Fritz Wunderlich's lyricism, boundless musicianship and exquisite diction made him one of the great tenors of the 20th century. In September 2016, DG will commemorate the 50th anniversary of his death with the release of Complete Studio Recordings on Deutsche Grammophon, a comprehensive 32CD box set of sacred works, opera and operetta, lieder and popular song. The collection includes Decca, Philips and Polydor recordings as well, several appearing internationally for the first time.
The Fritz Powerbook 2016 contains 21 millions opening positions, derived from 1,5 million high class tournament games. Together with each position all relevant information is stored: all moves that were played in the position, by players of what average rating, with what success and performance results. The games from which the Fritz Powerbook 2016 were derived are also included on the PC-DVD. This means that in any position of the openings tree you can load and replay the games in which the position occurred. The Fritz Powerbook 2016 represents the state of the art of current openings theory. Discover exciting and tricky new lines and practice them against Fritz. In addition the PC-DVD has a small but very exclusive book with the strongest GM games (ELO >= 2550) from the past 100 years (2 Million positions).
These pre-Chicago recordings of Fritz Reiner with the Pittsburghers is a reminder of his greatness as a conductor. It also restores to the catalog his recordings of some composers he wasn't closely identified with. Shostakovitch, for example, wasn't a regular on Reiner's studio schedule, but should have been, for this Sixth bristles with sardonic wit and energy. The Kodaly Dances, of course, were right up Reiner's alley, and get a smashing performance. The shorter works too, are first class, especially the Bart243;k Hungarian Sketches and another Reiner calling card, Kabalevsky's Colas Breugnon Overture. Weiner's string Divertimento is charming, but the real prize may be Glinka's Kamarinskaya, given a peformance that shimmers and glistens with delicacy and life. Sony's restoration of the 1945-1947 recordings is faultless.
Fritz Reiner was one of the foremost conductors of his time. Crowning his long career in Europe and America was the decade from 1954 to 1963 as music director of the Chicago Symphony Orchestra – an illustrious partnership that ranks along such other historical tenures as Karajan’s in Berlin, Szell’s in Cleveland and Bernstein’s in New York.
A Fritz Kreisler recording can always be recognized by the violinist's beefy, baritonal sonority, inimitable portamento, and communicative warmth. Most of the repertoire here consists of the short, encore pieces that prevailed in the era of 78rpm records, many penned or arranged by Kreisler, who was always on the lookout for memorable tunes.
While not technically awful, Jascha Heifetz's 1955 recording of Brahms' Violin Concerto with Fritz Reiner conducting the Chicago Symphony is still close to unbearable. By 1955, Heifetz's once sinewy tone had tightened, his once supple technique had hardened, and his once warm interpretation had grown cold. With the never sinewy, supple, or warm Fritz Reiner, Heifetz creates a performance of Brahms' lyrical masterpiece that grates on the sensibilities.
Janis backed by one of the greatest symphonies ever assembled (the 50's/60's Chicago Symphony under the baton of the micromanaging Fritz Reiner) put together in short a legendary and frenzied performance of the Rachmaninov Concerto No. 1. I wish I could stop there, but unfortunately this recording was coupled with a stale performance of the No. 3.
Sweet Creep includes the lyricism of prior release Dad Country with an added air of hopefulness. Recorded in Jim James' (of My Morning Jacket) makeshift hilltop studio in Montecito Heights, Sweet Creep reverberates with the feeling of sunny vistas. From album opener Are You Thirsty to the summer-crushy 'Humidifier', Sweet Creep is a freshly-signed lease on life. Jonny throws himself into the new album by stripping things down to the essentials. He gathered Nashville's Joshua Hedley and Dawes' Taylor and Griffin Goldsmith and recorded the whole album in three days. The fresh air, freedom from studio pressures, and strong cups of tea all mix into the music, with ATVs briefly heard in the background and two senior tortoises listening at Hedley's feet as he fiddles away.