Furtwaengler’s Violin Sonatas
“I try to write simply, grandly, magnificently […].” It was with these words that
Wilhelm Furtwaengler summed up his aims as a composer, and they doubtless also found their analogy in his activity as a conductor. The music world continues to remember him today as a conductor, but as a composer he is hardly known at all. His own view of his circumstances was quite different: “There are many conductors […] who feel the need to compose and – so it is said – produce orchestra leader’s music. Things were different with Furtwaengler The boy was writing notes before he could write letters. He himself throughout his life regarded himself primarily as a composer.” To be sure, reality suggests a different picture: while Furtwaengler enjoyed unprecedented success as a conductor and in this capacity was one of the most influential personalities in the music life of the German Reich into the 1930s, his extensive oeuvre of more than a hundred opus numbers did not attract wide attention. The two violin sonatas by Furtwaengler presented here are from his late compositional phase after
1934, when his support of Hindemith made him fall so much out of favor with the Nazis that he suddenly had a lot of time for composition. Even in these small dimensions he lives up to his motto: “Grand and monumental.”
Press comments
Frankfurter Allgemeine 03 / 07: "Spätromantische
Riesenklangstücke - das thematische Material durchwuchert
den gesamten Zyklus, die Musik kann und will nicht mehr
enden. Jede Violinsonate in dieser Neuaufnahme hat
zeitlich etwa die Dauer einer großen Symphonie. Matthias
Wollong und Birgita Wollenweber sorgen trotz
vorbildlichem Legato und rundem Klangbild auf sympathisch
kühle Weise dafür, daß man als Hörer nicht den Durchblick
verliert."
Ensemble 06 / 07: "Eine Freude, diese Werke wieder und
wieder zu hören."
klassik-heute 04 / 07: "Die riesigen Spannungen und
gewaltigen architektonischen Verstrebungen, die die
einzelnen Sätze zusammenhalten, werden bei jedem
Durchgang fesselnder."
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