Finde es schade für dich aber ich glaube dass man das nicht erwarten kann. Weil warum nur Spanisch? Englisch wäre vielleicht cool das kann fast jeder. Ich verstehe allerdings auch dass es für dich frustrierend ist.
"Wenn man ein großes Fortissimo hat, braucht man Zeit dazu" ... "Ein Presto kann man nicht in Fortissimo spielen"☺ - so schlicht und verständlich können nur echte Meister reden:)
@@gonzalogallardobareyre F: "The big aria in the second act is the most difficult". Egk: "the E minor". F: "Yes, the E minor. You have to be able to sing that, of course". .
Amazing interview with the Man himself. My only problem is that the language is all German and I understand only English. The occasional laughter suggest that the mood was lighthearted though.
robert fells if you are interested in a special question from the video description, I can translate it for you as I am fluent in many languages. I don't have time to translate the whole video though unfortunately. don't hesitate to ask!
Thank you, that is kind of you. If you could tell me what the maestro says in answering a few questions that cause laughter. One occurrence is at about 1:38 and again at 2:40 or so. I assume he is discussing the Magic Flute?
Hello Robert, this is amazing. RU-vid told me absolutely nothing about your comment reply until today I was so curious about this interview that I came here to watch it again. 1:38 "It is the biggest work, a work that needs extraordinary work of the vocal apparatus and an emotional concentration, of peace and pain, which requires a lot of quality. but apart from this, you need a lot of humour and shame - a very different aspect. It is a case of luck to get a good singer! (yes, magic flute) - then the interviewer adds; "is it not a requirement for the singer to be able to sing the aria?" - furtwängler: it is very interesting to see that, those singers that are technically the best; are not always the best on stage. I had a lot of cases where singers that were technically "modest" had way bigger impact than those who were incredibly gifted. It is the difficulty to bring the voice from inside out on stage - many gifted artists keep it inside and fail to use their full potential." ------ Hope this helped!
Egk remained influential as an organizer pretty much until his death in the 80s, and he was a composer, not a performer. Karajan was the opposite, and I think it's _at least_ debatable whether Karajan ever enjoyed "hegemony" for the entire German territory. The most famous conductor and orchestral recording conductor, certainly, but not nearly the only one, and not seen much outside of Berlin/Vienna.
@@bomcabedal I'm aware that Egk was firstly an opera composer. Wasn't Karajan referred to as "Generalmusikdirektor of Europe" for a time while he was music director of the Berlin Philharmonic and director of the Vienna State Opera and active in the La Scala Milan and music director of L'Orchestre de Paris. And he did guest conduct the Metropolitan Opera in NY. While he made recordings for the EMI, Decca, Deutsche Grammophon and Philips labels. Idk who to compare this to, unless you are specifically referring to the DDR, where Karajan also made a superlative recording of Meistersinger with the Staatskappelle Dresden. That there were conductors whose careers were unfairly impeded in Karajan's shadow, like Horst Stein, Günter Wand, Joseph Keilberth, Otmar Suitner, Georg Ludwig Jochum, Herbert Kegel, I guess is common knowledge for record collectors. But I grew up listening to concert broadcasts of Klaus Tennstedt with Boston, Chicago, Cleveland, New York and Philadelphia anyway.
@@ilirllukaci5345 My point was a) that Karajan's activities were fundamentally different from Egk's, so it's a bit apples and oranges, and b) that there were quite a few other people around. The emphasis is generally on capitals and orchestras, but that's not really the entire musical world. I'm not doubting Karajan's dominance in the orchestral sphere, but "hegemony" goes a bit further than that. Besides, we're talking about a career of 40+ years; while there was overlap of his activities in Berlin and Vienna, he was never music director in Paris, just an "adviser" for two seasons after his tenure at Vienna had ended. And let's be honest, there's a good chance that the "Generalmusikdirektor of Europe" sentence was coined by the man himself.
@@bomcabedal I'm no music historian. But with (A) I agree, if for no other reason than that the former's activities were so largely motivated by ego, where I imagine the latter's by a sense of responsibility. On (B), he did have one thing perhaps in common with Egk and other composers, that Karajan's career was formed I think by his coming up through the culture of the small German opera houses dating back to the 19th and 18th centuries, unlike Furtwängler's career. And of course Karajan was at least as influential in the operatic sphere as in the symphonic. Karajan's own wording was that Furtwängler specifically lacked the sense of craftsmanship involved in opera performance. Osbourne made a comment that between performances Karajan himself would sweep the stage at the opera house in Dortmund or Aachen, I forget which, and that the British would have liked that. Which leads me to what I had always suspected, that a British critic, being deliberately provocative, actually probably coined the term "Generalmusikdirektor of Europe".
Weil man trotzdem- oder gerade deswegen?- den großen Furtwängler erleben will. Der 2. Weltkrieg war gerade mal sechs Jahre her, das Wirtschaftswunder noch längst nicht für jedermann erkennbar, Berlin war zwischen allen Fronten, jeder musste sehen, wie er zurecht kam. Die Lebensqualität hing in viel höherem Maße von solchen Momenten ab, als das heute der Fall ist. Man könnte ja auch fragen: warum macht man ein Interview in einem Raum, in dem man von Ferne die Baumaschinen hört? (Anfang des Interviews). Die konnten es sich halt nicht aussuchen.
