Scheherezade

[dirkronk]

It's such a beautiful piece, and the structure is so strong and so straightforward, that it's darn near impervious to bad interpretations, at least in my experience.

Sorry I have to disagree here, but my experience has been less than thrilling in many instances.  

In recordings, cause for negative reactions range from tepid presentation (the Stokie '51 Philharmonia really does plod a bit, quite uncharacteristically so) to poor orchestral execution (the stereo era Ansermet/SRO is a fave of two friends of mine, but I hear some real clams in the playing and less than ideal ensemble) to so-so if serviceable interp combined with shrill and poorly balanced sonics (I'm thinking Tjeknavorian on the Chalfont early digital LP in particular).

Alas, in concert things have been even worse for me. I recall a Scheherazade done by the San Antonio Symphony in the late 1980s in which the concertmaster was so off (off pitch, steely tone...simply nothing was working for him that night) that the entire performance was painful to listen to. Whether this set the tone for the rest of the orchestra, I don't know, but even the pacing and phrasing of various orchestral sections were off as well. I still shudder at the memory. (Luckily, the SA Symphony did the same piece astoundingly well just a few years ago, with Stephanie Sant'Ambrogio doing fiddle duty.)

But then, hopefully my experience isn't the norm for most of you.


Dirk

[karlhenning]

Here are my recent written thoughts about the Gergiev recording:

That's a good disc, moldy.

[Moldyoldie]

That's a good disc, moldy.

Glad we agree, Karl.  It's to the point where if I hear this work again, I wanna be, uh, re-enlightened as to its many appeals.

[nut-job]

Although I see it got a bad mention above, the Ansermet OSR is the most fun, IMO.  The polar opposite of Karajan (60's, BPO) who produces a thrilling account but who seems to think he is flattering R-K by playing it as though it were by Wagner.  R-K should sparkle, and be free of bombast.

[dirkronk]

Although I see it got a bad mention above, the Ansermet OSR is the most fun, IMO.  The polar opposite of Karajan (60's, BPO) who produces a thrilling account but who seems to think he is flattering R-K by playing it as though it were by Wagner.  R-K should sparkle, and be free of bombast.

Since I dissed Ansermet (sorta), I should also be willing to admit that there are things about it that I admire--orchestral clams and ensemble quibbles notwithstanding. One is precisely what you allude to, nut-job: fun...and sparkle. I think that's one of the big reasons that my friends like it, as well. IIRC (it's been a while since I heard it last) the recording is taut and realistic in fine Decca/London early stereo style, too, and the orchestral texture is lighter and more open than most. Depending on how posh you want the piece, this can be good or so-so, but there's no question that it's an impressive, vivid recording. In fact, heard in isolation I might not nitpick as much as I do, but having heard and lived with Kondrashin and Reiner in this music has definitely spoiled me.

Your other point, about Karajan, is also quite telling. Critics back in the '70s and early '80s continually cited Karajan and Haitink as two top current options, but even then I demurred from both. As I recall, part of my problem with HvK was the uber-plummy approach: the "Wagner" of your own description, I'd say. Before hearing Reiner (and before Kondrashin was around), I tended to like Kletzki and Ansermet and Beecham, all for different reasons. I'd heard Dorati, but on a wretched pressing, so I wasn't inclined to favor his...and I had an old Parliament cheapie (don't recall the conductor--Chmura or someone?) that had introduced me to the work. Stokowski/LSO was around, but the Phase 4 sonics sort of overwhelmed the performance itself and tended to blare on some better equipment...so I would have to wait to "rediscover" that one later to realize just how good it was. Anyway, once a good copy of the Reiner hit my turntable--and Kondrashin came out only a few years later--that was pretty much the end of my personal quest.

Uh, sorry. I've rather run on, haven't I? I'll sign out now and let others post.

Cheers,

Dirk

[Daverz]

I have the earlier mastering that originally appeared on the London/Decca label and have to agree that this is one of the greatest recordings of this work. Stokie did this 5 times but the LSO is definitely his best.

How does Cala do with the SQ?

An immensely better remastering.  Much of the distortion is the London remastering is gone.

[Brian]

Alas, in concert things have been even worse for me. I recall a Scheherazade done by the San Antonio Symphony in the late 1980s in which the concertmaster was so off (off pitch, steely tone...simply nothing was working for him that night) that the entire performance was painful to listen to. Whether this set the tone for the rest of the orchestra, I don't know, but even the pacing and phrasing of various orchestral sections were off as well. I still shudder at the memory. (Luckily, the SA Symphony did the same piece astoundingly well just a few years ago, with Stephanie Sant'Ambrogio doing fiddle duty.)

I believe I was at the latter performance. The SA orchestra has taken a humongous leap forward, artistically, under Larry Rachleff. 

Will second your thoughts, however: I've never heard a recording of the piece which I liked sufficiently. Almost ready to pounce on an Ormandy or Reiner album, though!

[bhodges]

Count me in the Scheherazade fan club.  It was one of the first classical pieces I ever heard (I wish I could recall what recording my parents had) and I took to it immediately.  And I agree with those who admire Rimsky-Korsakov's orchestration skills.  Cato mentions Kitezh, which is a marvelous example, and I also like The Snow Maiden, with the brilliant and well-known "Dance of the Buffoons."

For Scheherazade recordings, I also like Kondrashin and Gergiev.  The latter I bought after hearing him and the Kirov play the piece, and it was a wonderful experience to hear it live.  I have Chailly's recording, too, but probably wouldn't recommend it as a first choice.  (I'm just a nut for the orchestra.)

--Bruce

[hautbois]

Here's one to avoid - Bakels and his Malaysian orchestra on BIS.  It's very low on eroticism.

But did you also know that it is one of the only recordings out there that contain an enormously high level of technical precision acccording to the score? My personal favourite is the Kondrashin, but that has no precision at all...

Howard

[dirkronk]

My personal favourite is the Kondrashin, but that has no precision at all...

Coulda fooled me. But hey, that's too easy, since I don't read music.


Besides, Kondrashin (and Reiner, especially) SOUND like they're awfully darn precise. Or virtuosic, anyway. Last movement on both of 'em is edge-of-the-seat kinda stuff.

Dirk

[Dr. Dread]

I like this piece and I like this:



Better than the Naxos disc I have.

[Dr. Dread]

...and add Eugene Ormandy as another excellent budget choice. 

I just noticed I own the Ormandy/Philadelphia as part of a box set. Will have to spin it soon.

[FredT]

Scheherazade is an amazing work, so beautifully written and brilliantly orchestrated. It's too bad that most recordings gloss over the original writing by emphasizing the "effects" Go back to Monteux/San Francisco or Rodzinski/Cleveland and listen to just how fresh and magnificent this work is!

[Xenophanes]

Although I see it got a bad mention above, the Ansermet OSR is the most fun, IMO.  The polar opposite of Karajan (60's, BPO) who produces a thrilling account but who seems to think he is flattering R-K by playing it as though it were by Wagner.  R-K should sparkle, and be free of bombast.

I never really liked Scheherezade until I got the Ansermet OSR recording a few weeks ago as part of a 2 CD set.  The performance is really alive and the sound is great, with a wonderful stereo spread. I haven't noticed any bad playing, but then I probably wouldn't:  it's plenty good enough, and as the late Paul Murray once said, I'll take liveliness and excitement over technical perfection anytime. Of course, I am something of an Ansermet fan. The performances of the Tsar Saltan Suite, May Night, Christmas Eve, and Russian Easter Festival Overture are also classic.



There is another 2 CD set, and I suppose the choice would be with the couplings, which are somewhat different.



I have long had a couple the Penguin Guide recommended, Haitink and Kondrashin, but never warmed up to them. 

On LP, I have Stokowski LSO on a London Phase Four LP which, now that I like the work, sounds awfully good, too.  I like Beecham RPO, too, but not as much as Ansermet or Stokowski. I will have to listen to Monteux LSO again, to see whether I like it now.

[Brian]

As luck would have it, I was going through my closet this evening and found the Ansermet recording in a box! Unfortunately, I didn't like it very much - the solo playing was not very good, a very thin tone, but just generally ... the interpretation didn't do it for me. It's not a "here are the problems with this recording" kind of thing; more like a situation where the performance was just not to my taste. The search continues. 

[Drasko]

I like mine fat, which for me rules out Kondrashin's and Reiner's (too athletic) and Beecham's (downright skinny).

Malaysians may have all the right notes in all the right places but that is one of the dullest things I ever heard, the whole cycle.

The ones I'd like to try next are Gergiev's and Temirkanov's (tirelessly championed by M)  

[hautbois]

Coulda fooled me. But hey, that's too easy, since I don't read music.


Besides, Kondrashin (and Reiner, especially) SOUND like they're awfully darn precise. Or virtuosic, anyway. Last movement on both of 'em is edge-of-the-seat kinda stuff.

Dirk

Compare the 2 ship wreck scenes....Kondrashin's schipwreck scene happens with waves that are real, they go up and down, and when waves move, up, there is a splash, and when it recedes, it comes down slowly....Reiner's waves are a bit even so to say.....ha....ha.....

Howard

[MichaelRabin]

Did anyone buy the NYPO - Temirkanov version on RCA? I think Classic CD voted it ahead as its No 1 version. Any comments please?

[vandermolen]

Still my favourite version and in fact my first ever classical LP, when I was c 14 years old.