Talk:Wilhelm Furtwängler

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What's "Er furtwänglere" mean? "He is Furtwangler-esque"? Help a uni-lingual brother out. -- orthogonal 05:27, 6 Jul 2004 (UTC)

Contents 1 Inaccuracies 2 Nazism 3 Recommended Recordings 4 Menuhin 5 Sources 6 Furtwängler wiping hands after shaking "Hitler's" 7 About change from GA-B class

[edit] Inaccuracies

Before charging Furtwängler with Nazism (once again - how original), maybe we could start by writing an article that does not contain blatant mistakes. The Vienna Philharmonic, for instance, does not have a music director. Furtwängler was in charge of three concert seasons in a row but never of the orchestra in itself. "Music director of the Bayreuth Festival" is not "the greatest post a conductor could hold in Germany" simply because it does not exist at all: there is no "Music director of the Bayreuth Festival". Furtwängler was not a politician, ha was not a Nazi leader, neither was he the director of a concentration camp. He was a musician. Yet the section about Nazism is twice as long as the section about music. And although the section about Nazism is so long, it never states explicitly that Furtwängler was never a member of the Nazi Party. S.Camus 20:20, 26 February 2007 (UTC)

Well, write more material about him (that doesn't involve the Nazis) and add that he was never a member (provided that all such material is referenced, NPOV, etc.). Grover cleveland 15:27, 27 February 2007 (UTC)

---

I have some questions for Furtwängler-experts, mostly based on that horrible film (which I must admit I have seen). In the film he is portrayed as claiming to have helped several jewish musicians escape. Is this correct? What about his hatred for Herbert von Karajan? And was he really forbidden to conduct after the war? 158.38.140.215 12:23, 1 Dec 2004 (UTC)

I haven't seen the film but would love to. It's probably more correct to say there was a mutual professional rivilery between Furtwangler & von Karajan, as often occurs among artists and other assorted egoists. Its a bit much to use the inflamitory hatred in this matter. Furtwangler was able to use his position as Conductor of the Berlin Philharmonic to keep certain seats assigned to members of the orchestra who were Jewish, intervening on their behalf with the Gauleiter of Berlin Josef Goebbels, to help them avoid deportation to concentration camps based on their national or religious origin. He was able to successfully argue that the quality of the Orchestrea would suffer, and thus German art & culture, because the musicians were irreplaceable.

Also, it must be born in mind the importance of symphonic concerts and musical performances in a society with strict political press censorship; in the absense of open political discussion among the populace, especially during wartime, people's time was filled (even given the new medium of radio) with plenty of music. Stage concerts, and this is true going back into the 19th century, really substituted for open political discourse. Theatre critics and their reviews in newspapers in both Russia, Germany & the Austro-Hungarian Empire, took the place of Editorial writers as existed in the English speaking world during the same time.

The Nazi bosses functioned essentially, under their doctrine of Socialism, as the replacements of the old fuedal lords which had existed prior to 1918. Thus they patronized the arts as fuedal lords were also benefactors. Goebbells was Furtwangler's patron. Herman Goring was von Karajan's patron. In a limited way one might even say Knappertsbusch was patronized by Hitler.

Like anyone who was known to have even social contacts with top Nazi's, after the war came under investigation. Thus until the investigation was complete, to determine whether or not the individual was a Party member and if so what was involvement in political affairs, and/or crimes. Furtwangler was apolitical in the trueist sense of the term; his life was art, not politics.

Albert Speer's book, Inside the Third Reich in the section on the moment by moment discription of the final hours in Berlin with Soviet Armies closing in fast, the Berlin Philharmonic had just finished a concert and Furtwangler approached him backstage and asked him if the rumors are true, that the war lost. He hadn't a clue of either the political or military situation. That is probably about the closest thing anybody can evercome to citing Furtwangler's interest in, or discussion of, politics.

btw what is the film title? --nobs

--- I don't see how Speer's anecdote can be correct. Every source I have seen -- including this Wikipedia article -- say that Furtwangler was in Switzerland at this time. --Cdixon 21:30, 23 September 2005 (UTC)

[edit] Nazism

Why all the emphasis on Nazism in this article? Is it relevent? After all the man was a conductor and musician, not a politican. Why not concentrate on his musical achievements which are to my mind far more important. Wallie 20:19, 3 December 2005 (UTC)

I think that the article does focuis on his music, but this is an article on his life, important parts of which coincided with the Nazi regime. If there is more material about his music that you've got sources for then it'd be great if you could add it. Thanks, -Willmcw 23:21, 3 December 2005 (UTC)

[edit] Recommended Recordings

69.106.4.37 - thanks for adding more labels for recommended recordings. Can I ask why you deleted all mention of Classica d'Oro? I haven't heard the transfers myself, but some people at rec.music.classical.recordings have said they're OK, and they're currently available from arkivmusic.com

[edit] Menuhin

I've removed this sentence from the article because it is POV and also needs significant factual backup.

His post war partnership with Jewish violinist Sir Yehudi Menuhin, speaks volumes both about Furtwängler's attitude and his acceptance by people sensitive about nazism.

• It doesn't explain the nature of Menuhin's "partnership" with Furtwangler -- was it anything more than a few joint performances/recordings?
• The fact remains that many other people "sensitive about Naziism" refused to accept Furtwangler after the war.

Grover cleveland 12:59, 6 July 2006 (UTC)

First of all let me say, that seeing my "sensitive about Nazism" expression in quotation marks, I began to doubt whether it was correct use of language. I think it is not; a more unambiguous condemnation of nazism is needed. Let me apologise, but add that english is not my native language, so that was the best I could come up with at the moment.

I know about joint recordings and live performances. I don't know any more, but I think that even so it warrants being mentioned. In Menuhin's page it is mentioned.

About the other people who refused to cooperate with Furtwängler, although I don't know them, I am sure they could be numerous, but the fact remains, that open-mindedness varies greatly among people.

Let me add, that given all the Jewish people suffered from Nazism, it is wholly justified to have an aversion to anyone who might even remotely be affiliated with it. Still, in my opinion even if one member of the Jewish Music Community offered a hand of friendship to this man, it must signify something

Karajan, who was indeed a Nazi, did not have -to my limited knowledge- any significant(?) partnerships with jewish people.

In all, I think the expression I used should be changed, but Menuhin should be mentioned in some way in defense of Furtwängler. Atavi 13:14, 6 July 2006 (UTC).

After your justified reservations, I did a web search using google, and keywords "Furtwangler Menuhin", and the first result is this:Institute for Historical Review. From a quick reading it seems you're quite right when you say that there were many people -it seems almost all- who objected to Furtwangler. But, as far as Menuhin himself goes, he did indeed (or at least his father did) defend Furtwangler.

" --Furtwängler preferred to swear fealty to Hitler. He accepted at Hitler's hands his reappointment as director of the Berlin Philharmonic Orchestra. He was unfailing in his service to Goebbels' ministry of culture and propaganda ... The token saving of a few Jewish lives does not excuse Mr. Furtwängler from official, active participation in a regime which murdered six million Jews and millions of non-Jews. Furtwängler is a symbol of all those hateful things for the defeat of which the youth of our city and nation paid an ineffable price.

Among prominent Jews in classical music, only the famous violinist Yehudi Menuhin defended the German artist. After Furtwängler was finally obliged to withdrew his name from consideration for the Chicago post, a disillusioned Moshe Menuhin, Yehudi's father, scathingly denounced his co-religionists. Furtwängler, he declared,

--was a victim of envious and jealous rivals who had to resort to publicity, to smear, to calumny, in order to keep him out of America so it could remain their private bailiwick. He was the victim of the small fry and puny souls among concert artists, who, in order to get a bit of national publicity, joined the bandwagon of professional idealists, the professional Jews and hired hands who irresponsibly assaulted an innocent and humane and broad-minded man ...

" I don't know how reliable this source is, but all the same: CD Review " IT WAS NOT until the late 1940s that Menuhin, who had heard of Furtwängler's enormous reputation, and was full of admiration for him through recordings of various Beethoven and Brahms performances, decided to investigate for himself the damaging insinuations. He found no evidence of Furtwängler being a Nazi, and decided to collaborate with him. Because of Menuhin's own reputation as a humanist, "

page about Furwangler

" But support came from the unlikeliest of places. A Jewish-German journalist named Curt Riess initially attacked Furtwängler as a Nazi collaborator, but after seeing documentation of Furtwängler's acts of resistance during the war, Riess came around enough to write a book-length defense of Furtwängler's music and politics. At the same time, the Jewish-American violinist Yehudi Menuhin made a similarly thorough examination of the evidence about Furtwängler. Menuhin had refused to come to Austria to perform with Furtwängler in 1933, but he emerged in 1946 as one of Furtwängler's staunchest supporters, making a number of American enemies in the process. "

In light of all this, I am inclined to work on a new text about Menuhin's support for Furtwangler. Atavi 13:51, 6 July 2006 (UTC)

Go for it: mentioning Menuhin's support as an example of a prominent Jew who accepted Furtwangler is an excellent idea. Just be sure to also point out that many others continued to oppose him. Grover cleveland 02:21, 7 July 2006 (UTC)

OK. I'm glad we could find some common ground. Atavi 10:28, 7 July 2006 (UTC)

[edit] Sources

I am more than a little disturbed that one of the primary sources cited for the rehabilitation of Furtwangler is an article from the Institute for Historical Review's magazine, a journal which is devoted to Holocaust denial. While the point made is essentially correct (Yehudi Menuhin did become one of the only Jewish musicians to work with Furtwangler after the war), the source is so extreme as to render the whole paragraph (and anything else derived from it) a NPOV issue, IMHO.

[edit] Furtwängler wiping hands after shaking "Hitler's"

The claim is made in the text that Furtwängler wiped his hand after shaking Hitler's hands. This misconception probably comes from the final clip in the movie Taking Sides by Istvan Szabo. It can be seen on youtube.com. However, this, to me, does not look like Adolf Hitler. The man is much too lean and youthful. Looks more like Joseph Goebbels to me. Sunwutzu 08:11, 30 October 2006 (UTC).

[edit] About change from GA-B class

WP:Good articles must meet certain quality standards and have passed through the Good Article nomination process. Then they may be listed as Good articles. I see no GA nomination or assessment here.--DO11.10 23:47, 7 March 2007 (UTC)

No doubt about it.It is clearly Goebbels.