Since its release on LP in the mid-1950s, Fritz Reiner's rendition of the Concerto for Orchestra has stood as the standard against which all other recordings of the work are measured. Even after all these years, the recording remains just as convincing and authoritative. Reiner's superb control of his orchestra and of Bartók's rhythms and textures is still unsurpassed, even by dozens of subsequent conductors in the digital age. Likewise, the Music for Strings, Percussion, and Celesta shows just what an incredible ensemble the Chicago Symphony was under Reiner's direction. This umpteenth reissue, in RCA's Living Stereo series, promises to be the one to have, its sonics noticeably improved over the earlier CD release in 1989. --David Vernier

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But improvements in recording technology and music directorship of an ensemble much superior to that of Pittsburgh resulted in Reiner again committing the Concerto to tape for RCA in Chicago in 1955. The result is a performance and recording much superior to the earlier Pittsburgh one. This recording gives the Chicago first chair musicians opportunity to "strut their stuff." The later recording of "Music for Strings, Percussion, and Celesta" is nonpareil in its own right.

Despite the Concerto having the so-called "hole-in-the-middle" that afflicted early stereo recordings, this problem had been solved by the time of the Music for Strings recording in 1958. Nevertheless, both recordings sound great for their age, and authority of performance is no way in doubt here. Buy this recording with absolute confidence and need to look no further.

20 of 23 found the following review helpful:

To Die For!Nov 01, 2002
By Jay
If my house were on fire I'd run into the burning building just to rescue my copy of this recording. Fritz Reiner (Friendly Fritz to his musicians!) was a former student of Bela Bartok's at the Budapest Conservatoire and remained a life long friend and supporter of the composer, particularly when he was living in exile in America during World War 2, in fact it was in no small part due to Reiner's effort that The Concerto for Orchestra was commissioned in the first place, so who better to play it? But even with that in mind, Reiner rises to the occasion brilliantly. When Gramophone magazine reviewed this CD, they compared it to Boulez's 1992 recording made in the same auditorium and commented on the uncanny realism of Reiner's recording, especially in the quiet passages. This is particularly telling at the beginning of the second movement, the decaying echo of the solo percussion is exceptionally realistic. Wonderful though the interpretation of the Concerto is, the "Music for Strings, Percussion and Celesta" coupled with it on this CD set recorded two years later (in 1957), is even better.

Although many people will say that Ferenc Fricsay's recording is perhaps more in keeping the spirit of the music, for me Reiner will always have the edge, he simply lets the music speak without ever letting it get out of control. I can give him no higher complement than that.

13 of 16 found the following review helpful:

Still the one!Jan 05, 2001
By Howard G Brown "brownswan"
After all these years two recordings from the '50s still command the field: #1 the disc at hand - Reiner/CSO, #2 Dorati/LSO on Mercury.

I've followed these recordings of the Concerto and the Music for... through various issues (RCA and Victrola lp, initial CD and now the current -- excellent -- reissue). No other recordings have matched the fire and ice(and heart!) of these.

I even love the cover art: 1950's "moderne" which carries me back to the days of vacuum tubes and blond speaker cabinets with grills that looked like upholstery.

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