Brahms: Symphony No. 4 - Royal Philharmonic Orchestra; Fritz Reiner

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Brahms: Symphony No. 4 - Royal Philharmonic Orchestra; Fritz Reiner

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Beethoven: “Egmont” Overture; Brahms: Symphony No. 4 in E minor op. 98 –
The Royal Philharmonic Orchestra; Rene Leibowitz (Beethoven); Fritz Reiner (Brahms)
Classical | 1 CD | EAC Rip | 229 MB | FLAC+LOG+Cue | Full scans | RS links
Publisher: Chesky Records

Editorial Reviews- Amazon.com
Noted podium tyrant and sadist Fritz Reiner must have scared the daylights out of the Royal Philharmonic, which plays this music as though their very lives depended on it. This is one of the great Brahms Fourth Symphonies, a performance of eruptive force and barely contained fury. It's been superbly transferred to CD, and anyone who loves this symphony simply has to own this recording. No question about it. –David Hurwitz
***
This must have been one of the last records Fritz Reiner made. He always seemed to get marvellous recordings with his Chicago Symphony Orchestra 1 still frequently play with the greatest pleasure his account of Strauss's Ein Heldenleben, not at the moment available, but a record that RCA should certainly reissue, so good is it in every way). The same qualities are shown on this not exactly young issue with the RPO. It really is remarkably good. The playing is absolutely terrific, with tremendous orchestral discipline; the recording, if not as warm and full as the full-priced issues listed above, is still remarkably fresh, with great clarity of detail.
Myself, I find some lack of affection in the first movement—surely the opening theme is one of the warmest and most lovable in all symphonic music. But if you accept Reiner's energetic opening, you will find that all the rest is finely built in proportion. There is much sensitivity later on and he builds to a most exciting climax (from bar 390), with increasing pressure to the end. The second movement is very satisfying. This does have tenderness, while such a passage as around the triplets at bar 84 is very strong indeed, with every semiquaver given its utmost due. The Scherzo is broad at the start but in general not at all lacking in observance of its giocoso direction. (The important triangle is just right—not like the early days of LP recording when you jumped from your seat because you thought the telephone was ringing; nor as in some modern recordings where you can scarcely hear it at all.) The poco mono presto section is rightly only a very little slower (some conductors draw it out inordinately), while in the finale Reiner makes no rallentando into the flute solo and subsequent variations (from bar 97) and keeps all this part of the movement moving, something I utterly approve of. The recording conveys splendid brass towards the end….This Reiner record is a very good buy. You will find it exciting.
T.H. Gramophone, July 1977