Richard Strauss: Also Sprach Zarathustra—Fritz Reiner conducting the Chicago Symphony Orchestra (Analogue Productions, RCA Living Stereo 45 RPM Series) [2026]

Classical music on 45 RPM vinyl is not everyone’s cup of tea. Me, not a problem, repertoire dependent. Chopping and changing sides in a Bruckner or Mahler symphony would not be ideal, no matter the talent of the editor. But something as episodic as Strauss’ Also Sprach Zarathustra, I don’t see as a big problem, especially on these marquee recordings and performances.

This very famous performance, up there in the top two for my taste (the other being Karl Bohm’s fabulous DG Tulip with the Berlin Philharmonic from 1959), boasts an equally famous recording.

Originating from Chicago Symphony Hall at the dawn of stereo (recorded in 1954 but released in 1960), it was produced by John Pfeiffer and engineered by Leslie Chase, and is considered by many collectors as RCA Living Stereo Shaded Dog’s most prestigious title, the record has stood the test of time through umpteen represses, reissues and CDs.

Now we come to what may be its ultimate re-release (and good news as rare as a hen’s tooth, a clean original Indy 1S/1S copy will go for well over USD 500 and even Classic Records’ famous reissue from the mid ‘90s, upon which this new reissue is based, can get USD 100 or more). Classic Records also released a 45 RPM reissue around the same time on 200 gram vinyl.

This new series by Chad Kassam’s Analogue Productions (first run is 25 titles) comes in a gorgeous, matte gatefold, and the initial releases are being sold for USD 65. I purchased mine from Acoustic Sounds. It was delivered silent but with a serious dishwarp on Side 3/4. I’ve sent an email. We’ll see. The problem with returning from Canada is shipping. It’ll mean the LPs cost almost double.

I’ve lived very happily with the Classic Records 33 RPM Bernie Grundman cut for over 30 years. It’s a wonderful remaster, with great dynamics, enviable timbral accuracy and much of the great hall intact (with no brightness that appears in a couple of Grundman’s Classic reissues). If you have it and are happy, you’re probably done. My new purchase was primarily to review it for you to see if the sound upgrade was worth the splurge. Remembering, same weight, same metal work, same remastered tape, but new 45 RPM pressings over four sides from QRP.

Musically, the piece works quite well on 45 RPM sides. Most importantly, you’ll hear the famous opening “Sunrise” (used in Kubrick’s 2001), followed by the glorious subdivided strings in “Of the Great Longing” (with the best crescendo on records), uninterrupted. And the 45 RPM cut with fewer grooves means that it’s guns a blazing for all sections. Certainly worth getting your behind out of your seat for the record flip.

The performance and interpretation need no encomiums from me—it has been lauded from Chicago around the world. The mid ‘50s Chicago Symphony had few equals, and Reiner’s iron fist controls them to perfection. Under the scrutiny of the famous recording, nothing goes amiss—and Zarathustra has a lot of notes for every instrument.

Reiner’s great hires play their solos to perfection, including Phil Farkas’ horn section throughout, legend Bud Herseth hitting his screamers flawlessly, a corporate string section that plays with incredible deep tone and passion and woodwinds darting about beautifully in the soundstage. Simply amazing, benchmark playing by everyone. Even the bitonality of the indeterminate ending is beautifully in tune. Rare.

So, worth the investment? Absolutely. It scores above the 33 RPM in dynamics (both micro and macro), ease of presentation—no congestion of any kind, and, I don’t know why, but the timbral accuracy is scarily good. Certainly one of Bernie Grundman’s greatest achievements, let alone of Chase and Pfeiffer, to capture this spectacular stereo sound in 1954. Very highly recommended.

Dishwarp aside, the release is so good, I have Lieutenant Kijé on order.