Fritz Reiner Vol.2

On this CD:

1. Die Meistersinger von Nürnberg, opera, WWV 96 Prelude
Composed by Richard Wagner
Performed by New York Philharmonic
Conducted by Fritz Reiner

2. Parsifal, opera, WWV 111 Prelude
Composed by Richard Wagner
Performed by New York Philharmonic
Conducted by Fritz Reiner

3. Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun), for orchestra, L. 86
Composed by Claude Debussy
Performed by New York Philharmonic
Conducted by Fritz Reiner

4. Nuages, for female chorus & orchestra, L. 91/1
Composed by Claude Debussy
Performed by New York Philharmonic
Conducted by Fritz Reiner

5. Fêtes, for orchestra, L. 91/2
Composed by Claude Debussy
Performed by New York Philharmonic
Conducted by Fritz Reiner

6. Ibéria, for orchestra, L. 122/2
Composed by Claude Debussy
Performed by Pittsburgh Symphony Orchestra
Conducted by Fritz Reiner

Tracks:

Preludes. Livre - Book I, No. 8: The Girl With The Flaxen Hair
From: Tsar Saltan: The Flight Of The Bumblebee
Concerto No 2 II. Andante Assai
No. 6, Harpsichord Suite No. 7: Passacaglia
Daisies Op.38 No.3
Double Concerto I. Vivace BWV 1043: I Vivace
Sonata No. 5 Op. 24 - 'Spring': I Allegro
Hora Staccato
Introduction & Rondo Capriccioso, Op. 28: Andante
Introduction & Rondo Capriccioso, Op. 28: Allegro ma non troppo
Introduction & Rondo Capriccioso, Op. 28: Piegro
Paritia No. 3 BWV 1006: Preludio
Suite, Op. 10: III Tempo Giusto
Octet, Op. 20: Scherzo: Allegro leggierissimo
Porgy & Bess: Summertime
Porgy & Bess: It Ain't Necessarily So
No. 4 Seven Popular Spanish Songs: Nana (Berceuse)
Concerto, Op. 35: III Allegro Vivacissimo

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Which Hofmann?
The Place to Start
Staggering Performances!

The Complete Josef Hofmann, Vol. 2

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music
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The Chopin Concertos
The Complete Josef Hofmann, Vol. 3
Josef Hofmann, Vol. 4
Frédéric Chopin: Piano Works
The Sofia Recital 1958

ASIN: B000003LIT
Release Date: 1994-09-01

Tracks:

Academic Festival Ov
Introductory remarks - Walter Damrosch
Pno Con No.4, d: Moderato assai-Allegro
Pno Con No.4, d: Andante
Pno Con No.4, d: Allegro
Ballade No.1, Op.23, g
Nocturne, Op.9 No.2, E flat
Waltz, Op.42, A flat
Andante Spianato e Grande Polonaise, Op.22, E flat

Tracks:

Nocturne, Op.15 No.2, F #
Waltz, Op.64 No.1, D flat 'Minute'
Etude, Op.25 No.9, G flat 'Butterfly'
Berceuse, Op.57, B flat
Chromaticon
Spinning Song, Op.67 No.4, C
Prld, Op.23 No.5, g
Turkish March
Caprice Espagnole, Op.37
Nocturne, Op.48 No.1, c
Mazurka, Op.33 No.3, C
Waltz, Op.34 No.1, A flat
Andante Spianato e Grande Polonaise, Op.22, E flat
Chromaticon - Curtis Institute Student Orch/Ignace Hilsberg

Customer Reviews:

Which Hofmann?.......2004-09-06

Hofmann - particularly late Hofmann - may be an acquired taste.
Despite having been the protégé of Anton Rubinstein, "the wonderful boy" was recognized from quite an early age as the exemplar of a modern style of playing - textually faithful, eschewing swooning or bombast. (See, for example, the references to Hofmann in Henry Lahee's wonderful survey from 1900, Famous Pianists of Today and Yesterday.)
Still, a number of younger colleagues expressed ambivalence. Horowitz was floored by Hofmann's keyboard command - everyone was - but he, Artur Rubinstein and Arrau, to name just three - seem not to have been terribly moved by Hofmann's musicianship.
But which Hofmann are we considering? His playing for the gramophone - as early as 1903 and as late as 1935 - was as disciplined as it was imaginative and dazzling. The late Harold Schonberg called it "perfection plus."
However, as Gregor Benko makes clear in his essays for the Marston reissues, Hofmann switched on what the pianist called a "spectacular" style for many public performances. This may sound cynical. Often it sounds terribly cynical. Hofmann was not speaking merely of the need to project in a large concert hall. In public performance - at least those performances we have from the late `30s and early `40s - the aristocrat often becomes a mountebank, lurching from the softest pianissimos to explosive fortissimos, rattling off passages or entire pieces even faster than Simon Barere boasted he could do.
Schonberg - and Hofmann's friend and admirer Rachmaninoff - reminded us that during this period Hofmann had many personal troubles, including a severe drinking problem. We must believe that at his greatest Hofmann played as scrupulously and with as much refined feeling in public as he did on many of his studio recordings, though his manner may have differed somewhat. And there are some marvelous live performances. The Rubinstein 4th from his Golden Jubilee concert beggars description.
So where does that leave us? As an introduction to Hofmann, I would recommend the early Columbia recordings, those he made somewhat later for Brunswick, and the American and British test pressings from 1935 - perhaps his greatest recorded playing. These are Volumes 3, 4 and 5 of the complete Hofmann series. Serious listeners will also want the ups and downs of the Golden Jubilee (Volume 2). The Chopin concertos in Volume 1 have some splendid moments, but the superlative (not spectacular; superlative) performance there is a fragment of the first movement of the E minor concerto performed in London -- far more poised and committed than its counterpart from New York. (I wonder if Hofmann played differently in America than he did in Europe? Some musicians - for instance, Mahler, Toscanini, Bernstein - for varying reasons apparently did.)
Having said all this, the entire Hofmann series is priceless. Heartfelt thanks to Gregor Benko and Ward Marston for making it available in superb transfers with fascinating notes.

The Place to Start.......2000-02-28

If you're not familiar with Josef Hofmann, this album is the place to start. And, if you are already familiar with him, well -- this is still the place to start. Contains a recording of Hofmann's 50th Anniversary "Golden Jubilee" recital of 1937, one of the few recordings that catches Hofmann at his best and also contains a wide selection of his repertoire. Pianists should start with the Chopin Minute Waltz, which will astonish you with its velocity and sensitivity. Then go to the Chopin G Minor Ballade and Andante Spianato and Grande Polonaise, both considered the greatest performances of these works ever put on disk. Most observers consider Hofmann the greatest pianist of the century. Horowitz, for example, was in awe of Hofmann. This album is one of the few legacies left to us. See for yourself!

Staggering Performances!.......1999-05-18

These two CDs are real treasures for piano recording lovers! After somewhat business-like performance of Brahms' "Academic Overture", conducted by Fritz Reiner, the magic begins. Hofmann's recording of Rubinstein No.4 is beyond description. He makes this somewhat old-fashioned showpiece into a concerto comparable to Rachmaninoff concertos. The way he thunders his entrance of the first movement will make one jump up from his seat. At the same time, more lyrical sections are played with utmost delicacy and elegance. The middle movement is played with winsome simplicity. The last movement has almost terrifying power and intensity. The orchestra seems to have been inspired by Hofmann. The voltage of performance picks up considerably. The shorter works are played with plenty of personality and dashing elegance. Chopin's first ballade is demonic, with curiously cool lyrical sections. Polonaise is dazzlingly colorful. His own "Chromaticon" is an interesting piece. It sounds like a bit like Prokofiev and Rachmaninoff mixed together. Perhaps the most incredible short piece in the CD is Mozskowski's "Caprice Espagnole." This piece shows Hofmann at his very best. His repeated notes are simply astonishing. The piece displays Hofmann's imcomparable elegance, fire and tremendous control. The ending is hair-raising. The sound overall is quite listenable for its age. But it is the quality of performance that really counts here. Never mind the sound, just listen!

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Wow
Hard to Beat!
Greatest Brahms 1 ever?
Brahms Without the Beard

Rubinstein Collection, Vol. 34

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Rubinstein Collection, Vol. 41
Rubinstein Collection, Vol. 60
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Rubinstein Collection, Vol. 72
Rubinstein Collection

ASIN: B00004TG7D
Release Date: 2000-10-10

Tracks:

Piano Concerto No. 1, Op. 15: Maestoso
Piano Concerto No. 1, Op. 15: Adagio
Piano Concerto No. 1, Op. 15: Rondo: Allegro non troppo
Capriccio, Op. 76, No. 2
Intermezzo, Op. 118, No.6
Rhapsody, Op. 79, No.1

Customer Reviews:

Wow.......2002-08-22

I was doubtful of this CD because of the age of this recording. No need to fear, no hissing or crackling, Rubinstein plays great Brahms in astonishing richness and clarity (for its age). Sounds more like 1984 than 1954! This is Brahms as I like it; a little uptempo, not a long boring trial for the listener. This performance is supremely satisfying. Truly a legendary, landmark recording. A must have. PERIOD.

Hard to Beat!.......2001-10-20

In the world of great pianists, the name Arthur Rubinstein is synonymous with the masterpieces of Chopin. He recorded every single piece by Chopin and his performances of these are classics, but another composer with whom Rubinstein associates with is Johannes Brahms. Here in the First Piano Concerto by Brahms, Rubinstein meets the titanic challenges of this work with remarkable ease. The playing is crystal clear. The singing voice so well known from his Chopin recordings is alive and well in the Adagio and the finale leaves one breathless. With Fritz Reiner and the Chicago Symphony Orchestra accompanying, this recording leaves no stone unturned. Rubinstein does not tinker with the details as so many others have and have, in due course, turned the piece into an unimaginable near 50 minute bore. Rather, he plays the work as one cohesive whole.
His performances of the miniatures from his latter years are also wonderful and beautiful with Rubinstein showing that he can still play at the age of 83 with the same joie de vivre that characterizes all of his playing. A highly recommended recording from a legendary pianist.

Greatest Brahms 1 ever?.......2001-03-18

Intense. Expressive. Impressive. Just about any superlative can describe this performance of the Brahms first piano concerto. Truly magical and majestic performance. Though it is quicker than most, it never sounds rushed. The first movement has a spellbinding quality that comes both from the technical mastery and the truly innate musicality that Rubinstein shows is nothing short of magical. The last movement is absolutely amazing but musically it is impossible to fault. Better than the Brendel/Abbado version. A must get, other Brahms miniatures are gems.

Brahms Without the Beard.......2000-10-21

The Brahms D minor Concerto is a difficult work to pull off successfully: the piano part is ungrateful, and often drowned out by an overorchestrated accompaniment. Also, many pianists--most notably Glenn Gould--tend to drag the tempos beyond all reason. Rubinstein, who was ten years old when Brahms died, would never have considered such a nonsensical approach. The Concerto was written early in Brahms career, and was the work of a young man. In essence, Brahms without the beard.

This is the first stereo recording, taped in 1954, to be made of the Concerto. (The stereo version, however, was not released until 1977). It says something for the original producer--the legendary John Pfeiffer--that the sound is still nearly in the demonstration class. The performance is excellent also, with superb accompaniment from Reiner, the very antithesis of the dragged out, boring approach that has recently tested concert audiences endurance. Although almost a half century old, this is still one of the very few "essential" recordings for any Brahms collection, along with the Fleischer/Szell and Serkin/Szell performances.

The solo pieces were recorded at RCA's Italiana Studios in 1970. The sound is somewhat drier, but the performances are not. Although he was 83 at this point, the playing is youthful and joyous.

Tracks:

The Nutcracker-The Waltz Of The Flowers - Chicago S.O./Morton Gould
Rodeo-Hoe Down - Morton Gould And His Orchestra
Concerto Grosso Op.6 No.11: Giga - Guildhall Strs. Ens./Robert Salter
Waltz, Op.18: 'Grande Valse Brillante' - Geza Anda
Symphony No. 5-II: Menuetto - Chicago S.O./Fritz Reiner
Courtly Dances from Gloriana: I. March - The Julian Bream Consort
Courtly Dances from Gloriana: II. Corante - The Julian Bream Consort
Courtly Dances from Gloriana: III. Pavan - The Julian Bream Consort
Courtly Dances from Gloriana: IV. Morris Dance - The Julian Bream Consort
Courtly Dances from Gloriana: V. Galliard - The Julian Bream Consort
Courtly Dances from Gloriana: VI. La Volta - The Julian Bream Consort
Courtly Dances from Gloriana: VII. March - The Julian Bream Consort
Water Music Suite No. 1: V. Passepied - Melvyn Tan
Swan Lake-Act III: Mazurka - St. Louis S.O./Leonard Slatkin
Danse Macabre - The Philadelphia Orch./Eugene Ormandy
Don't Fence Me In (From Hollywood Canteen) - Richard Hayman
Souvenirs (For Piano Four-Hands)-Hesitation Tango - John Browning/Leonard Slatkin
Three Dances From 'Fancy Free': I. Galop - Boston Pops Orch./Arthur Fiedler
Three Dances From 'Fancy Free': II. Waltz - Boston Pops Orch./Arthur Fiedler
Three Dances From 'Fancy Free': III. Danzon - Boston Pops Orch./Arthur Fiedler
Water Music Suite No.1: IX. Hornpipe - Melvyn Tan
Swan Lake-Act II: Allegro Moderato ('Danse Des Cygnes') - St. Louis S.O.
Swan Lake-Act III: Danse Espagnole - St. Louis S.O.
Souvenirs-Waltz - John Browning/Leonard Slatkin
Croncerto Grosso Op. 6, No. 9: Gavotta - Guildhall Strs. Ens./Robert Salter
Sleeping Beauty-Waltz - Chicago S.O./Morton Gould

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Voices of Living Stereo, Vol. 2: Songs

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ProductGroup: Music
Binding: Audio CD

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ASIN: B000003FWO
Release Date: 1996-05-21

Tracks:

Peer Gynt: Solvejg's Song - Eileen Farrell
Das Lied Von Der Erde: Der Trunkene Im Fruhling - Richard Lewis
Ave Maria - Marian Anderson/Franz Rupp
Dicitencello Vuie - Mario Lanza
Romeo Et Juliette: Premiers Transports Que Nul N' Oublie! - Rosalind Elias
Kol Nidrei - Jan Peerce
Apparition - Roberta Peters/George Trovillo
Caldo Sangue - Cesare Valletti/Leo Taubman
Les Nuits D' Ete: Le Spectre De La Rose - Leontyne Price
Traume (No. 5, Wesendonck Songs) - Birgit Nilsson/Leo Taubman
O Cease Thy Singing, Maiden Fair, Op.4, No.4 - Galina Vishnevskaya
Kindertotenlieder: In Diesem Wetter - Maureen Forrester
Luna Rossa - Sergio Franchi
Canciones Negras: Cancion De Cuna Para Dormir A Un Negrito - Shirley Verrett/Charles Wadsworth
He's Got The Whole World In His Hands - Leontyne Price

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Great Conductors Vol. 2

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San Francisco Opera Gems, Vol. 1

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Lebendige Vergangenheit: Marian Anderson, Vol. 2

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ASIN: B000NA2BGI
Release Date: 2007-05-08

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An absolute must in your invaluable musical repertoire!

The Art of Fritz Reiner, Vol. 1

Manufacturer: ARL
ProductGroup: Music
Binding: Audio CD

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Customer Reviews:

An absolute must in your invaluable musical repertoire!.......2006-04-14

This is probably, the most controversial Symphony of the cycle, and that? s because this is the most incorporeal of his Orchestral works. It is a score filled of youth ` s reminiscences and I would go further, remarking the imperative requisite to know at least his most important chamber works. To Brahms the Romantic language was never expansive and extroverted like Schumann for instance. He certainly had another approach respect the Romanticism. Perhaps under the light the echoes of the rampant musical nationalism that invaded practically all the artistic issues in the second half of the Century, accented even more the tendency to make a deep inside journey in search of old memories, ancestral roots. That is why we can feel that enormous cloud of bucolic charm around the whole Symphony. In fact the lavish Hamburg ?s son maintains that reflexive atmosphere in the three First Movements to release all his happy moods in the last movement. It is absolutely true you may find traces of his distant Op. 98 in the Second Movement. If you listen very carefully you will find echoes of the last movement of Mahler ?s First Symphony.

On the other hand if you as director maintains an absolute conceptual rigidity you may froze it the whole work. You must have an absolute domain of the Brahmsian lexicon and try to not fall into a sea of steady calm or additional Romantic touch.

Reiner gave to my mind one of the most expressive performances ever recorded with the New York Philharmonic (March 12, 1960) due Reiner' s expressive austerity fitted as ring to finger for this Symphony, and probably his best achievement in any other of Brahms Symphonies.

In which the Hungarian Dances (recorded in February 1946 with the Pittsburgh Symphonic Orchestra) concern, you will never find another version worthy to compare. These are the most propulsive, virile and fiercest Hungarian Dances that I have ever heard before until this date, they own that incisiveness and enraptured vigor that establish by themselves a fundamental distinction respect the other superficial versions that only focuses around the gallery `s sensationalism to evoke a tearful mood in the audience.

So for all the hard fans of Reiner it ?s a must-buy and for all those who still consider the Hungarian Dances are simple lullabies to make sigh musical newcomers, go for this album, because you will remain astonished after you listen them. Reiner eliminated all sentimental patina and approached them with unusual energy free of any nationalistic fervor but going to the deepest soul of the score.