Wilhelm Furtw ler left not only some of the greatest interpretations of operatic and symphonic music on record, but also expressed his views on musical issues of the moment in a number of outspoken essays and talks. His writings range from practical matters of performance and interpretation to aesthetic reflections on what he saw as the alarming direction in which music was developing in the wake of Schoenberg and the twelve-tone system of composition. Professor Ronald Taylor has here, for the first time, translated and annotated a selection of Furtw ler's writings covering the four decades from the First World War to the conductor's death in 1954, and prefaced them with an essay on Furtw ler's controversial career and complicated personality. The result is a collection of stimulating pieces with a claim on our attention, made all the greater for reflecting the musical and philosophical ideals of one of the great conductors of the twentieth century.

A pathbreaking, new intellectual biography of the composer and conductor Wilhelm Furtwängler.

The Furtwangler Record is an attempt to analyze and explain this phenomenon, a study of Furtwangler's subjective, compelling, and creative style of music-making. The introductory Part One is devoted to an overview of Furtwangler's place in the mainstream of the German school of conducting, his career and personality, and the quality of his art. Part Two, the bulk of the book, consists of detailed, illuminating commentaries on each of his recorded performances.

This is a groundbreaking study of the prestigious Berlin and Vienna Philharmonics during the Third Reich. Making extensive use of archival material, including some discussed here for the first time, Fritz Trümpi offers new insight into the orchestras’ place in the larger political constellation. Trümpi looks first at the decades preceding National Socialist rule, when the competing orchestras, whose rivalry mirrored a larger rivalry between Berlin and Vienna, were called on to represent “superior” Austro-German music and were integrated into the administrative and social structures of their respective cities—becoming vulnerable to political manipulation in the process. He then turns to the Nazi period, when the orchestras came to play a major role in cultural policies. As he shows, the philharmonics, in their own unique ways, strengthened National Socialist dominance through their showcasing of Germanic culture in the mass media, performances for troops and the general public, and fictional representations in literature and film. Accompanying these propaganda efforts was an increasing politicization of the orchestras, which ranged from the dismissal of Jewish members to the programming of ideologically appropriate repertory—all in the name of racial and cultural purity. Richly documented and refreshingly nuanced, The Political Orchestra is a bold exploration of the ties between music and politics under fascism.

Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.

As America's symbol of Great Music, Arturo Toscanini and the "masterpieces" he served were regarded with religious awe. As a celebrity personality, he was heralded for everything from his unwavering stance against Hitler and Mussolini and his cataclysmic tantrums, to his "democratic" penchants for television wrestling and soup for dinner. During his years with the Metropolitan Opera (1908-15) and the New York Philharmonic (1926-36) he was regularly proclaimed the "world's greatest conductor ." And with the NBC Symphony (1937-54), created for him by RCA's David Sarnoff, he became the beneficiary of a voracious multimedia promotional apparatus that spread Toscanini madness nationwide. According to Life, he was as well-known as Joe Dimaggio; Time twice put him on its cover; and the New York Herald Tribune attributed Toscanini's fame to simple recognition of his unique "greatness." In this boldly conceived and superbly realized study, Joseph Horowitz reveals how and why Toscanini became the object of unparalleled veneration in the United States. Combining biography, cultural history, and music criticism, Horowitz explores the cultural and commercial mechanisms that created America's Toscanini cult and fostered, in turn, a Eurocentric, anachronistic new audience for old music.

A TIME Magazine Top 10 Nonfiction Book of 2012 A New Yorker Best Book of the Year Los Angeles Magazine's #1 Music Book of the Year This revelatory book of music history examines what is perhaps the best known and most-popular symphony ever written—and its famous four-note opening. Reaching back before Beethoven’s time, Matthew Guerrieri uncovers premonitions of the opening notes in the rhythms of ancient Greek poetry and the music of the French Revolution. He discusses the Fifth’s impact when it premiered, tracing the artistic, philosophical, and political reverberations across Europe to China, Russia, and the United States, from Romanticism to ring tones, from propaganda to pop. This fascinating piece of musical detective work is a treat for music lovers of every stripe.

DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div

When the great conductor Wilhelm Furtwangler (1886-1954) decided to remain in Germany under the Third Reich, he was widely and bitterly condemned as a Nazi collaborator who gave cultural and moral credibility to Hitler's regime. Although Furtwangler was exonerated at a de-nazification trial in 1947, his reputation as a Nazi sympathizer continued to darken both his personal and professional life. In this meticulously researched book, Fred K. Prieberg thoroughly investigates the renowned musician's uneasy position in Nazi Germany. Prieberg reveals in fascinating detail that Furtwangler, by persisting with his direction of the Berlin Philharmonic Orchestra and the Berlin Staatsoper, waged a heroic struggle to preserve and nurture the masterpieces of German music. For Furtwangler, the sacred traditions of German art transcended politics. Prieberg argues that Furtwangler resisted efforts by the Third Reich to exploit him as a propaganda tool. As the preeminent conductor in Germany, he used his influence to protect Jewish musicians and staff in his orchestra. He never gave the obligatory Nazi salute at concerts, even when Hitler was present, and avoided performing in occupied countries or for grand Nazi Party occasions. Furtwangler's unquestioning belief in the higher ideals of German art gave him the strength and courage to sustain his quiet yet effective opposition to the Third Reich. Trial of Strength presents convincing evidence that Wilhelm Furtwangler was neither Nazi nor Nazi sympathizer. It also illuminates the perils of artistic collaboration with a totalitarian regime.