Customer Reviews

Ravel: Rapsodie espagnole; Debussy: Iberia

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Fritz Reiner was noted for his Wagner, Richard Strauss, Bartok and much other 20th-century music (most of which he was never able to record commerically). But his taste and genius went much further afield. His own favorite composer was Mozart, and his recordings of Haydn's 88th, 95th and 101st are among the very best.

Genius though he was, it has to be admitted that, when it came to feeling and phrasing, Der Fritzl was sometimes "Gallic-ally challenged." (Toscanini, for instance, never had this problem.) That is, Reiner's Debussy can be - to put it mildly - quite "Central European." (Over the years, some wags have rightly tagged his LA MER as "DAS MEER.") But Debussy's IBERIA was perfect fodder for Reiner's musical temperament. This remains one of the top stereo Debussy IBERIAs. Still, IMHO nobody could get within a wide sea-mile of the complete IMAGES POUR ORCHESTRE (of which IBERIA is a part), recorded in 1954 by Van Beinum and the Concertgebouw - which sports equally virtuostic playing AND a more naturally Gallic feeling. (This classic has been transferred several times, but Universal's Van Beinum "Original Masters, Volume 2" box offers the best-sounding transfer to date. This is in mono, but very HI-FI mono. See my review.)

Reiner personally knew Maurice Ravel, and those Ravelian scores which call for aggressive rhythm, athletic stamina and refined precision were in better hands with Reiner than anyone else. This applies to Reiner's legendary RHAPSODIE ESPAGNOLE and ALBORADA DEL GRACIOSO. Excellent though they are, Ormandy's and Munch's late 50s/early 60s recordings cannot match the sheer animal magnetism or sound quality of the Reiner / Chicago. (But for these qualities, Paray / Detroit comes in a close second.)

Surprisingly, Reiner's "DEAD PRINCESS" is not only more beautifully played than the Munch / Boston (and THAT is saying something), but even more poignant and "Gallic." (Go figure.)

Reiner's version of VALSES NOBLES ET SENTIMENTALES is also among the best. But in this case, the very top recommendation must go to the 1963 Munch / Philadelphia. Nobody (but NOBODY) was more "in sync" with this work's langorous, sexually charged bittersweetness than Munch. This is on SONY, together with Ormandy's BOLERO, RHAPSODIE ESPAGNOLE, ALBORADA DEL GRACIOSO and LE TOMBEAU DE COUPERIN- IMHO the finest TOMBEAU ever recorded. (The Paray / Detroit versions of these works are also in the top league- especially if you prefer a more angular kind of Ravelian phrasing.)

Not to mention that the fabled sound engineering of Robert Mohr and Lewis Layton is on hand, here, as well. Which leads to one final point.

Amazon does not mention it, but the "1989" edition of this disc was withdrawn and, in 2002, re-released with the same "cover" and far better sound quality. (The average late 80s-early 90s "Gold Seal" transfer did NOT sound this well.)

Did a shadowy personage at BMG take some rare pity on us collectors, and "back" the later Living Stereo remasterings into this collection? After all, this is a better, more comprehensive compilation than either of the Living Stereo CDs which came later. (The RHAPSODIE & 'DEAD PRINCESS' were on the BMG/Living Stereo CD "THE REINER SOUND," and the VALSES NOBLES, ALBORADA & IBERIA were on "IBERIA," an expensive JVC/Living Stereo "XRCD".)

In any case, the BMG catalogue numbers for "1989" and "2002" appear to be identical: 60179-2-RG. So, when shopping for the more desireable 2002 edition, be sure to check for these features:

1) The year "2002" is printed on the bottom of the rear jewel case inset.
2) The same inset's top fascimile signature of Fritz Reiner is white-against-blue (as opposed to 1989's dark gold-against-blue).

Enough, already ! Just find yourself the 2002 edition, buy it and LISTEN.

I have to agree with another reviewer that reiner's alborada del gracioso is the finest ever made, and that the wind and brass playing has never been surpassed. the rhapsodie espagnole's opening movement is the most hypnotic i've ever heard as well, the dance movements have incredible swagger and flexibility, also, listen to the brass work in "feria." WOW!
the different characters in valses is fabulous, though i'm not as familiar with work as i am some of the others on this disc. Pavane is given a lovely reading with poetry, finesse, great orchestral detailing and coloration, and phil farkas's opening horn solo is simply beautiful.
Another performance that wins the palm is "iberia," which must be among the best ever recorded. it remains my favorite from the first time i heard it, even beating impressionist master charles munch. Again, the wind and brass playing is simply stunning, and the strings portraying the perfumes of the spanish night are incredibly evocative and layered perfectly (debussy used plenty of divided strings here to brilliant effect, which reiner consistently shows) and can there ever be a festival morning played with more fun and joy than this one? With Reiner and the CSO, it was hard to go wrong.

This recording of the Alborada del Gracioso is the finest made. The speed and finesse of the triple toungings in the flute and trumpet have never been replicated. If you find only one reason to buy this vintage recording let it be this one.

RCA didn't do right by the great sonics of the original LPs when they released their Reiner Collection in the Eighties -- the sound here is thin and a bit harsh. The company made good later with their Living Stereo series, but these Ravel and Debussy performances are split between two different releases:

Ravel: Rapsodie espagnole, Pavane for a Dead Princess are on "The Reiner Sound"

Debussy: Iberia
Ravel: Valses nobles et sentimentales, Alborada del gracioso are on "Iberia" (available as an expensive import here at Amazon, not to be confused with a separate colleciton called "Spain")

In terms of energy and involvement, the best item is the Debussy Iberia. I agree with all the praise lavished on Reiner's Ravel in terms of elegance, precision, and amazing viruosity from the CSO. I turn to Monteux, Munch, and Karajan for more ravishing, seductive style, but there are times when I like Ravel played straight, and for that Reiner is non pareil. The recordings date from 1956-57.

The man was a great musician, but if all you know is his discography on RCA of blessed memory, you would think he had a pretty narrow repertory. Here is proof that he could do marvelous things in lots of different areas. The usual Reiner superlatives: wonderful playing, lively and sensitive, and astonishing recording. Not to be missed.