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Re: [furt-l] Question from a curious ignorant

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  • Warren Pyke
    ... From: Viviana To: furt-l@amulation.com Date: Thursday, 1 October 1998 19:07 Subject: Re: [furt-l]
    Message 1 of 6 , Oct 1, 1998
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      -----Original Message-----
      From: Viviana <allocchio@...>
      To: furt-l@... <furt-l@...>
      Date: Thursday, 1 October 1998 19:07
      Subject: Re: [furt-l] Wartime v post-war 9ths

      >
      >Re: Gianni Morelenbaum Gualberto comments
      >
      From wcpyke@...

      Focussing on your comments on post-war versus wartime Furtwangler 9ths, any
      observation about the significance of war versus post-war performances must
      carry the proviso that we can only refer to recorded performances.
      Accordingly the comparison may be less stark could we see the full range. I
      am also inclined to see the 1951 Bayreuth performance as striking a balance
      between the two apparent approaches, which is why I tend to favour this
      performance over all other available 9ths. Certainly the use of rubato and
      pauses in this performance is judged to create an effect that is highly
      "dramatic", creating tension and investing the music with a pulse that is
      much more than a poetic moulding of phrases in an "enormous stream".

      To highlight my observation listen to and compare the 30 May 1953 VPO
      performance with the 1951 Bayreuth. Moreover, the 8 December 1943 Stockholm
      performance captures a relatively more relaxed wartime Furtwangler (perhaps
      because he was outside Germany), compared to other wartime 9ths. While the
      observation of war versus post-war approaches is a useful initial analytical
      approach to Furtwangler's interpretations of the 9th (and other Beethoven
      and Wagner in particular), it is I believe an over-simplification to see
      Furtwangler's approach to the music during these periods as being driven
      primarily by the presence or absence of a wartime environment. There were
      undoubtedly other factors that influenced each performance and one wonders
      what the rationale is for seeing such a strict distinction without having
      regard to a variety of other influences.
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