Friday, November 12, 2010

ORFF 's De temporum fine comoedia by Karajan

Karajan did not leave any records of Orff (apart from this one) so for some people it will come as a surprise to be informed that he was the one who gave the world premiere of Trionfi (the trilogy Carmina Burana/Catulli Carmina/Trionofo d'Afrodite) at La Scala with Schwarzkopf and Gedda among the cast. Two decades later, he gave this Orff premiere (the composer's last major work), in Salzburg.

(Original LP coverart)

CARL ORFF (1895-1982)

De temporum fine comoedia
Play for the End of Time

Cast of the Salzburg Festival première 1973

Production: August Everding
Sets: Günther Schneider-Siemssen
Musical preparation: Gerhard Lenssen

»Heis theós estin anarchos, hypermegéthaes, agénaetos«
A god is, without beginning, immense, unformed

»Opse theú g'aleúsi myloi«
The mills of God are late to grind

»Pasin homú nyx estin isae tois plúton echusin kai ptochois«
The same night awaits all, rich and poor

»Choneusó gar hapanta kai eis katharón dialéxo«
I will melt everything down and purify it

»Vae! Ibunt impii in gehennam ignis eterni«
Woe! The impious shall enter the hell of the eternal fire

»Úpote, maepote, maepu, maedépote ... ignis eterni immensatormenta«
Never, never, in no place, at no time the measureless torment of the eternal fire

»Unus solus Deus ab aeterno in aeternum«
God is One alone from eternity to eternity

»Nicht Satanas ... nicht Lucifer... damnatus nunquam condemnatus in aeternum«
Not Satan ... not Lucifer... the damned are not condemned for eternity

»Mundus terrenus volvitur«
The terrestrial world revolves

»Wann endet die Zeit?«
When will time end?

»Gott, schenk uns Wahrsagung, Weissagung, Hellsicht im Traum. Gott, schenk uns den Traum«
God, grant us the gifts of prophecy, sagacity, clairvoyance in dreaming. God, grant us the dream

»Wo irren wir hin, verloren, verlassen«
Whither do we stray, lost, abandoned

»Kyrie!" "Serva nos, salva nos, eripe nos!«
Help us, save us, take us away!

»Angor, timor, horror, terror ac pavor invadit omnes«
Dread, fear, horror, terror and dismay seize us all

»Omne genus daemoniorum caecorum, claudorum sive confusorum, attendite iussum meorum et vocationem verborum«
Every type of demon, blind, lame or mad, mark the command and the call of my words

»Vae, Portae Inferi oculus aspicit nos tenebrarius tenebris«
Woe, the eye, the dark eye looks upon us, with darkness, at the gates of the underworld

»Pater peccavi«

Con sublima spiritualité

Nine Sibyls:
Colette Lorand • Jane Marsh • Kay Griffel
Sylvia Anderson • Gwendolyn Killebrew • Kari Lövaas
Anna Tomowa-Sintow • Heljä Angervo • Glenys Loulis

Nine Anchorites:
Erik Geisen • Hans Wegmann • Hans Helm
Wolfgang Anheisser • Siegfried Rudolf Frese • Hermann Patzalt
Hannes Jokel • Anton Diakow • Boris Carmeli

The last beings:
Josef Greindl (The Chorus leader)
Kölner Rundfunkchor (Chorus master: Herbert Schernus)
RIAS-Kammerchor (Einstudierung: Uwe Gronostay)
Tölzer Knabenchor (Einstudierung: Gerhard Schmidt-Gaden)
Rolf Boysen (Lucifer - Speaker)
Christa Ludwig (Contralto solo)
Peter Schreier (Tenor solo)
Viola quartet: Sigiswald Kuijken • Wieland Kuijken • Adelheid Glatt • Sara E. Cunningham

Kölner Rundfunk-Sinfonie-Orchester

Directed for the recording by Karl O.Koch
Co-production with West German Radio, Cologne

Karajan and Orff around the time of the premiere


How the world came into existence, and how it might end, are questions that have been considered over and over again, and continue to be asked: in religions, in myths and prophecies, in scientific and philosophical speculation, in literature, in visions expressed in music and the visual arts. Carl Orff devoted years of thought to his idea of a drama about the end of time, as part of his ambition to create a "theatrum mundi". His earliest approach to the subject was a setting of Franz Werfel's poem Des Turmes Auferstehung (The Rising of the Tower) in 1920-21. This piece, which has not been performed to date, marks the young composer's decision to renounce late Romanticism and turn to large-scale architectonic forms. A passage at the end of the score adumbrates the viola canon which, at the end of De temporum fine comoedia, symbolizes the path leading to eternity.

Orff's thoughts took their final shape in the 1960s. His versions of Classical Greek drama, Antigonae and Prometheus, lay behind him as stations on the way towards his last work for the stage, the apocalyptic vision De temporum fine comoedia. For Orff the word 'comoedia' retains its medieval sense, embracing all stage actions that are not tragedies but end well or at least not catastrophically. The end of the "comoedia" of the end of the world constitutes a reversion, the transformation of Lucifer back into an archangel, the spiritualization of the world of the senses into a new earth in which all is spirit, and thus divine. Guilt is forgotten, not forgiven with a magnanimous gesture. Ideas of Christian eschatology mingle with concepts from late Classical Greece, from gnosis, from ideas explored by the early Christian theologian Origen in the first half of the third century.

The score was composed essentially between 1960 and 1971, but before the Munich premiere in 1979 it was tautened, and the texture lightened to enhance the text. The world premiere was given at the Salzburg Festival on 20 August 1973, in the Grosses Festspielhaus. The production was. directed by August Everding and designed by Günther Schneider-Siemssen. It was performed by the Cologne Radio Chorus, augmented by the Tölz Boys' Choir and RIAS Chamber Choir, with the Cologne Radio Symphony Orchestra. Carl Orff was by then 78 years old, though age sat lightly on him: he was serene and happy in the consciousness of having brought his life's work to an ordered conclusion. De temporum fine comoedia was to be his last large-scale work.

The experience gained in writing for chorus and orchestra between Carmina Burana and Prometheus is evident in the score. The percussion is pre-eminent, augmented by Japanese temple bells and numerous other exotic instruments, which Orff collected and tried out in his house beside the Ammersee in Upper Bavaria. As so often, the lighter strings are omitted, leaving a quartet of violas and eight double basses to make up the string complement. In addition to normal woodwind and brass, there are also harps, three pianos, two organs, wind-machine and a tape (the wind-machine is also on tape in this performance). Apart from Lucifer, who appears shortly before the end, there are no named solo roles; the solos sung by sibyls and anchorites are motivated by the textual context, and are intended to be representative, not individualistic. What has been called Orff's "magical sonority" is the outcome of the affective part-writing, the suggestive power of uncommonly refined orchestral writing which always relates to the text, the skilful deployment of the ensemble and the choruses (including boys' voices), and the formal structure of the scenes. The concluding canon for the violas, disappearing to infinity, remains one of Orff's few pieces of wordless music: a reminiscence of an archaic world, of the 'awakening' caused by the study of Monteverdi, Byrd and other masters who, around 1920 and 1930, still lay shrouded in the mists of history. The idea of the "restoration of all things" brings Lucifer to the stage: he becomes once more what he was originally, the Bearer of Light. In the closing scene the music, previously highly affective and intense, reverts to basic, 'primeval' intervals. The vox mundana and vox caelestis are heard in the cosmos, in choral polyphony. Gradually the music of earth, vox mundana, subsides and is absorbed into the music of heaven, which is symbolized by the pure fifth, the fundamental interval. Chromaticism, accidentals and key signatures vanish from the score. The fifth conveys the ultimate knowledge, that all is spirit. This spiritualization governs everything, harmony and orchestration alike, in the closing scene. Four violas, the most discreet members of the string family, intone a four-part texture above a pedal point, bringing medieval Organum to mind. The melody is Bach's chorale "Vor deinen Thron tret ich hiermit" in a disguised form. A four-part canon emerges, rotates about its own axis, and returns symbolically to its starting-point in retrograde motion. The circle, universally acknowledged as the most complete symbolic figure, is closed.

Carl Orff's De temporum fine comoedia is a work full of symbolism. Every line in the text and every figure in the music has a symbolic significance. The score represents the summation of Orff's lifelong striving to depict the two foundations of the spirit of the Western world - Greco-Roman antiquity and Christianity - together in the one "theatrum mundi". The two worlds permeate each other, bringing the recognition that all is spirit, and thus divine. "Ta panta nus" is the last, all-embracing principle. The symbolism of the "play of the end of time" is explained in the fullest detail by Werner Thomas in Theatrum mundi, volume VIII of Carl Orff und sein Werk.   Dokumentation (Hans Schneider Verlag, Tutzing, 1983). This brief introduction acknowledges its debt to that exhaustive discussion.

What is seen on the stage are symbols, apocalyptic visions, ruminations about how the end of the world might be. The concepts are drawn from late Classical prophecy (the Roman Oracula Sibyllina from the second century B.C.), the hymn to the god of dreams from the Orphic Hymns of Classical Greece, the conjuration of demons from the medieval Carmina Burana (songs from manuscripts in the Benedictine abbey of Beuron in Baden-Württemberg), and ideas expressed by the early Christian theologian Origen, from his major work, De principiis, from the first half of the third century. Origen's theses form the centre of the work, and give an interpretation of the end of the world. Orff included the appearance of Satan and his transformation back into Lucifer in order to exemplify Origen's apocalyptic speculations. The symbolic action divides into three parts: The Sibyls, The Anchorites, and "Dies ilia". The Sibyls and the Anchorites expound opposing aspects of the same vision of the end of the world, "Dies ilia" pronounces an interpretation in the light of an early Christian view, influenced by late Classical Greece, at the centre of which is the idea of the spiritualization of the cosmos.

There are nine of them, that is, three times three, a reference to the magic significance of the number three in myth, magic spells etc. The sibyls are the women soothsayers of antiquity. Orff draws on the Sibylline Oracles, the 14 books containing prophecies about the end of the world and the coming of the Messiah. Night. Fantastic Landscape, the Nine Sibyls singly and in groups. Sopranos, mezzo-sopranos and contraltos. The soothsayers foretell the terrifying end of life and the cosmos and the eternal damnation of the godless and wicked. In Greek, the sibyls sing the praises of the one God and Creator, who will come to end time. The same night awaits all, rich and poor. All life has reached the end of its span. Images of the end of the world are invoked: darkness, conflagration, the collapse of the cosmic system. God sits in judgment on mankind's greed and lack of understanding. The godless are consigned to Tartarus. At the end God speaks out of the mouth of a sibyl. An echo from on high confirms her words. The sibyl foretells purgation by fire, the resurrection of the dead, the resolution of fate, and the last judgment on the godly and the godless.

The second part of the work is the antithesis of the first. A landscape of cliffs and ravines. Dispersed about the scene, the Nine Anchorites. (A remote reminiscence of the last scene of Part II of Goethe's Faust) 'Anchorite' derives from the Greek 'anachorètes' and means one who has withdrawn: a hermit. Many early Christian ascetics withdrew to live in solitude, in the belief that the apocalyptic prophecies of their faith would be fulfilled in their lifetimes. They prepared themselves for death and judgment by living a life of strict self-denial, thought to be pleasing to God. Christian doctrine was interpreted eschatologically, as relating above all to an imminent Last Judgment. The language of the text alternates between flexible Greek and lapidary Latin in this section of the work. In form it is a sequence of individually constructed segments, reflecting speech rhythms. After the terrifying visions of the sibyls, the anchorites offer a ray of hope: "Never, never, in no place, at no time the measureless torment of the eternal fire." One declares: "Nothing against God except God Himself." The world is God's creation, and therefore it is all contained within God - even though the Devil roams abroad until the very last. Only God knows when time will end. The spiritual heart of the piece is reached, the door to knowledge is opened. Orff comes to the thesis of the early Christian Greek Origen:

Omnium rerum finis
vitiorum abolitio.
(The end of all things
will be
the oblivion of all guilt.)

The words of Origen, condemned by some Councils of the early church, reflect the influence of late Greek thought, and express belief in the world's becoming spirit with the advent of Christianity. Guilt will be forgotten, wiped away like something written on a wax tablet. The concepts of "sin" and "forgiveness" are not even referred to. Guilt is forgotten, and the guilty transformed back to the state of innocence. Orff made this thesis the central idea of his piece and inscribed it as the motto at the head of the score.

The last of mankind come into view, out of darkness and wisps of mist. The universal catastrophe has taken place. Cries of woe are heard: the sky has fallen in, the sun has been extinguished, and human survivors roam about without any to warn or keep watch. The shadow of the Gregorian sequence "Dies irae, dies ilia" falls across the three-part chorus, led by a 'protagonist' in the Greek sense. "Make an end!" plead the last men. "At the gates of the underworld, the dark eye looks upon us, with darkness ..."

Lucifer, the "Bearer of Light", the archangel who fell from God in his pride and delusion, and became Satanas, Mephistopheles, the Prince of Evil. He appears high up, in the centre of the stage. His clothing and armour are black and glistening. He wears a helmet shaped like a dragon's head, a cloak spread wide, a mask over his face. He stands with outstretched arms, like giant bats' wings. Lucifer confesses his guilt: "Pater peccavi - Father, I have sinned." A ray of light from heaven falls on to the mask, which falls away. A youthful face is seen. A second ray of light causes the cloak and vesper-tilian attributes to drop. Finally Lucifer stands bathed in light, and is again the archangel he once was. From a distance the chorus is heard as vox mundana, the voice of the earth: "I come to Thee, Thou art the Comforter and the last End." From a greater distance, as the light strengthens, a celestial choir replies: "Ta panta nus - All is spirit." All is made spirit - the things of the earth, the senses, the created world. It is a Christian thought, given an interpretation by Origen that rests on late Greek philosophy.

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E. T. A. Hoffmann beyond his storytelling!

E.T.A. Hoffmann - Undine

E.T.A. Hoffmann


E.T.A. Hoffmann - Miserere B-Moll

Girolamo Romanino - Pietá
E.T.A. Hoffmann
 Miserere B-Moll
Kolner Rundfunk-Sinfonie-Orchester
 Director: Roland Badler


Giovanni Andrea Carlone - Aurora

E.T.A. Hoffmann
Libretto: Franz von Holbein
Bamberger Oratorienchor
 Jugendorchester Bamberg
 Dir. Hermann Dechant

E.T.A. Hoffmann - Dirna ((An Indian Melodrama in three acts, after a true story)

E.T.A. Hoffmann
(An Indian Melodrama in three acts, after a true story)

Wilhelm Furtwangler

Edition Wilhelm Furtwangler - The Complete RIAS Recordings (Box Set) (2009)
Classical | EAC rip | Ape(image) - Cue - Log | Full scans + Covers + Booklet | Rar 5% rec. | 13 CDs
Catalog Number: 21403 | Label: Audite | 2.74 GB | + Hotfile + FileServe + Sharingmatrix

Composer: Ludwig van Beethoven, Felix Mendelssohn, Johann Sebastian Bach, Franz Schubert, Johannes Brahms, Anton Bruckner, Robert Schumann, Wolfgang Fortner, Richard Wagner, George Frideric Handel, Paul Hindemith, Christoph W. Gluck, Carl Maria von Weber, Boris Blacher, Richard Strauss
Performer: Yehudi Menuhin, Gerhard Taschner
Conductor: Wilhelm Furtwängler
Orchestra/Ensemble: Berlin Philharmonic Orchestra

Review : For those who collect recordings by Wilhelm Furtwängler it will be hard to overstate the importance of a new 12-disc set by the German company Audite. Audite made an arrangement with the German Radio system to obtain the rights to use the original master tapes made by RIAS (Radio in the American Sector), Berlin. Although none of the material in this set is new to CD, this is the first authorized set taken from those master tapes. This is a “complete” edition—every piece of music performed by the Berlin Philharmonic under Furtwängler and broadcast by RIAS between 1947 and 1954. In many cases, only some works from a concert were broadcast (example: the conductor’s first post-war concert in May of 1947—consisting of Beethoven’s Egmont Overture, and Symphonies Nos. 5 and 6. The Egmont was broadcast, but the tape was not kept, so we don’t have it here—even though it was recorded live by DG, and issued on that label. This set contains only the RIAS recordings that survived, nothing more, nothing less.

To say that it is a miracle to have these is to understate the case—at least for those of us who love this conductor’s work. A good deal of this material has only been available in cramped, compressed, and/or distorted sound. Now it comes to us with an openness and fullness that we could only dream of, and it makes clear something that the poorer recorded sound did not—Furtwängler’s very keen ear for color.

Since all of these performances have been in circulation, I will not review each one with any detail, but rather make what I feel are minimally necessary comments about each one. And to save valuable Fanfare space, instead of a complete headnote, I will identify each performance as I comment on it, including the date. All are with the Berlin Philharmonic. The Audite set is 21.403, and, as I indicated, it consists of 12 well-filled monaural CDs, with very informative notes (if, perhaps, a bit over-the-top in discussing Furtwängler’s interpretations) in German and English. Anyone interested in Wilhelm Furtwängler’s conducting simply must have this set. I am going to list the works below in the order they appear in the set (note that some works appear more than once), which is largely chronological.

Beethoven: Symphonies Nos. 5 and 6 (5/25, 1947). This coupling has long been famous among Furtwängler collectors. It is his first time conducting after a two-and-a-half year imposed silence, through the end of the war and his de-Nazification hearings. Now he was standing on the podium of his Berlin Philharmonic for the first time since January 1945, and the force and in-your-face punch of these performances is unmistakable. DG issued the Fifth, and the Egmont Overture from a repeat of the program two days later, but this is the very first night. It has been issued before, but never with such rich sound. Even the DG from May 27 sounds thin and edgy compared to this. There is an uncertainty, an insecurity, in the ensemble—one suspects everyone’s nerves were at their extreme edges on this night—and the May 27 DG performance is cleaner. But the sheer visceral force of these performances, really heard for the first time because of the sound quality, is irreplaceable.

Mendelssohn: Overture to Midsummer Night’s Dream; Beethoven: Violin Concerto (Menuhin, soloist; 9/28/1947). There was also a Beethoven Seventh on this concert that has not survived. Tahra has issued these two works from a performance identified as September 30 (although Rene Tremine’s Furtwängler concert listing states that this program was only given on September 28 and 29). Whatever the accuracy of Tahra’s date, this is definitely a different performance, and to my knowledge the first release ever of these performances from September 28. That was a historic occasion because it was the first concert after the war at which Yehudi Menuhin played in public in Germany with Furtwängler, which was Menuhin’s very courageous statement of support from one Jewish artist at a time when many others were shunning the conductor. (They had actually performed together in Lucerne a month earlier.) I made a direct A-B comparison between this Audite release and Tahra FURT 1020, and preferred these performances and the recorded sound. The sound here is more naturally balanced and clear, and the performances have the spontaneity one would expect from the first night in a set. Furtwängler collectors will have to have this, as it is the first “new” item in the conductor’s discography in many years.

Bach: Orchestral Suite No. 3 in D; Schubert: Symphony No. 8, “Unfinished”; Brahms: Symphony No. 4 (10/24/1948). This has the appeal of being a complete Furtwängler concert, as given in 1948, so we can feel the shape of the whole evening. The Bach has been issued by DG, in thinner, harder-edged sound. This is not Bach for today’s HIP listeners, but in its old-fashioned way it has plenty of thrust and spine. The Schubert “Unfinished” will be a major discovery for many. It was previously issued on Japanese Columbia and Vox Turnabout LPs, and on CD only by the German Furtwängler Society and the hard-to-find Priceless 13272. The sound here is in a different league from earlier releases, and most collectors probably won’t even have the performance at all. This performance has a touch more rhythmic bite than the 1953 performance issued by DG (which also appears in this set and will be noted later), but is basically similar to the later one in its interpretive profile. This Brahms Fourth is also a rarity—having been issued only by Tahra and by the Japanese Wilhelm Furtwängler Center. Once again, the sound quality here is superb—opening up our ears to the drama and thrust of this performance. There are some ensemble problems, but they do not detract from a performance of enormous momentum and cumulative power. The wartime Brahms Fourth may be even more dramatic, but the richer sound here makes this my own favorite of the Furtwängler recordings of this work.

Bruckner: Symphony No. 8 (3/15/1949). Furtwängler conducted the Bruckner Eighth on March 13, 14, and 15, 1949. No recording seems to survive of the 13th. The 14th and 15th performances have been issued on a number of labels and have been confused with each other and frequently misidentified. The performance from the 14th has been issued on Testament and EMI. This one from the 15th is on Music & Arts, and is also part of an EMI Bruckner set. But once again, Audite’s access to the RIAS masters pays dividends. I compared this with all the others from both dates and found this the most satisfying sounding of all. The finest Furtwängler Bruckner Eighth is still the 1944 Vienna reading, with astonishing tension and drama combined with sublime beauty, and it is best heard on a Japanese EMI release or on Music & Arts 1209. This performance from 1949 doesn’t quite reach those heights, but the sound picture is much more satisfying, so it offers a more complete sense of the conductor’s view of the music.

Schumann: Manfred Overture; Brahms: Symphony No. 3; Fortner: Violin Concerto (Gerhard Taschner); Wagner: Götterdämmerung Funeral Music; Die Meistersinger Prelude (12/18–19/1949). Yes, that’s right—that is all one concert’s program! And an oddly structured one at that (I believe intermission came after the Brahms Third). Again, though, it is great to have a complete Furtwängler concert reproduced as it was given (though the recordings stem from two different nights of the repeated program). The richness of the string-playing in the Brahms, along with the rhythmic incisiveness he brings to the outer movements, adds a power and concentration to this music that it sometimes lacks. On the other hand, sometimes one has the feeling that the conductor is adding more weight to this work than it can stand. The 1954 performance (reviewed below later in this set) holds together more firmly. Once again, though the sound here far surpasses previous releases. The Wagner excerpts and Schumann Overture were issued by DG, and the sound here is only marginally preferable. The big surprise is the Fortner. The prior releases on Fonit Cetra and AS Disc did not do justice to the performance, or even the work. Wolfgang Fortner (1907–1987) wrote in a style that will connect with anyone who responds to Shostakovich or Prokofiev, with the same spiky rhythms and wit, though slightly less orchestral imagination and melodic inspiration. But it is an enjoyable work to hear once in a while, and it shows a side of the conductor we rarely experience. Taschner (a BPO concertmaster) plays it quite well.

Handel: Concerto grosso, op. 6/10; Brahms: Variations on a Theme by Haydn; Hindemith: Concerto for Orchestra; Beethoven: Symphony No. 3, “Eroica” (6/20/1950). This is even longer than the December 1949 concert—101 minutes of music! People had longer attention spans in those days. Once again, all of this material has been available, but not in this sound quality. Music & Arts and Tahra have issued this “Eroica,” and it is a strong performance—but not as strong as either the 1944 Vienna wartime reading or the 1952 reading reviewed below. When this performance is heard with the fullness of sound available here, it does gain in stature. Even Furtwängler’s richly colored conducting fails to convince me of the merits of Hindemith’s dry and academic Concerto for Orchestra. The Handel is an interesting reminder of a time when major conductors and orchestras played this music without fear of attack from the purists, and the Brahms Variations sounds warmer and richer than on DG’s release of the same performance.

Gluck: Alceste Overture (9/5/1051). This is all that survives of a concert that opened Berlin’s Schillertheater. That is particularly distressing because the other work on that program was a Beethoven Ninth, and to have had one with this level of fidelity would have been something indeed. This lovely performance has been issued only sporadically in Germany and Japan on CD, and this will be new even to many collectors. He shapes the music warmly and gives it more weight than his 1942 studio recording of the work.

Weber: Der Freischütz Overture; Hindemith: Die Harmonie der Welt; Beethoven: Symphony No. 3, “Eroica” (12/8/1952). This, too, is a complete concert, and it is one I would like to have been at. The “Eroica” is almost as powerful as the famous 1944 Vienna recording, but in such superior sound that it becomes the more satisfying overall experience for the listener. Furtwängler’s way of building orchestral sound from the bottom up is often weakened by poor recorded sound—but not here. We hear everything, and we hear it all in the right proportions. This is a deeply moving, even thrilling experience. This Hindemith has always struck me as one of his more emotionally effective and communicative works, and this performance has always sounded to me as if it would convey the work’s beauty and power if one could only hear it. A later Salzburg performance has been the preferred one in the past because of superior sound—but no longer. This has just the right combination of leanness and warmth, more weight than most conductors give this music, but never too much.

Schubert: Rosamunde Overture; Symphonies Nos. 8 and 9 (9/15/53). If I had known in 1953, when I was 11, what I know now, I would probably have tried to find my way to Berlin to hear this concert. This all-Schubert program is filled with warmth, tenderness, drama, and wit—all in the right proportions. Once again, the superior sound quality comes quite close to early 1950s studio recording sound.

Handel: Concerto grosso, op. 6/5; Brahms: Symphony No. 3; Blacher: Concert Music for Orchestra. R. Strauss: Don Juan; Wagner: Tristan and Isolde “Prelude and Liebestod” (4/27/1954). Once again, a long and somewhat oddly constructed Furtwängler program. Clearly he was one of those who didn’t like to end with Brahms’s Third, because of its soft ending—but then again, he did end with the “Liebestod,” not exactly a bring-the-house-down piece either! The interest here is twofold: the conductor’s best-recorded rendition of the Brahms Third, and the Blacher available for the first time in good sound. The Blacher is written in Stravinsky’s neo-Classical vein, though without Stravinsky’s imagination. Still, it is nice to hear Furtwängler in this kind of repertoire, which he visited rarely. The Strauss and Wagner obviously benefit from the improved sonics, though both were released by DG in transfers that were fairly good.

Beethoven: Symphonies Nos. 6 and 5 (5/23, 1954). And so this set ends as it began, with Beethoven’s Sixth and Fifth Symphonies combined on one program, almost seven years to the day after the concert marking the conductor’s return to Berlin (and about six months before his death). Furtwängler obviously saw these symphonies as a set, and played them together on more than one occasion (and he played them in this order—and on this occasion with no overture). Although the conductor was ill and could be uneven in the final year of his life, this is one of his truly great concerts—and now that one hears it from the master tapes one realizes what a momentous evening it was. (Tahra’s earlier release of these performances was quite good, but this is even better.) If you want to convince a non-believer in the power of Furtwängler as a conductor, this disc should do it as well as any.


CD 1 [75:02]

Ludwig van BEETHOVEN (1770-1827)
1-5. Symphony No.6 in F Op.68 Pastoral (1807)
25.05.1947 [42:24]
6-9. Symphony No.5 in C minor Op.67 (1807)
25.05.1947 [32:38]

CD 2 [78:19]

Felix MENDELSSOHN (1809-1847)
1. A Midsummer Night's Dream: Overture (1826)
28.09.1947 [12:58]
2-4. Ludwig van BEETHOVEN (1770-1827)
Violin Concerto in D major Op 61 (1806)
28.09.1947 [44:06]
5-9. Johann Sebastian BACH (1685-1750)
Orchestral Suite No. 3 in D major BWV 1068 for 3 trumpets, timpani, 2 oboes, strings and continuo (c1729-31)
24.10.1948 [21:11]
Yehudi Menuhin (violin)

Exact Audio Copy V0.99 prebeta 3 from 28. July 2007
Отчёт EAC об извлечении, выполненном 23. мая 2010, 0:19
Furtwangler / Complete RIAS recordings CD2
Дисковод: PLEXTOR DVDR PX-760A Adapter: 5 ID: 1
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 30
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000
Выходной формат : Внутренние WAV-операции
Формат сэмплов : 44.100 Гц; 16 бит; стерео
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
1 | 0:00.00 | 12:58.36 | 0 | 58385
2 | 12:58.36 | 23:44.03 | 58386 | 165188
3 | 36:42.39 | 10:26.13 | 165189 | 212151
4 | 47:08.52 | 9:56.06 | 212152 | 256857
5 | 57:04.58 | 8:11.31 | 256858 | 293713
6 | 65:16.14 | 6:39.37 | 293714 | 323675
7 | 71:55.51 | 2:51.18 | 323676 | 336518
8 | 74:46.69 | 0:54.42 | 336519 | 340610
9 | 75:41.36 | 2:35.35 | 340611 | 352270
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла C:\A\Rec\Furtwangler - Complete RIAS recordings CD2.wav
Пиковый уровень 95.5 %
Качество диапазона 100.0 %
CRC копии E5A17692
Копирование... OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 точное извлечение (доверие 10) [BB991D39]
Трек 2 точное извлечение (доверие 10) [5ED9ABA3]
Трек 3 точное извлечение (доверие 10) [12FDB0D0]
Трек 4 точное извлечение (доверие 10) [070CD86C]
Трек 5 точное извлечение (доверие 10) [48EE9F18]
Трек 6 точное извлечение (доверие 10) [5508A972]
Трек 7 точное извлечение (доверие 9) [9B2EE07D]
Трек 8 точное извлечение (доверие 9) [AEA62C38]
Трек 9 точное извлечение (доверие 8) [75449410]
Все треки извлечены точно
Конец отчёта
CD 3 [65:04]

Franz SCHUBERT (1797-1828)
1-2. Symphony no. 8 in B minor, D.759 "Unfinished" (1822)
24.10.1948 [23:39]
3-6. Johannes BRAHMS (1833-1897)
Symphony No.4 in E minor Op.98 (1887)
24.10.1948 [41:24]

Exact Audio Copy V0.99 prebeta 3 from 28. July 2007
Отчёт EAC об извлечении, выполненном 23. мая 2010, 1:11
Furtwangler / Complete RIAS recordings CD3
Дисковод: PLEXTOR DVDR PX-760A Adapter: 5 ID: 1
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 30
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000
Выходной формат : Внутренние WAV-операции
Формат сэмплов : 44.100 Гц; 16 бит; стерео
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
1 | 0:00.00 | 11:36.57 | 0 | 52256
2 | 11:36.57 | 12:02.12 | 52257 | 106418
3 | 23:38.69 | 12:45.71 | 106419 | 163864
4 | 36:24.65 | 12:22.48 | 163865 | 219562
5 | 48:47.38 | 6:27.61 | 219563 | 248648
6 | 55:15.24 | 9:47.15 | 248649 | 292688
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла C:\A\Rec\Furtwangler - Complete RIAS recordings CD3.wav
Пиковый уровень 100.0 %
Качество диапазона 100.0 %
CRC копии FBE9B27C
Копирование... OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 точное извлечение (доверие 11) [A7CAD1BC]
Трек 2 точное извлечение (доверие 11) [CAB927FB]
Трек 3 точное извлечение (доверие 11) [2FC1214B]
Трек 4 точное извлечение (доверие 11) [2CE5783E]
Трек 5 точное извлечение (доверие 11) [8DD51D4F]
Трек 6 точное извлечение (доверие 10) [8D6FD81C]
Все треки извлечены точно
Конец отчёта

CD 4 [76:04]

1-4. Anton BRUCKNER (1824-1896)
Symphony No 8 in C minor (1890 ed. Robert Haas)
15.03.1949 [76:04]

CD 5 [74:28]

1. Robert SCHUMANN (1810-1856)
Manfred Op 115 - overture (1852)
18.12.1949 [13:21]
2-5. Johannes BRAHMS (1833-1897)
Symphony No.3 in F major Op.90 (1883)
18.12.1949 [38:44]
6-8. Wolfgang FORTNER (1907-1987)
Concerto for violin and large chamber orchestra (1947)
18.12.1949 [22:21]
Gerhard Taschner (violin)

CD 6 [68:48]

1. Richard WAGNER (1813-1883)
Gotterdammerung - Trauermarsch (1876)
19.12.1949 [9:35]
2. Die Meistersinger von Nurnberg - Pelude to Act I (1868)
19.12.1949 [9:23]
George Frideric HANDEL (1685-1759)
3-7. Concerti Grossi Op. 6 No.10 (1739)
20.06.1950 [16:42]
Johannes BRAHMS (1833-1897)
8-17. Variations on a theme by Haydn (St. Anthony Variations) Op. 56a (1873)
20.06.1950 [20:22]
18-21. Paul HINDEMITH (1895-1963)
Concerto for Orchestra Op.38 (1925)
20.06.1950 [12:42]

CD 7 [79:56]

1-5. Ludwig van BEETHOVEN (1770-1827)
Symphony no.3 in Eb, op.55 Eroica (1805)
20.06.1950 [52:26]
6. Christoph Willibald GLUCK (1714-1787)
Alceste - Opera in three acts - overture (1767)
05.09.1951 [9:34]
7-12. George Frideric HANDEL (1685-1759)
Concerti Grossi Op. 6 No 5 (1739)
27.04.1954 [17:53]

CD 8 [50:14]

1-2. Carl Maria von WEBER (1786-1826)
Der Freischutz - overture (1817)
08.12.1952 [13:39]
3-6. Paul HINDEMITH (1895-1963)
Symphony Die Harmonie der Welt (1951)
08.12.1952 [36:32]

CD 9 [77:13]

1-4. Ludwig van BEETHOVEN (1770-1827)
Symphony no.3 in Eb, op.55 Eroica (1805)
08.12.1952 [55:06]
5-6. Franz SCHUBERT (1797-1828)
Rosamunde D.797- Overture (1823)
15.09.1953 [12;12]
7-8. Boris BLACHER (1903-1975)
Concertante Musiche, for orchestra (1937)
27.04.1954 [9:54]

CD 10 [75:49]

1-2. Franz SCHUBERT (1797-1828)
Symphony no. 8 in B minor, D.759 "Unfinished" (1822)
15.09.1953 [23:17]
3-6. Symphony no. 9 in C, D.944 "The Great" (1825-28)
15.09.1953 [52:30]

CD 11 [73:04]

Johannes BRAHMS (1833-1897)
1-4. Symphony No.3 in F major Op.90 (1883)
27.04.1954 [37:04]
5. Richard STRAUSS (1864-1949)
Don Juan Op.20 (1888)
6-7. Richard WAGNER (1813-1883)
Tristan und Isolde - Prelude and Isolde’s Liebestod (1865)
27.04.1954 [17:44]

CD 12 [79:14]

1-5. Ludwig van BEETHOVEN (1770-1827)
Symphony No.6 in F Op.68 Pastoral (1807)
23.05.1954 [44:37]
6-9. Symphony No.5 in C minor Op.67 (1807)
23.05.1954 [34:35]

Bonus CD

Colloquium; Furtwangler on the art of interpretation

Exact Audio Copy V0.99 prebeta 3 from 28. July 2007
Отчёт EAC об извлечении, выполненном 23. мая 2010, 20:26
Furtwangler / Complete RIAS recordings CD13
Дисковод: PLEXTOR DVDR PX-760A Adapter: 5 ID: 1
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 30
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000
Выходной формат : Внутренние WAV-операции
Формат сэмплов : 44.100 Гц; 16 бит; стерео
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
1 | 0:00.00 | 5:44.72 | 0 | 25871
2 | 5:44.72 | 10:05.58 | 25872 | 71304
3 | 15:50.55 | 8:09.56 | 71305 | 108035
4 | 24:00.36 | 1:27.20 | 108036 | 114580
5 | 25:27.56 | 3:13.07 | 114581 | 129062
6 | 28:40.63 | 5:39.69 | 129063 | 154556
7 | 34:20.57 | 6:08.73 | 154557 | 182229
8 | 40:29.55 | 5:50.24 | 182230 | 208503
9 | 46:20.04 | 1:34.18 | 208504 | 215571
10 | 47:54.22 | 9:50.23 | 215572 | 259844
11 | 57:44.45 | 4:05.08 | 259845 | 278227
12 | 61:49.53 | 2:09.66 | 278228 | 287968
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла C:\A\Rec\Furtwangler - Complete RIAS recordings CD13.wav
Пиковый уровень 98.8 %
Качество диапазона 100.0 %
CRC копии 7A32F00E
Копирование... OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 точное извлечение (доверие 8) [836F1549]
Трек 2 точное извлечение (доверие 8) [CC36C2F3]
Трек 3 точное извлечение (доверие 8) [21850BA3]
Трек 4 точное извлечение (доверие 8) [431DA98C]
Трек 5 точное извлечение (доверие 8) [ADE9E06C]
Трек 6 точное извлечение (доверие 8) [405B33F4]
Трек 7 точное извлечение (доверие 8) [3B9827EC]
Трек 8 точное извлечение (доверие 8) [9EC73838]
Трек 9 точное извлечение (доверие 8) [DE37FCC2]
Трек 10 точное извлечение (доверие 8) [5090AF6E]
Трек 11 точное извлечение (доверие 8) [3C42420F]
Трек 12 точное извлечение (доверие 7) [C245B5D2]
Все треки извлечены точно
Конец отчёта

Thanks to original ripper!

Download album:
in Lossless

Download album: in Lossless






Gerhard Taschner, a German violinist!

Sarasate - Zigeunerweisen (Gypsy Airs), Op. 20
VIOLIN : Gerhard Taschner / Year 1943

Zigeunerweisen (Gypsy Airs), Op. 20 - Zigeunerweisen (Gypsy Airs) (8:36)
Download (mp3)

Tartini - Devil's Trill sonata
VIOLIN : Gerhard Taschner / Year 1949

Devil's Trill sonata - Devil's Trill sonata (14:06)
Download (mp3)

Franck - Violin sonata
PIANO : Walter Gieseking / VIOLIN : Gerhard Taschner / Year 1947

Violin sonata - 1. Allegretto ben moderato (9:48)
Download (mp3)

Franck - Violin sonata
PIANO : Walter Gieseking / VIOLIN : Gerhard Taschner / Year 1947

Violin sonata - 2. Allegro (4:18)
Download (mp3)

Franck - Violin sonata
PIANO : Walter Gieseking / VIOLIN : Gerhard Taschner / Year 1947

Violin sonata - 3. Recitativo-Fantasia (Ben moderato) (7:11)
Download (mp3)

Franck - Violin sonata
PIANO : Walter Gieseking / VIOLIN : Gerhard Taschner / Year 1947

Violin sonata - 4. Allegretto poco mosso (6:16)
Download (mp3)