Fischer

(Compiled based on Berlin Radio recording in December 1954)

We are proud of a great man, he is Wilhelm Tom Furtw?ngler. Our pride contains regret and reverence. We must not only remember him here and now, but also keep him in our hearts forever. His name is engraved in the hearts of all those who came into contact with him, just like Beethoven's soul lives in his heart.

Furtwangler was the eternal seeker and fighter, his appearance was that of an aristocrat, just like the statue of Goethe. Faustian anxiety and impulsiveness can be seen in his face. He is never satisfied and always lingers at the gates of heaven and hell. He revised and improved his work many times. Through it all we understand the center of his life, and the source of his tragedy.

Furtw?ngler hoped to be seen as a composer who could conduct rather than a conductor who could compose, but he encountered difficulties from the beginning. Starting from the regrettable premiere of his "Ode to Gratitude", it was not until his later years that people heard the true connotation of his works. His symphony has just been performed and published, and the Berlin Philharmonic Orchestra's tour has made his piano concerto respected. Generally speaking, Furtw?ngler repeated the fate of all great composers. He was a courageous supporter of modern music, and the works he premiered will always be his honor. But what remains most in our memory and will never be forgotten is his interpretation of the great works in musical culture - from Bach's "Passion" to Wagner's "Ring Ring".

When we explore what are the elements of Furtw?ngler's musical interpretation, we can only find the answer from his recordings - that is, his true feeling, grasp of structure, and internal harmony. rules, and an understanding of the composer's intention. He is that rare orchestral color expert who can conduct an orchestra to illuminate all the mysteries in the notes.

In order to express his thoughts clearly, Furtw?ngler often picked up a pen. His new book "Sound and Language" (TON UND WORT) gives us a visible proof of his extensive spirituality and his tireless exploration of important issues in music. When he talks to composers or soloists after a performance, he demonstrates his knowledge and familiarity with the work, which is simply miraculous: what a wonderful experience it is when he sits at the piano and explains his understanding of the work to us. . He believes that it is impossible for a composer to write down everything he wishes in notes, which requires a "second force", which we call interpretation, and a spirit related to the spirit of the creator of the work. It can be said that Furtw?ngler had the same great spiritual spark as Beethoven, Brahms, Bruckner and Wagner.

Hindemith

(Speech at the German Government’s Award Ceremony on June 18, 1955)

We have become accustomed to using characters to describe music Historical stages, their names are used as synonyms for their art and their era. Palestrina (Italian composer 1525-1594) and Gabrieli (Italian composer 1515-1586) are symbols of 16th century music; Bach and Handel have long become synonymous with Baroque music. During the Viennese Classical Period, it was also the composer who became the representative of all the musical achievements of that era. Only in the 19th century did this situation change: the virtuoso shared the honors with the composer. Behind Schumann were Wagner, Verdi and Brahms, while Paganini and Liszt gained equal prestige. Likewise, the conductor of that period, Hans von Bülow, also gained world recognition. We have witnessed firsthand that in our time musicians of all types, not just creators but performers, share fame and honor.

In a few decades, when we look back at the musical life between the two world wars, especially music in the traditional sense, there will be almost no composer who can become a recognized representative of this era. On the other hand, the public is more inclined to evaluate this stage of musical life based on events on the music stage. The composer working at his desk is overshadowed by the performing artist on the stage.

Today the development of compositional techniques and forms has clearly reached its end: Max Legge (1873-1916 German composer) and Debussy have died, Richard Strauss and Platoon have Important works of Fitzner have been written. What is valuable in musical works has not yet been recognized. Composing becomes uninhibited self-expression. But there was one man among the musicians who proved his worth early on. In fact, just after the First World War, he kept German culture devastated by the war alive. He rose to prominence after the Second World War as an icon of German culture—perhaps a symbol of his entire generation. This man is Furtw?ngler.

The reason why he is greater than other musicians is not only his musical literacy, because many talented conductors have appeared after Buluo, and perhaps no one can compare with Nikis in the art of musical expression. compared to. What was unique about Furtw?ngler was the purity of his conducting, just like the purity of Bruckner. His critics and envious people also know clearly that the moment he raises the baton, the soul of music will be established in front of us. Through him this soul itself speaks to the audience in its most persuasive form.

We all know emotionally engaged musicians who destroy all obstacles by storm; we know pianists, singers, and string players with overwhelming skills; we have heard of mystics who provide every harmonic footprint; we know that eternity of restless elements, and he was none of these types.

I have known Furtw?ngler for a long time. That was in 1919, when he warned me in a friendly conversation not to get caught up in compositional experiments, and I immediately sensed his grasp of compositional balance and its application in performance. These advices have been of great benefit to me. His grasp of balance led him to fight for musicians who were persecuted during Hitler's regime. Sometimes, when all the struggle is hopeless and he himself is in danger, he plays the role of Don Quixote. Likewise, his ability to prioritize led him to embrace the calling profession. On the surface he was able to achieve success after success with only brief efforts, and he did not devote all his energy to the sharper and more enduring career of a composer.

The music of our time is moving from tradition to chaos. All values ??are shaken, sensationalism becomes the overarching goal, and listeners have less and less self-awareness. Composition, technique, performance form, all of this changes even faster than fashion hats. As the latest fashion, even the most unworkable methods are feasible. Perhaps today, even someone with Furtw?ngler's purity would not be as successful as he was in preventing the insane artistic destruction of the Nazi period. But we can still recall how much hope his fearless persistence gave those who were disappointed. His example was more effective than all the forces of madness because of his integrity. Furtw?ngler set a standard for music, a standard that is being lost. If we still had it, it would save us a lot more circuitousness and weirdness.

Here I want to say to Furtw?ngler: We miss you, we have lost your ability to understand, cast and provide wonderful power to people. We are left alone and poorer. Poor, because we only see how great Furtw?ngler was in his profession. Many factors drove Furtw?ngler forward. A deep belief in the fundamental truths of beauty prompted him to understand how to transform musical experience into a confession of faith. Whoever can do this is not just a conductor, not just a composer, not just a pianist, but a true musician and a great human being.

Kempf

I first met him in Switzerland in 1923, when he was still known as "Young Furtw?ngler". The first impression was too profound: his talent seemed to be written on his forehead, and his eyes showed true kindness.

This impression is by no means exaggerated. I always found this exciting feeling when I saw him again, even after we had an argument. How could he quarrel with others? He only quarreled about music, and there was no personal factor at all. He seems to be the conscience of German music. This conscience flashes when he feels danger, when he feels that musicians have betrayed themselves and no longer recognize their personal responsibility.

Furtw?ngler’s art is a wonderful unity. It is both the sun god, the god of wine, and the god of love. When he conducts Beethoven's 9th Symphony, we hear more than dogma, fidelity to the score. We are excited, we are excited, we have the ecstasy of rebirth, and we are proud of ourselves for growing up in this world.

Kipnis

(1891-1978 Russian bass)

The first time I met and worked with Furtw?ngler was in 1921 Wiesbaden. We performed "Fidelio" together and all the singers were captivated by his passion, drama and commitment. On the afternoon of the performance, I saw Furtw?ngler walking in the suburban fields. When he was sure that no one was around, he began to conduct an invisible orchestra. I guessed that he must have reviewed the entire opera again. Read it again.

I performed with him in many cities - Berlin, Bayreuth, London, Paris, Leipzig. When he accompanied me at the Gewandhaus, whether it was "The Marriage of Figaro", "Don Juan" or "Le Meistersinger of Nuremberg", it meant a musical festival to me. We have worked together for many years and I have never heard him talk about politics or money. His life is only about music. He was also very generous in his praise of other conductors, and began to praise them in public places before they died.