If you wanted a definition
of Wide Dynamic Range in RCA’s late
1950s recordings you could do a lot worse than cite Reiner’s
1958 Rossini overtures disc. This has been something of a reissue
staple over the years, though never an especially generous one
because it also manages to embody another reviewing shorthand
– short playing time. To complete a trio of concepts it also
reveals the difficulty of countering high-level residual hiss
on tapes. All of the six overtures bear significant hiss levels
though because of the massive dynamic range you won’t need very
often to push the volume controls too high. All of these considerations
would be problematic if the performances were perfunctory or
merely adequate but this is Reiner and this is the Chicago Orchestra.
Turn
to The Barber of Seville and one hears that fortissimos
register with blistering immediacy. It makes listening at an
acceptable level well nigh impossible, unless you fancy the
idea of corralling the volume throughout. The overture to The
Thieving Magpie is an instructive example of Reiner and
the engineers’ control. The percussion sound rather military
and the spatial separation is reinforced through their emerging
from left and right hand channels. Reiner’s mock bombastic approach
pays dividends, though some may miss the more grand seigniorial
swagger of the classic Beecham, who does pay slightly less meticulous
attention to the percussion part. I was strongly reminded of
another stellar Rossini conductor, Toscanini, when listening
to La Cenerentola. Of course there are differences in
detail but the broad outline and sweep, not least relating to
questions of tempo relation, are much the same.
Perhaps
the opening paragraphs of the overture to The Silken Ladder
are a touch inflated – though this is very much a question
of taste – though one can unreservedly add that the vivacity
and power Reiner engenders subsequently are mightily impressive.
Perhaps my only real semi disappointment was the William
Tell overture. Mihály Virizlay is an eloquent cello soloist
but the temperature here is cool and the performance lacks the
eloquent raptness and warmth that Beecham found in it. Certainly
reserve has its place though here it rather lacks a stratum
of feeling.
Given
the short playing time and outsize dynamics there may be less
of an immediate need for this – though Reiner enthusiasts may
want to (re) acquaint themselves with it.
Jonathan Woolf
Chicago
