Before “Whiplash,” there was Fritz Reiner.
J.K. Simmons earned an Oscar for his portrayal of ruthless bandmaster Terence Fletcher in Damien Chazelle’s breakout film. It’s no secret that Chazelle modeled Simmons’ sociopath on his real-life band instructor at Princeton High School.
Classical music has had more than its share of Terence Fletchers, but few burned as ferociously as Fritz Reiner. From a musician’s standpoint, Reiner was one of the most dreaded conductors, in an era when tyrants of the podium still very much roamed the earth. With a glower that could make Bela Lugosi quake – and sporting quite the similar hairline – Reiner was forged in Hungary at the twilight of the Austro-Hungarian Empire. Hungary at the time had quite the reputation for churning out great conductors. George Szell, Eugene Ormandy, Antal Doráti, Ferenc Fricsay, Sir Georg Solti, and István Kertész all achieved considerable international success.
Among Reiner’s own teachers was Béla Bartók, with whom he studied piano. Reiner would later repay the favor with what many consider to be the benchmark recording of Bartók’s “Concerto for Orchestra.” He also worked closely with Richard Strauss in Dresden, and his recordings of Strauss’ works are equally revered. All in all, the Chicago Symphony under Fritz Reiner was a surefire choice to give the ol’ hi-fi a good workout in the early days of stereo.
In 1928, Reiner became a naturalized American citizen. He began to teach conducting at the Curtis Institute of Music in Philadelphia, where among his pupils was Leonard Bernstein. His first American post was as principal conductor of the Cincinnati Symphony. He took over the Pittsburgh Symphony for a decade, beginning in 1938. Then he spent several years at the Met. But it was as music director of the Chicago Symphony that he attained legendary status.
For a master interpreter of some of the largest and most challenging works in the repertoire, his baton technique was notable for its precision and economy. Much of what he achieved, unfortunately, was through the brutality he exuded in rehearsals. Reiner emerged from an Old World steeped in aristocratic privilege. At the top of their profession, conductors then were regarded as gods-on-earth. When drive and ego were bolstered by absolute power, working conditions could become downright perilous. Before strong musicians’ unions, conductors exercised the authority to fire anyone on a whim. So when musicians played for Reiner, they played as if their lives depended on it – or at the very least their livelihoods.
Did it make for better musicmaking? You can’t argue with the excellence of Reiner’s Chicago Symphony.
Were you rushing or were you dragging?
Fritz Reiner: A Marriage of Talent and Terror
https://drgeraldstein.wordpress.com/2013/10/12/fritz-reiner-a-marriage-of-talent-and-terror/
Reiner finally gets his “perfect concert”
I guess even autocrats have their cuddly moments. Happy birthday, Fritz Reiner.
Reiner conducts Beethoven
Big band Bach
Benchmark Bartók
Strauss’ “Salome”
And, to keep it seasonal, “Waltz of the Flowers” from “The Nutcracker”
