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Glad to. I'm surpised anybody asked.

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I have "the whole damn Ring" of 1950. I have the 1943? Furtie LVB 5th. In the Ring, the constant changes of tempo are very distracting from what seems to me to be the "long line" of Wagner. I have heard most of the modern recordings of the Ring and have preferences. I have not listened to the whole Furt Ring yet but I bought it just because I wanted to hear a completely different approach to something I hold very dear. I am going to eat my spinach and try to understand it. Maybe someday I will understand Furtie's method and actually agree with Rob. Maybe we'll have an honest president in the US.

The Zander thing is typical of me. I heard him speak and was very impressed with his passion for musical expression as opposed to "playing the notes." Of course that is what Rob accuses him of. His arguments for original tempos in Beethoven may or may not be right but he has a very interesting argument that I can't seem to get anybody to argue against with respect to the music. WHAT I HEAR is a very different work - with a very different "message." I don't argue that Zander is a great conductor but he has made a very good argument. Wrong, right doesn't so much matter: The Beethoven of Zander and Furtie are just not the same! I choose Furtie as a comparison because I have not heard another recording of the 5th that was as diametrically opposed to Zander's. The ominous, dirge-like opening is very dramatic and the history of the recording is very significant. But is it Beethoven? I think of it as Beethoven-Furtwaengler. Or "in an interpretation by Furtwaengler."

Am I even hitting the question you asked at all?


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