C0586. FERENC FRICSAY Cond. RIAS S.O.: Symphony #5 in e (Tchaikowsky), Live Performance, 24 Jan., 1957; w.Alfred Cortot: Concerto in a (Schumann), Live Performance, 15 May, 1951; Fricsay’s speech on the occasion of the concert celebrating the 10th anniversary of the RIAS, Berlin, 24 Jan., 1957. (Germany) Audite 95.498, Live Performance, 22 March, 1968, München. Final sealed Copy! - 4022143954985
"In a way, this album celebrates the anniversary of an anniversary. The first work on the program, Tchaikovsky's Fifth Symphony, was recorded live in 1957 to commemorate the 10th year of the Radio Symphony Orchestra Berlin (now the German Symphony Orchestra). The release of this CD comes 50 years later, marking 60 years of history and exceptional music-making. After 10 years, the RSO proves to be a fine-tuned machine and Ferenc Fricsay's energetic and detail-oriented leadership of the orchestra shines through brilliantly in the Tchaikovsky. This remastered recording is especially dynamic and captures all of the details and nuance of the original performance. So driven and vibrant are the outer movements of the symphony that listeners are unlikely to mind the occasional instances where the orchestra issues more power than the recording technology of the day could handle.
Audite's historic archive releases enjoy an excellent reputation worldwide. The high quality of their content is due to their long-term cooperation with radio archives, permitting a continuous exploration of archive collections. The high sound quality of the releases is achieved by using only original tapes from these archives. Audite acquires licences from the broadcasting companies even for public domain archive recordings. In addition, there is the process of re-mastering using numerous new technological post-production possibilities to achieve optimal sound quality while, at all times, remaining faithful to the principles of historical documentation. Only those productions which fulfil all these criteria are labelled with Audite's seal of quality, ‘1st Master Release - Original Tapes’. Audite is, in every aspect, oriented towards high quality.”
“Ferenc Fricsay's career lasted barely 20 years, but during that time, he became one of the most acclaimed conductors of his generation and left behind a body of recordings that are still admired. Fricsay studied at the Budapest Academy of Music under both Zoltán Kodály and Béla Bartók, whose music he later championed. His first conducting appointment came in 1936, in Szeged, where he remained until 1944. His début, conducting the Budapest Opera, was in 1939 and in 1945 he was appointed the company's music director, taking the parallel appointment with the Budapest Philharmonic. At the 1947 Salzburg Festival, when conductor Otto Klemperer was forced to withdraw from conducting the premiere of Gottfried Von Einem's opera DANTONS TOD, Fricsay stepped in, receiving international accolades for a sterling performance. The next year he conducted the world premiere of Frank Martin's ZAUBERTRANK, and the year after that Carl Orff's ANTIGONE. In 1948, Fricsay made his Berlin début with Verdi's DON CARLOS in a production that also featured the début of baritone Dietrich Fischer-Dieskau. Thereafter he served as a guest conductor throughout Europe, based in Berlin, where he served as music director of the Stadtische Oper and the American Sector Symphony Orchestra (RIAS), later renamed the Berlin Radio Symphony Orchestra. Fricsay was best known in Europe as an operatic conductor, acclaimed for his Mozart and Verdi, among other composers, but in America he made his début with the Boston Symphony Orchestra in 1953. He was conductor of the Houston Symphony Orchestra in 1954, but resigned after one season due to policy disagreements with the board of directors. In 1956, Fricsay became music director of the Bavarian State Opera and after two seasons, returned to Berlin to resume the music directorship of the Berlin Radio Symphony Orchestra. In 1961, Fricsay conducted a performance of Mozart's DON GIOVANNI to commemorate the re-opening of the Deutsche Oper.
Fricsay's approach to conducting was influenced heavily by Toscanini, whose relationship with the NBC Symphony he used as a model for his own work with the Berlin Radio Symphony. He emphasized strict tempos and precise playing, with a close adherence to the score. As an operatic conductor, however, he was not afraid to challenge customs and conventions, both in his conception of a work and his way of realizing performances of striking vitality.
Fricsay began developing serious health problems in the 1950s. The vivaciousness of his earlier performances was replaced by a more measured, reflective approach to music as his physical condition deteriorated, and by the end of the 1950s, when he would normally have been expected to be in his prime as a conductor and recording artist, his strength was beginning to fail him. When he died, Fricsay left behind a small, precious body of recordings.
Fricsay had signed an exclusive contract with Deutsche Grammophon in 1948 and during the next decade or so, delivered a body of work heavy with award-winning recordings. Fricsay's remarkable textural clarity was captured on record with the help of his close understanding of recording techniques. Perhaps his most-acclaimed record was Mozart's THE MAGIC FLUTE, made in 1955 with Rita Streich, Maria Stader, Ernst Haefliger, and Dietrich Fischer-Dieskau, which remains a highly recommended performance. His recording of DON GIOVANNI from 1958 is also considered a definitive performance. He was also one of the most-acclaimed interpreters of Bartók, his reputation (and those of his recordings) rivalling that of Fritz Reiner, whose work with the composer is often cited as definitive.”
- Bruce Eder, allmusic.com