Furtwangler's

On January 25, 1886, he was born in a scholarly family in Berlin.

At the age of 19, he first worked as a rehearsal at the State Opera House in Breslau. The following year in Munich, he stepped onto the podium for the first time and conducted the Keim Orchestra (now the Munich Philharmonic Orchestra) to perform Beethoven's overture to "The dedication of the Hall", Bruckner's "Ninth Symphony" and his own "Symphony in B Minor" The broadboard was first seen and the results were fair. From then on, he truly began a colorful conducting career.

In 1911, at the age of 25, he held the position of conductor at the Lubecd Opera House, where he conducted Beethoven's Ninth Symphony for the first time.

In 1915, Furtwangler was chosen as the successor to A.Bodanzky and became the conductor of the Mannheim Opera House.

In 1920, Furtwangler succeeded Richard Strauss as conductor of the Berlin State Opera Orchestra. From then on, he blazed a path to success in his command career.

In 1922, the 36-year-old Furtwangler succeeded Nikkis, the deceased conductor, and ascended to the conductor of the world-famous Berlin Philharmonic Orchestra and the Leipzig Bunchmann Orchestra

1925-1927 In 1999, Furtwangler went to the United States to conduct performances with the New York Philharmonic three times.

In 1927, he became the conductor of the Vienna Philharmonic Orchestra. He led the three major German and Austrian orchestras and became a dominant player in the international music scene.

On September 19 and 20, 1954, at the Berlin Music Festival, he was sick and conducted the Berlin Philharmonic Orchestra to perform Beethoven's "First Symphony" and his own "Second Symphony", becoming Furtwangler's last public performance.

From September 28 to October 6, 1954, he recorded Wagner's opera "The Valkyrie" for EMI in Vienna. This was his last conducting job.

On November 30, 1954, he suffered a bout of pneumonia and died of illness in Baden at the age of 68.

Furtwangler was born in Berlin, Germany, and lived in a cultural environment since he was a child; his father was a professor of archaeology at the University of Berlin and his mother was a painter-so that he received a good education since he was a child. His parents deliberately asked him to drop out of regular school and hired some famous scholars of the time, such as archaeologist Curtis and musicologist Reizler, as his tutors. Under the guidance of these famous teachers, Furtwangler received a comprehensive and solid artistic education, laying a good cultural foundation for his future musical career.

After Futwangler came into contact with music, he quickly became fascinated by it. In fact, he showed his outstanding musical talent at an early age: as early as 1896, when he was ten years old, he wrote works such as "Violin Sonata" and "The First String Quartet". At the age of 17, he wrote and released his "Symphony in D Major", but the premiere failed miserably; coupled with the death of his father, he had to consider its future. In the end, he decided to become a conductor. In 1906, the twenty-year-old Furtwangler took to the podium for the first time and conducted the Munich Keim Orchestra to perform Bruckner's "Ninth Symphony", Beethoven's "Tribute to the Tower" overture and his own "Symphony in B minor"(this piece of music later became the opening part of his first Symphony). Such complex and difficult pieces of music shocked people and began his conducting career. Furtwangler is Germany's veteran conductor spokesman. He was much more successful as a conductor than he composed music (although he believed to the end of his death that he was a 'composer who could conduct'). Only the Second Symphony can be heard in his works.

In 1922, Furtwangler replaced the deceased conductor Nikish and became the music director of the Berlin Philharmonic Orchestra, making irreplaceable contributions to the development of the Berlin Philharmonic; he also served as the Vienna Philharmonic Orchestra and the Leipzig Bunchmann Orchestra. The permanent conductor of the Orchestra until his death. He is also the artistic director of the Lucerne Music Festival in Switzerland.

In the 1930s, Furtwangler was considered one of the greatest conductor masters in the world. After Hitler came to power, Furtwangler was very disgusted with his cultural policies and openly confronted the Nazis '"guardians of culture", such as refusing to give a Nazi salute at a concert. In 1934, the Nazis banned the performance of the famous composer Hindemite's opera "Matisse the Painter", which set off a political wave; Furtwangler did not hesitate to side with Hindemite at this time and expressed a strong protest to the Nazi authorities; as a result, he was dismissed by the Nazis, which was the famous Hindemite Incident. It was not until 1935 that he was reinstated by his great prestige and was hired by the Imperial Ministry of Culture. Beethoven's Ninth Symphony was played in 1942 to celebrate Hitler's birthday. The coalition forces later repeatedly criticized Furtwangler for this. Moreover, many artists expressed grief and indignation at his behavior. As Toscanini said: "In front of Furtwangler as an artist, I am willing to take off my hat; but in front of Furtwangler as an ordinary person, I have to put two hats on it." However, some people believe that during his tenure in the Empire, he covered up and helped a large number of Jewish conductors go abroad, including master artists such as Walter and Clemperel. Therefore, his purpose in bowing under the banner of the empire was not to help the tiger, but to be a great humanitarian act. In fact, none of the members of the Berlin Philharmonic were sent to military service during the war, and his concert with the Berlin Philharmonic during the war also became the greatest comfort to the Berlin residents who had suffered from the war.

After the war, with the help of violinist Menuhin, Furtwangler was denizzed in Berlin and Vienna. After review and approval by the Allies, he quickly resumed his performances and recorded many of his legacy recordings at the Deutsche Gramophone Company and HMV (the predecessor of EMI Classics). Before and during the war, Furtwangler also made many recordings, and many of his wartime recordings were regarded as unsurpassed models.

On November 30, 1954, Furtwangler died of illness in Baden-Baden, Germany, at the age of sixty-eight; it was the most brilliant and mature age for a conductor.

As one of the greatest conductor masters of the last century, Furtwangler's influence is extremely far-reaching. The German Dionysian conducting style represented by him, the highly romantic style, and Toscanini's objective, rational, and loyal to the original intention greatly influenced the conduct of later generations; his performance was often not fixed on the notes and marks themselves, but after in-depth examination of the work itself, he presented the true meaning of the music behind the notes. Therefore, this interpretation has a more vivid life and a balance of inner unity while taking into account the style and structure of the original work. Although Furtwangler's conducting skills are far from today's precise style, and have even been described as constant tremors, such as connecting several movements on a downbeat beat, resulting in a series of illegible tremors, he himself has an inexplicable, magnetic-like magic and superhuman musical persuasion that can unite and stimulate the orchestra to perform beyond its own level. All of them constitute his unique style that is extraordinary and difficult for future generations to match and imitate.

Like many masters of the older generation, Furtwangler did not like recordings very much and believed that recordings could not accurately express music, but the audio materials he left behind were probably the most among the older generation masters: Beethoven and Brahms 'symphony recordings alone can easily be combined into two complete sets; there are other recordings left behind: Wagner's Tristan and Isolde, Nibelungen's Ring, Beethoven's Federo, Beethoven's collaboration with violinist Menuine, Brahms, Mendelssohn's Violin Concerto, etc. Furtwangler recorded Beethoven's Ninth Symphony at the Bayreuth Festival Theater in 1951. The performance lasted 74 minutes, and the length of the CD was determined accordingly. In addition, Furtwangler's recording of Beethoven's Fifth Symphony is also called unprecedented and unprecedented. It can be said to be one of the best versions of Beethoven's Fifth Symphony. Beethoven's Ninth Symphony is also known as the classic among classics.