富特文格勒的《“乌拉尼亚”英雄》史料分享

原文作者：Michael H. Gray，出自GS-2005唱片说明书，该唱片就是著名的日本Grand Slam Records公司出版的所谓《“乌拉尼亚”决定盘》。
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1926年10月，富特文格勒在德国留声机公司留下了自己的首次商业录音。录音的曲目是大师心中的偶像——贝多芬的交响曲。阿瑟.尼基什早在1913年就曾灌录过的贝多芬《第5交响乐》；富特文格勒也仅仅在以后的岁月中一共录制过两次录音室版本。据现在可考证的是：从1926年起到1937年6月，富特文格勒在他所熟知的柏林（汉斯.艾斯勒）音乐学院为留声机、宝丽金等公司共录制了包括莫札特的《G大调弦乐小夜曲》在内的19部作品。

1937年6月，富特文格勒终止了与留声机公司的工作合同，与另外一家也许能提供更多利益的公司签约。当时的德律风根公司出手阔绰，并企图动以自身与柏林爱乐密切的关系来说服富特文格勒，把他召至麾下。然而富特文格勒认为伦敦的HMV公司的录音远比德律风根在柏林歌手学院里录制的声音来得漂亮为由毅然签约后者。

富特文格勒在柏林的贝多芬音乐厅为HMV录制了两场最最出名的现场演出作为他自己为新东家履行的新合同，包括贝多芬《第5交响乐》第2场版本、柴可夫斯基《第6交响乐》以及瓦格纳的《特里斯坦与伊索尔德》的片断。1937年HMV替富特文格勒在伦敦科文特花园、巴黎等处的演出也作了录音。

富特文格勒商业录音的次数因第二次世界大战的爆发而锐减。与大师名望不可同日而语的几位同行诸如欧根.约胡姆、卡尔.舒里希特、汉斯.克纳佩茨布施、以及奥地利小伙子赫伯特.冯.卡拉扬仍旧在德国本土及其占领区录音，但富特文格勒在 1939年9月以后仅为德律风根作过3次商业录音，时间跨度是1940年至1942年。

1940年秋，帝国广播协会开始每周播放富特文格勒在著名的柏林爱乐大厅与柏林爱乐录制的音乐会。当战争进入最后的大溃败时期，这些个RRG音乐会录音被保存在了磁带上，用以继续鼓舞那些在无可逆转的失败中战斗的帝国民众的士气。

富特文格勒在维也纳

1922年3月25日，富特文格勒在没有事先约定的情况下首次值棒维也纳爱乐乐团。自 1938年奥地利被并入德意志帝国之后，富特文格勒一直试图保护乐团与音乐家们免遭来自帝国的重重压力，因而大师与乐团的关系也更加牢固。打那以后，维也纳爱乐与柏林爱乐成为了富特文格勒音乐活动的两大台柱。

战争期间，富特文格勒在维也纳仅留下两次商业录音，并且一次都没有以78转唱片的形式出版；倒是大师在维也纳爱乐的现场音乐会及其在萨尔斯堡音乐节上的演出，延用了柏林电台的做法由帝国广播协会录音保存在了磁带上。1944年夏，随着戈培尔“全民战争”的理念在帝国上下紧锣密鼓地展开，维也纳爱乐乐团加入到帝国广播协会组织里来。自1944年8月31日起，帝国广播协会在维也纳爱乐大厅（金色大厅）一系列的广播音乐会计划得以实施。1944年8月至1945年3月，由协会筹划的乐团数十场演出因磁带保存而得以为后人所知。富特文格勒参与了其中两场的公开演出。12月16-18日，大师在爱乐大厅指挥了贝多芬《第5、3交响乐》。1944年12月19日（星期二）的上午与傍晚，富特文格勒与维也纳爱乐乐团在爱乐大厅录制了该CD上的录音。

磁带遗产

在德国经历了1945年春的全面战败之后，存放在帝国广播协会总部（位于柏林广播大楼）以及其他前苏联占领区各处的富特文格勒柏林、维也纳演出录音都被俄国人占为己有。其中许多录音被送往莫斯科，就是后来Melodiya于60年代出版 LP的母带。随着东德被划归前苏联的势力范围，“新兴国”的电台开始用自己的磁带录音设备为自己的艺术家、管弦乐团录制唱片。

进入美国LP市场

美元在战后的奥地利与德国是硬通货。一些个新崛起的唱片公司像Vox、 Vanguard、Westminster、Haydn Society纷纷涌向维也纳“掘金”，他们用低廉到100美元一张LP的价格为当地音乐家们录制了数百张录音。

一家叫“乌拉尼亚”的美国公司独辟蹊径，在1952年向东德广播电台购买了百余盘演出录音磁带准备回去出版LP。其中的绝大多数录音都鲜为人知，除了两个：一个是钢琴家瓦尔特.季雪金的，另一个就是1944年富特文格勒在维也纳录制的《英雄》。1953年10月，乌拉尼亚公司用东德的母带出版了该《英雄》，唱片编号URLP 7095，在演出指挥一项里明确标注“富特文格勒”，乐团标注“维也纳爱乐”。由于在制作时忽略了原母带实际播放的线速度，乌拉尼亚的唱片明显地走音了，从而也导致对该演出的客观评价大受影响。

Thalia Disques，乌拉尼亚在法国的合作伙伴在1953年12月也出版了该唱片。出版立即遭致HMV跟富特文格勒在法国的代理律师Roger Hauert的上诉，代理人声称连富特文格勒本人都难以辨别该录音是否出自他棒下。为避免艺术家版权问题的纠纷，法国法庭当月裁决要求把富特文格勒的名字从唱片上去掉。1954年3月，富特文格勒去到纽约等候判决，然而案子如石沉大海。与我们现有的传说相反，自那时起到1957年7月，富特文格勒的维也纳《英雄》唱片继续得以公开销售，只是按照法庭上的要求没有出现大师的名字罢了。

在该录音首度出版后的数十年期间，1944年维也纳《英雄》的LP在美国、巴西、英格兰、法国及前苏联不断出现，并以数量更为庞大的CD形式传播。现在以罕见的 URLP 7095胶木唱片为蓝本，用技术手段校正过调性问题的录音唱片也已出版发行，目的是让我们后人得以一窥伟大的指挥家与他的乐团给我们留下的千秋伟绩！

来源：富特文格勒的世界

update:
[原文，作者：Michael H. Gray，出自Grand Slam Records GS-2005唱片说明书]

Wilhelm Furtwangler made his first commercial sound recording in October 1926 for the German Grammophon company. The work was Beethoven’s Fifth Symphony, a piece of the great conductor’s idol, Arthur Nikisch, had recorded on acoustic records in 1913 and one that Furtwangler himself would preserve in the studio twice again before his death in November 1954. Furtwangler recorded nineteen more works for German Grammophon, or Polydor, as it was known in the rest of Europe, between 1926 and June 1937, when the conductor completed his recording of Mozart’s Eine kleine Nachtmusik in the familiar environment of Berlin’s Hochschule fur Musik.

It was during June 1937 that Furtwangler ended his Grammophon contract and moved to sign a potentially more advantageous agreement with another company. In spite of a generous offer from Telefunken, which had a close relationship with the Berlin Philharmonic and which attempted to use it to persuade the conductor to sign with them. Furtwangler instead contracted with His Master’s Voice in London, whose sound he felt was superior to the sound Telefunken achieved in recording made at Telefunken’s studio in Berlin’s Singakademie.

Furtwangler recorded two of his most famous performance for HMV in Berlin’s Beethovensaal, including the second version of the Beethoven Fifth, Tchaikovsky’s Sixth Symphony, as well as excerpts from Wagner’s Tristan und Isolde and Parsifal, which he had wished to record as part of his new deal with HMV. HMV also recorded the conductor during live performances at Convent Garden in London and in Paris during 1937.

The outbreak of the Second World War sharply reduced Furtwangler’s opportunities to make commercial gramophone records. While many of his less celebrated colleagues, including Eugen Jochum, Carl Schuricht, Hans Knappertsbusch and a young Austrian named Herbert von Karajan continued to record in Germany or in territories under German occupation, Furtwangler made just three commercial gramophone records after September 1939, all for Telefunken, between 1940 and October 1942.

In the fall of 1940, the Reichsrundfunk Gesellschaft ( RRG ) began relaying a series of weekly broadcasts with Furtwangler and the Berlin Philharmonic from concerts at the famous Pilharmonie in Berlin. As the War intensified in later years, these RRG concerts, recorded on Magnetophon tape, helped sustain public morale as the Reich drew nearer to its inevitable defeat.

Furtwangler in Vienna

Furtwangler first led the Wiener Philharmoniker during a non-subscription concert on March 25, 1922. Following Austria’s absorption into German Reich in 1938, Furtwangler’s relationship with the Orchestra deepened as he sought to protect it and its musicians from pressures now emanating from Berlin. From this point forward, Vienna and Berlin would become the poles of Furtwangler’s orchestral world.

Though he made only two commercial records in Vienna during the World War, neither of which was issued on 78s, Furtwangler’s concerts with the Wiener Philharmoniker in Vienna and during the Salzburg Festival were often broadcast and recorded, as were those in Berlin, on Magnetophon tape machines by the RRG. As Goebble’s “Total War” tightened throughout the Reich in the summer of 1944, the Wiener Philharmoniker joined with the RRG station, Reichssender Wien, on 31 August 1944 to begin a series of Magnetophon Rundfunkaufnahmen in the Grossersaal of the Musikverein. Between August 1944 and 27 March 1945, the Orchestra recorded dozens of works for the RRG in what became popularly known as Magnetofonkonzerts. Among these concerts were two with Furtwangler himself, both associated with public performances. On December 16-18, Furtwangler conducted Beethoven’s First and Third Symphonies in the Musikverein, and during the morning and evening of Tuesday, December 19, 1944, he and the Orchestra returned to the Grossersaal to preserve on tape the performance included on this CD.

The Magnetophon Legacy

In the weeks following the catastrophe in Berlin in the spring of 1945, Furtwangler’s Berlin and Viennese performances, as well as many others stored at the RRG’s headquarters in Masurenallee and elsewhere in the Soviet zone of occupation, were seized by Russian authorities. Many were taken to Moscow, where they were issued on LP in the early 1960s by Melodiya. As the Soviet zone gave way to East Germany, radios in the new “nation” began to record local artists and orchestras on its own Magnetophon equipment.

Enter the American LP

In post-War Austria and Germany, the dollar was king. New American companies such as Vox, Vanguard, Westminster, Haydn Society and others rushed to Vienna, where they began to record hundreds of records with Viennese musicians for as little as 100 dollars per LP.

One American company, Urania Records, took a slightly different approach, and in 1952 bought hundreds of reels of East German radio performances, which they began to issue on American LP records. Most of performances on these tapes were little known, even in Europe, but two were not, for among the recordings Urania had bought were two by the pianist Walter Gieseking, and one by Furtwangler: the Vienna Eroica from 1944. Urania issued the Eroica from its East German tape on URLP 7095 in October 1953, accurately listing Furtwangler as the conductor and the orchestra as the Vienna Philharmonic. Owing to an ignorance of the Magnetophon’s true tape velocity, which depended on the line frequency of the original tape machine, Urania’s LP was significantly off-pitch, a factor which may have contributed to the poor critical reception of the performance.

The appearance in December 1953 of the Eroica from Urania’s French associate, Thalia Disques, drew an immediate lawsuit on behalf of HMV and Furtwangler from French attorney Roger Hauert, who claimed Furtwangler could not recognize the performance as his own. Avoiding any issue of copyright or artistic right, the French court that month ordered the conductor’s name to be removed from the LP. In March 1954, Furtwangler went to court in New York, where the case’s settlement was unclear. However, from then until July 1957, and contrary to the legend, Furtwangler’s Vienna Eroica continued to be sold, though in deference to the lawsuits without his name attached to it.

During the decades since its first issue, the 1944 Vienna Eroica has appeared on LPs in America, Brazil, England, France and the Soviet Union, and on an even larger number of CDs. Now for the first time from a rare copy of URLP 7095, this performance is presented at the true concert pitch, revealing even more glories of this historical document of the great conductor and his great orchestra.

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