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Availability
CD&Download: Pristine
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Reiner Rarities
Felix MENDELSSOHN (1809-1847)
A Midsummer Night’s Dream – incidental music Op.21 and 61 (1826/1842)
[29:58]
Christoph Willibald von GLUCK (1714-1787)
Orfeo ed Euridice – Dance of the Blessed Spirits (1762) [7:11]
Franz LISZT (1811-1886)
Totentanz (Dance of death or Dance macabre), Paraphrase on the ‘Dies irae’ for piano and orchestra, S.126, R.457, (1839-49, rev. 1853, 1859) [15:38]
Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Symphony No.5 in E minor Op.64 – Valse; Allegro moderato [6:27]
Eugene Onegin – Waltz [5:04]
Swan Lake – Waltz [5:08]
Sleeping Beauty – Waltz [3:51]
Nutcracker – Waltz of the Flowers [5:25]
Robin Hood Dell Orchestra of Philadelphia (Mendelssohn)
RCA Victor Symphony Orchestra/Fritz Reiner
rec.1950-53
PRISTINE AUDIO PASC 235 [78:37] 
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As producer Mark Obert-Thorn makes plain, the rarity of these
performances resides in the fact that, apart from the Totentanz
and the Waltz of the Flowers, they are Reiner’s only
inscriptions of these works. Also, there has been what he carefully
describes as no ‘official’ reissue from RCA on CD, or before
that on LP either. The reason for the absence of the Totentanz
is obvious; the Byron Janis Chicago remake, which many will
know. But that doesn’t devalue the disinterment of this earlier
performance by Brailowsky or indeed the rest of the selection.
It doesn’t make for an especially, how shall I put this, intellectually
demanding programme, but then it’s not been selected for that
reason. Rarity is invariably a boon for the specialist collector.
Mendelssohn’s Midsummer Night’s Dream incidental music
was recorded in June 1951 in Philadelphia. The orchestra was
the Robin Hood Dell Orchestra of Philadelphia, a mighty mouthful
much beloved by collectors, composed largely but not exclusively
of members of the city’s august principal orchestra. The performance
lacks, perhaps, both the panache and the pathos of the finest
readings but Reiner’s scowling, jowly visage, glimpsed in the
photo art of the cover, is not necessarily reflected in the
performance. Two leading orchestral principals can be heard;
flautist Burnett F. Atkinson and horn-player Mason Jones. The
Wedding March is certainly a brisk, no-nonsense affair. Two
years later Reiner and the RCA Victor Symphony, with the fine
flautist Julius Baker, set down a rather lugubrious and dogged
Dance of the Blessed Spirits. The Tchaikovsky Waltz selection,
with the same orchestra but recorded in 1950, is much better
in this regard, though it’s still rather odd to find that the
Valse from the Fifth Symphony is here alongside its ballet
confrères.
Brailowsky is a suitably powerful presence for the Liszt which
is a ripe example of 1951 engineering. Janis was more accurate
still and the recording quality is improved in that later recording,
but I think Reiner-watchers will want to acquaint themselves
with this performance if they don’t otherwise have it.
The provenance of the source material is, as ever, well dealt
with and Obert-Thorn’s engineering is unproblematic. I note
however that Andrew Rose has added ‘ambient stereo encoding’.
This is qualified by a bracketed ‘(where applicable)’. It’s
subtly done, but should be pointed out to prospective purchasers,
who may not approve.
Jonathan Woolf
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