Strauss: Also sprach Zarathustra; Ein Heldenleben

In response to the one reviewer, Mr. Stenroos, who doesn't hear what everyone else does and much prefers Karajan in this music I thought an overview of this Reiner versus Karajan business might be enlightening. To begin with the sound quality of the recordings, an important matter in this case. Differences in performance were accentuated (exaggerated might not be too strong a word) by the very different recording philosophies of the American RCA and German DG sound engineers. Many American music critics of the 60's and 70's disliked Karajan DG issues, which they found mannered, while the sound to American critics was usually described in unflattering terms; cut off, or flattened by excessive filtering. These very real problems were largely ignored by the European press, in particular the writers of the highly influential Gramophone magazine, which at times waxed so loudly and consistently in praise of Karajan the magazine sounded like a DG house organ. This marked split between American and British critics on Karajan carried over into performance, something I'll discuss below; ironically some of the best sound Karajan ever received was not from DG, but Britain's EMI. Apparently some of this has sunk into the current corporate decision-makers at DG; recent DG reissues on CD of Karajan and others appear to have gone back to the original tapes with frequently noticeable improvement on the CDs over the original slick and lifeless - read airless - DG LP recordings. It should be noted this was a DG and Philips problem - recordings made by Telefunken, for example of the Berlin under Keilberth, are superior to the contemporaneous DG recordings. Listen to Keilberth in the Beethoven 7th, or any of the 1950's EMI recordings of Andre Cluytens leading the BPO in Beethoven. These later, in both mono and stereo, give an indication of how during the next several decades DG engineers would travel very far indeed from the fresh and airy soundstage of early analogue stereo. Digital recordings of Karajan, though more up-to-date, have other issues. It's also enlightening that when Karajan recorded the first CD of an orchestra work he chose Strauss' Alpine Symphony, a showy but frankly banal choice to ring in such a now universal medium. Reiner's sound by contrast was far more natural sounding, the hallmark of the magnificent recordings made by the early stereo engineers in America. These were the result of a decade and a half of careful testing and comparison. John Pfeiffer (see RCA Victor CD, the Age of Living Stereo: A Tribute to John Pfeiffer The Age of Living Stereo: A Tribute to John Pfeiffer ) had shown his creativity earlier, utilizing the film industry's technical resources to make remarkably advanced recordings of Pierre Monteux and the San Francisco in the 40's. RCA engineers had also taken a stab at Koussevitsky's famous reading of Also Sprach with the Boston Symphony. Sadly, although this was praised in its day for fidelity, the marvelous sounds of this queen of orchestras remain muted. When RCA's engineers set forth to try Also Sprach again, this time with Reiner's Chicago Orchestra, RCA's engineers had several advantages.1) The LP process, just introduced at the end of the 40's, was now largely perfected.2) Enormous advances such as the tape recorder created by war time necessities gave RCA engineers far better equipment.3) The friendly but intense competition between Mercury engineers, who had produced outstanding monuaral recordings of Kublik with Chicago added to the fire and served as a benchmark.4) The Chicago symphony all but owned Also Sprach on records; of the first three tries, two were made in Chicago, the last and most recent a fine performance by Artur Rodzinski.5) And most important, the unique genius of the RCA team, which, when added to the marvel of the new stereo process, completely opened out the soundstage, and produced new revolutionary recordings. These night and day improvements over the old '78s of just a dozen years before remain among the high points of recorded history. However, as has been correctly pointed how by several reviewers, the Reiner recordings did have issues. The organ was one, and in certain sections where a great deal is going on the Reiner recordings fall a bit short. It is difficult to say how much of this is the conductor and how much the medium. For example, recording sound or choice of orchestra does not wholly explain Kempe's unrivalled gift for balancing the multiplicity of thematic strands Strauss backs up like so many freight cars. The Hybrid SACD over the regular issue. There have been many incarnations of the Reiner performances on CD. This most recent shows this Hybrid format SACD something of a bucking bronco, with even more punch and vibrancy tan the previous regular CD. This gives a rather wild quality, with certain orchestra sounds seemingly bursting the soundstage, this aspect is more noticeable when contrasted with sweeter strings than previous CD issues. The soundstage appears deeper, and a comparison with the original LP shows the reissue engineers clearly took into consideration the very 'bloomy' sounds heard on the original tapes. I can only wonder what reviewer Zeidler must have felt on experiencing his first hearing of stereo in a demonstration of this music using 30 inches per second Ampex tape machines!!! The brilliant "you were there" review he wrote is testimony to the lasting impact of Reiner's recording heard in all its pristine glory. As analogue recording was replaced with digital, just as vacuum tubes had a decade before been replaced with transistors, the old recordings were largely considered passe and outdated. It was only through the energy and conviction of a small number of believers that they were finally revisited by a significant number of music lovers. Some people still prefer the older recordings, though I suspect a majority will never have a chance, unlike Mr. Zeidler, to hear first hand just what these issues offer. However, RCA's issuance of this and other of these special recordings in a Hybrid format is a huge boost and great opportunity. The prices are beyond fair - they are an open invitation and one which I hope will encourage far more people than ever before to hear these magical legendary performances. Too, with access to the original tapes many of the limitations imposed on the earlier LP recordings are no longer an issue in the CD format. Recordings universally disliked for harsh sound, such as many made by Szell and the Cleveland orchestra, fine Straussians, have been radically improved through release on SACD. Others such as these Hybrid SACDs of Reiner and Chicago offer features unavailable in the original releases. Qualities of performance previously assigned to conductors such as Szell, such as a disinterest in such things as color or svelte and dulcet tone, now appear partially the fault of recordings limitations. Szell Columbia recordings revisited through SACD come across with a palpable degree of gemutlichkeit, a quality utterly absent and unrecognized in the originals. Perhaps some of the criticism of Karajan, such as found in the comment of Mr. Bass, may be adjusted as we hear the newer reissues. As for styles, Reiner was not just a feared martinet, but also a man of the theater, and like Mitropoulos brought to his conducting an active and obvious immediacy. This flair for whipping up excitement is on display in many excerpts we have of Reiner as conductor in the two early avant-garde Strauss operas, Salome and Elektra. It's impossible to hear these without falling prey to such adjectives as,"incadescent", or electrifying", or "white heat". Reiner in Salome can be quite over the top when compared to Karajan, who conducts the work in a more paced and deliberate fashion. Karajan was equally no stranger to the opera house, but in contrast to Reiner built up excitement through scale and weight. Karajan also tended to treat musical lines with less tension; Karajan was a devotee of very long almost Bellini-inspired melodies, captured with great conductorial skill in the spinning-out of long held pedal points - which he used to great effect in Bruckner. Karajan was equally at home showcasing pretty and decorative trimmings, with all the Straussian glitter, noticably in Der Rosenkavalier. In a work like Salome Karajan and Reiner both fully tapped into the the music's sinister tweaking of harmony, though I personally appreciate Karajan's more subtle reading, I'd rather hear Reiner leading Lubja Weltisch. In Heldenleben each brought out the mock-heroic without sacrifying what was genuine, but here again Reiner shows an unwillingness to slow down and enjoy the moment. In the recordings of this work I largely concur with the thoughts of reviewer vanDeSande. However, neither condcutor's performance on Cd matches an astonishing tour performance of massive power and majestic string playing I heard of Ein Helenleben under Ormandy with the Philadelphia Orchestra - there's always room for a new hearing! American critics, perhaps in an attempt to separate themselves from their British cousins, reacted harshly against many Karajan recordings. Indeed they fell over themselves in wonder at Haitink's Philips recording of Also Sprach - you can look it up. Karajan and Reiner were set on the shelf. Yet many of the same critics who did not like Karajan records wrote very positive reviews of Karajan concerts in New York, in his appearances either on tour, or as a guest conductor with the New York Philharmonic. The anti-Karajan writing was also a product of doubts surrounding his background during the war - a major reason Furtwangler never came to America, and Chicago in particular. Further, matters were not helped by a general contempt by many American critics for the music of Bruckner, who Karajan championed instead of the then newly popular Mahler. Bernstein's identification with Mahler and Karajan's apparent distaste for Mahler - as he obviously had the clout to record whatever he wished - added fuel to such fires. As witnessed in the comments we are still settling some of these old scores. The mention of Kempe also must be addressed, for he brought different attributes to Strauss. Unlike Clemens Krauss, who did not live long enough to build up a library of stereo recordings, Kempe made many fine recordings in stereo. Like Karajan he found a way to bring out the inner lines, but did so by covering the music in a sort of reverential hush, rather than more usual bawdy overstatements of most conductors. Listening to Kempe in Strauss I often wonder if this is how Richard Strauss would sound at Bayreuth, with its covered orchestra pit, the sound floating and enveloping rather than aggressively directed. Kempe preferred to win you over in Strauss by forcing you to listen more carefully - possible when the decibels were kept down. These qualities certainly were not what one found in recordings of Strauss by the dynamic Solti or even Bohm. Bohm in particular must be singled out for his unequalled magic in bringing out the various orchestra colors of a Strauss tone poem or opera. I heard him several times and this was true as well in concert. In regard to the comments about the orchestra playing of the Chicago Symphony. Having heard the Chicago play Strauss on several occasions under different conductors, including one of the most memorable concerts of my life, Don Quixote under Solti heard from the front seat of a center box, I don't know where to start with the negative comments of Mr. Stenroos. On records and in person this orchestra defines the word distinquished. What orchestra(s) in America does Mr. Stenroos consider first rate? Over my lifetime I've been privileged to hear them all, and quite often, and frankly find his comments about Chicago mystifying. Indeed, when Richard Strauss visited Chicago and led the orchestra as quest conductor in his own music at the turn of the 20th century, he had nothing but the most effusive praise for the band. Nothing I have heard in person or on record suggests their modern counterparts deserve anything less.IMPORTANT NOTE: After writing this review I went to the Chicago Symphony program archives - there you can find a wealth of historical details about Also Sprach and the Chicago Symphony. Earliest American performance - recordings, etc. A must read! Just search - "Chicago Symphony Orchestra Program Notes Strauss Also Sprach".

This RCA recording presents 1954 stereo performances of Richard Strauss’ famous Also Sprach Zarathustra and Ein Heldenleben from Fritz Reiner and the Chicago Symphony Orchestra. Both have been in the catalog forever and are considered warhorse recordings.While I have never been overly enthusiastic over Reiner’s reading of Also Sprach Zarathustra, this is a slam dunk performance of Ein Heldenleben. Just listen to how Reiner ratchets up the final climax in the finale; it is simply masterfully crafted. In a similar case, when the titular Hero’s battles are done, Reiner manages a musically restless retirement for the Hero, one who has a hard time giving up his life’s endeavors. Of course, Chicago is splashy in moments such as the battle scene, moments of brass-forward, pure orchestral spectacle which they handle with aplomb.I have long loved William Steinberg’s Also Sprach Zarathustra  on DG , so I thought Reiner’s typical no-nonsense approach would still be up my alley, but I was left a little wanting. Not that this performance is in any way bad, far from it, however I was left a little cold in the end. Also, on my system, Zarathustra’s fidelity sounded less ideal compared to Heldenleben, showing its age a bit more, but your mileage may vary.But I love these RCA SACD’s. Rarely have I been disappointed and this release is no different. No peaking or shattering at any climax and a nice, healthy soundstage in quality hifi. Chicago and Reiner were excellent in this music, and while I might prefer their presentation of Heldenleben here overall, it is all high quality.Recommended.

Musically, I came of age, so to speak, just as CD was consigning vinyl to "the dust-bin of history" (to steal a line from one of the 20th century's monsters).I have to say that I've been absolutely blown away by these half-century old RCA recordings. In the 80s & early 90s, it was unwise to buy CDs with music recorded before about 1963-4. Digital to analogue conversion hadn't yet been mastered (pun intended).RCA has done an absolutely amazing job with these recordings given their age and the primitive (almost 19th century) technology used to make them. The SACD versions simply pop. And it's difficult to tell that the vast majority of these recordings (and I have 15 of the series) are of such a vintage.I imagine in a "Pepsi challenge" with some recordings, esp of "Zarathustra" on this disc, these disc would come out of top, whether in SACD or simple stereo mode. They are that good.If you already have these recordings or you are just beginning your exploration of Art Music, you can't go wrong with these discs. The core of the modern repertoire is here in this series. You won't be sorry you started hear, especially with the ridiculously low price. (Indeed, I paid $3 and $4 more for these discs when I bought them last year!). So at $8 & $9, they can't be beat.Even pieces like the ones on this disc or Chopin's Ballades and Scherzos--which most collectors will have multiple copies of as I do--are well-worth buying, especially to hear Rubenstein in his prime. Or the various conductors & orchestras in their hey-days.While chamber music has become a huge success in the last 20-30 years, in part from the Baroque "original" instruments movement, in part because, it is much less expensive genre of music to record, requiring few instrumentalists.And almost all are from "boutique" labels such as Naxos, the big orchestral classics of the 19th & 20th centuries have fallen by the way side. Most Symphonies have folded due to lack of interest, and thus, funding, so that few cities now, even large ones, have the SO's that they had 50 yrs ago. And with the major labels either gutting their "classical" catalog for "greatest" collections or eliminating the divisions altogether, it can be difficult to hear these grand pieces the way they were intended. This RCA series gives younger audiophiles--and budding ones--the chance to hear this music they way its composers intended.Strauss was indeed a "rock star" of his day--who sadly disgraced himself by briefly collaborating with the Hitler regime--and he commanded the highest fees and royalties of his time. In both Zarathustra and the somewhat lesser known "Hero's Life" (to translate the German name of the second piece), the full treatment is delivered: 100+ piece orchestra, a grand maestro at the podium. In short, these discs are something of a time machine, transporting those of us under 40 back to the days when these pieces could be heard in any city of decent size in the US.To reiterate: these are classic recordings restored to their glory as well as time machines to an America where the word culture didn't mean a political battle, and didn't mean American Idol or mass-produced garbage, whose packaging is as slick as the "product" inside is empty.

Brilliant performances of a couple of Richard Strauss's tone poems (for which Fritz Reiner was an acknowledged master and specialist) with amazing SACD sound quality. The Ein Heldenleben interpretation matches that of Beecham and the Royal PO from the same period, but with superior recording technology. The Also Sprach Zarathustra (made famous by Stanley Kubrick's film 2001 A Space Odyssey) is an impeccable reference performance.The recording is simple stereo (not 3 channels, unlike many of the others in the series) which is good if you don't have multi-channel playback equipment (as you are not missing anything and there is no risk of a 'hole in the middle' effect). This is not to be confused with SACD, which is rather a superior sound quality due to faster didital sampling rates etc.A vintage recording highly recommended, one of the very best amongst the Living Stereo series. I would add that this CD was awarded a Penguin classical CD guide rosette.

F.ライネルがシカゴ交響楽団を指揮し1954年にRCAのLiving Stereoのために録音したリヒャルト・シュトラウスの「英雄の生涯」および「ツァラトゥストラはかく語りき」は、LP時代から既に後発のいかなる新しい演奏が登場しようと必ず引き合いに出される亀鑑とも言える演奏であった。それにもかかわらず、LP時代の終わりには、録音の古さとプレスに恵まれなかった性か、これはすっかり過去の遺産として顧みられることはなくなった。この傾向は、CD時代においても概ね大きな変化はなかった。しかし、ここでその伝説の名演奏と名録音が新たなメディウムであるSACD上で完全に甦った。　　なかでも「英雄の生涯」の冒頭の重低音を聞けばその演奏とその録音の素晴らしさは保証されたに等しい。それは、寸毫も気を抜くところはなく一気に雄渾に最後まで聴者を飽きさせない。まさに感嘆措く能わざる世紀の演奏である。ライネルとシカゴ交響楽団は、これとバルトークの「管弦楽のための協奏曲」の演奏と録音でクラシカル・レコード界にその名を不滅のものとしたと言える。　　批評子には、R.シュトラウスの管弦楽曲をヨーロッパの楽団よりも北米のヴィルティオーゾ楽団と聞くことを好む傾向がある。同じRCAではエーリッヒ・ラインスドルフがボストン交響楽団を指揮した演奏、そしてユージン・オルマンディーがフィラデルフィア管弦楽団を指揮した演奏がそれぞれxrcdそしてCDとして復活し聞くことが出来る。前者は素晴らしい録音で、そして後者は名人オーケストラの魅力で、それぞれ批評子を愉楽の世界に誘ってくれる。　　ところが2013年にそれが揺らぐ演奏が復活した。それは、ザクセン人のルドルフ・ケンペがその州都の名楽団ドレスデネル・シュターツカペッレを指揮しEMIのために1970年代に録音した一連のR.シュトラウスの管弦楽曲(２Boxes)が一気に全部SACDでしかもシングルレイアーで蘇生したことである。その「英雄の生涯」の演奏が作曲者ゆかりの名門楽団の偉力がケンペによって最高度の発揮させられたものであったことをシングルレイアー盤は聴者にはっきりと伝えてくれている。今のところ、批評子にとってこのケンペ／ドレスデン盤とライネル／シカゴ響が手元にあればいつ島流しの目に遭い絶海の孤島に流されようともそれほど後ろ髪を引かれることはないであろう。　　一方、「ツァラトゥストラはかく語りき」については、一部に高音域が聞きづらい箇所が散見される。しかし、それらを忘れさせるほど「治癒された者」以降充実した演奏が繰り広げられる。

D'abord le support : enregistré en 1957, en stéréo, on ne peut rien reprocher. Mais, à l'heure du MP3, est ce que ça intéresse encore quelqu'un, à part les nostalgiques. Même si je ne suis pas un fan de Strauss, il faut reconnaitre que Reiner vous le fait aimer : superbe direction d'orchestre !

These two recordings dating for March 1954 are landmark achievements in the history of recorded music. The sound in the new SACD (2 tracks) represents a considerable improvement over any previous issue and must be considered a triumph. The playing of the orchestra is exceptional and Reiner clearly demonstrates his affinity with the Strauss musical idiom.There is a clear difference between the two recordings however, which makes me prefer the one rather than the other by some margin. Curiously it is the later recording, by just two days, that I personally find to be less easy as a listening experience.The Ein Heldenleben, recorded on March 6 1954, has a real sense of depth to the recorded sound. This remains true even when solo instruments are highlighted within the score and, to some extent, on the recording. This lends a proper sense of realism to the music making that holds well even today half a century later. The solo violin is reasonably distanced within the soundstage although the trumpet playing of Adolf Herseth as lead trumpet becomes something of a trumpet concerto in the battle section. This is still probably within reason bearing in mind his famed endurance. As a result of the good recorded balance which allows acoustic space and a proper bloom on the orchestral sound, the glories of Reiner's direction are fully revealed.The Zarathustra, recorded only two days later on March 8 1954 however, is not as satisfactory for me mostly because of the markedly closer balance of all the instruments in the orchestra. The solo instruments, such as the important and extended violin solo and various woodwind, become 'jumbo sized' and clearly out of proportion. The close-up microphoning means everything is far too close for comfort which is a problem for listeners in such a dynamic score. As a result the apparent dynamic range is compromised and the effect eventually becomes aurally wearing. I am refraining from commenting upon the actual musical substance of the piece as responses will be a matter of personal taste. What is not in doubt , once more, is Reiner's grip on musical proceedings. Finally, at the end of the introductory famous sunrise section, it becomes very clear that the organ is simply not in tune with the orchestra. This defect, of course, has applied to every previous issue of this recording but the latest version, by virtue of its improved clarity, actually makes the tuning problem even more apparent.In conclusion therefore, I would suggest that these two very important and sonically improved landmark recordings deserve to be seriously considered for potential purchase by anyone interested in upgrading their previous copies. Ein Heldenleben is a fine effort without any real reservation and can compete with many of the best available. Zarathustra has complications for me which, I have noticed, are often overlooked or ignored by a considerable number of enthusiasts. Those reservations, which are real, may yet be very much an optional matter for others.

私見では、演奏と録音は「ツアラツーストラ」より「英雄の生涯」の方が、圧倒的に優れている。録音年代との関係だろうが、重要でもある「ツアラツーストラ」でのオルガンの存在が、これが極めて消極的な扱いであって意外な感じがします。Ｆ・ライナーの意向なのかもしれません。今更仕方ないが、同じレーベルのミュンシュ指揮「サンサーンス３番」のオルガンと同じクオリティーなら、と感じました。「英雄の生涯」これは演奏も録音も本当に素晴らしい。上手なオケのシカゴシンフォニーの更に最上の演奏でしょう。この音楽の個性を完全に捉えています。現在に至るもまだ名演中の名演だと思います。鳴らしてみて、購入した満足感に浸れますよ。