Customer Reviews

Respighi: Pines of Rome, etc

5 star:		(16)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

An NPR program once listed the best recordings of Respighi's works. The announcer made it a point to slam Respighi's compositions in every way possible (he even said that he found it fitting that the word "pig" was in Respighi!) but when all was said and done, he still ranked this recording as the undisputed master. I have owned several CDs of "Pines" and have slowly gotten rid of all but this one. NO recording of that piece has ever come close to Reiner's. The offstage brass are actually located on risers around the group and sound very "offstage" when they're supposed to be, but at the end of "Pines of the Appian Way", they are blazing at a volume that can compete with the brass on the stage. The intensity of the brass sound at ridiculous volume without sounding distored or harsh in any way is amazing-especially given the "prehistoric" techniques used in the recording. The string sound is beautiful throughout the range and the basses are thunderous when they need to be. In the fourth mvt, there are 2 spots in particular that are NEVER heard on other recordings. At 2:02, there is a key change to Bb. It is ushered in by the organ on a pedal Bb. It is marked pp I think, but when listening on good speakers or headphones in this recording, that note wraps around you and pins you down. On most recordings it is inaudible.

Another moment is at 3:34. There is an A in the second trumpet that is never heard for whatever reason, but on this version it is so intense that it will part your hair. There is no subtleness to the finale in this one. It is pure, raw power. I have performed this piece several times and while nothing can ever compare to being in the middle of this tidal wave of sounds all around you, this CD (at a proper, near-deafening level) can evoke those same sensations.

The Catacomb movement is frightening. The offstage trumpet solo is as gorgeous as they come with perfect muted string accompaniment. When the character changes right after the solo, the low brass hold down a beautiful pp with the subtle tam tam hits making it all the more eerie. Then...THE crescendo. The trombones take over with a sound unlike just about anything you'll hear on record. The strings are never buried either. Much of what makes this such a phenominal recording is the perfect balances that bring life to Respighi's brilliant coloration. Remember, this is before multitracking. They played and the mics picked up what was played. God, orchestras should sound this good today.

This venerable 1959/60 recording is still the definitive and most exciting performance of the two Respighi works, and the Debussy rivals them. The world may never again hear the like of Reiner's tightly rehearsed Chicago Symphony. The awesome brass section led by Adolph Herseth (trumpet) and Arnold Jacobs (tuba) was unrivaled then and still is. Sadly, most have passed into memory, but they were in their prime on this recording. Herseth's off-stage solo in the second section of the "Pines" is goosebump material, as is the wall of sound generated by three trombonists who could sound like ten. Don't hesitate to buy it because of its age. RCA's recorded sound, if short of the quality of modern day audiophile labels, should still be the envy of "big name" recording companies who haven't yet figured out that a forest of microphones, umpteen channel mixers, and over-eager recording engineers destroy, not enhance, recorded sound. Best of all, this CSO classic was recorded in the old Orchestra Hall before several "renovations" destroyed those once magnificent acoustics. Only so often does one encounter true greatness. You can find it here.

The wonderful Chicago Symphony played this like their lives depended on it, which probably wasn't far from the truth with Fritz Reiner on the podium. 'La mer' sounds great in this recording, but I was shocked when I listened to the two Respighi pieces. In particular, the 'Pines of Rome' sounds amazing. I've heard the piece before, but not like this. The CSO brass plays it with an unheard of level of precision and splendor. If you like this piece, definitely pick up this CD; you won't regret it. In addition, the sound quality itself is pretty impressive for a recording made 40 years ago on analog equipment.

Every once in a while in history, extraordinary magic is made in the recording studio by a particular orchestra and conductor. This recording is a prime example. Reiner and the CSO really paint a picture with this music, and evoke vivid images of each subject. I've always thought this was a particularly appropriate coupling, putting "La Mer" on the same disc as "Fountains", because the sounds they create are very similar and this similarity is easy to hear in these performances. Remarkable these works were recorded 1959-1960! The sound is immediate, full and detailed. Of particular note is the shimmering opening of the "Triton Fountain at Morning", the grand "Fountain of Trevi at Midday", and "The Pines of the Appian Way". But every track on the disc is well done. I can only concur with the opinions of those that have hailed this disc as a truly indispensable classic. Don't hesitate.

Well, to begin, I'll say that I find the three musical compositions featured here to be splendid works. Respighi's journal of the sights of Rome as well as Debussy's accounts of his trips on the Mediterranean are irresistable tone poems that all classical music fans appreciate

And of course, the Chicago Symphony, whom you can just argue is the greatest American orchestra ever, puts in another terrific performance, as you would definately expect them to. The legendary Fritz Reiner was conductor of the CSO from 1951 to 1962, a golden period in the orchestra's history. Heiner was certainly a demanding leader, and it showed whenever recording sessions took place. A perfectionalist, he wanted control over all aspects and made sure himself that he received satisfactory results.

In the program booklet that comes with this CD, an excellent account is included of downtown Chicago's Orchestra Hall on October 24, 1959, when Reiner led his ensemble to a tremendous performance of Respighi's Pines and Fountains of Rome. The article is a very interesting read on the details of the recording session.

Now, as for the CD itself, the aged recording would of course raise the attention of the listening. While technology has definately surpassed what had been available back then, the sound is however very acceptable. This album indeed still remains one for the ages.

This recording by Fritz Reiner and the Chicago Symphony is an absolute stunner, both musically and sonically. I have never heard such clarity and detail as this recording exhibits, thanks to the sonic wizardry of recording engineer Lewis Layton. The only thing that reveals the age of this recording is a slight amount of tape hiss, mainly audible only when listening through headphones. The softest sections float magically and the loudest sections virtually take your breath away. The playing is beyond reproach. None of the modern recordings I have heard (and I've heard almost all of them) can equal this 40-year old recording, either sonically or musically. Reiner and his orchestra have set a stardard that I doubt will ever be equalled. If you are looking for a demonstration recording to put your stereo system through its paces, this has got to be it - and it is available at a bargain price to boot!

Fritz Reiner surprises me here, despite his infamous reputation of being a tyranical, manipulative conductor whom his Chicago musicians had a hard time working with. That is because his handling of Respighi's Pines and Fountains of Rome are one of the finest recordings I've ever heard. There are the usual trademarks of precise and exciting playing, as demonstrated by the piece, pines by Villa Borghese. An average listener might felt ambushed by another typical Disney soundtract, except this sounds most exciting. The Pines at Janiculum and the Villa Medici Fountain at Sunset is Fritz Reiner at his most delicate and finest moment. Surprising, again since such warmth is unheard of a conductor of Reiner's reputation. I don't think I would want to own any other recordings of these magnificent works.

Someone told me to get the fritz reiner chicago symphony recordings of pines and fountains, and io have not regretted it one bit...the playing is about as thrillingly precise. the orchestral sound is exemplary and stunningly displays the concentration and discipline that fritz reiner got out of his musicians, even if he did threaten to fire them if they fell short of his incredibly high standards. who cares when the music making and orchestral playing is some of the greatest ever recorded? I've known some people who have said that respighi couldn't compose, but could simply just orchestrate...reiner convinces you of both...this disc is well worth its price, even without the great la mer performance.

As far as I know, Fritz Reiner, similar to leopold stokowski and herbert von karajan, was quite concerned that how his recordings sounded should be how he felt the music should sound, which is not always easy to do. There is incredible dynamic range in this la mer that makes it an overwhelming experience. the beginning does really sound like dawn rising on the sea's horizon. this may be debussy's finest orchestral work as well. reiner also is the master of what i'd like to call rhythmic coloration, for he uses rhythm, however slow, lazy, precise, sumptuous, or unclear to get his musical ideas across and it works to stunning effect here. the "play of the waves" is simply amazing in its flexibility, same with the last part which at one point does sound like a huge tidal wave.
Like many of reiner's other discs with the CSO, this is orchestral playing at its best, capturing incredible control, but flexibility and excitement within that.

Yes, I too despise recordings earlier than about 1970. The recording quality tends to be annoyingly muddy. I did hear remakable things about this recording, however, some of them I even read here at Amazon. And since I revere the CSO anyway( they are my favorite) I decided I would take a chance. When I listened to Pines, it gave me goosebumps. Sure, more contemporary recordings of the CSO have more in-your-face brass but for the year this was recorded in, it is astounding. The more and more I listened to Pines of the Appian Way, the more thunderstruck I was. The brass blaze a trail that the rest of the orchestra follows. It is an awesome testimony to power of music and the fiery passions it can stir up.

Honestly, however, when I first listened to Fountains, I was not impressed. The orchestral playing was of course first-rate but I thought the music was boring and restless with no clear direction. After a day or so, I decided to listen to it again, reasoning that it was I who was wrong. I did and I liked it. Not as exciting as Pines(the whole work) and Pines of the Appian Way, but it is still a good piece wonderfully performed, just sit and listen to everything.

These performances of the Respighi tone poems are genuine immortals. No one else that I have heard combines power and poetry in the way Reiner does. People are always talking about the crushing power of the concluding section of the Pines, but listen to the quieter sections of this and the Fountains. They are wonderfully atmospheric, sensuous and meltingly beautiful. Reiner lifts these pieces from the status of orchestral showpieces into true greatness.
However, please be advised that my five star rating are for the Respighis only! The La Mer is the worst performance that I ever ever heard, and I have listened to a lot. It begins with a first movement that is played like a funeral dirge, and things improve very little from there. This recording sets the standard for turgidity in this music. If you are looking for a good and reasonably priced La Mer, get Munch-Boston, Haitink, Von Karajan (1964 DG recording, not his later ones), the Van Beinum (if you can find it), or a newer, all digital recording conducted by Jean-Claude Casadesus with a provincial french orchestra (the orchestral playing is not quite on the same level as with the other recordings, but you hear percussive details that they do not reveal, and its price is supercheap). All are in very decent stereo sound.