Ever since Henrik Holm was a child he has been delighted and fascinated by Wilhelm Furtwängler’s interpretations of the music he conducted. Holm’s career as a percussionist took him to Germany, where he studied at the art university. He eventually found his way into the fields of theology and philosophy.
Music has always remained a part of his life, and now also a part of his academic activities. This resulted in the dissertation The Logos in the Music. A hermeneutical investigation of Wilhelm Furtwängler’s art of musical interpretation after three years as a senior research fellow at the Norwegian Academy of Music.
"More than merely music"
In his dissertation Holm addressed both examples of Furtwängler’s recordings of various works of Beethoven and Brahms, and the conductor and composer’s writings on subjects including interpretation, music history and aesthetics.
"As I read more and more of Furtwängler’s writings I understood that they applied to much more than merely music. When examining his activities during the period of Nazi rule in Germany, and the recordings that were made during that time, I felt that when he conducted he evoked the entire human drama of the struggle between good and evil," Holm says enthusiastically.
Because of Furtwängler’s activities during the period of the Nazi regime in Germany, he is a controversial artist. His decision to remain in Germany left its mark on his life and career, and not least on his posthumous reputation.