{"product_id":"reiner-rarities-volume-3-1938-49-pasc438","title":"REINER Rarities, Volume 3 (1938-49) - PASC438","description":"overviewfb55cd020f0643f08418183279e63a5f\u003cspan data_liveedit_tagid=\"000000000D770D90\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770EC0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D770FF0\"\u003e\u003cspan data_liveedit_tagid=\"000000000D771840\"\u003e\u003cspan\u003e\u003cb\u003e\u003cspan style=\"font-size: 18px;\"\u003eDEBUSSY \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003ePrelude to the Afternoon of a Faun - Two Nocturnes - Danse\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eRAVEL \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDaphnis and Chloe – Suite No. 2 - La Valse\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eHONEGGER \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eConcertino for Piano and Orchestra\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 18px;\"\u003eBERLIOZ \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18px;\"\u003eDamnation of Faust – Hungarian March\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cp\u003e\u003cspan data_liveedit_tagid=\"000000000D772E90\"\u003e\u003cspan style=\"color: #000000\"\u003e\u003cspan class=\"bodysmallarial\"\u003e\u003cspan style=\"font-size: 12px;\"\u003eStudio and live recordings, 1938-49\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: 12px;\"\u003eTotal duration: 72:20\u003c\/span\u003e\u003cbr\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cb\u003e\u003cspan style=\"font-size: 16px;\"\u003eFritz Reiner, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003econductor\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eOscar Levant, \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 16px;\"\u003epiano\u003c\/span\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePhilharmonic-Symphony Orchestra of New York\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003ePittsburgh Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eCBS Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cb\u003e\u003cbr\u003e\u003cspan style=\"font-size: 16px;\"\u003eColumbia Symphony Orchestra\u003c\/span\u003e\u003c\/b\u003e\u003cdiv style=\"padding-left: 30px\"\u003e\n\u003c\/div\u003e\n578a9379d1e540bd96d26f03a79628d9review_titlefb55cd020f0643f08418183279e63a5fFanfare Reviews578a9379d1e540bd96d26f03a79628d9review_quotefb55cd020f0643f08418183279e63a5fReiner demonstrates his ability to take a score and realize it with such freshness and subtlety that it seems reinvented578a9379d1e540bd96d26f03a79628d9review_bodyfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003ePresenting Fritz Reiner conducting a\nprogram of French music may seem unexpected. We don’t usually associate\nhim with this repertory. But as a Hungarian, Reiner came from a country\nheavily affected by French culture. He studied piano with Bartók, who\nwas deeply influenced by Debussy. Reiner was a Modernist, drawn to the\nmusic of his lifetime. Also, as a brilliant orchestral technician,\nReiner liked to present scores that challenged his abilities, such as\nthose of Debussy, Ravel, and Arthur Honegger (who was Swiss). He\nrecorded Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to the Afternoon of a Faun \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eand first two \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ewith members of the New York Philharmonic. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehas qualities familiar from Reiner’s Chicago \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, namely plasticity, gorgeous tone, and a delicate emphasis on musical transitions. My favorite stereo account of the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nis by Erich Leinsdorf and the Los Angeles Philharmonic on Sheffield\nLab. It leaves you breathless, while Reiner’s is a more epicurean\naffair, portraying the faun’s dreaming as in Mallarmé’s poem. The first \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturne\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\n“Nuages,” comes off like a night scene by Whistler, with infinite\nvariations of blue and gray. Reiner’s “Fêtes” is quick and lively, even a\nlittle fierce. My favorite stereo version of the complete \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nby Ernest Ansermet, presents an old-fashioned French orchestral sound\nthat is probably closer to what Debussy would have expected than\nReiner’s well-manicured performance. Interestingly, the same recording\ncompany in the same venue and year recorded John Barbirolli, the\nPhilharmonic’s music director, in Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIbéria\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. That rendition is very good, but lacks Reiner’s mastery. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eFor the Pittsburgh version of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDanse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nin Ravel’s orchestration, Reiner demonstrates his ability to take a\nscore and realize it with such freshness and subtlety that it seems\nreinvented. He conducted the CBS Symphony a number of times. In their\nbroadcast of the second \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDaphnis and Chloé \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003esuite,\nthe scenes are painted so vividly that they recall Marc Chagall’s\nillustrations for the story. Reiner’s tempos are flexible, with hints of\nportamento here and there. The unnamed first flute perhaps gives the\nperformance of his life. Reiner gets a wonderful pagan feeling in the\nconcluding “Danse générale.” His Pittsburgh \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\nthe best recording of the work I’ve ever heard, challenging my memory\nof Jean Martinon conducting it in concert in the 1970s, with the Hague\nPhilharmonic. In the opening, the strains of the waltz seem to come\ntogether out of some primordial time. The ensuing bite of the trumpets\nis amazing and frightening—there’s no oompah to this waltz. The composer\nRobert Bonnotto told me that the work should end with a feeling of\nmenace. Reiner agrees. These Ravel recordings may lead you to hunt down\nReiner’s excellent 1952 NBC \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLe tombeau de Couperin\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, in his \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eGreat Conductors of the 20th Century\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e set. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eMy first acquaintance with Honegger’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcertino for Piano and Orchestra\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nwas a lyrical performance on a Turnabout LP by Walter Klien and\nHeinrich Hollreiser. Reiner conducted the American premiere in 1927.\nHere he leads a chamber orchestra dubbed the Columbia Symphony. He and\nthe pianist Oscar Levant were friends; there are some interesting\nanecdotes about Reiner in Levant’s first book, \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eA Smattering of Ignorance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e. He and Reiner find a mixture of Bach and 1920s Paris in the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcertino\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e.\nLevant’s tone is distinctive, broad but delectable in its details.\nReiner’s accompaniment is hand in glove, with an appealing insouciance.\nThe Pittsburgh “Rákóczy March” is as much Hungarian as French, with some\nrhythms that sound like Liszt. The concluding diminuendo is an\ninteresting, unexpected touch. Producer Mark Obert-Thorn’s remasterings\nalways are pleasant to listen to, and, in the case of \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\na good deal more so. Indeed, it’s amazing how well the 1938 recordings\nof the New York Philharmonic capture the beauty of its tone, something\nLevant felt emanated from the concertmaster, Michel Piastro. This is a\nCD that will haunt your imagination long after you’ve heard it. Reiner’s\nFrench repertoire may not have been extensive, but the works he did\nperform he clearly savored. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eDave Saemann\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“There are few conductors who impress\nan orchestra (also composers) at first contact as strongly as does Fritz\nReiner, whose knowledge of everything pertaining to the mechanical\nperformance of music is, briefly, unparalleled. He has evolved a\npersonal sign language which leads an orchestra through the most complex\nscores of Strauss and Stravinsky with the ease and sureness of a\ntightrope walker who performs a backward somersault blindfolded.\nWhenever the complexity of the scoring is a sufficient challenge to his\nskill, Reiner will subdivide beats, flash successive cues to remote\nsections of the orchestra with either hand and meanwhile indicate the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003epianissimo\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nin which he takes such great delight, by a bodily movement that totals\nby a kind of physical mathematics to the exact effect on the printed\npage. His ear so acute, not only for intonation but also for dynamics,\nthat he can detect a wrong bowing when his back is turned to the section\nfrom which it emanates. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003e“Together with these faculties is a\nfacility for terrifying inferior orchestras unequaled among conductors\nof the present day. His technique in this field is no less sophisticated\nthan it is in his conducting. A mere series of facial expressions can\nshade his degrees of contempt for a nervous oboist or a fright-palsied\nviolinist as artfully as he fades an orchestra from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003emezzo piano \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eto\u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e pianissimo. \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eHis\npassion for the least audible of sounds has created among violinists a\nnew form of occupational illness known as ‘Reiner-paralysis.’ When he is\nsufficiently challenged by an operatic score, such as \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDer Rosenkavalier\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nor by the collaboration with a fine soloist, he can achieve fabulous\nresults. The reactions he induces from the orchestras he has conducted\nrun the full gamut of all emotions but deep affection.” \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThat was Oscar Levant on the subject of Fritz Reiner in his book \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eA Smattering of Ignorance\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nwritten in 1939. Ten years later, he found himself receiving the\nbenefit of Reiner’s superior conducting technique when they collaborated\non a recording of Honegger’s 1924 \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eConcertino for Piano and Orchestra, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eOriginally coupled on a 10-inch LP with Eugene Ormandy’s successful (and poker-faced) attempt to squeeze \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe Sorcerer’s Apprentice\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nonto one 78-rpm disc, it has probably never been issued on CD until\nnow. I have heard two other recordings of the Honegger. Thibaudet and\nDutoit toss it off like a piece of 1920s “wrong-note” fluff, which I\nsuppose it is. Weber and Fricsay seem wittier and more tongue-in-cheek\nin a nice performance that now comes only as part of a 45-disc set\ndevoted to Ferenc Fricsay’s DG recordings. The approach of Levant and\nReiner, however well-executed, is more sober and serious and I don’t\nthink this necessarily works to the music’s advantage. Oscar Levant\nhumorless? \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"B\"\u003e\u003cspan class=\"TIMES\"\u003eThe rest of the CD certainly demonstrates the superior baton technique Levant was praising. In the “Rákóczy March” from \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa damnation de Faust\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nReiner is the supreme drillmaster, securing brilliant, precise playing\nfrom the Pittsburgh Symphony Orchestra. The performance, oddly, ends\nwith a diminuendo—is that the way it ends in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa damnation\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e? In the Debussy \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eNocturnes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003ePrelude to the Afternoon of a Faun, \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003ehe\ndemonstrates that the best way to deal with “Impressionism” isn’t\nnecessarily to create a sonic fog but to pace it flexibly, reacting to\nthe music’s “inner rhythm” as he perceives it and exposing detail.\nReiner’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFaune\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e\nand “Nuages” are models of rhythmic suppleness and exposure of\norchestral color even with their 1938 sound, and the New York\nPhilharmonic, which wasn’t always polite to guest conductors, plays for\nhim. The performers were uncredited. The 78s were issued as part of a\nbudget series called \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eThe World’s Greatest Music\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which also included anonymous recordings by Ormandy and Rodziński. Some may find the procession in \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eFêtes\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e a bit too sprightly—he also zips through Ravel’s orchestration of Debussy’s \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDanse\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, probably to get it on one 78-rpm side \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp class=\"Br\"\u003e\u003cspan class=\"TIMES\"\u003eRegrettably, other than \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003e\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eIberia\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e,\nReiner’s opportunities to record Debussy’s works with the Chicago\nSymphony Orchestra were limited, presumably because Charles Munch was\nFrench. It is likely that the latter also received priority from RCA\nVictor where Ravel’s music was concerned, although Reiner did manage to\nrecord the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eRapsodie espagnole\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which Munch also recorded with the Boston Symphony; the \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eValses nobles et sentimentales\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e, which Munch later recorded with the Philadelphia Orchestra for Columbia; and \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eAlborada del gracioso,\u003c\/span\u003e\u003cspan class=\"TIMES\"\u003e which Munch did not record. Dating from 1947, Reiner’s Pittsburgh \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eLa valse \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eis\nan aggressive, brilliant rendition that was probably the best\nrecording\/performance of its time. Too bad he never got to record it\nagain 10 years later. The \u003c\/span\u003e\u003cspan class=\"TIMESi\"\u003eDaphnis \u003c\/span\u003e\u003cspan class=\"TIMES\"\u003eSuite\nis marred by narrow dynamic range and some congestion at loud volumes. I\nthink the lower strings are barely audible at the start of the big\nclimax in “Daybreak”; at the climax, Reiner holds the brasses down just\nenough for the violins to shine through. One might expect the “Danse\ngénérale” to be exhilarating—the real surprise is the “Pantomime,” with\nits pauses for breath, so leisurely and flexible, which Reiner could\nalmost be said to milk. It’s almost hypnotic in its effect (at least on\nme). The performances give pleasure—but also frustration, when one\nconsiders what might have been had he had the opportunity to take\nadvantage of post 78-rpm\/monaural recording technique. \u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cspan class=\"TIMESb\"\u003e\u003cb\u003eJames Miller\u003c\/b\u003e \u003cbr\u003eThis article originally appeared in Issue 39:1 (Sept\/Oct 2015) of Fanfare Magazine.\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9main_samplefb55cd020f0643f08418183279e63a5fsamples\/PASC438.mp3578a9379d1e540bd96d26f03a79628d9tab1_labelfb55cd020f0643f08418183279e63a5fProducer's Note578a9379d1e540bd96d26f03a79628d9tab1_typefb55cd020f0643f08418183279e63a5fcontent578a9379d1e540bd96d26f03a79628d9tab1_contentfb55cd020f0643f08418183279e63a5f\u003cp style=\"text-align: center;\"\u003e\u003cspan style=\"font-size: x-large;\"\u003e\u003cem\u003eReiner Rarities, Volume 3: Debussy, Ravel, Honegger and Berlioz\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp align=\"center\"\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cem\u003e\"This is a CD that will haunt your imagination long after you’ve heard it\"- Fanfare\u003cbr\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003eLike the two earlier releases in this series (PASC 235 and 294), this\nvolume of Reiner Rarities features works which are rare in more than\none sense  First, these are Fritz Reiner’s only commercial recordings of\nthe works presented.  In addition, none of them have ever received an\n“official” CD reissue from their originating labels.  The current\nrelease features all of Reiner’s French repertoire recordings which fall\nunder these criteria.\u003c\/p\u003e\u003cp\u003eThe Debussy \u003cem\u003eFaune\u003c\/em\u003e and \u003cem\u003eNocturnes\u003c\/em\u003e come from Reiner’s\nearliest issued recording session, although they were originally\npublished without crediting the conductor or the orchestra.  They were\npart of the “World’s Greatest Music” series recorded by RCA Victor for\nthe New York \u003cem\u003ePost\u003c\/em\u003e, which featured similarly anonymous recordings by Ormandy and the Philadelphia and Rodziński and the NBC Symphony. \u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis session featured 78 players from Barbirolli’s New York\nPhilharmonic, and also included works by Wagner.  What is particularly\nstriking here, as in many of the recordings featured in this program, is\nReiner’s pacing, allowing the music to unfold with seeming\ninevitability even as he moves it along, choosing tempi that seem\nideal.  (The uncredited flute soloist in \u003cem\u003eFaune\u003c\/em\u003e is most likely John Amans, the Philharmonic’s principal at the time.)\u003c\/p\u003e\u003cp\u003eThe broadcast of the \u003cem\u003eDaphnis\u003c\/em\u003e Suite, although not a\ncommercial recording, was part of the series of V-Discs released by the\nU.S. government for the entertainment of servicemen during World War II,\nand falls under Reiner’s issued discography.  Again, one is struck by\nthe pacing, the judgment in the length of pauses, and the choices for\nwhen (and how much) to use string portamenti to underline emotional\npoints.\u003c\/p\u003e\u003cp\u003eThe Pittsburgh recordings document Reiner’s decade as music director of that city’s orchestra.  In \u003cem\u003eLa Valse\u003c\/em\u003e,\nReiner does not play his hand too early, letting loose only in the\nfinal pages (in contrast to Munch, who, for all his admitted excitement,\nplays it at fever pitch from the start).  The Ravel orchestration of\nDebussy’s \u003cem\u003eDanse\u003c\/em\u003e gets an appropriately energetic performance, while the rousing Berlioz march ends with an unusual, rarely-heard diminuendo.\u003c\/p\u003e\u003cp\u003eIn 1927, Reiner conducted the U.S. première of Honegger’s 1924\nsingle-movement Concertino, a work which seems to have been somewhat\ninfluenced by Prokofiev’s Third Concerto.  The soloist, Oscar Levant, is\nperhaps best known today for his acting work in such films as \u003cem\u003eAn American in Paris, The Band Wagon\u003c\/em\u003e and \u003cem\u003eHumoresque\u003c\/em\u003e;\nbut in his time, he was a highly popular piano soloist specializing in\ntwentieth century repertoire (particularly the works of his friend,\nGeorge Gershwin), as well as an author, composer and raconteur.\u003c\/p\u003e\u003cp\u003eThe sources for the recordings were American Columbia LPs for \u003cem\u003eLa Valse\u003c\/em\u003e and the Honegger, and shellac 78 rpm discs for the remaining items, except for the \u003cem\u003eDaphnis\u003c\/em\u003e Suite, which was taken from a tape of original off-the-air acetates, which sounded better than the V-Disc dubbings.\u003c\/p\u003e\u003cp class=\"body\"\u003e\u003cem\u003eMark Obert-Thorn\u003c\/em\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_thumbnail2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_cover_download_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample1_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample2_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample3_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample4_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample5_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab1_sample6_s3_locationfb55cd020f0643f08418183279e63a5f578a9379d1e540bd96d26f03a79628d9tab2_labelfb55cd020f0643f08418183279e63a5fFull Track Listing578a9379d1e540bd96d26f03a79628d9tab2_typefb55cd020f0643f08418183279e63a5ftrack_listing578a9379d1e540bd96d26f03a79628d9tab2_contentfb55cd020f0643f08418183279e63a5f\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eDEBUSSY\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e1          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003ePrélude à l’après-midi d’un faune\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 22 November 1938 in Carnegie Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  CS-028849-1\/028850-1 - First issued on World’s Greatest Music SR-17\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003e\u003cbr\u003eNocturnes\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e2          Nuages \u003cbr\u003e3          Fêtes\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 22 November 1938 in Carnegie Hall, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  CS-028851-1\/028852-1A\/028853-1A\/028854-1A - First issued on World’s Greatest Music SR-18\/19\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e4          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDanse (Tarantelle styrienne) (orch. Ravel)\u003c\/b\u003e  \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 April 1947 in the Syria Mosque, Pittsburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  XCO-37578 - First issued as Columbia 12785-D in album X-296\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eRAVEL\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eDaphnis et Chloé – Suite No. 2\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e5          Lever du jour \u003cbr\u003e6          Pantomime\u003cbr\u003e7          Danse générale \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eLive broadcast 2 September 1945 from the CBS Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  VP-1543-D5-TC-1340-1H\/VP-1544-D5-TC-1341-1M\/VP-1545-D5-TC-1342-1D\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eFirst issued as V-Disc 546\/7\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e 8          \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eLa Valse\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 1 April 1947 in the Syria Mosque, Pittsburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  XCO-37575\/7 - First issued as Columbia 12784-D\/12785-D in album X-296\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eHONEGGER\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eConcertino for Piano and Orchestra \u003cbr\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e9          Allegro molto moderato –  \u003cbr\u003e10        Larghetto sostenuto –   \u003cbr\u003e11        Allegro  \u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cspan style=\"font-size: small;\"\u003eOscar Levant\u003c\/span\u003e (piano)\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 6 July 1949 in the Columbia 30th Street Studios, New York\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix no.: XCO-41374\/6 - First issued as Columbia ML 2156\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: medium;\"\u003e\u003cb\u003eBERLIOZ\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e12        \u003cspan style=\"font-size: small;\"\u003e\u003cb\u003eHungarian March (from \u003cem\u003eLa damnation de Faust\u003c\/em\u003e, Op. 24)\u003c\/b\u003e \u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\u003cspan style=\"font-size: x-small;\"\u003eRecorded 15 November 1941 in the Syria Mosque, Pittsburgh\u003c\/span\u003e\u003cbr\u003e\u003cspan style=\"font-size: x-small;\"\u003eMatrix nos.:  XCO-31902 - First issued as Columbia 11709-D in album M-491\u003c\/span\u003e\u003c\/p\u003e\u003cp\u003e\n\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilharmonic-Symphony Orchestra of New York \u003c\/b\u003e(Tracks 1 – 3)\u003cbr\u003e\u003cb\u003ePittsburgh Symphony Orchestra \u003c\/b\u003e(Track 4, 8 \u0026amp; 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