Reissue CD Reviews
Wilhelm Furtwangler conducts HAYDN: Sym. 88; RAVEL: Rapsodie espagnole; BRUCKNER: Sym. No. 4 (Melodram)
Double-CD set presents recordings from l951 never before released
Published on June 02, 2005
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HAYDN: Symphony No. 88 in G Major; RAVEL: Rapsodie espagnole; BRUCKNER: Symphony No. 4 in E-flat, "Romantic"
Wilhelm Furtwaengler conducts Vienna Philharmonic
Melodram GM 4.0074 (2 CDs) 36:33; 65:52 (Distrib. Albany)***:
Promoted as "Never Released Before," this complete concert from Stuttgart, October 22, 1951 with Wilhelm Furtwaengler (1886-1954) is in good though not great sound, so members of the Furtwaengler cult are more likely to gravitate to it than audiophiles. For my money the revelation is Furtwaengler’s meticulous way with the Ravel, an infrequent piece of programming for him; only the equally rare Noble and Sentimental Waltzes of Ravel warranted attention from Furtwaengler. His "mistress," the Vienna Philharmonic, emanates a sultry sheen and finish to the individual sections of this hybrid-Spanish work. The interior movements, Habanera and Malaguena, are rife in color and sensuous nuance. While the Feria may not achieve the frenetic abandon we have with Munch and Reiner, it still makes Iberian sparks fly.
The Haydn G Major Symphony possessed a definite allure for Furtwaengler, who imbued it with a tragic wistfulness that may be entirely idiosyncratic. The Largo certainly gives us pause, with the VPO woodwinds‚ weaving plastic and fluid lines with a serenity even the occasional audience cough cannot dispel. Melodram has eliminated any audience applause from the ends of the final movements of the individual pieces, so the grand, expansive peroration that concludes the Bruckner Romantic Symphony loses a bit of the released tension of the moment. Despite a slightly insecure French horn, the Bruckner has that aural mystery Furtwangler’s best work transmits; the obstinate and tremolando figures pulsate incandescent power. Some martial and aggressive striding tempos mark both the expansive Andante quasi Allegretto and the hunting-call Scherzo. What retards my full enthusiasm for this fine restoration is the tubby and distant sound, possibly from a poor microphone placement. Still, given the scarcity of fresh Furtwaengler material, this addition commands collectors’ attentions.
--Gary Lemco
Wilhelm Furtwaengler conducts Vienna Philharmonic
Melodram GM 4.0074 (2 CDs) 36:33; 65:52 (Distrib. Albany)***:
Promoted as "Never Released Before," this complete concert from Stuttgart, October 22, 1951 with Wilhelm Furtwaengler (1886-1954) is in good though not great sound, so members of the Furtwaengler cult are more likely to gravitate to it than audiophiles. For my money the revelation is Furtwaengler’s meticulous way with the Ravel, an infrequent piece of programming for him; only the equally rare Noble and Sentimental Waltzes of Ravel warranted attention from Furtwaengler. His "mistress," the Vienna Philharmonic, emanates a sultry sheen and finish to the individual sections of this hybrid-Spanish work. The interior movements, Habanera and Malaguena, are rife in color and sensuous nuance. While the Feria may not achieve the frenetic abandon we have with Munch and Reiner, it still makes Iberian sparks fly.
The Haydn G Major Symphony possessed a definite allure for Furtwaengler, who imbued it with a tragic wistfulness that may be entirely idiosyncratic. The Largo certainly gives us pause, with the VPO woodwinds‚ weaving plastic and fluid lines with a serenity even the occasional audience cough cannot dispel. Melodram has eliminated any audience applause from the ends of the final movements of the individual pieces, so the grand, expansive peroration that concludes the Bruckner Romantic Symphony loses a bit of the released tension of the moment. Despite a slightly insecure French horn, the Bruckner has that aural mystery Furtwangler’s best work transmits; the obstinate and tremolando figures pulsate incandescent power. Some martial and aggressive striding tempos mark both the expansive Andante quasi Allegretto and the hunting-call Scherzo. What retards my full enthusiasm for this fine restoration is the tubby and distant sound, possibly from a poor microphone placement. Still, given the scarcity of fresh Furtwaengler material, this addition commands collectors’ attentions.
--Gary Lemco
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