The Furtwängler record by John Ardoin, John Hunt

By John Ardoin, John Hunt

Furtw-ngler's recordings stay for plenty of the normal during which all next performances are judged. This learn bargains an summary of his profession and his position within the mainstream of the German tuition of undertaking, with commentaries on all his recorded performances.

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Ultimately, Furtwängler felt that there was one archenemy to fight: routine. To him, it was something very human, very understandable. It is the line of least resistance, and there is no denying that in daily life it has its advan- Page 33 tages. But all the more must we insist that it plays the most deadly role in music, especially in the performance of old and familiar works.  . The performer runs into the danger of routine when he listens to himself playing, passively as it were, and from the outside instead of standing inside the music with all his heart and all his intelligence.

His discography is a valued addition to this book, and his assistance in acquiring concert posters is much appreciated. I am grateful to Lee Milazzo, who read various parts of the manuscript, but the most important contribution of all was made by Kenneth Bleeth, whose keen eye caught hundreds of errors in style, and who also offered Page 12 many invaluable suggestions for improving the text. I am deeply in his debt, as I am to Dade Theriot, president of the American Furtwängler Society, for his help in assembling the photographs for this book.

Alfred Kaine, director of archival material for Deutsche Grammophon records, and Peter Andry, formerly of EMI, were of great assistance, as was John Hunt, who not only provided needed and often difficult-to-obtain printed and recorded materials, but kept faith with me and the project through all stages of the work. His discography is a valued addition to this book, and his assistance in acquiring concert posters is much appreciated. I am grateful to Lee Milazzo, who read various parts of the manuscript, but the most important contribution of all was made by Kenneth Bleeth, whose keen eye caught hundreds of errors in style, and who also offered Page 12 many invaluable suggestions for improving the text.

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