Beethoven's Eroica - Bohm 1961

Bohm is a conductor who poses a number of problems. I knew that he was acquainted with Hitler and found his later 'explanation' that anyone prominent at the time knew Hitler much less than convincing. The following entry from Wikipedia, which I have just turned to, makes it far clearer.
'It is believed that Böhm was an early sympathizer of the Nazi party, although he never became a member. In November 1923 he stopped a rehearsal in the Munich opera house in order, reportedly, to watch Adolf Hitler's Beer Hall Putsch.[2] In 1930 he is said to have become angry when his wife was accused by Nazi brownshirts of being Jewish during the premiere of Arnold Schoenberg's opera Von heute auf morgen and to have stated that he would "tell Hitler about this".[2] When he was music director in Darmstadt and Hamburg he allegedly complained of "too many Jews" among the musicians he worked with.[2]
'While music director in Dresden he "poured forth rhetoric glorifying the Nazi regime and its cultural aims" according to one commentator.[3]
'A more certain story is that in the wake of the Nazi annexation of Austria he gave the Hitler salute during a concert with the Vienna Philharmonic, ironically violating Nazi rules about places where the greeting was appropriate.[2] After the referendum controlled by the Nazis to justify the annexation, or Anschluss, the conductor allegedly declared that "anyone who does not approve this act of our Führer with a hundred-per-cent YES does not deserve to bear the honourable name of a German!"[2]' http://en.wikipedia.org/wiki/Karl_Bohm
There is no one to one relation between musical ability and politics, and Bohm's 1961 recording of the Eroica is to my mind a fine one, but it is unclear how Bohm appears to have slipped through the de-Nazification net, if this is the case, more easily than Furtwangler who made the mistake of staying in Germany during the Nazi period but who is well known to have appeared to have shown no support, and some small scale resistance, to the Nazi regime.
Musically it is the rhyhmic firmness and strength of Bohm that makes this reading notable.