Debussy: La Mer; Respighi: Fountains of Rome; Pines of Rome

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Composer : Claude Debussy
Composer : Ottorino Respighi
Conductor : Fritz Reiner
Orchestra : Chicago Symphony Orchestra

Product Details

Binding : Audio CD
EAN : 0090266807925
Label : RCA Victor
Number of Discs : 1
Product Group : Music
Release Date : 1995-04-28
Running Time : 62minutes
UPC : 090266807925

ASIN : B000003FUG

Track Listings for

Disc-1
1. La Mer: From Dawn Till Noon On The Sea
2. La Mer: Play Of The Waves
3. La Mer: Dialogue Of The Wind And The Sea
4. Fountains Of Rome: The Fountain Of Valle Giulia At Dawn
5. Fountains Of Rome: The Triton Fountain At Morning
6. Fountains Of Rome: The Fountain Of Trevi At Midday
7. Fountains Of Rome: The Villa Medici Fountain At Sunset
8. Pines Of Rome: The Pines Of The Villa Borghese
9. Pines Of Rome: Pines Near A Catacomb
10. Pines Of Rome: The Pines Of The Janiculum
11. Pines Of Rome: The Pines Of The Appian Way

Editorial Reviews

From Amazon.com

Whichever other Respighi tone poem recordings you ultimately purchase, you MUST own this one. Since the early `60s it has been the standard by which all others have been judged, and in terms of both sound and performance, it has never really been surpassed. The final march of Pines is simply incredible: thundering bass drum, crashing cymbals and gongs, bellowing brass--nobody since has brought the whole thing off with the same combination of excitement and discipline. The performance of La Mer has similar virtues. Fritz Reiner was a podium tyrant, but a tremendous musician all the same. This may be his finest recording. --David Hurwitz

Customer Reviews

Yet to go wrong (2007-02-05)

I've yet to go wrong with anything by the Chicago Orchestra, regardless of whether it's Reiner or Solti directing, or anyone else for that matter. This particular CD is no exception. While I bought this for it's excellent rendition of "Fountains of Rome," and "Pines," I thought the Debussy "La Mer" was the best since the Boulez that I so covet. This is a smooth recording, with little or no glitches and plenty of heart. Rewarding in every way, you'll want to add this to your collection pronto.

Only this Respighi and nothing else. (2004-04-05)

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.

Very Justified Label of "Benchmark" (2004-02-22)

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.

I want to be buried with this CD! (2003-07-20)

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.

benchmark respighi, fabulous la mer (2003-03-04)

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.

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