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Joined: January 24 2010
Location: Canada
Status: Offline
Points: 8684
Posted: October 08 2013 at 18:05
German composer Paul Hindemith was also a conductor, an important one of Bruckner, and was quoted as saying that he liked to conduct Bruckner more than any other composer apart from his own music. One year, he recieved the Bruckner Medal of Honour for his efforts.
Joined: January 24 2010
Location: Canada
Status: Offline
Points: 8684
Posted: October 01 2013 at 09:24
After Anton Bruckner heard conductor Hans Richter conduct the premiere of his Fourth Symphony, he approached Richter after the concert, and pressed a thaler into his hand, and said "Have a drink to your health". Richter attached it to his watch chain and kept it for the rest of his life.
Leonard Bernstein recounted how when he first met conductor Serge Koussevitzky to join his conducting class, Koussevitzky did not even look at his information, and said he could join right on the spot.
Conductor Serge Koussevitzky made a gift of some cuff links to Leonard Bernstein, and Lenny wore them at every subsequent concert he conducted.
When Otto Klemperer made an impressive piano reduction of Gustav Mahler's 2nd Symphony for the composer, Mahler was so impressed that he wrote an endorsement of Klemperer on a card, which Klemperer kept in his wallet for the rest of his life.
Joined: October 12 2011
Location: Melb, Australia
Status: Offline
Points: 7951
Posted: September 05 2013 at 03:42
I remember Belinda Carlisle used to be affectionately called `The Hoover' because of the amount of coke she used to snort. There's actually a ton of mind-blowing stories about her and the Go-Go's that are a world away from their cutesy girl-next-door public image, really debauchered stuff! The tale about a line of coke, a naked roadie and a vibrator is pretty awesome....well, except for that roadie! Really wicked girls!
(who also put out one of the greatest pop albums ever with `Beauty and the Beat')
Joined: April 12 2013
Location: Michigan
Status: Offline
Points: 470
Posted: August 21 2013 at 21:14
Joan Armatrading's album “Me Myself I” was recorded in New York in March 1980, using mostly local musicians. Among them were Will Lee, Anton Fig, Hiram Bullock and Paul Shaffer, all of whom were future members of the house band on Late Night With David Letterman. Anton was the last to come to the show, circa 1986.
Joined: March 29 2013
Location: WA
Status: Offline
Points: 4596
Posted: August 01 2013 at 19:11
Dean wrote:
..or it could be (ref: Malcolm McLaren, Johnny Lydon et al): "we know a good bandwagon when we see one"
Entirely possible, but any band that refuses to attend their induction ceremony and tells the "Rock and Roll Hall of Fame" they're "a piss stain" gets extra points from me
Joined: March 29 2013
Location: WA
Status: Offline
Points: 4596
Posted: August 01 2013 at 17:16
^ Great point. It's funny, I was just telling my wife the other day about the early-mid 80's US hardcore punk scene and how it flourished while Reagan was in the White House. In Britain, the Sex Pistols and that whole scene took root while Thatcher was leading the conservative party and then as PM. Ultra conservative/totalitarian/fascist regimes never seem to be able to completely silence musical dissent. Whether it's Furtwangler assisting Jewish musicians, Creedence Clearwater Revivial's singing the anti-Viet Nam war protest song "Fortunate Son", The Sex Pistols with "Anarchy in the UK", The Dead Kennedy's "We've Got a Bigger Problem Now", The Minutemen's "If Reagan Played Disco", Frank Zappa's anti-PMRC album "The Mothers of Prevention", The Dixie Chicks saying they're ashamed GW Bush is from Texas, or Pussy Riot in Russia, somewhere, some band is speaking out against what they see as oppressive authority. Long Live Music!
Joined: January 24 2010
Location: Canada
Status: Offline
Points: 8684
Posted: August 01 2013 at 16:30
The Nazis were parasites to a certain extent, and tried oh so hard to "typify" what it was to be German, and it must have turned real German's stomachs sick to have to live amidst their ploys and power games. It is really something to hear the music recordings, and even see the concerts in the DVD "Great Conductors Of The Third Reich" (don't really like that title). What a godsend some of those music nights must have been to Germans who were psychologically and physically at the end of their tether.
Just goes to show you the great healing power of music.
The Nazis could not fully take that away!
Joined: March 29 2013
Location: WA
Status: Offline
Points: 4596
Posted: July 31 2013 at 19:51
The more I reflect on it, I think the possibility that Furtwangler was an Oskar Schindler type of person could be considered. Schindler was only able to help the "Schindlerjuden" by continuing to be part of the system he grew to abhor. For Furtwangler to become "a light in the darkness", he had no choice but to placate the power structure around him to some extent. What good would he have been able to do in exile or imprisoned? The Nazi's realized in the early 30's that the only way to effect change was to become part of the system they wanted to destroy. Furtwangler seems to have taken a page from their own book and used it against them.
For some odd reason, a quote from Bram Stoker's Dracula just popped into my head as applicable. Van Helsing ponders, "we have all become God's madmen." I can only wonder if that thought ever crossed the mind of those who remained in Nazi Germany attempting to fight the insanity from within the belly of the beast?
Edited by The.Crimson.King - July 31 2013 at 19:53
Joined: January 24 2010
Location: Canada
Status: Offline
Points: 8684
Posted: July 31 2013 at 18:13
You know you have made some good points. Furtwangler is very special to me for his inspired devotion to Bruckner's music, a composer he felt was misunderstood. And his Beethoven and Wagner recordings are also second to none.
I consider those recordings during the Nazi era by him to be "a light in the darkness". Something spiritual and noble amid the madness of Nazism.
Joined: March 29 2013
Location: WA
Status: Offline
Points: 4596
Posted: July 30 2013 at 15:00
^ Oops...the book in my collection that I reference actually is "The Twisted Muse"...my mistake.
It's clearly a messy and complex history. I can't imagine creating art or music in a totalitarian state where a political party bureaucratdecides if it's worthy or "decadent"...and that label in turn determines whether you're able to continue creating or find yourself and your family sentenced to death (or worse). Further, standing up for an openly oppressed and persecuted minority in such an environment remains incredibly dangerous...even if he was favoured by some members of the ruling party. That could be why Furtwangler seemed to straddle the line of assisting both Jew and Nazi musicians, or sometimes conducting on a Swastika draped stage. Perhaps he had to play the middle road to maintain the ability to pick and choose people he could help?
Either way, I think it's a fascinating period in musical history to study.
Edited by The.Crimson.King - July 30 2013 at 15:01
Joined: January 24 2010
Location: Canada
Status: Offline
Points: 8684
Posted: July 30 2013 at 14:05
There is also a book which i haven't read called "The Twisted Muse", which deals with music and musicians in Nazi Germany.
You know, i think the truth does lie somewhere in the middle. In my final judgement, i am sympathetic to Furtwangler.
During the Hindemith affair in the thirties, when he had the unfortunate experience of conducting that composer when Goering was in the audience, he indeed resigned his post as chief conductor of the Berlin Philharmonic in protest, after the regime had directed him not to conduct Hindemith. His letter in protest was publicly published.
On the not so good side, i have video footage of him conducting in Germany with giant Nazi swastikas hung behind the orchestra.
He left for Switzerland because he was going to be arrested by Himmler, because of his helping of jews to safety. There is that famous quote from Himmler himself-"There isn't a jewish hand that hasn't been shaked by Furtwangler". He had to flee! The Nazis also threatened his mother, which must have been difficult.
Furtwangler had a jewish secretary, Berta Geissmar, whom he highly valued.
yeah, i guess i have mixed feelings about Furtwangler, but i come out in support of him in the final analysis.
Joined: March 29 2013
Location: WA
Status: Offline
Points: 4596
Posted: July 30 2013 at 12:37
presdoug wrote:
Thanks, you have made some very important points. Furtwangler was an incredibly courageous man, who lived in difficult times. More people should read about his amazing career, and the immense hurdles he faced. His wife Elisabeth just died fairly recently at the age of 102, i believe.
So I decided to look up Furtwangler in my "The Devils Muse" book and see what it had to say. Their opinion was 180 degrees opposite from his wiki page.
1) The book reports that while he did help Jewish musicians/composers, he helped about an equal number of pro-Nazi musicians/composers.
2) That his claims that he never conducted an orchestra in a Nazi occupied territory were simply not true...in addition to the fact that he conducted a Wagner performance for the 1935 annual Nazi music celebration that celebrated the regime's first sweeping anti-Semitic legislation.
3) That his statements of support for Nazi marginalized composers (Schoenberg, Hindemith) were equaled by his attempts to suppress composers he saw as competition.
4) That his decision to remain in Germany to oppose the regime from within was really his only option after a failed attempt to come to America and lead the NY Philharmonic in the late 1930's. Supposedly, when the subscribers to the orchestra heard they were considering hiring Furtwangler, they made it clear they would remove their patronage because of his pro Nazi reputation.
5) That his very public efforts to assist other musicians/composers were not done out of a genuine concern for human rights, but simply an ego based strategy to insure he remained the center of musical attention in Nazi Germany.
6) And most damning to his reputation, that he remained a propaganda tool of Goebbels and the party until the day in 1944 that it was clear there was no more money to be made, and that's when he left for Switzerland.
I wonder which viewpoint is correct or if the truth lies somewhere in the middle?
Joined: January 24 2010
Location: Canada
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Points: 8684
Posted: July 24 2013 at 19:40
Thanks, you have made some very important points. Furtwangler was an incredibly courageous man, who lived in difficult times. More people should read about his amazing career, and the immense hurdles he faced. His wife Elisabeth just died fairly recently at the age of 102, i believe.
Joined: March 29 2013
Location: WA
Status: Offline
Points: 4596
Posted: July 24 2013 at 18:10
I just read the wiki page on Furtwangler. Wow! To remain in Nazi Germany conducting and pursuing his compositions while refusing to give the Nazi salute, writing letters to Goebbels and Hitler stating (in so many words) that persecuting Jewish composers will leave us with "kitsch" and "sterile virtuosity", threatening to resign his post if Jewish musicians were persecuted, and refusing to sign his letters to Goebbels and Hitler with "Heil Hitler" is an incredibly dangerous and inspirational example of "civil disobedience". I also read that he directly attacked Richard Wagner's anti-semitic statements (especially re: Mendelssohn) which put him in hot water with Winifred Wagner - whom everyone knew had Hitler's ear.
His goal may have been naive, but according to the article he was able to help many Jews (even getting a conductors son released from Dachau). It also says he specifically was able to help my favourite composer Schoenberg - so he get's extra points from me
Joined: January 24 2010
Location: Canada
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Points: 8684
Posted: July 24 2013 at 16:20
That is interesting about Webern. My favorite composer Anton Bruckner was "tarred with the Nazi brush", unfortunately. Hitler loved his symphonies, especially the 7th. But Bruckner, a devout Catholic, though devoted to Wagner's music, was not anti-semitic, and his music was never banned in Israel, and rightly so. It was Wagner's orchestral sound that Bruckner was so keenly interested in, really.
Another book which i have not read that sounds interesting is called "The Devil's Music Master", a biography of Furtwangler and what he went through. The conductor wanted to defeat the Nazis, "from within". Somewhat naive, but a noble quest.
Yeah, Wagner's anti-semitic rants are thoroughly repulsive.
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