The German conductor Wilhelm Furtwängler (1886-1954), who was the son of the archaeologist Adolf Furtwängler, spent his youth in Munich, where his father lectured at the university. He grew up in a humanistically influenced home. In 1906 he became the second rehearsal assistant in Berlin. In 1920, he took over the directorship of the symphony concerts of the Berlin Opera from Richard Strauss. Within two years he gained such renown that he was appointed as the successor of Arthur Nikisch as the director of the Leipzig Gewandhaus Orchestra and the Berlin Philharmonic Orchestra. In 1928 he succeeded Felix Weingartner as the director of the Vienna Philharmonic Orchestra, but refused to take on the directorship of the opera at the same time. In 1931 he became the joint musical director of the Bayreuth Festival on an equal footing with Arturo Toscanini. Two years later he became the director of the establishment; he took on numerous Jewish artists, which was strongly criticised by the National Socialist regime. In december 1934 he resigned his post “for political reasons”. After that he
received invitations from all over the world to conduct symphony concerts and
operas as a guest conductor, mainly for the works of Richard Wagner.
Philadelphia, New York and Vienna offered him the directorship of their opera
houses, but Furtwängler refused because he did not want to leave Germany. He
wanted to live in freedom and to conduct those works abroad which he considered to be significant. The “Hindemith Affair” was one of the most difficult moments of his career (Adolf Hitler and Hermann Göring had forbidden him to perform Mathis der Maler at the Berlin Opera, and for this reason he had resigned). In 1936, the New York Philharmonic Orchestra offered him the opportunity to succeed Arturo Toscanini. He was willing to go into exile. But in a mysterious report
from the Berlin branch of the Associated Press it was alleged that Furtwängler
was willing to be reinstated as the director of the Berlin Opera. This incorrect
report triggered a hefty polemic reaction to the conductor in New York, who then
decided not to take over the New York orchestra. In between, he conducted in Paris during the world exhibition in 1937, and he conducted concerts and operas in London. But the Second World War made foreign contacts impossible and he had to limit himself to very few concerts in Berlin. In 1945 his position became increasingly difficult, because the Gestapo put increasing pressure on him. He fled to Switzerland. Not until december 1946 was he cleared of all allegations of collaborating with the National Socialists. Two musicians acted as particularly vocal advocates for him: Yehudi Menuhin and Ernest Ansermet. In 1947 he resumed the directorship of the Berlin Philharmonic Orchestra. At the reopening of the Bayreuth Festival in 1951 he conducted a notable performance of Beethoven's Symphony No. 9. From 1947 he had worked untiringly for the Salzburg Festival. Tours through South America, to Switzerland (especially to the festivals in Lucerne), to Italy (including Milan’s La Scala) and to Paris and London had come in quick succession.
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