福特萬格勒

[Patrick]

標　　題：URANIA發行福特萬格勒在RAI的錄音
發 表 人：blue97(blue97.tw)
發表時間：2002/03/07 11:15:31

URANIA持續發行福特萬格勒在RAI的錄音，推出1952年與de Vito的布拉姆斯小提琴協奏曲及1952年6月6日的齊格飛牧歌。演出雖然不理想，但對收藏福特萬格勒唱片的樂迷仍具吸引力。

[Patrick]

標　　題：法國福特萬格勒協會頒佈新CD
發 表 人：blue97(blue97.tw)
發表時間：2002/03/08 11:26:33

法國福特萬格勒協會最近頒佈新CD，2張一套內容包括福特萬格勒在1943年6月27-30日的貝多芬第四號，共三個不同的版本，全錄音廣播版、全錄音現場收錄版及上述兩音源混合加入觀眾雜音的版本。此外，1944年的貝多芬小提琴協奏曲也在收錄之列，但最受矚目的還是1947年5月27日的貝多芬命運交響曲錄音。這個版本目前僅發行於日本DG，當然DG公司保有這個錄音的版權，不過我相信法國協會提供的母帶應該更「忠實」。
近年來福特萬格勒的名演不斷釋出，但各大福特萬格勒專屬網站的討論卻漸漸冷卻（如日本Shin-P），值得深思。

[Patrick]

標　　題：福特萬格勒的布魯克納第八
發 表 人：kaiser(instaminworld)
發表時間：2002/03/23 05:06:09

剛在DG的討論區看到的,是有關福特萬格勒的布魯克納第八,就節錄過來
Aug.14, 1944那場演出是EMI的錄音

----by F Joffily
I have the Music & Arts Bruckner 8th (Oct.17.1944). The Adagio brought to my memory Karl Böhm's words at the RIAS Berlin on Furtwängler's death; "Who will conduct the Passacaglia of the Brahms Fourth or the adagio of a Bruckner or Beethoven symphony after him ?"

Otto Strasser, former President of the Vienna Philharmonic, also quotes a Bruckner 8th with WF in Salzburg, in 1944 (Aug 14) by saying that never again did he experience such an intense performance. As an Orchestra member, he proudly quotes Furtwängler saying to him after the concert: "Today I think we reached that idealised sound Bruckner had in mind when he wrote this work".

I would also bet the Japanese EMI-transfer is much better than my Music & Arts CD.

[Patrick]

標　　題：Pastoral interlude （摘錄自CRC）-1
發 表 人：blue97(blue97.tw)
發表時間：2002/04/11 14:02:35

Antony Hodgson wonders if Furtw<ngler ever observed the repeat in the first movement of Beethoven's Sixth Symphony
It was fascinating to analyse Wilhelm Furtw<ngler's December 1943 studio recording of Beethoven's Pastoral as transferred to CD (Preiser CD 90199). Originally it was on Electrola 78rpm discs, with the matrix numbers 2RA6038/49. It has been queried as to whether the repeat in the first movement is authentic or merely a copy of the first time through. I do not know of another Furtw<ngler recorded performance of the symphony to include the repeat and on the only occasion that I heard him perform this work in concert – at the Royal Festival Hall, London, on 27 March 1953 with the Philharmonia – he did not observe it.
I am grateful to Geoffrey Addis for giving me the facilities of the studios of Recording Associates at Earley in Berkshire. Their computerised editing system made it possible to put the first statement of the exposition on one half of a screen and the second statement on the other in a visual display which pictured the music in the form of a graph, making it easy to make a visual examination of the similarity between the two.
Our most searching experiment was to use enormous magnification and compare a short section of music millisecond by millisecond, using a cursor to align the two 'different' performances. We found the contours of the section to be identical in every way and the time-code was also the same to the split second. Longer areas were examined in less detail but they also appeared to be identical. In technical terms, therefore, the repeat looks very suspect and there is also one particular similarity which the naked ear can detect: the suspect horn intonation in the first tutti at bar 38 (54'' and 3'58''), which seems the same both times.

[Patrick]

標　　題：Pastoral interlude （摘錄自CRC）-2
發 表 人：blue97(blue97.tw)
發表時間：2002/04/11 14:03:01

There are, however, interesting dissimilarities. In general there is an average of about 2db difference between the playings – the repeat is quieter than the first time through. The clicks, such as they are, come in different places. Such differences could be caused by using a different shellac source for the repeat – it has been suggested that it could be a different take but that is ruled out by the musical similarities. Then again there should have been an easy give-away of a faked repeat when the first note re-enters after the loudish final chord of the exposition. If this is cheating, it is a magnificent fraud! It is exactly in rhythm, there is no change in the surface noise and no hint of change of resonance, although the absence of resonant 'overhang' should have been an enormous problem if re-using the first note. I have listened and listened to the 'join' and cannot hear an edit.
Listeners should note the first playing of the held minim chord at bar 4 (6''), during which there is an obvious surface noise followed by a milder one; on the repeat of this bar (3'10'') there is no surface disruption.
It would be useful to have the 78rpm discs to hand – the helpful people at EMI Archives tell me that they hold no metals, test pressings or even paperwork. The Pastoral is normally a ten-sided 78rpm set but the only available documentation tells us that Furtw<ngler's is spread over 11 sides. Could it be that the original recording was intended to include the repeat but the release was constructed from discs cut on two different lathes simultaneously (use of two lathes was standard practice)? Maybe this strategem was resorted to because the real repeat (or first time through) had a fault, which made it unusable. This theory would account for the differences being technical (loudness, surface noise) but not musical.

[Patrick]

標　　題：Pastoral interlude （摘錄自CRC）-3
發 表 人：blue97(blue97.tw)
發表時間：2002/04/11 14:03:26

Of the LP transfers (Nippon Columbia LP DXM131; Turnabout LP TV4408; Jap. Vox LP H5060; EMI LP ED29 06661), I am told that the first three – which employ four different takes – do not include the repeat, while the fourth does. So who possesses all of these various takes?
One last thing: bearing in mind the tempos chosen by the conductor in this performance, the proportions of the music make very good sense with the repeat included.

Wilhelm Furtw<ngler at the height of his career
Photo: Tully Potter Collection

[Patrick]

標　　題：mDG出版Taschner與Furtwangler共演盤
發 表 人：blue97(blue97.tw)
發表時間：2002/04/12 00:26:14

1949年福特萬格勒與小提琴家Taschner（1922-1976）合演的Fortner小提琴協奏曲即在在mDG發行，當然，過去這個錄音已經有CD出版，搭配這首曲目的是Taschner於1952年與Solti的貝多芬小提琴協奏曲。整體而言，mDG的出版必然勝過以往的海盜版，值得Taschner或福特萬格勒收藏者期待。