I played the Ninth with Furtwängler twice. One in the late 1940’s with the London Philharmonic Orchestra at the Royal Albert Hall, London, and two with the Philharmonia Orchestra in the mid 1950’s at the Kunsthaus during the Lucerne International Festival, Switzerland. They were by far the best performances of the Ninth I’ve ever played.
Furtwängler didn’t have much of a beat. He was lank, bald with a fringe of white hair, had a slight stoop and stuck his belly out when conducting.
His approach was to transmit joy. It wasn’t a “Herrlich” performance as some conductors are wont to make of it, but impressed me with its musicality. Despite not having a very clear beat he could convey exactly what he wanted. It is hard to describe but it was uncanny.
The first movement just flowed. There were no overly loud chords. The same with the second movement. The third was full of fun, not like the usual renderings with the tympani being allowed to play fortissimo like a ton of bricks being dropped.
The last movement, beginning with the recitatives was just as Beethoven described his ideas to Sir George Smart during a meeting in September 1825. And I quote Sir George Smart “Beethoven gave the tempi of various sections of his symphonies etc, while he played them on the piano, including the Choral Symphony, which according to his reckoning took three quarters of an hour,which we know is impossible. In Vienna the recitative was played by four ‘celli and two basses which certainly is better than if one takes all the basses”.
Schindler states that Beethoven required all the basses to play in a singing style, not stiffly but in strict time, not dragged. Thus it was with Furtwängler who segued into the Ode to Joy to make a glorious, joyful Finale.
Link here to read a previous post on Furtwängler that you might care to peruse.