Note that Music & Arts will soon release, in the best possible sound, in a
co-production with Deutsches Rundfunkarchiv. the Dvorak 9th discussed
below... For details see "Release Forecast, July--Dec 2000" on website
http://www.musicandarts.com NB: Dorak 9th RRG tape that DRA had was
complete! Best rgds, Fred Maroth

> === The original message was multipart MIME ===
> === All non-text parts (attachments) have been removed ===
>
>Von: "Ernst Lumpe" <elumpe@...>
>An: "Digest Furtw=E4ngler" <furt-l@...>
>Betreff: Dvorak's New World
>Datum: Samstag, 16. September 2000 15:40
>
>> Date: Mon, 11 Sep 2000 18:28:05 -0400
>> From: "Fredric J. Einstein" <feinstei@...>
>> Subject: RE: [furt-l] Dvorak's New World
>>
>> So the controversy is definitively settled? In Ardoin's book (Hunt's
>list),
>> it was still listed as "dubious" with good support for both sides of =
>the
>> debate. Dr Mr. Lumpe's research definitively disprove the other =
>side's
>> position (that it is a Furtwangler performance)?
>
>
>Fortunately (or unfortunately for some) it is! My research is now ten =
>years
>ago. I informed by the time I had come to my conclusion the owner of =
>the
>label RELIEF in
>Switzerland, producer of the LP on which the Dvorak Symphony had first =
>been
>issued under WF's name. The owner, thanking me for my proof of the
>recording's inauthenticity, nonetheless said in his letter (quote!) "...
>aber Furtwaengler
>ist mir nicht so wichtig!" (F. isn't that important for me). However, =
>F., or
>rather the wrongly attributed recording was that important to the label
>that a short while later they again released it on CD WITH THE =
>MISSING
>ENDING ADDED to the second movement (it was missing in the Kabasta
>recording),
>maliciously taking this small portion from a LIVE PERFORMANCE! (I owe =
>this
>information to the president of the French WF Society, but Mr Ardoin =
>himself
>turned out to be a strong witness, see below later). Thus the recording
>finally had at least a few audience caughs! I can't go at length into =
>the
>ways I reached my result, anyone interested in reading how I generally
>worked
>when identifying whether recordings are one and the same or different, I
>would recommend to dial the following link which is part of David =
>Diehl's
>Blue
>Pages Project and contains the computerized transscript of my article on =
>my
>research published in the ARSC magazine years ago:
>
>http://www.hensteeth.com/lumpe02.html
>
>I personally was astonished at Mr. Ardoin's choice not to follow the =
>result
>of my
>research. I don't know the reason -- one way for him to receive definite
>information (had he wanted to) would have been a direct contact, which,
>however, did not happen. I can only assure everybody that the so-called
>Furtwaengler Dvorak 9th is
>defnintely the RRG radio studio recording, made in Munich in 1944 with =
>the
>Munich Philharmonic under Oswald Kabasta, all of Mr. Ardoin's points in =
>his
>book where he evaluates the performance from a "furtwaenglerian" view, =
>are
>in consequence absolutley irrelevant. The discoverer of the tape (as =
>told in
>the text on the sleeve of the Relief LP), the Swiss lawyer Urs Weber,
>certainly acted without bad intentions, and he certainly did his
>best to establish the authenticity of the recording. And who would =
>object to
>the judgement of Martin Ziller, the BPO's horn player. An additional =
>factor
>was the "craze" to have a newly discovered WF recording. But the fact =
>that
>the discovered tape was one for a post-war home tape recorder should =
>have
>made him suspicious in the first place. When I talked to Mr. Weber long =
>ago
>about this tape, he revealed that the reverse track contained a =
>performance
>of Furtwaengler's own 2nd symphony. Bacarian Radio bropadcast the =
>Kabasta
>Dvorak 98th a couple of times, one of these broadcasts was on that tape
>(found, by the way, on a flee market in southern Germany). Now, provided =
>the
>maker of the tape was a resident in southern Germany, the 2nd WF =
>symphony
>could be the performance form Munich with the Munich Philharmonic under =
>WF
>which indeed was broadcast. I suggested this idea to Herr Weber long ago
>namely that one should evaluate this performance on ther everse side of =
>the
>ominous tape -- up to this day there was neither a responde notr a move =
>into
>this direction. So, it may be that a WF performance which is not =
>preserved
>in the official radio archives, rests buried still on that tape. For =
>what
>reasons?? I see no other than hurt ego. But back to the Dvorak (I seem =
>to go
>into this at a greater length than I intended.)
>If anyone out there has ever heard of or read the writings of Dr.John
>Diamond, an Australian
>psychologist/psychiatrist (and much more) knnows about the concept of =
>Life
>Energy and how
>to use an objective method of measuring this "elusive" quality (I cannot =
>go
>into details here). Anyway, the first thing I read about the
>non-authenticity of the recording was in a photocopy of a bulletin from =
>Dr.
>Diamon, stating quite simply that the recording was not by WF since the
>conductor (who ever it was) did not even pass thefirst stage of the =
>LEBST
>(Life Energy Breath Span Test). I was really amazed and set out to prove =
>or
>disprove this by researching the extant sources and the recording =
>itself,
>not the least intending to set an
>end finally to the debates of the pros & cons (in fact, from the =
>beginning
>the performance met with strong doubst). The end of my research was the
>proof that indeed Dr. Diamond had been right, and all those doubtful =
>souls
>from the
>beginning were also.
>A note on what Mr. Ardoin writes in his book (p. 186):
>the date for tape he gives is wrong. There is *no* 1951 tape with =
>Kabasta's
>performance, only the RRG tape from 1944 (of which later a copy was made =
>for
>reasons of archival
>conservation, it stayed in their archives since it had been produced in
>Munich (interestingly enough, a copy of this tape *or* an off-the-air
>recording of a broadcast (but this
>is *less* likely) came to the US label ROYALE, owned by Eli Oberstein =
>(see
>David Diehl's Blue Pages Project!) who released the performance under =
>the
>pseudonyms "Karl List conducting the Berlin Symphony Orchestra". That
>record's sleeve, however, bears the copyright mark "1951" (the number of
>that record is Royale 1259). Mr. Ardoin is right in telling us that the
>performance timings of the RRG Kabasta recording and the Relief release =
>are
>identical (with those tiny differences coming from slightly different
>speeds of tape recorders etc.). He also informs about the missing notes =
>at
>the end of the 2nd movement. He gives the impression that I have just
>counted
>two and two together, but instead I *listened* intensely and *parallely* =
>to
>both
>versions (see my chapter about the *author's method* at the link I =
>provided)
>and they
>turned out to be *completely identical*. Mr. Ardoin then falls right =
>into
>the trap
>which the fakemakers in Switzerland had placed for him and everybody =
>else:
>he says that the CD version "contains these two controversial chords". I
>really wished he had
>consulted me or any other member of the US, UK or French Societies, =
>involved
>in this particular question. The perpetuation of an error, propelled by
>active fake practice from a record producer who "doesn't care much for
>Furtwaengler", is short of real shame!
>
>A note on the side: the Haydn #104 is also not by WF. Mr. Ardoin, even
>though going into more details of my research abou thtis items, =
>nevertheless
>argues (p. 93) whether there could be still some possibility that it is =
>a WF
>performance. Here once a gain a contact would have provided him with =
>most
>useful background knowledge which would have put an end to speculations.
>
>P.S. Any queries from members of this list with re to this matter are
>welcome.
>Ernst Lumpe
>
>
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