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“Reiner selected key passages, had them taped and then checked the balance on the playbacks to ensure that a fine recording was made.”Īnother Reiner strategy was to record pieces after they were thoroughly rehearsed for subscription concerts. As historian Kenneth Morgan writes in his program notes for RCA’s complete Reiner set, released in 2013. Two years before joining the CSO, Friedman was hired to play fourth trombone on a session for Respighi’s Pines of Rome, which was especially difficult to record because of its wide dynamic range. There was never any muddiness in his music-making.” “The thing with Reiner is, maybe the fear factor came into play, but the sound was always very transparent when he conducted.
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“There was a certain amount of fear inherent in the job,” he said with a chuckle. “He had a very good orchestra, and he knew it.”įriedman believes Reiner’s exacting musicianship aligned with the sonic requirements of early stereo. “The orchestra was great at that time,” recalled Friedman, who joined the CSO during Reiner’s final year as music director. | ©Todd RosenbergĬSO Principal Trombone Jay Friedman recalls that before he joined the orchestra in 1962, he “wore down the grooves” on several RCA LPs, including a collection of Richard Strauss opera scenes, conducted by the CSO’s legendary sixth music director, Fritz Reiner. Jay Friedman, who joined the CSO in 1962, recalls that “you could hear every voice clearly” in a Reiner disc.
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The streams complement the 60-disc “Living Stereo: The Remastered Collector’s Edition Box Set,” released in late 2016.
#60s rca victor radio series#
This past spring, Sony Classical (which now controls the RCA Victor catalog) marked the imprint’s 60th anniversary with a series of playlists - Living Stereo Spectaculars, Living Stereo Top 50, and Living Stereo Deep Cuts - on streaming platforms, including Spotify and Apple Music. Living Stereo capitalized on advancements in stereo disc cutters, which revolutionized vinyl production, and playback equipment, ushering in a golden age of home hi-fi systems. If the depth and clarity of stereo sound didn’t yet lure classical music lovers, the fantastical cover art may have drawn their attention. The series was to be a showcase for the era’s classical stars: Van Cliburn and Arthur Rubinstein, Jascha Heifetz and Gregor Piatigorsky, Jussi Björling and Leontyne Price. In 1958, when the first stereo recordings were hitting the market, RCA Victor signed the Chicago Symphony Orchestra to its newest, most prestigious imprint, Living Stereo.