Beethoven Symphony no 5 and 7 (again)

Beethoven; Symphonies no 5 & 7
Berliner Philharmoniker
Wilhelm Furtwängler

also available on Music and Arts and Tahra labels.







Deusche Grammophon became the first recording company to release Wilhelm Furtwangler's wartime recordings after acquiring it from a (then) Soviet radio archives back in 1989. The linear notes has it that Soviet troops who occupied Berlin took the broadcast tapes back to their country. Since the release, Furtwangler's name has been immortalised to some, as the greatest Beethoven interpreter. These two recordings made in 1943, were one of the most fiery and intense Beethoven interpretations of all time. Of the cliché "Fate Knocking on the Door" motif which shaped (and probably misrepresented) the whole symphony,Furtwangler's direction is synonamous with it. Each time the Fate motif is introduced, Furtwangler would exaggerate and propel it with additional weight. Such is the force and weight that permeates the whole movement when the motif implodes one last time before the coda, you can feel as if the battering ram has almost sucessfully shaken every foundation of a heavily barricaded door. The solemn Andante reminds listeners of the funeral march of Eroica and despite what seemed to be a grim time (at the period of recording) for the Berliners and Furtwangler, there is still an air of nobility and dignity.

The Allegro movement later on can be served as a metaphor of Hitler's reign and what comes on in the Finale as a prophecy of Allied liberation of Europe. In between, the Trio which Benjamin Zander exults it as some sort of dance of life becomes a grim parody of marching SS and Gestapo troops. Listen to how the basses dig their strings hard in here. The quiet passage before the "liberation" - the transition to Finale is disturbingly nervous and jittery and beyond it is a true climax where Furtwangler holds the crescendo longer than most conductors and pushing it to a breaking point of volcanic eruption. He gave slight pause and launches the violent, battle-laden Finale. Here is trademark unbuttoned Furtwangler and the "Liberation" we have here is contrary to optimistic direction of Carlos Kleiber/VPO - it is all gunfire, bombs and heavy casualty. At one passage, the orchestra hits a climax before the violins play a series of descending arpeggios and dies down to reprisal of the quiet passage of third movement. It doesn't happen before Furtwangler adds a sforzando (sudden piano before catching up with crescendo in dynamics) to a stunning effect. The movement ends with the coda guaranteed to grip you by the seat.

Furtwangler's authority on Beethoven is much lesser known in this Seventh Symphony. The opening chords strucks on us like a battering ram in the face. In a sense, one can already sense the whole interpretation of the Seventh symphony is almost equal to Shostakovich's Fifth symphony where one is forced to be happy, amidst beatings, torture and interrogation. So, the "apotheosis of dance" first movement is almost a grumpy, joyless exercise and the third movement even moreso with the trio being one of the slowest on record.

This CD (if you can find it) is worth purchasing for the Fifth Symphony alone. You'd better be off with more joyful renditions of the Seventh by Carlos Kleiber, for example although the Seventh is an intriguing document solely just to hear Furtwangler's view. Generally the symphony is sold as part of "Furtwangler conducts Beethoven" box set issued by Music and Arts label (available at Amazon.com) which also includes other wartime Beethoven readings, symphonies 3, 4, 6, and 9th. I hear Tahra also offers the recording, but you'll have to figure out more yourself. If you want to collect great recordings of the Fifth, you should not miss 1943 Furtwangler. Of course there is general complaint about the sound, but you'll get used to it.

Technical: 10
Interpretation: 10
Recording: 6 (pretty fine for a 1943 recording. Please note this rating applies only for THIS DG recording)