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Heldenleben

On March 6, 1954, Fritz Reiner and the Orchestra recorded together for the first time. For RCA at Orchestra Hall, they committed to disc two works by Richard Strauss: the Dance of the Seven Veils from Salome and Ein Heldenleben.

“A single condenser microphone, noted for its uniform response and broad pick-up, was suspended approximately sixteen feet above the conductor’s podium to secure the exact balance desired by Dr. Reiner between instrumental choirs of the Orchestra,” according to the liner notes from the original RCA release. “At the time this recording was made, a special microphone set-up was used to make a separate stereophonic recording of the same performance as part of RCA Victor’s continuing policy of development and research in recording techniques.”

Fritz Reiner's autograph on a copy of the original album jacket's liner notes

Fritz Reiner’s autograph on a copy of the original album jacket’s liner notes

“Reiner brought out the opulence of Strauss’s orchestration but never wallowed indulgently in the more episodic moments; instrumental textures were clarified so that transparency of sound was paramount; and climaxes were carefully prepared so that they did not appear bombastic. To successfully balance such a large orchestra while projecting seemingly spontaneous playing was a notable achievement,” wrote Kenneth Morgan in his biography Fritz Reiner: Maestro and Martinet. “Ein Heldenleben, to a critic for Harper’s Magazine [in November 1954], confirmed Reiner as probably the greatest Strauss conductor alive: ‘the razor’s edge combination of lean, hard clarity on a vast orchestral scale and perilously high tension emotionalism is exactly suited to his disciplined directing.’ ”

Over the next eight years, Reiner and the Orchestra recorded several of Strauss’s works: Also sprach Zarathustra and Don Juan (twice each), a suite from Der Bürger als Edelmann, Burleske with pianist Byron Janis, Don Quixote with principal viola Milton Preves and cellist Antonio Janigro, selections from Elektra and Salome with soprano Inge Borkh, waltzes from Der Rosenkavalier, and Symphonia domestica.

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The CSO and Maestro Muti perform a program featuring Prokofiev’s Suite from Romeo and Juliet and Dvořák’s Symphony No. 9 (From the New World) at the historic Teatro di San Carlo for a capacity audience. Taking the podium to announce the evening’s encore—Giordano’s Intermezzo from Fedora—Muti noted “although, I’m 100% Italian, I’m 200% Southern Italian.” After the concert, Maestro Muti and his wife hosted the musicians of the Orchestra and distinguished guests for a post-concert dinner featuring traditional Neapolitan cuisine. On Sunday morning before the concert, Maestro Muti and three CSO musicians—Jennifer Gunn, piccolo; Charles Vernon, trombone; and Gene Pokorny, tuba—share an informal performance with young men and women at a juvenile justice center in nearby Nisida. The program was presented by the Negaunee Music Institute with assistance from the administrative staff of the Teatro di San Carlo. #CSOonTour 📸@toddrphoto
Musicians and staff travel from Paris to Naples. Called Napoli in Italian, its name is derived from the Greek word Neapolis meaning "new city.” The city is the birthplace of Riccardo Muti, as well as the birthplace of pizza! This tour stop includes the CSO’s first return to the world renowned Teatro di San Carlo with Maestro Muti since 2012. That appearance marked its first European tour appearance in Naples. 📸@toddrphoto
Riccardo Muti and the CSO spend less than 24 hours in Paris for a concert at the Philharmonie de Paris with a program featuring works by Wagner, Hindemith and Dvořák. The last time they performed in this hall was during their most recent tour to Europe in January 2017. #CSOonTour 📸@toddrphoto

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