Reviews of some of the earlier releases that make up this set: Symphonia domestica, Le bourgeois gentilhomme "Fritz Reiner’s 1956 performance of Richard Strauss’s Symphonia...

Reviews of some of the earlier releases that make up this set:

Symphonia domestica, Le bourgeois gentilhomme
"Fritz Reiner’s 1956 performance of Richard Strauss’s Symphonia domestica was essentially its first recording in modern stereo sound. As such, it probably introduced the work to many American listeners. Prior to this, recordings conducted by Wilhelm Furtwängler with the Berlin Philharmonic Orchestra and Clemens Krauss and the composer himself with the Vienna Philharmonic Orchestra were undoubtedly authoritative, but hardly competitive from a sonic standpoint. Subsequently, fine stereo versions by Rudolf Kempe (EMI), Herbert von Karajan (Deutsche Grammophon), and Zubin Mehta (Decca-London) have been released, but none of them are superior to Reiner’s justly famous Living Stereo interpretation. This represents the Chicago Symphony Orchestra at its peak, and Reiner had no peer as a conductor of the orchestral music of Richard Strauss. If anything, Reiner’s no-nonsense style is even more suited to the charming, chamber-like Le bourgeois gentilhomme Suite."

-- Arthur Lintgen, Fanfare [1/2008]

Scenes From Salome And Elektra
"Solti's now-infamous comment that the Chicago Symphony was a provincial orchestra before he appeared is further discounted by the reissue of these unrivalled performances. None of Reiner's successors as a Strauss conductor, neither Solti himself, Kempe nor Sawallisch, seems quite to achieve the clarity of texture, mastery of line and intensity of feeling displayed in these recordings of 35 years and more ago, nor has any orchestra, certainly not the CSO of Solti's day, evinced the richness and brilliance of sound found here. Above all, Reiner brought to these scores, especially Elektra, a classic grandeur of utterance, a saturated sound that overwhelms the ear without ever deafening it. Perhaps these impressions are enhanced by the superb recording, preferable to so much that passes for good sound today. The fidelity, even balance and deep sonority of this early stereo in Chicago is truly amazing. Just as arresting is the perfect placing of the voices in relation to the orchestra."

-- A.B., Gramophone [5/1993]

Also sprach Zarathustra
"Reiner's 1954 Also sprach is arguably more characteristic than his 1962 RCA remake. That is to say, it is even more intense and extrovert. In his second year with the Chicago Symphony Orchestra, the conductor was already getting a thrilling response from the strings, although woodwind intonation could be a problem. Confident and well played as it is, the spectacular opening sunrise inevitably lacks the impact of, say, Preyin's Telarc recording (the organ is particularly disappointing). Nor is there the dark solemnity of and detail in the bass familiar from Karajan's DO versions. What we have instead is a measure of raw passion and forward thrust unequalled on disc. In reflective passages, conductor and/or engineers display some reluctance to achieve a real pianissimo, but as the tempo builds Reiner invariably creates great excitement and the orchestral playing is marvellous."

-- David Gutman, Gramophone [12/1992]

Don Quixote, Burleske
Throughout his career Fritz Reiner showed a particular affinity for the music of Richard Strauss. Here he delivers an exceptionally vivid account of Don Quixote – each bizarre episode from the eccentric knight’s adventures is portrayed with razor-sharp insight. One notices, in particular, Reiner’s miraculous attention to detail, his unfailing grip on the structural direction of the work and the superb response from both soloist and orchestra. With its flashes of sardonic wit, the earlier Burleske makes for an excellent coupling, and illustrates Reiner’s formidable prowess as a concerto accompanist. By any standards, a self-recommending issue.

-- Erik Levi, BBC Music Magazine