More excellent 1950s recordings from Fritz Reiner
Second set of rarities in new Obert-Thorn transfers
FLAC Download includes PDF scores of the first three works
Notes on the recordings:
Like the earlier release in this series (PASC 235), this volume of Reiner Rarities features works which are rare in more than one sense. First, these are Fritz Reiner's only commercial recordings of the works presented. In addition, none of them have ever received an "official" commercial CD reissue from RCA.
The Mozart was originally coupled with his Divertimento No. 11, K.251. While the latter has been reissued on CD by Testament, filling out a Reiner/Chicago Mozart program, the Musical Joke has remained "orphaned" until now. Of Marian Anderson's three recordings of the Alto Rhapsody, RCA only released the second (1945) recording with Pierre Monteux on CD, rather than this sonically superior final version from five years later. The Debussy originally shared an LP side with Reiner's NBC studio recording of Ravel's Tombeau de Couperin. While this was reissued in the Reiner volume of the IMG Artists/EMI series "Great Conductors of the 20th Century", its discmate has remained unavailable for over half a century (although the broadcast performances of both works which preceded the recording session have appeared on CD several times).
Finally, the Liebermann work, though originally recorded in stereo, was not issued in that form on LP until 1981. However, it had previously been released as a two-track open reel tape in 1955, and it was from this that the present transfer was made. Oddly, this recording has never been commercially reissued on CD by RCA or its successor, Sony. It is easy to imagine Leonard Bernstein, a former Reiner conducting pupil at the Curtis Institute, being inspired by Liebermann's score (a set of dance variations on a twelve-note row) when he sat down to compose West Side Story shortly after this recording first appeared.
notes from Wikipedia
Reiner was born in Budapest, Hungary to a secular Jewish family that resided in the Pest area of the city. After preliminary studies in law at his father’s urging, Reiner pursued the study of piano, piano pedagogy, and composition at the Franz Liszt Academy. During his last two years there his piano teacher was the young Béla Bartók. After early engagements at opera houses in Budapest and Dresden where he worked closely with Richard Strauss, he moved to the United States of America in 1922 to take the post of Principal Conductor of the Cincinnati Symphony Orchestra. He remained until 1931, having become a naturalized citizen in 1928, then began to teach at the Curtis Institute inPhiladelphia, Pennsylvania, where his pupils included Leonard Bernstein and Lukas Foss. He conducted the Pittsburgh Symphony Orchestra from 1938 to 1948 and made a few recordings with them for Columbia Records, then spent several years at the Metropolitan Opera, where he conducted a historic production of Strauss's Salome in 1949, with the Bulgarian soprano Ljuba Welitsch in the title role, and the American premiere of Igor Stravinsky's The Rake's Progress in 1951. He also conducted and made a recording of the famous 1952 Metropolitan Opera production of Bizet's Carmen, starring Rise Stevens. The production was telecast on closed circuit television that year. At the time of his death he was preparing the Met's new production of Wagner’s Götterdämmerung.
In 1947, Reiner appeared on camera in the film Carnegie Hall, in which he conducted the New York Philharmonic Orchestra as they accompanied violinist Jascha Heifetz in an abbreviated version of the first movement of Tchaikovsky's violin concerto. Years later, Heifetz and Reiner recorded the full Tchaikovsky concerto for RCA Victor in Chicago.
Even though his music-making had been American-focused since his arrival in Cincinnati, Reiner became active in Europe after the Second World War. When he became music director of the Chicago Symphony Orchestra in 1953 he had a completely international reputation. By common consent, the ten years that he spent in Chicago mark the pinnacle of his career, and are best-remembered today through the many landmark, stereophonic recordings he made in Chicago's Orchestra Hall for RCA Victor from 1954 to 1962. His last concerts in Chicago were in the spring of 1963.
His last recording, released in a special Reader's Digest boxed set, was a performance of Brahms' fourth symphony, recorded with the Royal Philharmonic Orchestra inLondon's Kingsway Hall. This recording was later reissued on LP by Quintessence and on CD by Chesky.
He also appeared with members of the Chicago Symphony in a series of telecasts on Chicago's WGN-TV in 1953-54, and a later series of nationally-syndicated programs called Music from Chicago. Some of these performances have been issued on DVD.
He was a National Patron of Delta Omicron, an international professional music fraternity.
Reiner was married three times (one of them was a daughter of Etelka Gerster) and fathered three daughters, a third daughter out of wedlock. In his last years Reiner's health deteriorated as a result of a major heart attack he suffered in October 1960. He died in New York City at the age of 74.
Repertoire and Style
Reiner was especially noted as an interpreter of Strauss and Bartók and was often seen as a modernist in his musical taste; he and his compatriot Joseph Szigeti convincedSerge Koussevitzky to commission the Concerto for Orchestra from Bartók. In reality, he had a very wide repertory and was known to admire Mozart's music above all else.
Reiner’s conducting technique was defined by its precision and economy, in the manner of Arthur Nikisch and Arturo Toscanini. It typically employed quite small gestures - it has been said that the beat indicated by the tip of his baton could be contained in the area of a postage stamp - although from the perspective of the players it was extremely expressive. The response he drew from orchestras was one of astonishing richness, brilliance, and clarity of texture. Igor Stravinsky called the Chicago Symphony under Reiner "the most precise and flexible orchestra in the world"; it was more often than not achieved with tactics that bordered on the personally abusive. Chicago musicians have spoken of Reiner's autocratic methods; trumpeter Adolph Herseth told National Public Radio that Reiner often tested him and other musicians.
Notes from Wikipedia: http://en.wikipedia.org/wiki/Fritz_Reiner