Beautifully put. You have my respect and gratitude because I get so tired of critics who sit in their armchairs and pontificate about situations they have opinions about but not much more. An opinion, of course, is the prerogative of a critic, but when the opinion is cross polluted by one's political bias, the result is flawed and tiresome.
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Many thanks.
When it comes to Furtwängler and certain writers whose views on him are well known it's easy enough to just not read them or not listen to them - as interesting and affable as he is in both formats. I find it less forgiving when a record label - DG - gives us an essay by a writer that does derail the reader into parts of the Furtwängler legacy that has nothing to do with his music. And, for the record, it is entirely possible for a writer to discuss any number of Furtwängler recordings without having to put them into a political or pseudo philosophical perspective - as you say. I do not particularly think it is important to mention who was present when Furtwängler conducted his Beethoven Ninths in March/April 1942. Nor is it especially important to mention the political affiliations of Erich Röhn when talking about the Beethoven Violin Concerto. These are great performances musically and that is all that needs saying. It is possible to conjecture why the wartime concerts are sometimes so furious and the post-war ones so soulful - as I sometimes did - but you do not need to imply much darker or insidious meanings behind them. The truth is Furtwängler was a variable conductor - truly great, sometimes mediocre. The problem is applying anything else to understand that - he was a musician, not a politician.
What a pleasure to come across your reviews, Mister Bridle, reviews which are even more refreshing because they contain none of the political pseudo-philosophical mumbo-jumbo a certain American critic always derails himself into when the name Furtwangler is mentioned.
Thanks, it is a pleasure to read these reviews.
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