| Furtwangler |
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작성일: 2005/05/06 AM 06:01
작성자: 이지원(wdmaus)
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이제까지 Bach를 신청한 사람이 대략 310명 쯤…
이런 Bach의 홍수에도 아랑곳 하지 않고 꿋꿋이 올라온 음악 문외한의 글들, 우연인지 필연인지 모두 같은 날 올라옴:
1. 기욤 르쾨 바이올린 소나타 정말 좋군요~~ 2005/04/28
2. 오늘 선곡은 유난히 좋네요. 2005/04/28
3. 기욤 르쾨의 바이올린과 피아노를 위한 소나타~ Good~.. 2005/04/28
이 중 두 명은 처음 보는 이름들.
그렇지 않아도 요즈음 이곳도 전문화 되어가는 것 같아서 읽고 싶은 글들이 자주 올라오지 않았었는데, 홍수처럼 퍼붓는 Bach덕분에 두 명이나 슬그머니 글을 올리고 사라짐. 아마도 이 사람들 다른 이들처럼 다음에 또 와서 자기 글을 지우고 사라지지는 않을 것 같음.
여기에 글을 올리려고 마음먹고 나서 기억에 남는 글들을 찾으려고 하니, 모두들 다시 지워버려서 허탕만 친 기억이 아직도 새록새록:
1. 이런 비슷한 글임. 그 글을 읽은 날 너무 궁금해서 찾아보니 Richter 의 Beethoven 이었음: “오늘 **를, (유명한 연주자), 들었는데 나는 얼마 전에 들었던 연주가 아직도 기억에 남는다”
2. Ferenc Fricsay 듣고 나서 누군가 글을 올림.
3. 지난 여름, Kubelik의 Schumann Sym. 를 듣고 나서 누군가 글을 올림.
아직도 살아있는 글 하나. 이것 읽고 배꼽 빠지는 줄 알았음:
“저절로 라디오를 끄게 만드는 음악들로.. 편안한 저녁 시간에는 절대 마음놓고 들을 수 없는 휼륭한 음악으로 가득채워진 실황중계..오늘 방송은 귀신나오는 줄 알았음. (FM실황음악회 게시판에서)”
너무 웃겨서 연주단체와 곡목을 찾아보니, 역시나… 현재 유럽에서 그나마 전통을 유지하다가 최근 망조가 든 오케스트라. Chamber음악 아무거나, 혹은 Wagner를 연주했었으면 현란한 관악기덕분에 욕은 안 먹었을 텐데 현대음악을 연주하시는 바람에 이렇게 욕을 바가지로 먹었음.
여기는… 정말 재미있는 곳임^^
2005/04/28은 내 관심사 밖이라 길거리에서도 라디오를 흘려 들었는데, 덕분에 이 음악이 다시 나오면 귀를 기울여 분석을 시작해야 함. 작곡가 때문인지 연주자 때문인지, 아님 반주자 때문이지…
저의 앞 글들을 혹시나 읽고 싶으시다면,
“바흐 음반 신청 기간 끝났습니다. (운영자)”부터 시작해서 대략 186개의 Bach음반을 거쳐서 글 하나, 그 다음 대략 123개의 Bach 음반을 거쳐서 또 글 하나, 그리고 약 30개쯤 더 가면 글 하나.
아님, “검색”을 이용하심이…
7108 Furtwangler를 쓰기 전에 꼭 써야 할 것이 있어서… 2005/04/27
6977 The New York Times (딸가진 부모만 이글을 보셨으면... 2005/04/25
6946 Leonard Shure 2005/04/12
???? [Re:8860번] 분덜리히 2004/10/26 (이 글은 짤렸음. 글 내용이 그리 위험하진 않았는데, 아무래도 Wunderlich 발성법이 요즘 유행하는 Wagner와는 상극이라 여기서도 짤린 것 같음…)
내가 Furtwangler라는 이름을 들을 때마다 이해할 수 없는 것:
1. 공개적으로 Furtwangler를 우상으로 섬기면서 자칭반 타칭반 그 후계자라는 사람들의 음악은 왜 Furtwangler의 정반대인지, 거기까진 좋은데… 그런 자기 연주를 들으면서 왜 그리 희희낙락하며 자화자찬하는지.
2. Furtwangler면 Furtwangler고, Celibidache면 Celibidache이지, 그 둘을 동시에 섬기는 사람은 또 뭔지. 예수님과 부처님을 한집에 모셔놓으면 일요일마다 어디로 가야 되나?
그래서 그런가…
1. Furtwangler음악이 광적이고 어쩌고 하는 말들을 들을 때마다 궁금: 이렇게 멀쩡한 사람들이 연주하는 음악이 "광적"으로 들리면, 옆의 사람이 무슨 소릴 내는지 아랑곳하지 않는 "광인"들이 깡통 깨부수는 소리로 연주하는 음악은 어떻게 표현해야 하나?
2. Furtwangler에 대해 "분석"하고 싶고, 그에 대한 "강의"를 듣고 싶어하는 진지한 사람들을 볼 때마다 궁금: 그렇게 당연한 음악을 어떻게 분석하나? 반짝 반짝하는 학생들 모아놓고 쓰레기 같은 음악들 분석하면서 걸레 같은 음악인들 씹는 "Sex-Clinic"이 훨씬 더 재미있을 텐데.
내가 알고 싶은 것은 단지:
1. Furtwangler의 연주자들이 조금 더 잘 먹고 잘 자고 "휘성"처럼 운동도 열심히 해서 "이효리"와 "비" 비슷꾸리하게 된다면, Furtwangler는 그들에게서 어떤 소리, 어떤 음악을 끄집어 낼까?
2. 만약… Furtwangler 연주자들이 모두들 쭉쭉빵빵이 된다면, 그와 함께 공생하고 있는 악기들이 과연 그 성에 찰까? 그들이 악기를 계속 바꾸어댄다면, 과연 그 끝은 어디일까?
3. 그럼, 그런 쭉쭉빵빵 연주자들과 환상적인 악기들을 통해서 나오는 Furtwangler의 음악을 Orchestra Hall이 소화해 내지 못한다면 우리는 어떻게 해야 되나? 증폭기를 달아야 하나? 어디에? 어차피 예술의 전당 꼭대기는 목욕탕인데…
골치가 또 아파오기 시작. 어차피…
내 안에는 Furtwangler가 아닌 Mravinsky가 있는데 왠 걱정?
어떤 "천재"한 분이 그러시기를… (모두들 천재라 하니까 이렇게 지칭해야 함! 지금 이 한 문장 찾으려고 그 망할 놈의 책을 며칠째 읽었는데 일단 포기. 기억이 가물가물하지만 이런 내용임):
"우리들의 음악세계에는 너무나도 다양한 소리가 있어서 그것들을 다 즐기는 것이 얼마나 재미있는지, 인생은 너무나 짧고…"
이 글과 함께 그 음악을 들을 때마다, 내 안에 있는 Mravinsky 는 이렇게 중얼중얼:
"그러니까 네 소리가 허구한날 그 모양이지, 이 꼴통아^^ 그나저나, 난 지금 네 걱정할 때가 아니다. 내 앞에 저런 무식한 얼굴로 앉아있는 저 러시안 잡초들 때문에 나는 죽은 후에도 내가 원하는 Tschaikovsky나 Shostakovich는 절대로 들을 수 없을 거다. Furtwangler도 가지지 못한 악기들을 내가 가지고 있으면 모하나? 저런 잡초들 때문에… 도대체가 Brahms를 몇 번쯤 연주해야 저것들은 자기들의 앞, 옆에서 무슨 소리가 들리는지 깨달을 수나 있을까?"
But still, if I am forced to “analyze” Furtwangler’s music making:
1. It sounds like out-of-tune. However, it is not the same as the ordinary out-of-tuned ensemble. It sounds weird. It makes me concentrate…
2. It's color is very dark. Some may say that it is out of a rich bass. However, unlike the usual dark-colored, fucking heavy/thick based ensemble, it sounds pure. Relaxed, indeed. This music makes me concentrate…
3. The moment Furtwangler hears his ensemble play, he is galloping into somewhere. It is alive~~. Where is he driving his instruments? Where is the final destination of Furtwangler’s sound?
4. Is silence music? Sometimes yes, sometimes no. Musicians need something to break the silence. What is Furtwangler’s favorite way and why? What is a main criterion for Furtwangler's sound?
5. When you hear other ensembles, such as Rudolf Kempe’s Wagner played by either the BPO or the VPO, which sound very “educated”, you can imagine their next step, namely “Furtwangler”. Then… it is impossible to expect them to move forward without forcing them to change their very basic techniques. (I believe it is Kempe’s Wagner (12월 14일), not Klemperer’s Philharmonia (12월 5일). I am not so sure of my memory.)
6. Is Furtwangler playing? He was a terrific accompanist, of course. But as a conductor, he is merely spinning the sound out of the relaxed bodies sitting in front of him. Not Furtwangler but the orchestra members are playing. Then why could those same guys, same relaxed bodies never make this same sound without Furtwangler, who was merely holding the baton and standing in front of them? Sound means everything, including their minds…
7. Who is the last one to follow his maestro and share everyone's imaginative sound? How Furtwangler’s worst instrument behaved after his maestro’s funeral? Funny that maestro Gunter Wand's worst instrument sounds brilliant under his successor's leadership. Funny that no one still knows it.^^
8. 그래도 끝까지 Furtwangler 소리가, 음악이 어쩌고 저쩌고 한다면… 아니 그거 소리를 “보면” 모르겠냐? 그냥 들으면 되잖아? Furtwangler 한번 듣고 팝송 한번 듣고, Furtwangler 한번 듣고 아이들 웃음소리 한번 듣고, Furtwangler 한번 듣고 국악명창소리 한번 듣고, Furtwangler 한번 듣고 아무거나 한번 듣고…
So many people wrote so many things about Furtwangler.
Whatever I write, it will be merely the echoes of someone else's voice.
They wrote everything, including more practical reasons why Furtwangler remained in Germany, regarding his mother, a threat to disband the BPO, etc.
I'm now far from the music library and it is impossible to find what I need.
But how many articles do you think were floating on the internet? I read all of it, anyway. (Some warned that his work is copyrighted…)
Thus, I just hear his music and analyze it in my way.
Before writing something about Furtwangler’s music and politics around him,
Who is Furtwangler anyway?
Kathrin said:
1. "My father was the most relaxed person I've ever seen. People always remarked on the elegance of his conducting, especially his graceful turning, but this was partly the result of a skiing accident. He hurt his neck, so he couldn't turn his head alone."
2. "Goethe said that genius is 99% perspiration and 1% inspiration, which certainly applies to my father. He had great powers of concentration. He could sit and memorize a score without being bothered by all the children making noise around him." She recalls how he went for a walk every day, following the same circuit for hours. "He didn't look at nature. He was probably still thinking about work."
3. "He stayed in Germany to give the people the gift of his music. He was very German, his roots were there and he would have suffered in exile. What was important for him was German culture. No other conductor knew more about German literature and painting. It was not just the music, he wanted the whole culture around him."
Some months ago,
I was lucky to enjoy "Furtwangler only" from this program. (그나저나 2005/11/24 연주는 BPO가 아닌 VPO가 연주한 Schumann Sym. 같은데 아무도 질문을 안 함. 다른 때 같으면 번개 불에 콩 볶아 먹듯 이 게시판에 질문이 올라왔을 텐데 이상…)
It betrayed my expectation. Furtwangler was awful!
It led to my simple thought that Furtwangler was also a human and therefore he started to compromise with his musicians after the collapse of the Nazi regime.
I thought so… until I found information about the damage of Furtwangler's ear.
Anyway, what really hooked me was his wartime performances, during the Nazi regime.
What did I hear?
The most powerful sound from the most relaxed body, whose heart is torn by deepest anguish…
This is all I know about this German Musician Furtwangler.
It tells me that:
Furtwangler was not naive.
Perhaps, he was naive enough to have no attorney and badly explain himself in his deNazification trial, as Yehudi Menuhin observed.
However, Furtwangler exactly knew what was happening behind his back whenever he had to confront the Nazi regime. He just wanted to ignore all the political happenings around him, and wanted to educate his German people wishing that his intellectual German culture would soon starve this passing political phase called Hitler’s Nazism.
Then Furtwangler didn’t lie when he said this:
“I defended the superior intellectual life of Germany against the Nazi ideology. I did not directly oppose the Party, because I told myself this was not my job. I would have benefited no one by active resistance. But I never concealed my opinions. I knew that a single performance of a great German masterpiece was a stronger and more vital negation of the spirit of Buchenwald or Auschwitz than words." (Furtwangler’s writing, awaiting clearance from the Allied authorities.)
It is also true that:
"Furtwangler often drew distinctions between two classes of Jews. On the one hand, he ardently supported Jews who had arrived at the top of their musical, artistic, scientific or academic professions. On the other hand, though, Furtwangler apparently felt that Jews outside these exalted ranks were potentially subversive and therefore expendable.” (This internet author warned that his writing is copyrighted.)
Did he make anti-Semitic statements?
Furtwangler is preparing his concert.
He is furious with Hitler for raping his homeland.
He is thinking: “Human beings are free wherever Wagner and Beethoven are played and if they are not free at first, they are freed while listening to these works.”
He starts his concert.
They say that the performances conducted by Furtwangler are glorious, even spiritual.
Well… I hear simple things: The most powerful sound from the most relaxed body, and their imaginative sound.
Then I think again… If I were:
1. Orchestra members: Feel so good. I'm higher than a kite! What is the Nazi Party? Only those who can’t pass this coming audition would join it and they would swallow up this ensemble. My maestro will protect me. I believe in Furtwangler.
2. Hitler: Deutschland, Deutschland uber alles, uber alles in der Welt~~~
3. German audience: … bla, bla, bla (Nazi members)… pla, pla, pla (Anti-Hitlers)… tla, tla, tla (No politicians)… zla, zla, zla (Kids)…
While studying Furtwangler in American music library, there was one statement which hooked me.
I could neither disagree nor approve. I just couldn't understand it:
"… Furtwangler was naive... a human like Hitler should have been isolated first. No one should have made worthless efforts to try to educate him…" (I'm now far from the music library. It was something like this.)
Then I finished my Furtwangler article with these statements:
"… However, we should excavate his greatness in a different way. Furtwangler was not the only one whose music was… But he was the only one who dared to protect the orchestra members, who, unlike the other virtuosi soloists, used to be treated as an artisan... There could be another Hitler, another Goebbels, another Downes anytime anywhere, as long as a human society exists. But there should not be another Furtwangler. Musician should not be a victim of the politics. Musician should play music, only to knock the door of the human 'hearts'. Why do we call them artists, especially in a professional sense? When we cross the bridge to enter the musician's village, we accept the fact that there would be no money, no power, no fame but music. Who can understand or protect musicians unless musicians themselves do? We can not change the past. But we can prepare for the future. We don't have to be chained to the past. But, the past should exist for the better future."
Now, I have to rewrite my work.
Yes, this author was right.
Hitler was not a human something, but merely a German pig.
He should have been isolated first. You could never educate this German pig.
And this is exactly what Furtwangler had learned before escaping from the Nazi Germany with no penny.
Well… Was Hitler the only pig in our human world?
Let’s say that Furtwangler was a Nazi. Why not?
No one knows exactly what was happening inside Furtwangler’s Nazi Germany.
Only those who actually lived there know everything.
All those outsiders can therefore perfectly call Furtwangler a Nazi.
So…
How many Jewish lives has this Nazi Furtwangler saved?
Strangers and even professional enemies included.
How many? Still, no one knows.
Then… How many Jewish human beings repaid what they owe to their Nazi benefactor, while penniless Furtwangler was living in exile? Did they pay off all their debts after the Nazi regime fell?
If my reading is correct, he was still penniless even after the collapse of the Nazi regime. The BPO had to support his widow.
There was even a strange plot to delay deNazification trial for him.
Part of his beneficiaries joined “anti-Furtwangler campaign” and their reason was purely professional. That they don’t want to share their American-or-foreign market with this genius musician, Furtwangler.
Someone wrote it, and I read it.
Why should Yehudi Menuhin defend Furtwangler when those Jewish beneficiaries do nothing?
Why should I do this, when “Furtwangler’s List” never tries to persuade Yad Vashem?
Some ago, I read a story about one German officer, Karl Plagge, who was posthumously recognized by Yad Vashem. Who worked to persuade Yad Vashem that the German army officer had saved Jews at his own risk?
I was speechless.
Wherever you go, you meet someone. Humans or pigs.
Human beings can never forget how their lives were saved. Their heart find peace only after they repay all their debts.
I am now curious.
Most of those whose Jewish life Furtwangler saved were musicians, weren’t they?
I want to “study” those Jewish music and “analyze” the function of their sound.
I want to analyze those “Jewish minds”.
Am I wrong when I call them Jewish pigs?
If Furtwangler had ever made anti-Semitic statements, his subject must have been about Jewish pigs and all his beneficiaries were even not included there.
So… How many Jewish musicians have I experienced?
Most of them were literally pigs.
However, I’m still reading the Jewish articles, and drop my jaw whenever I find terrific Jewish human beings and their achievements. One of them… even the Palestinians lamented his death.
Then I think again: “What really means Judaism? It should be a lifelong study…”
Pigs are pigs. We should not make worthless efforts to try to educate them.
This is what Furtwangler has taught us through his music.
Orchestra is a music business.
It is neither a family affair nor a chamber music, in which you are welcome to play “uneducated” music and can still receive a standing ovation after the performance.
Those who ignore his colleagues and never follow better sound around him should be fired.
Whatever you do, whatever I do,
Those pigs will never betray the function of their sound.
You can never say that I am hysterical or too sensitive on whatsoever matter.
How many years have I observed those pigs and their dirty behaviors?
They just perfectly proved my theory. They were even worse than my expectation… (이제까지 어떤 얼굴들로 개판 쳐놓고, 내가 부활할 조짐이 보이니까 이제 와서… 땀 삐질삐질 흘리면서 음정 맞추는 척 하느니, 차라리 소리자체를 바꾸는 편이 더 낫지 않을는지. 그냥 가시던 길로 가도 아직 갈 길이 먼데, 그렇게 비 효율적인 방법으로 인생을 살아서야 어디… 정말 재수없음.)
Someone once told me: “Time will solve everything.”
Oh, yeah… I did listen to music everyday, all day.
How many years have passed since then?
Did time solve everything? Has music finally healed all my pain?
If it really cured me, there should be a peace at the bottom of my heart when I am alone.
I wanted to write about Furtwangler, a German pig, and the Jewish pigs.
Then, I had to read this book first: “Generations Intifada” by Laetitia Bucaille
I wanted to know.
Who are Palestinian pigs? (I also wanted to read another book, “Strangers in the House” by 라자 샤하다, but no more time for anything…)
Personally, I don’t like to understand the Israeli-Palestinian affairs from a French point of view. I read the newspapers everyday and in my viewpoint, it was not fair.
But this book was the only thing I could find.
I read it anyway, and… It has changed everything in me.
After finishing this book, I now feel no need to check the morning newspapers to find something new about the Israeli-Palestinian affairs.
Everybody was just Sharon’s toy.
Not only Palestinian Prime Minister, but also American president was Sharon’s toy Nr. 1.
I have never seen such a great politician as Sir Ariel Sharon.
A politician should think, behave and prepare his future just like him.
I respect him more than ever…
I am a great fan of Dr. Condoleezza Rice, and hope her to read this book if she really wants to treat Israeli PM as an American President’s devoted follower or at least as a political partner. Hope her to read this book if she really enjoyed reading Sharansky's book, "The Case for Democracy."
I also wonder. Did Sir Sharansky read this book?
If you want the power of music to heal the broken hearts of any Palestinians in this book, please cure me first: 살라, 나세르, 마흐무드, 사미, 나지, 바쌈, 알리…
I am pretty sure. Sir Sharansky will be the first one to understand what I mean.
There is no perfect human being.
There is no perfect mind.
There is no perfect sound.
How many A-rated sound can we hear from the so-called professional musicians? Once a hundred years?
“The B-rated sound” functions worse than “the C-rated sound with imagination” does.
Because the sound C follows a better sound around him, while the sound B doesn’t.
Then, the sound C improves with ages while the sound B goes to the hell because it has to please its deteriorating body.
This is the fact:
1. Henry Fogel, the “new” president of the American Symphony Orchestra League or a spiritual leader of "The Wilhelm Furtwangler Society of America," called me a nut.
2. …
3. …
여기서부터는 너무 위험수위가 높아서 짤릴 것 같음.
피곤하기도 하고…
좀 쉬었다가 나머지 부분은 letters@nytimes.com , d**************@hotmail.com 으로 직접 보내겠음.
뭐… 반응이 너무 좋으면 끝까지 갈수도 있지만 이 부분은 재미도 별로 없고,
지금은 내 인생이 더 중요하니까… 잘 되면, 그 때가서 차례차례로 몽땅 쓰면 됨.
Gidon Kremer 와 그 Second Ex 부터 시작하면 음악세계가 한 눈에 보이니까…
이렇게 후련한 것을 왜 진작 못했을까?
그나저나, 여기서도 내 글이 미친년 취급을 당할까?
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2005/05/06 AM 06:01 92번 읽음
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[Re:9930번] 헨델의 사라방든가?
[서정 간진곡]
Furtwangler