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 Заголовок сообщения: Re: Свалка.
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:o :o Прошел по сноске , надавил " Сообщения за день " черт их подери , они с катушек там съехали , посвятили Смирнову 20 Двадцать страниц . О , Ужасс , не прочесть за сутки :lol: :lol:

З.Ы. От инжиниринга далек , видимо у Михаила отличные изделия .

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 Заголовок сообщения: Re: Свалка.
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Предводителю каманчей опять везде видится его любимый гитлер

Концерт Бетховена для скрипки с оркестром как и концерты Бартока и Мендельсона записанные английской фирмой HMV в Лондоне спустя 8 лет после воны , объединили еврея Менухина и нациста* Фуртвенглера.
* На процессе по денацификации в 1946 году в американской зоне оккупации в Берлине Фуртвенглер был обвинен в том, что поддержал нацизм, оставшись в Германии, выполнял обязанности нацистского функционера,


что сказать -да нечего -маразм крепчает,почему то амл решил что если упоминание нацисткого прошлого должно улучшить продажу его плохозвучащих болванок от мицуи,ну да ладно а так по Фюрту :arrow:

Furtwängler and the Nazis

Trouble came in 1932 with the rise of Adolf Hitler and the Nazi Party. No one among the German cultural elite took the National Socialists seriously until they won 37% of the popular vote in July 1932, restored economic order in war-and-Depression ravaged Germany, and maneuvered to make Hitler the German Chancellor in January 1933. With economic recovery came increasingly virulent anti-Semitism and a massive propaganda machine in which all cultural elements were to be subjugated to the glorification of the Third Reich, under the mindful eye of Propaganda Minister Joseph Goebbels. Thus a frustrated painter and a frustrated writer came to dictate cultural policy in one of the most fertile cultural environments of all time. The Nazis began to impose their will, driving out Jewish artists and musicians and replacing them with state-approved mediocrities, and forbidding Jewish and "degenerate" modernist music from being performed in public. As Minister of Propaganda, Goebbels also assumed responsibility for administration of the Berlin Philharmonic Orchestra, and began interfering with the running of the Philharmonic, making life difficult for Chief Conductor Furtwängler.
At the same time, Hermann Göring, Hitler's Minister of the Interior, was trying to build his own sphere of influence in the arts. Göring absorbed the Prussian State Theaters - including the Berlin State Opera - into his department, and sought to make the State Opera a place to display cultural prestige for visiting dignitaries, even as the sources of that cultural prestige were fleeing Germany. Göring retained Furtwängler as head of the Berlin State Opera, even as he machinated to undermine him or replace him. Göring also named Furtwängler as a Prussian State Councilor, an honorary title which could not be refused, which carried prestige but limited official responsibility -- or power to change the course of events.

Furtwängler chafed at the growing intrusions from the Nazis. When his Jewish colleague Bruno Walter was forced out of Germany, Furtwängler wrote a letter of protest to Goebbels, though he protested less about Nazi racism than about the threat to the German culture that he held so dear. The Nazis feared offending Furtwängler excessively. They saw conductors like Walter and Otto Klemperer moving on to heroes' receptions abroad, and did not want to lose the greatest conductor in Germany to tempting offers in other countries. Furtwängler, for his part, turned down those offers because he thought himself a German first and last, and naïvely hoped to save Germany from the Nazi nightmare by doing his part to preserve German culture from Nazi depredations. He struggled to maintain the integrity of his beloved Berlin and Vienna Philharmonic Orchestras, and helped countless Jewish musicians in need of money, employment, or an exit visa out of Germany.

The breaking point came when the Nazis tried to dictate what music Furtwängler could and could not conduct. In 1934, when the composer Paul Hindemith was labeled degenerate, and his new opera Mathis der Maler banned from production, Furtwängler lodged a protest, writing a lengthy article in defense of Hindemith and premiering a symphony drawn from the opera with the Berlin Philharmonic. When the ban remained in place, Furtwängler resigned his posts at the Philharmonic and State Opera, and did not resume an official post until after the war.

The Nazis revoked Furtwängler's passport at the same time, leaving him unable to conduct either at home or abroad. For the first time in a quarter century, Furtwängler turned his attentions back to composing, working on a sonata for violin and piano and a piano concerto. But his heart belonged on the conductor's podium, and after just four or five months off, Furtwängler struck a deal with Goebbels in the spring of 1935, conceding political matters to Hitler and his ministers, in exchange for the right to continue working in Germany as a free-lance conductor. He resumed conducting, and brought the Berlin Philharmonic on tour to London and Paris, though he refused to play the Nazi anthem at concerts and carried his baton in his right hand as he walked on stage to avoid giving the Nazi salute before starting his concerts.

In 1936, Arturo Toscanini decided to retire as Music Director of the New York Philharmonic Orchestra. He told the board of the Philharmonic that Furtwängler was the only musician worthy of succeeding him. Unfortunately, the board's offer was sent while Furtwängler was in Egypt on vacation. Göring saw the communication first and promptly reinstated Furtwängler as Music Director of the Berlin State Opera. Then Hitler occupied the Rhineland, in violation of the Treaty of Versailles, and New York was filled with enough anti-German senitment that Furtwängler's name was withdrawn from consideration. Furtwängler ultimately refused the directorship at the State Opera and went on another sabbatical, spending another year composing music.

Furtwängler returned to the podium in 1937 and resumed his game of political cat and mouse with Goebbels and Göring. The Nazi leadership tried to corner Furtwängler into appearing at official Nazi party rallies and functions, and staged photographs meant to depict Furtwängler as a willing servant of the Nazi regime. Furtwängler used physical ailments, invitations to conduct abroad and more conducting sabbaticals to avoid Nazi obligations wherever he could.

The Nazis made life steadily more difficult for Furtwängler. In 1938, the Germans annexed Austria and occupied Czechoslovakia. The next year, the Nazis invaded Poland and started a war with the Allied Powers. Furtwängler refused to conduct concerts in Nazi-occupied countries, and invitations to conduct in Britain stopped with the declaration of war, so that he had fewer ways to maneuver out of government engagements. And in the late 1930's, the Austrian conductor Herbert von Karajan rose to the top ranks of Germanic conductors. Karajan was gifted enough to be a credible rival to Furtwängler, and ambitious enough to be willing to do the Nazi leaders' bidding. They began playing Karajan against Furtwängler even as Furtwängler played Göring against Goebbels. A skiing injury to Furtwängler's conducting arm nearly ended his career and added to his misery.

And yet he remained in Germany. Furtwängler had plenty of attractive offers to conduct outside of the Nazi realm. He had no permanent post, no consistent source of income and nothing to trade on other than his international reputation (aided by recordings and radio broadcasts). He felt unable to abandon his homeland in its time of need, though controversy continues over whether the transporting power of his performances helped to keep a spirit of defiance alive in Berlin and Vienna or numbed the artistic elite to the increasing horrors being perpetrated around them. (This controversy is one of the central subjects of the semi-fictional play and movie, Taking Sides.) But the antagonism of the Nazis increased as their military victories slowed and the tide of the war turned. By the beginning of 1945, Furtwängler's intransigence earned the enmity of SS chief Heinrich Himmler. In February of that year, word came that Himmler was planning to eliminate Furtwängler, and he promptly escaped to Switzerland with his family.

Furtwängler and the Allies

Furtwängler was not received with open arms in Switzerland. Politicians were nervous about potentially compromising Swiss neutrality by taking in a figurehead of the Nazi propaganda machine. Furtwängler's situation did not improve when the Allies marched into Berlin to end the war in Europe. The victorious Allies began a series of "denazification" hearings aimed at rooting out Nazi collaborators among Germany's prominent citizens. No musician could work professionally until they had been cleared by the Allies, and Furtwängler's hearings were delayed interminably. Only a rumor that the Soviets were offering to make Furtwängler the Music Director of the Berlin State Opera (which was located in the Russian sector of Berlin) spurred the Western Allies to start Furtwängler's trial in December of 1946.
Many musicians from the United States protested Furtwängler's rehabilitation, German expatriates alongside American natives. Some were misled by Nazi propaganda, others resented Furtwängler's ability to remain and function in Nazi Germany without being forced to join the Nazi party and do all the leadership's bidding. Still others may have feared competition from a rehabilitated Furtwängler for American concert fees and recording contracts.

But support came from the unlikeliest of places. A Jewish-German journalist named Curt Riess initially attacked Furtwängler as a Nazi collaborator, but after seeing documentation of Furtwängler's acts of resistance during the war, Riess came around enough to write a book-length defense of Furtwängler's music and politics. At the same time, the Jewish-American violinist Yehudi Menuhin made a similarly thorough examination of the evidence about Furtwängler. Menuhin had refused to come to Austria to perform with Furtwängler in 1933, but he emerged in 1946 as one of Furtwängler's staunchest supporters, making a number of American enemies in the process.

Furtwängler's denazification trial of December 1946 dragged over two days. The prosecution's case was weak: some prosecution witnesses made statements in support of Furtwängler's non-collaboration, and the conductor was cleared of all charges. However, the American newspaper coverage played up the flimsy case against Furtwängler, and the Allied authorities dragged their feet for four bureaucratic months before he was finally officially cleared of Nazi ties in April of 1947. During this period of enforced idleness, Furtwängler returned to composing, but he returned to the conductor's podium as soon as he was allowed to, leading his beloved Berlin Philharmonic in an all-Beethoven program within a month of being cleared.

Можно воспользоваться переводчиком гугл ,в принципе все ясно,что великий дирижер не был нацистом,как бы не мечтал об этом амл и члены его сектантского форума :ugeek:

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Дааааа! :!:

Лохов грузят ! :D


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Living easy, living free
Season ticket on a one-way ride
Asking nothing, leave me be
Taking everything in my stride
Dont need reason, dont need rhyme
Aint nothing I would rather do
Going down, party time
My friends are gonna be there too

Im on the highway to hell

No stop signs, speed limit
Nobodys gonna slow me down
Like a wheel, gonna spin it
Nobodys gonna mess me round
Hey satan, payed my dues
Playing in a rocking band
Hey momma, look at me
Im on my way to the promised land

Im on the highway to hell
(dont stop me)

And Im going down, all the way down
Im on the highway to hell

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 Заголовок сообщения: Re: Свалка.
СообщениеДобавлено: 08 фев 2011, 22:38 
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Найди пять различий.Фото моё :D


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Александр! Молодец! Чем снимали?


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Анатолий Маркович высказался:
"Все эти парадоксальные явления естественно не укладываются в пустые головы невежд с САунд Апа ,особенно если учесть ,что они наотрез отказываются читать литературу про рациональное проектирование звукоснимателей."
Анатолий Маркович! К Вашему сведению.
Невежды с Саундапа давно слушают старинные головы и переслушали столько голов, что Вам даже и не снилось. И ничего ПАРАДОКСАЛЬНОГО в зависимости звучания от использования разных проводов в звукоснимателях не видят. Они просто слышат, что головы намотанные разным проводом звучат по разному и то, что старые головы звучат лучше и естественнее.
Вы в очередной раз сделали великое ОТКРЫТИЕ! Поздравляю!


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Александр! Молодец! Чем снимали?

Раньше был Sony R-1
В гостях у битломана ;)
Кстати ,врач,профессор Виктор Морхат-это его коллекция.В отличии от АМЛа-без понтов :lol:


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Забыл фото...


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Комментарий к файлу: Коллекция Виктора Морхата.

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Александр! А я почему-то подумал, что фотография рекламы "свотч"-ваша . Стильно,хотя и плагиат.


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