Fritz Reiner

You know, the relationship between the conductor and any musician in the orchestra changed a great deal since the great pharaohs of the early 20th century, rather, you know, 20s, 30s, who built fantastic pyramids, the great American orchestras.

I have a fantastic story about Fritz Reiner, who... conducted very small.

And if you listen to his recordings, Chicago Symphony is like unstoppable, incredible machine.

But his beats were very, very small.

Next day, he comes with an army, you know, the stand and the big, big binoculars to make a joke.

Of course, everybody's, you know, laughing.

And Fritz Reiner, when he saw it, he took a tiny little piece of paper and very, very small handwriting that only he could see.

What did he write? You are fired.

We were lucky in Pittsburgh.

Fritz Reiner had Rachmaninoff here several times, and he gave a recital here, too.

Of course, I wish I could have been there.

But the picture you have of Sergei Rachmaninoff in your mind?

Bela Bartok's Concerto for Orchestra has been a signature work of the CSO since its 1955 recording, led by sixth music

director Fritz Reiner.

There's something in their DNA that goes straight back to Bartok.

Conductor Esa-Pekka Salonen marvels at the circumstances around the Concerto for Orchestra.

This is an example of Brahms straying from some classical conventions, writing the concerto in four movements rather than the standard three.

Here is that first movement performed by pianist Van Cliburn and the Chicago Symphony Orchestra under the direction of Fritz Reiner.

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[on-hold music]Fritz Reiner led the Chicago Symphony Orchestra, joined by pianist Van Cliburn in Movement One from Piano Concerto No. 2 by Johannes Brahms.

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