Habría que concretar de qué Quinta de Furtwängler hablamos porque el alemán fue más cambiante en su interpretación de esa música que el italiano. Para mí las de 1937, 1943 y 1947 (todas con la Filarmónica de Berlín y todas diferentes entre sí) son formidables y encarnan las características principales del enfoque Furt. Las de los 50 me parecen más flojas en general, más domesticadas (aunque siempre interesantes); en ellas los rasgos de su dirección están más diluidos: el tempo fluctúa menos, hay menos fiereza y el resultado es menos orgánico. Casi diría que es Furtwängler imitando a Furtwängler, aunque también pienso que me parecerían mejores si no conociese sus interpretaciones anteriores.
Los ciclos de Jochum no los escucho hace años. Tengo mejor recuerdo del de Berlín pero con estas cosas nunca se puede estar seguro: todo puede cambiar en cada nueva audición.
Y el Brahms de Toscanini en Londres seguramente es su mejor Brahms. Hasta donde yo sé solo hay dos ediciones realmente serias, con un sonido bien procesado: la de Testament (cara) y la de Pristine Classical (también cara). Es una pena que tengan ese precio. Pero sigue siendo Toscanini así que Supermaño se puede ahorrar el dinero :wink:
En el intermedio del segundo de aquellos conciertos, Sir Adrian Boult comentó lo siguiente para la BBC:
"I expect there are few of you listening to me now who missed the first Toscanini broadcast on Monday. You will have been thrilled by the intense power of performances, by the way they pressed forward relentlessly to their climax and, above all, by the way they sang. I remember his calling out at a rehearsal....'Sing, sing, always sing, even when you are counting your rests.' Those of us who were lucky enough to be present in the Festival Hall for Monday's concert will, I'm sure, never forget it. As Toscanini came onto the platform the entire audience rose to its feet in homage to the great conductor - a homage, needless to say, without a trace of hysteria which came from our hearts and our minds. After each work, as the applause broke out, Toscanini at once had the Philharmonia Orchestra on its feet and so it was each time he came back. It was indeed only because the orchestra at the end resolutely refused to rise, that we were able, with them, to express our deep appreciation to the Maestro himself. Tonight we have already heard wonderful performances of the Brahms' Variations on a Chorale of St Anthony and the 3rd Symphony. And, as last Monday, we heard the music bathed in a brilliant light with every detail crystal clear and eloquent in a way we hadn't heard before. Some people have felt it a pity that the programmes are restricted to Brahms, and some of us might perhaps have preferred the splendid series of mixed programmes that were planned for the opening of the Festival Hall when the Maestro's illness prevented us the pleasure of welcoming him. But I am sure this is part of a definite plan. When Toscanini came to the BBC in 1939, he said he wished to put, as it were, a seal on his previous visits with a complete cycle of Beethoven Symphonies with the Great Mass. Now he goes on to Brahms, a composer for whom he has shown a special sympathy, unusual among his countrymen, for whom he has done much. The Latin countries were slower than Austria, Germany or England in their reception of Brahms' works as they came out. And Toscanini, both in Italy and elsewhere, did much to further them. When he was still a young man, I remember hearing of his great powers from Alberto Randiger, an Italian who was then one of the leading teachers of singing in London. He said, "He is great, even in the Brahms symphonies". I've told elsewhere how he interrupted me when I called him great: "No, no, no not that at all, just an honest musician." Well, we have heard how honest and how great besides. And now we are to hear the finest of Brahms' symphonies - the Fourth. I am looking forward with the keenest anticipation to Toscanini's interpretation of this great work; above all to the slow movement and the passcaglia - the final movement. Au revoir, dear Maestro, we want to see and hear you again soon. "