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FURTWÄNGLER conducts Beethoven Symphonies 6 and 8 - PASC359

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FURTWÄNGLER conducts Beethoven Symphonies 6 and 8 - PASC359-CD
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Vienna Philharmonic Orchestra
Berlin Philharmonic Orchestra 
conductor Wilhelm Furtwängler
Recorded in 1952 and 1953

XR remastering by Andrew Rose at Pristine Audio, October 2012
Cover artwork based on a photograph of Wilhelm Furtwängler

Total duration: 70:12


Furtwängler's finest recordings of Beethoven's 6th and 8th Symphonies

These XR-remastered issues bring a new sound quality to match the brilliance of the performances


  • BEETHOVENSymphony No. 6 in F, "Pastorale", Op. 68 [notes/score]
    Recorded 24-25 September & 1 October 1952
    Großer Saal, Musikverein, Vienna
    Transfer from HMV ALP 1041
    Pitched to A4=451.59Hz
    Vienna Philharmonic Orchestra
  • BEETHOVEN Symphony No. 8 in F, Op. 93 [notes/score]
    Recorded 14 April 1953
    live at Titania-Palast, Berlin
    Transfer from Cetra FE 4
    Pitched to A4=453.16Hz

    Berlin Philharmonic Orchestra 

    Wilhelm Furtwängler conductor

    FLAC downloads include full orchestral scores for all works

    NB. All recordings have been pitched to match as closely as possible the original performance pitches, using highly accurate analyses of the low-level electrical hums found in each recording.

Furtwängler's Beethoven Symphonies 6 & 8

"In Furtwängler's hands, the Pastoral became remarkably expressive clay, to which he brought a plasticity vouchsafed no other conductor. There is a clarity to his performances (including the few prosaic ones) in which every note speaks. Even while weathering the storm of the fourth movement, Furtwängler's performance conveys a feeling of chamber rather than symphonic music and always implants a sense of serenity and well-being. Textures are transparent, bowings are light and subtle, and dynamics are carefully monitored. A fortissimo here is not the same as one in the other symphonies, the Third or Fifth, for example; it is more a matter of weight than decibels, with accents more a surge than a sharp delineation. It is only with the third-movement scherzo that the music grows in girth and momentum, as clouds start to gather at the end of the movement."

"The Eighth Symphony, both in actuality and in Furtwängler's approach, continues much in the spirit of the Sixth, though the music is (like the performances) more concentrated in a temporal and formal sense. But the same outpouring of well-being permeates both. In the three performances available, Furtwangler opens with a grand gesture, a musical embrace that attempts to reach out and gather in everyone and everything. It is like a shout of joy at being alive. There is an abundance of the brio Beethoven asks for, and a true vivace, in the sense of a vivacious, living organism."

The Furtwängler Record, John Ardoin - excerpts: p.133 (Symphony 6) & p.137 (Symphony 8) (Amadeus Press, 1994) [purchase link]



Notes on the recordings:

John Ardoin lists seven Furtwängler recordings of Beethoven's Sixth and three recordings of the Eighth Symphony in his discography, and though it appears that a fourth, partial 1932 recording of No. 8 exists, he is most insistent that the present, 1953 Berlin recording easily trumps the rest. Here the full benefits of XR remastering can be heard, with dramatic improvements in sound quality, orchestral tone and texture immediately apparent to the listener used to the previous boxy and constricted acoustic of earlier issues. This issue is also considerably brighter in tone, a result of the careful analysis of remnants of electrical hum in the original recording, pointing to a far sharper tuning than the "standard" orchestral 440Hz - the 453Hz tuning of the orchestra is however not unusual for Furtwängler.

It's no great surprise to find less room for improvement over EMI's "studio" recording of the 6th Symphony, yet this too yeilded far greater tonal colour than the original might lead one to believe, and the XR remastering of this recording does seem to have injected a degree of life into it that Ardoin found lacking when comparing it to contemporary live performances. Once again I found that the original pitching was sharper than concert standard - EMI have it at around 446Hz though my own measurements suggested 451Hz was closer to the orchestra's actual tuning. In both recordings I've been able to minimise the use of additional noise reduction processing to keep as open and glorious a sound as possible.

Andrew Rose

Wilhelm Furtwängler

Biographical notes from Wikipedia

Wilhelm Furtwängler (January 25, 1886 – November 30, 1954) was a German conductor and composer. He is widely considered to be one of the greatest symphonic and operatic conductors of the 20th century.



Furtwängler was born in Berlin into a prominent family. His father Adolf was an archaeologist, his mother a painter. Most of his childhood was spent in Munich, where his father taught at the university in that city. He was given a musical education from an early age, and developed an early love of Ludwig van Beethoven, a composer with whom he remained closely associated throughout his life. Though his chief posthumous fame rests on his work as a conductor, he was also a composer and regarded himself first and foremost as such, having in fact first taken up the baton in order to perform his own works.

By the time of Furtwängler's conducting debut at the age of twenty, he had written several pieces of music. However, they were not well received, and that - combined with the financial insecurity of a career as a composer - led him to concentrate on conducting. At his first concert, he led the Kaim Orchestra (now the Munich Philharmonic) in Anton Bruckner's Ninth Symphony. He subsequently held posts at Munich, LübeckMannheimFrankfurt, and Vienna, before securing a job at the Berlin Staatskapelle in 1920, and in 1922 at the Leipzig Gewandhaus Orchestra where he succeeded Arthur Nikisch, and concurrently at the prestigious Berlin Philharmonic Orchestra. Later he became music director of the Vienna Philharmonic Orchestra, the Salzburg Festival and the Bayreuth Festival, which was regarded as the greatest post a conductor could hold in Germany at the time.

Furtwängler also made a number of appearances as a conductor abroad. He made his London debut in 1924, and continued to appear there as late as 1938 to conduct a cycle of Richard Wagner's Ring. In 1925 he appeared as guest conductor of the New York Philharmonic Orchestra, and made return visits in the following two years.

Towards the end of the war, under extreme pressure from the Nazi Party, Furtwängler fled to Switzerland. It was during this troubled period that he composed what is largely considered his most significant work, the Symphony No. 2 in E minor. Work on the symphony was begun in 1944, and carried on into 1945. It was given its premiere in 1948 by the Berlin Philharmonic Orchestra under Furtwängler's direction. Furtwängler and the Philharmonic recorded the symphony for Deutsche Grammophon; the music was much in the tradition of Bruckner and Gustav Mahler, composed on a grand scale for very large orchestra with romantic, dramatic themes. Another important work is theSymphonic Concerto for Piano and Orchestra, completed and premiered in 1937 and revised in 1954. Many themes from this work were also incorporated into Furtwängler's unfinished Symphony No. 3 in C sharp minor.

He resumed performing and recording following the war, and remained a popular conductor in Europe, although always under something of a shadow. He died in 1954 in Ebersteinburg, close to Baden-Baden. He is buried in the Heidelberg Bergfriedhof. The tenth anniversary of his death was marked by a concert in the Royal Albert Hall,London, conducted by his biographer Hans-Hubert Schönzeler.

Furtwängler is most famous for his performances of Beethoven, Brahms, Bruckner, and Wagner. However, he was also a champion of modern music, notably the works ofPaul Hindemith and Arnold Schoenberg, and conducted the world premiere of Sergei Prokofiev's Fifth Piano Concerto (with the composer at the piano) on October 31, 1932 as well as performances of Béla Bartók's Concerto for Orchestra.


"Third Reich" controversy

Furtwängler's relationship with — and attitude towards — Adolf Hitler and the Nazi Party was a matter of much controversy. Because of his international renown, he was appointed as the first vice-president of the Reichsmusikkammer. In 1934 he was banned from conducting the premiere of Hindemith's opera Mathis der Maler, and subsequently resigned from the RMK and the Berlin Opera. Some sources maintain that Furtwängler resigned from his posts at the Berlin Opera and Reichsmusikkammer in protest; Frederic Spotts states that he was forced to either resign all his positions or be dismissed. In 1936 it seemed possible that he might follow Erich Kleiber's footsteps into exile when he was offered the principal conductor's post at the New York Philharmonic Orchestra, where he would have succeeded Arturo Toscanini. Toscanini's biographer Harvey Sachs wrote that Toscanini recommended Furtwängler for the position, one of the few times Toscanini expressed admiration for a fellow conductor. There is every possibility that Furtwängler would have accepted the post,[citation needed] but a report from the Berlin branch of the Associated Press, possibly ordered by Hermann Göring, said that he was willing to take up his post at the Berlin Opera once more. This caused the mood in New York to turn against him; from their point of view, it seemed that Furtwängler was now a full supporter of the Nazi Party.

However, Furtwängler never joined the Nazi Party nor did he really approve of them, much like the composer Richard Strauss, who made no secret of his dislike of the Nazis. Furtwängler always refused to give the Nazi salute, and there is even film footage of him turning away and wiping his hand with a handkerchief after shaking the hand of Nazi propaganda chief Joseph Goebbels.

Furtwängler was treated relatively well by the Nazis; he had a high profile, and was an important cultural figure, as evidenced by his inclusion in the Gottbegnadeten list ("God-gifted List") of September 1944. Furtwängler in turn conducted several concerts for the direct benefit of the Nazis: in February 1938 he conducted the Berlin Philharmonic at a concert held for the Hitler Youth, and that same year conducted a performance of Wagner's Die Meistersinger von Nürnberg in celebration of Hitler's birthday. Further, contrary to the claims of some writers that he refused to conduct in occupied countries during the war, he conducted in Prague in May and November 1940, and again in March 1944 in a concert marking the fifth anniversary of the German occupation. His concerts were often broadcast to German troops to raise morale, though he was limited in what he was allowed to perform by the authorities. He later said he tried to protect German culture from the Nazis; it is now known that he used his influence to help Jewish musicians and non musicians escape the Third Reich. He managed, for example, to have Max Zweig, a nephew of conductor Fritz Zweig, released from Dachau concentration camp. Others, from an extensive list of Jews he helped, included Carl Flesch, Joseph Krips and the composer Arnold Schönberg. In spite of this, some sources claim his motives were not as pure as those of e.g. Oskar Schindler.

Albert Speer claimed that in December 1944 Furtwängler asked whether Germany had any chance of winning the war. Speer replied in the negative, and advised the conductor to flee to Switzerland from possible Nazi retribution. Furtwängler did in fact escape to Switzerland shortly after a concert in Vienna with the Vienna Philharmonic on January 28, 1945. At that concert he conducted an account of Brahms's Second Symphony that was caught on tape and is considered one of his greatest recordings.

At his denazification trial, Furtwängler was charged with supporting Nazism by remaining in Germany, performing at Nazi party functions and with making an anti-semitic remark against the part-Jewish conductor Victor de Sabata. However, he was eventually cleared on all these counts.

As part of his closing remarks at his denazification trial, Furtwängler said,

"I knew Germany was in a terrible crisis; I felt responsible for German music, and it was my task to survive this crisis, as much as I could. The concern that my art was misused for propaganda had to yield to the greater concern that German music be preserved, that music be given to the German people by its own musicians. These people, the compatriots of Bach and Beethoven, of Mozart and Schubert, still had to go on living under the control of a regime obsessed with total war. No one who did not live here himself in those days can possibly judge what it was like.

"Does Thomas Mann [who was critical of Furtwängler's actions] really believe that in 'the Germany of Himmler' one should not be permitted to play Beethoven? Could he not realize that people never needed more, never yearned more to hear Beethoven and his message of freedom and human love, than precisely these Germans, who had to live under Himmler’s terror? I do not regret having stayed with them."

(quoted from John Ardoin's The Furtwängler Record)

The violinist Yehudi Menuhin was among the few musicians in the Jewish community and the United States who had a positive view of Furtwängler. In 1933 he had refused to play with him, but in the late 1940s after a personal investigation of Furtwängler, he became supportive of him, and performed and recorded alongside him.

British playwright Ronald Harwood's play Taking Sides (1995), set in 1946 in the American zone of occupied Berlin, is about U.S. accusations against Furtwängler of having served the Nazi regime. In 2001 the play was made into a motion picture directed by István Szabó and starring Harvey Keitel and featuring Stellan Skarsgård in the role of Furtwängler.

In 1949 Furtwängler accepted the position of principal conductor of the Chicago Symphony Orchestra. However the orchestra was forced to rescind the offer under the threat of a boycott from several prominent musicians including Vladimir HorowitzArthur Rubinstein and Alexander Brailowsky. According to a New York Times report, Horowitz said that he "was prepared to forgive the small fry who had no alternative but to remain and work in Germany." But Furtwängler "was out of the country on several occasions and could have elected to keep out". Rubinstein likewise wrote in a telegram, "Had Furtwängler been firm in his democratic convictions he would have left Germany".



Conducting style

Furtwängler had a unique conducting technique. He saw symphonic music as creations of nature that could only be realised subjectively into sound. This is why composers such as Beethoven, Brahms and Bruckner were so central to Furtwängler's repertoire, because he identified them as great forces of nature. He disliked Toscanini's approach to the German repertoire. He walked out of a Toscanini concert once, calling him "a mere time-beater!".

Neville Cardus wrote in the Manchester Guardian in 1954 of Furtwängler's conducting style:

"He did not regard the printed notes of the score as a final statement, but rather as so many symbols of an imaginative conception, ever changing and always to be felt and realised subjectively...Not since Nikisch, of whom he was a disciple, has a greater personal interpreter of orchestral and opera music than Furtwängler been heard."

Many commentators and critics regard him as the greatest conductor in history. However, on the website Classics Today, critic David Hurwitz sharply criticizes what he terms "the Furtwangler wackos" who "will forgive him virtually any lapse, no matter how severe", and characterizes the conductor himself as "occasionally incandescent but criminally sloppy".

Conductor and pianist Christoph Eschenbach has said of Furtwängler that he was a "formidable magician, a man capable of setting an entire ensemble of musicians on fire, sending them into a state of ecstasy".

Furtwängler was famous for his exceptional inarticulacy. His pupil Sergiu Celibidache remembered that the best he could say was, "Well, just listen" (to the music). Carl Brinitzer from the German BBC service tried to interview him, and thought he had an imbecile before him. A live recording of a rehearsal with a Stockholm orchestra documents hardly anything intelligible, only hums and mumbling. On the other hand, a collection of his essays, On Music, reveals deep thought. Still, Furtwängler remained highly respected amongst musicians. Even Arturo Toscanini, usually regarded as Furtwängler's complete antithesis (and sharply critical of Furtwängler on political grounds), once said – when asked to name the world's greatest conductor apart from himself – "Furtwängler!"


One of Furtwängler's protegés was pianist Karlrobert Kreiten. He was also an important influence on the pianist/conductor Daniel Barenboim, of whom Furtwängler's widow, Elisabeth Furtwängler, said, "Er furtwänglert" ("He furtwänglers"). Barenboim recently recorded Furtwängler's 2nd Symphony with the Chicago Symphony Orchestra. Other conductors known to speak of Furtwangler in reverent tones include Valery GergievClaudio AbbadoSergiu CelibidacheChristoph EschenbachAlexander FreyEugen JochumZubin MehtaKurt Masur and Christian ThielemannGeorge Szell, whose precise and martinet-like musicianship was in many ways antithetical to Furtwangler's, always kept a picture of his older colleague in his dressing room. Herbert von Karajan, who was Furtwangler's most detested rival during his early career, maintained throughout his life that Furtwangler was one of the great influences on his music making.

Furtwängler's performances of Beethoven, Bruckner, Brahms and Wagner remain important reference-points today. His performances are grounded in the spontaneous flexibility which Wagner referred to as the 'elastic phrase.'


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