...Another later release, the 1962 Zarathustra, suggests greater spaciousness and dignity than its predecessor [Reiner's 1954 Zarathustra] due partly to the freed-up string sound, partly to Reiner’s broader tempi. On the same disc, he argues his own gaudy arrangement of the Rosenkavalier waltzes with tremendous panache and Byron Janis glitters with Lisztian transcendentalism in the Burleske.

-- David Nice, BBC Music Magazine
reviewing these performances previously reissued as part of RCA 68635

LS had almost unqualified praise for the live 1953 Carnegie Hall recording of Don Quixote. "Nothing," he wrote "more clearly demonstrates Toscanini's true quality than the fact that it is possible to take one of his ordinary (one cannot use the word 'routine', for obvious reasons) broadcast performances and issue it in permanent form on record to complete satisfaction". He noted a momentary slip in the first variation; equally, one might like the two concluding chords of the work to have been re-made. But what a tour de force this is of orchestral wizardry and musical characterization in one of the repertory's most difficult works. What's more, Toscanini honours Strauss's original plan by having the orchestra's own front-desk cellist and viola player as the soloists. (Only a week later Carbon Cooley would distinguish himself as viola soloist in Toscanini's broadcast from Carnegie Hall of Berlioz's Harold in Italy—RCA 0 RD85755, 2/88.) I think it is reasonable to prefer this performance musically and sonically to Toscanini's 1938 NBC recording (Toscanini Society—nla) and to Strauss's own version with Mainardi recently reissued by DG (11/90), where the playing of the Staatskapelle Berlin is frankly not in the same league as that of the NBC musicians.

-- Gramophone [1/1991]

LEGENDARY STRAUSS RECORDINGS

This disc includes both stereo and monaural recordings.

STRAUSS: DON QUIXOTE, TILL EUL

Those who have been following RCA's Fritz Reiner Collection will know what to expect from these outstanding digital remasters. It is astonishing to reflect that this earlier of Reiner's two Chicago recordings of Also sprach Zarathustra was made on March 8th, 1954 in stereo when Toscanini was still (just) recording in low-fl in New York's Carnegie Hall. The sound may be tonally fierce by current standards (less so than many oftpraised Mercury reissues) but the balance is fully acceptable, with the first and second violins set close to the listener (and the microphones) on either side of the podium, and the basses hard left. By the time of taping the Bourgeois gentilhomme suite and Rosenkavalier waltzes, Reiner had adopted a more conventional layout, and the engineering seems a degree or two more 'modern', capturing the distinctive ambience of the hall.

Reiner's 1954 Also sprach is arguably more characteristic than his 1962 RCA remake (7/88). That is to say, it is even more intense and extrovert. In his second year with the Chicago Symphony Orchestra, the conductor was already getting a thrilling response from the strings, although woodwind intonation could be a problem. Confident and well played as it is, the spectacular opening sunrise inevitably lacks the impact of, say, Preyin's Telarc recording (the organ is particularly disappointing). Nor is there the dark solemnity of and detail in the bass familiar from Karajan's DO versions. What we have instead is a measure of raw passion and forward thrust unequalled on disc. In reflective passages, conductor and/or engineers display some reluctance to achieve a real pianissimo, but as the tempo builds Reiner invariably creates great excitement and the orchestral playing is marvellous.

The Bourgeois geniilhomme suite (slightly abridged here) is not a great favourite of mine and I felt that the Chicagoans' undoubted virtuosity was not in the end preferable to the RPO's more delicate approach under Sir Thomas Beecham (EMI) despite the superior sonics. However, you feel about the disconnected Rosenkavalier waltzes, Reiner's self-consciously 'brilliant' manner provides a suitable showcase for a great orchestra at its peak.

-- David Gutman, Gramophone [12/1992]

R STRAUSS: METAMORPHOSEN FOR 2

Throughout his career Fritz Reiner showed a particular affinity for the music of Richard Strauss. Here he delivers an exceptionally vivid account of Don Quixote – each bizarre episode from the eccentric knight’s adventures is portrayed with razor-sharp insight. One notices, in particular, Reiner’s miraculous attention to detail, his unfailing grip on the structural direction of the work and the superb response from both soloist and orchestra. With its flashes of sardonic wit, the earlier Burleske makes for an excellent coupling, and illustrates Reiner’s formidable prowess as a concerto accompanist. By any standards, a self-recommending issue.
Performance: 5 (out of 5); Sound: 5 (out of 5)

-- Erik Levi, BBC Music Magazine

PIERRE MONTEUX EDITION VOL 12

This recording was originally released in 1954.

3 CD & 1 CD-ROM.

Perfectly cast, magnificently performed and superbly recorded, this is one of Karajan's most stylish performances. Under his direction everyone is inspired to give of their best.

Rudolf Kempe's recordings of Richard Strauss have long been prized for their unparalleled clarity and subtlety in music that has come to define the late-romantic temperament and it's expression of highly strung emotions. Strauss loves the complex textures that Kempe and the Staatskapelle Dresden clarify with the utmost skill and symphony.

This "on demand" reissue from Arkivmusic.com offers bright and bubbly performances of an odd but curiously apt coupling. Both works are neoclassical in style as well as rich in humor. Mata's performance of the Strauss has none of the usual Viennese "flagellated cream" (as Hoffnung put it). Rather, the playing is sharp-edged and the conducting rhythmically precise, particularly in the extended finale. Textures are extremely clear, and balances favor the winds and percussion. It's a very different take on the work, and one that offsets the all-strings Wirén Serenade quite well. Playing time is only a bit more than 50 minutes, and the early digital sonics aren't entirely free from glare, but this is a very enjoyable recording, yet another worthy memento of the late Eduardo Mata. I was very pleasantly surprised, and if the coupling suits, you will be too.

--David Hurwitz, ClassicsToday.com

A nostalgic recollection yes, but it's unlikely you've heard a performance like this at an evening concert in the park. The virtuosic playing of this classic Canadian Brass recording has always been jaw-dropping, and it's a wonderful example of how these five players can deliver a sound that matches a symphonic band. The arrangements are ideal, and the playing is magnificent - a real treat.