Tag: Strauss

You’re a mean one, Mr. Reiner.

Classical music has had its share of Grinches, but few were as cactus-cuddly 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 Karloff quake (though he resembled more Bela Lugosi), 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.

Fritz Reiner: A Marriage of Talent and Terror

https://drgeraldstein.wordpress.com/2013/10/12/fritz-reiner-a-marriage-of-talent-and-terror/?fbclid=IwAR1ylzD3gidbYGdYCgeUq7WF57_O1tzX1JqV6Nc0JNezy3DWwkc6R_bRob4

His heart grew three times that day: Fritz Reiner’s perfect concert

125 Moments: 101 Fritz Reiner’s “Perfect Concert”

He found the strength of ten Reiners, plus two. 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”

https://www.youtube.com/watch?v=mgaS9CZ7KsQ

At a time when tyrant conductors still very much roamed the earth, Fritz Reiner was one of the most feared. With a glower that would 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. Among those to achieve considerable international success were George Szell, Eugene Ormandy, Antal Doráti, Ferenc Fricsay, Sir Georg Solti, and István Kertész.

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.

Reiner became a naturalized American citizen in 1928, and began to teach conducting at the Curtis Institute of Music in Philadelphia. Among his pupils was Leonard Bernstein. His first American post was as principal conductor of the Cincinnati Symphony. He led the Pittsburgh Symphony for ten years, from 1938 to 1948, then 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 exerted in rehearsals. Reiner emerged from an Old World steeped in aristocratic methods. 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 became downright perilous. Before strong musicians’ unions, conductors exercised the authority to fire anyone on the spot. So when musicians played for Reiner, they played as if there 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.

Read this account of the day Reiner finally gave his “perfect concert.”

https://csosoundsandstories.org/125-moments-101-fritz-reiners-perfect-concert/#:~:text=In%20October%201958%2C%20Fritz%20Reiner,New%20Brunswick%2C%20and%20Washington%2C%20D.C.

Even autocrats have birthdays. Happy birthday, Fritz Reiner.

Reiner conducts Beethoven

Reiner conducts Kodály and Bartók, with Rudolf Serkin at the piano
https://www.youtube.com/watch?v=TOE83a1FrwA

Reiner conducts Strauss’ “Salome”