Credits:

Erich Leinsdorf, Berlin German Symphony Orchestra

Description:

Rigid, Toscanini-like! I once asked Reinsdorf why the difference between the studio recording he made during his tenure at the Boston Symphony and the live performance of the same piece broadcast at the same time was so blatant. I asked him why the difference between the studio recording he made during his tenure with the Boston Symphony Orchestra and the live performance of the same piece broadcast at the same time was so blatant. He answered eloquently. What is required when a performer makes a studio recording as a record for posterity," he said, "is that the interpretive flourishes and emphasis that sound so effective and brilliant when you hear the performance only once may tire the listener when you hear it repeatedly as a record. So, in studio recordings, I suppress such things as rubato, volume changes, tempo expansion and contraction, etc.'" From the liner notes by Henry Vogel (former president of the Chicago Symphony Orchestra). As this answer indicates, it is clear that the great master Erich Reinsdorf (1912-1993) considered concert and recording separately. This is why many of his studio recordings are less than enthusiastic, and the result is often straightforward but uninteresting. Because so much of his repertoire was recorded in this way, Reinsdorf's reputation is not high in Japan. In addition, there are unjustified slanders such as "He was great when he was young, but he became useless after he got old.The "9th" with the Deutsche Symphonieorchester Berlin (Rundfunk Symphonieorchester Berlin) heard here is a performance of a piece from his early days as chief conductor (commemorating his inauguration?). The performance is a brilliant ensemble that one can imagine from the rigorous rehearsals, and as the timing suggests, it is a fast and exhilarating performance full of tension reminiscent of Toscanini's historical interpretations. The performance is as vital as if it were a different person from the studio recording for RCA, which is known only for Domingo's participation. The changeable tempo is also interesting and never gets old. I sincerely wish that more performances like this had been left behind. The sound of the conductor's baton striking the podium to announce the beginning of each movement gives one a sense of Reinsdorf's fearful gaze. I was deeply moved by the swelling of the solo and chorus in the fourth movement, which could only come from a conductor who is a master of opera. The St. Hedwig's Church Choir must have been a favorite of the Berlin Philharmonic, because they were also used in Schubert's Mass, the only recording with the Berlin Philharmonic. As a side note, he was too demanding and only held the position of principal of the Deutsche Symphony Orchestra for two years. I think he had some kind of trouble (quarrel?) with the orchestra. (The Deutsche Symphony Orchestra's profile doesn't mention much about his Reinsdorf days). I would like those who have doubts about Reinsdorf to listen to the "9th". ［Comment courtesy of Tobu Land System.