Who is your Favorite Historical Conductor?


For discussion purposes I am limiting this to

1) Wilhelm Furtwangler

2) Arturo Toscanini 

3) Bruno Walter

 

feel free to introduce others.  I will be arbitrary and cut off Conductors who worked after the death of Leonard Bernstein.

  Furtwangler and Toscanini died just short of the onset of the stereo era.  They were however recorded with the best technology of the times, and the work of restoration technology of today has done wonders.  Walter recorded until 1962 but perhaps his best work was done in the mono era.

  Walter was renowned for his “humanity” Furtwangler for his near mystical ability to rechannel German/Austrian music, and Toscanini for his finely chiseled intensity

mahler123

Guido Cantelli-protege of Toscanini who.died tragically in a plane crash in 1956. Toscanini wasn't told about it since he was frail at the time. Cantelli did make several recordings.

Erich and Carlos Kleiber-father and son, both gone now.  Carlos' recordings have better sound. He didn't record a lot but his recordings of Beethoven's symphonies  5 and 7 are among the best. 

Very interesting choices.... Thanks...

Guido Cantelli-protege of Toscanini who.died tragically in a plane crash in 1956. Toscanini wasn't told about it since he was frail at the time. Cantelli did make several recordings.

Erich and Carlos Kleiber-father and son, both gone now.  Carlos' recordings have better sound. He didn't record a lot but his recordings of Beethoven's symphonies  5 and 7 are among the best. 

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The tempo discussions by Mahgister are interesting.  I heard Ricardo Muti give a talk from the podium that must of have gone about 15 minutes before the start of a work where he essentially makes the same points.  It was difficult to understand him in the large concert hall, in his mixture of Italian and English and I remember thinking wouldn’t it be great to hear him give a master class in conducting and perhaps use a few examples.

  I have heard many people look at film of Furtwangler conducting, critique his beat as imprecise and approximate at best, and wonder how he achieved his results, with his supple ebb and flow.  He had to be the antithesis of George Szell, about whom his players would say “Even the spontaneity is rehearsed” yet Szell was reportedly a huge admirer of both Furtwangler and Toscanini.