Furtwängler: Early Recordings 1926-37

On this CD:

1. Der Freischütz, opera in 3 acts, J. 277 Overture
Composed by Carl Maria von Weber
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

2. Der Freischütz, opera in 3 acts, J. 277 Entr'acte
Composed by Carl Maria von Weber
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

3. Invitation to the Dance, rondo brillant for piano, Op. 65 (J260)
Composed by Carl Maria von Weber
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

4. A Midsummer Night's Dream, overture, Op. 21
Composed by Felix Mendelssohn
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

5. The Hebrides, overture in B minor for orchestra ("Fingal's Cave," 4 versions), Op. 26
Composed by Felix Mendelssohn
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

6. Damnation de Faust, La, for mezzo-soprano, tenor, baritone, bass, chorus and orchestra, ("légende dramatique") H. 111 (Op. 24) March
Composed by Hector Berlioz
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

7. Lohengrin, opera, WWV 75 Prelude to Act 1
Composed by Richard Wagner
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

8. Tristan und Isolde, opera, WWV 90 Prelude and Liebestod
Composed by Richard Wagner
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

9. Die Götterdämmerung (Twilight of the Gods), opera, WWV 86d Trauermarsch
Composed by Richard Wagner
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

10. Hungarian Dances (21) for piano, 4 hands (or piano solo or orchestra), WoO 1 No. 1 in G minor, orchestrated by Brahms
Composed by Johannes Brahms
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

11. Hungarian Dances (21) for piano, 4 hands (or piano solo or orchestra), WoO 1 No. 3 in F major, orchestrated by Brahms
Composed by Johannes Brahms
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

12. Die Fledermaus (The Bat), overture to the operetta (RV 503-1)
Composed by Johann II Strauss
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

13. Till Eulenspiegels lustige Streiche (Till Eulenspiegel's Merry Pranks), tone poem for orchestra, Op. 28
Composed by Richard Strauss
Performed by Berlin Philharmonic Orchestra
Conducted by Wilhelm Furtwangler

Tracks:

Der Freischutz: Ov
Der Freischutz: Entr' Acte
Invitation To The Dance
A Midsummer Night's Dream: Ov
Hebrides Ov
Damnation Of Faust: March

Tracks:

Lohengrin, Act I: Prld
Tristan Und Isole: Prld And Liebestod
Gotterdammerung: Trauermarsch
Hungarian Dances Nos.1 And 3
Die Fledermaus: Ov
Till Eulenspiegels Lustige Streiche

Customer Reviews:

From the review in the The Washington Post.......2007-05-14

Wilhelm Furtwaengler was a poet of the baton, more interested in emotional communication than in the precise discipline favored today. He was likely to make each performance of a work sound different from the last, a quality hard to capture on records, which tend to go on doing the same things in the same way every time you play them. Still, the personality of the conductor comes through in some of his old recordings recently remastered on CD.

The Koch Legacy series has issued a thorough survey of Furtwangler's early recordings with the Berlin Philharmonic, from 1926 to 1937, in two volumes of two CDs each. The first (3-7059-2) has music of Bach (Brandenburg Concerto No. 3), Mozart ("Eine Kleine Nachtmusik" and overtures), Schubert ("Rosamunde"), Beethoven ("Egmont" Overture and Symphony No. 5) and Rossini ("Gazza Ladra" and "Barber of Seville" overtures). The second (3-7073-2) includes theatrical music of Weber, Mendelssohn, Berlioz, Wagner and Johann Strauss Jr., as well as a superb performance of "Till Eulenspiegel" by the other Strauss. There is a special interest in comparing his fine 1926 recording of the "Freischutz" Overture (in the first set) with the more evocative 1935 recording in the second set. These interpretations cannot be called better or worse than their abundant and excellent competition; they are one-of-a-kind and to be treasured for that reason.

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