![[Beethoven, Ludwig van. (1770–1827)] Furtwangler, Wilhelm. (1886-1954) Important Letter regarding Beethoven Symphonies and a Nazi Performance](http://www.schubertiademusic.com/cdn/shop/files/Beethoven_Furtwangler_2C_Wilhelm_2C_Dirigent_und_Komponist_Letter_23343.png?v=1722190748)
[Beethoven, Ludwig van. (1770–1827)] Furtwangler, Wilhelm. (1886-1954). Important Letter regarding Beethoven Symphonies and a Nazi Performance .
An important letter or typed statement from the conductor regarding a proposal to perform the last movement of Beethoven's 9th Symphony at the cultural conference of the NSDAP party conference, a plan he considers on the whole to be “purely artistically irresponsible." He writes, in part (full translation below), that "the IX is not a symphony of struggle and victory, but a symphony of humanity with a religious background. Schiller's words fit in my opinion, for the occasion of a victory and peace celebration, otherwise not. Whereas, for example, the finale of the Fifth Symphony expresses the celebration of victory infinitely more precisely and forcefully in pure music." One page, on the conductor's letterhead, dated 27.7.40, headed "Akten-Notiz," signed boldly in blue ink at the conclusion, "Wilhelm Furtwängler." Usual folds, very fine. Complete translation, as follows:
"Regarding the possible suggestion of a performance of the last movement of the Beethoven's IX Symphony at the party conference's cultural conference, I notice the following:
1.) The IX. is not a symphony of struggle and victory, but a symphony of humanity with a religious background. Schiller's words fit in my opinion, for the occasion of a victory and peace celebration, otherwise not. Whereas, for example, the finale of the Fifth Symphony expresses the celebration of victory infinitely more precisely and forcefully in pure music.
2.) The last movement of the IX, with a very large choir, is only effective in an acoustically excellent concert hall. If the acoustic conditions are not quite brilliant, it becomes a caricature.
3.) The last movement is part of an artistic form with the preceding Adagio, forming an inseparable whole. The recitatives only have context with the Adagio's meaning and effect. But to perform also the world-remote, interiorly absorbed adagio, would be far too long.
It is therefore not only not advisable, but also purely artistically irresponsible, to tear the last sentence out of its context and add it to this performance occasion; with it one would neither do any service to the event nor to the work of art itself, whereas a performance of the short and dramatic V. Symphony, the greatest battle and victory music the world knows, is the only right thing to do on this occasion. "
The National Socialists instrumentalized Beethoven for their propaganda purposes. They admired him as German musical genius, but also regarded him as a hero who had overcome the fate of his deafness. The fact that Beethoven also stood for values of the French Revolution such as freedom, equality and brotherhood did not bother the Hitler regime. At the same time, Furtwängler was, for Hitler, the supreme exponent of holy German art; it was to the Nazis’ satisfaction that he served — in effect if not in title — as the chief conductor of the Third Reich. But, as has been amply explored in the musicological literature, the complications are many. Furtwängler never joined the Nazi party, and after his initial protests over the expulsions of Jewish musicians and the erosion of his artistic control were resolved in the Nazis’ favor in 1935, he found ways to distance himself from the regime, not least over its racial policies. By the time of the present letter, Furtwängler was "broken man" (Fred K. Prieberg) and the French government had awarded him the Legion of Honour (1939), which may support the theory that western diplomatic services knew Furtwängler was not a supporter of the Nazi regime. Hitler forbade news of the award to be spread in Germany.
While here, the conductor proposes the Fifth's Finale, it is interesting to consider whether even this was a sort of an undermining gesture. With its three short notes and one long one, the opening rhythm of the Symphony was the hallmark of the BBC's foreign broadcasts during the war and thus of its resistance to the Germans. In Morse code, the lengths of each sound stand for the letter V, as in "Victory.
[Beethoven, Ludwig van. (1770–1827)] Furtwangler, Wilhelm. (1886-1954). Important Letter regarding Beethoven Symphonies and a Nazi Performance .
An important letter or typed statement from the conductor regarding a proposal to perform the last movement of Beethoven's 9th Symphony at the cultural conference of the NSDAP party conference, a plan he considers on the whole to be “purely artistically irresponsible." He writes, in part (full translation below), that "the IX is not a symphony of struggle and victory, but a symphony of humanity with a religious background. Schiller's words fit in my opinion, for the occasion of a victory and peace celebration, otherwise not. Whereas, for example, the finale of the Fifth Symphony expresses the celebration of victory infinitely more precisely and forcefully in pure music." One page, on the conductor's letterhead, dated 27.7.40, headed "Akten-Notiz," signed boldly in blue ink at the conclusion, "Wilhelm Furtwängler." Usual folds, very fine. Complete translation, as follows:
"Regarding the possible suggestion of a performance of the last movement of the Beethoven's IX Symphony at the party conference's cultural conference, I notice the following:
1.) The IX. is not a symphony of struggle and victory, but a symphony of humanity with a religious background. Schiller's words fit in my opinion, for the occasion of a victory and peace celebration, otherwise not. Whereas, for example, the finale of the Fifth Symphony expresses the celebration of victory infinitely more precisely and forcefully in pure music.
2.) The last movement of the IX, with a very large choir, is only effective in an acoustically excellent concert hall. If the acoustic conditions are not quite brilliant, it becomes a caricature.
3.) The last movement is part of an artistic form with the preceding Adagio, forming an inseparable whole. The recitatives only have context with the Adagio's meaning and effect. But to perform also the world-remote, interiorly absorbed adagio, would be far too long.
It is therefore not only not advisable, but also purely artistically irresponsible, to tear the last sentence out of its context and add it to this performance occasion; with it one would neither do any service to the event nor to the work of art itself, whereas a performance of the short and dramatic V. Symphony, the greatest battle and victory music the world knows, is the only right thing to do on this occasion. "
The National Socialists instrumentalized Beethoven for their propaganda purposes. They admired him as German musical genius, but also regarded him as a hero who had overcome the fate of his deafness. The fact that Beethoven also stood for values of the French Revolution such as freedom, equality and brotherhood did not bother the Hitler regime. At the same time, Furtwängler was, for Hitler, the supreme exponent of holy German art; it was to the Nazis’ satisfaction that he served — in effect if not in title — as the chief conductor of the Third Reich. But, as has been amply explored in the musicological literature, the complications are many. Furtwängler never joined the Nazi party, and after his initial protests over the expulsions of Jewish musicians and the erosion of his artistic control were resolved in the Nazis’ favor in 1935, he found ways to distance himself from the regime, not least over its racial policies. By the time of the present letter, Furtwängler was "broken man" (Fred K. Prieberg) and the French government had awarded him the Legion of Honour (1939), which may support the theory that western diplomatic services knew Furtwängler was not a supporter of the Nazi regime. Hitler forbade news of the award to be spread in Germany.
While here, the conductor proposes the Fifth's Finale, it is interesting to consider whether even this was a sort of an undermining gesture. With its three short notes and one long one, the opening rhythm of the Symphony was the hallmark of the BBC's foreign broadcasts during the war and thus of its resistance to the Germans. In Morse code, the lengths of each sound stand for the letter V, as in "Victory.