Conductors • Furtwängler ADD Matrices: 786 1/2 ge I and 787 3/4 ge I Also available First issued on Grammophon 67121
8 Richard STRAUSS (1864–1949): Till Eulenspiegel’s Merry Pranks, Op. 28 15:05 Recorded in 1930 The Early Recordings Matrices: 1093 1/2 bi I, 1096 1/2 bi I and 1097 bi I First issued on Grammophon 95410 and 95411 Vol. 4
All recordings made in the Hochschule für Musik, Berlin WAGNER Liebestod Berlin Philharmonic Orchestra • Wilhelm Furtwängler Siegfried’s Funeral Music 8.111136 8.111003 Producer and Audio Restoration Engineer: Mark Obert-Thorn BRAHMS Special thanks to Nathan Brown, Richard Kaplan and Charles Niss for providing source material Hungarian Dances Nos. 1 and 10 J. STRAUSS II Die Fledermaus – Overture R. STRAUSS Till Eulenspiegel’s Merry Pranks
8.111004 8.110999 Berlin Philharmonic Orchestra Wilhelm Furtwängler Historical Recordings 1930 - 1936 8.111005 5 8.111005 6 8.111005 bk Furtwangler EU 26/8/09 11:20 Page 5
Johann STRAUSS II (1825–1899): Die Fledermaus 8.111005 7 Overture 8:21 Recorded on 28th December, 1936 Great Conductors • Furtwängler ADD Matrices: 786 1/2 ge I and 787 3/4 ge I Also available First issued on Grammophon 67121
8 Richard STRAUSS (1864–1949): Till Eulenspiegel’s Merry Pranks, Op. 28 15:05 Recorded in 1930 The Early Recordings Matrices: 1093 1/2 bi I, 1096 1/2 bi I and 1097 bi I First issued on Grammophon 95410 and 95411 Vol. 4
All recordings made in the Hochschule für Musik, Berlin WAGNER Liebestod Berlin Philharmonic Orchestra • Wilhelm Furtwängler Siegfried’s Funeral Music 8.111136 8.111003 Producer and Audio Restoration Engineer: Mark Obert-Thorn BRAHMS Special thanks to Nathan Brown, Richard Kaplan and Charles Niss for providing source material Hungarian Dances Nos. 1 and 10 J. STRAUSS II Die Fledermaus – Overture R. STRAUSS Till Eulenspiegel’s Merry Pranks
8.111004 8.110999 Berlin Philharmonic Orchestra Wilhelm Furtwängler Historical Recordings 1930 - 1936 8.111005 5 8.111005 6 NAXOS Historical 8.111005 C Richard Wagner • Johannes Brahms Playing M
ADD Time Y Johann Strauss II • Richard Strauss K
8.111005 63:19 broadcasting and copying of this compact disc prohibited. translations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and
& Berlin Philharmonic Orchestra
2009 Naxos Rights International Ltd. Made in Germany Wilhelm Furtwängler (1886-1954)
WAGNER: Lohengrin This fourth volume of Wilhelm 1 Prelude (Act I) 9:37 Recorded in 1930 Furtwängler’s early recordings features music by composers who FURTWÄNGLER: WAGNER: Tristan und Isolde 2 Prelude (Act I) 10:33 were closely associated with the 3 Liebestod (Act III) 6:23 renowned conductor. These Recorded in 1930 distinguished recordings include WAGNER: Götterdämmerung seamless and intensely wrought 4 Siegfried’s Funeral Music (Act III) 8:24 interpretations of evergreen The Early Recordings • 4 Recorded in November, 1933 favourites from Wagner’s BRAHMS: Hungarian Dances Lohengrin, Tristan und Isolde The Early Recordings • 4 5 No. 1 in G minor 3:00 6 No. 10 in F major 1:57 and Götterdämmerung, the Recorded in 1930 accomplishment of a musician J. STRAUSS II: Die Fledermaus who knew the music-dramas as a 7 Overture 8:21 whole. The graphic and lovingly Recorded on 28th December, 1936 turned account of Richard FURTWÄNGLER: 8 R. STRAUSS: Till Eulenspiegel’s Merry Pranks, Op. 28 15:05 Strauss’s Till Eulenspiegel’s Merry Recorded in 1930 Pranks benefits from a remarkably All recordings made in the Hochschule für Musik, Berlin vivid 1930 recording which belies MADE IN its age. GERMANY Berlin Philharmonic Orchestra • Wilhelm Furtwängler
Producer and Audio Restoration Engineer: Mark Obert-Thorn Special thanks to Nathan Brown, Richard Kaplan and Charles Niss 8.111005 www.naxos.com Cover Photograph: Wilhelm Furtwängler, circa 1930 NAXOS HistoricalNAXOS (Private collection)