Scheherezade

[op.110]

Just performed this monstrous work last weekend with my school's orchestra (unfortunately, I wasn't given the luxury of playing the part of the story-weaver, Scheherezade). It's my first exposure to the works of the supposed master of orchestration. I wanted to know if anyone here had any thoughts to share on the piece, as well as share their recommendations for recordings.

[PaulR]

I assume you're talking about the Rimsky-Korsakov Scheherazade.  My favorite recording is this one:




Kondrashin and the Royal Concertgebouw Orchestra

[Daverz]

Stokowski/LSO on Cala.

[Brian]

I have a BBC Legends recording with Svetlanov on the way from England; have heard very good things about it and am eager to listen. My current recordings are with Haitink and the Concertgebouw on Philips and Bystrick Rezucha conducting the Slovak Philharmonic on some incredibly cheap label my parents bought from; of the two, I actually mildly prefer the Rezucha, which is more exciting and more vividly done, although neither is anything close to my ideal. My search for a great Scheherazade therefore continues as well.

[Holden]

Stokowski/LSO on Cala.

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?

[mc ukrneal]

Just performed this monstrous work last weekend with my school's orchestra (unfortunately, I wasn't given the luxury of playing the part of the story-weaver, Scheherezade). It's my first exposure to the works of the supposed master of orchestration. I wanted to know if anyone here had any thoughts to share on the piece, as well as share their recommendations for recordings.

A beautiful piece for sure, and R-K was certainly good with the tunes. The waves of sound and impresions that it creates are remarkable. Must have been fun to participate.

There are many good version of this piece, but one I have always returned to is Mackerras on Telarc. The sound is outstanding, an important element in a choice for this particular piece and the playing magnificant.

If you are looking for other music he has done, I'd recommend either the Overtures and Suites from his operas (there is a good double-cd with Jarvi conducting) and / or perhaps the piano concerto (The only version I am familiar with is the Hyperion version, which is pretty good).

[Renfield]

I'm fond of the Kondrashin, the Stokowski (both as mentioned above), and, unexpectedly, the Gergiev:




Certainly a very macho account, but it works, and I wouldn't want to be without it - in addition to the other two, that is. I also have the Karajan, which is good as a Karajanised take, and a Beecham on EMI which I haven't actually listened to yet, but am very hopeful for.

[MDL]

I assume you're talking about the Rimsky-Korsakov Scheherazade.  My favorite recording is this one:




Kondrashin and the Royal Concertgebouw Orchestra

I heard this recording on the radio and really liked it. Wasn't it the Building A Library choice not so long ago? I've got the Mackerras/LSO/Telarc that is generally highly regarded. Great sound and lively playing.

[DFO]

I've a version by Nikolai Golovanoff, the Bolshoi Orch. and David Oistrakh as concertino (1947). The version is mediocre, the recording bad, the orchestra sounds awful, but the violin solo parts are absolutely sublime. Only for DFO fanatics.

[DarkAngel]

Here are 4 of my favorite versions

The newer MacKerras/Telarc has beautiful modern sound but slightly lacks the dramatic intensity of Kondrashin, Reiner, and Beecham
Beecham and MacKerras have nice fillers

If I could keep only one version probably go with Kondrashin

[Dundonnell]

I had just scanned the cover of my Mackerras version but won't both now since you have already posted it

Superb recording and a gripping performance!

[DavidRoss]

I seldom hear it but when I do am always impressed by it, especially in live performance.  My prejudice has me ho-humming before (what?  that tired old warhorse?) but humming that insistent theme for days after.  Have Reiner on vinyl and Kondrashin on CD and have never desired another.

[karlhenning]

Unwaveringly fond of the piece, partly for sentimental reasons (my undergrad composition instructor had me study the score).  Happily, very well represented in ample fine recordings.

[Cato]

Just performed this monstrous work last weekend with my school's orchestra (unfortunately, I wasn't given the luxury of playing the part of the story-weaver, Scheherezade). It's my first exposure to the works of the supposed master of orchestration. I wanted to know if anyone here had any thoughts to share on the piece, as well as share their recommendations for recordings.

Dude!  There is no supposed to it!  Listen to his opera The Invisible City of Kitezh or even just the suites from his operas, and you will remove "supposed: from that sentence!   

[Sergeant Rock]

Here's a version (my favorite) that should not be overlooked by anyone wanting a range of interpretive possibilities in this beguiling score:



The stately speed of the opening movement is more evocative of the sea than any version I've heard. Gramophone was as impressed as I am:

Scheherazade is given one of the most memorable readings I've heard in years, better controlled – as I remember – than the LSO/Celibidache performance at the Royal Festival Hall and as piquantly detailed as Beecham's or Reiner's. Hans Kalafusz's violin opens on a broadly arched sigh and the ensuing seascape swells and surges like the real thing, though Celibidache never overplays the drama. The string tremolandos that underpin the bassoon solo in the second movement are extraordinarily vivid, and so are the evenly placed pizzicatos. The 'Young Prince and Princess' retain an air of freshness for the duration, though the movement's lilting central section is taken very slowly. The hub of the performance is a cut-crystal finale that combines physical excitement with absolute clarity in all departments (try the strings' knife-edged attack at 4'16''). In this sort of repertory, Celibidache was alchemist, colourist and seducer...


Sarge

[dirkronk]

My favorites haven't changed in decades, really, and they've already been named: Reiner/CSO, Kondrashin/COA (what heavenly playing from Krebbers in that!), and perhaps a half-step down from these the Stokowski/LSO (posters above are right--Stokie's at his best in this; you might also check out his historic Philadelphia '34 but give the Philharmonic '51 a miss...rather a snorefest in comparison to his others and IMO not worth the Testament price). Beecham I admire and do listen to regularly but not nearly as much as other listeners on this board and elsewhere; there's no question that it conveys a great, balanced performance and the famous Beecham finesse, but I miss the adrenaline rush that I find in the top three above. Monteux and the LSO did one that I like a lot--certainly worth a listen if you get a chance.

Mackerras and Gergiev I have not yet heard, and I need to rectify that. Mackerras got a LOT of positive online talk in past threads on this topic, but I just haven't felt compelled to track him down yet. Gergiev...well, with him I've got a bit of a love-him/disappointed-in-him thing going on. Years back, when his Tchai Nutcracker came out, everyone but everyone gushed. I bought--and actually, I was impressed--but not so much that I felt Gergiev outdid Dorati (either COA or LSO) in the complete ballet, and in fact I find myself revisiting Gergiev's version rather less often than I first imagined I would. And subsequent recordings of other works fall into a similar pattern: great! on some, meh! on others. OTOH, strong positive comments here will go a long way in convincing me to give his R-K a try.

Cheers,

Dirk

[jwinter]

I love Scheherezade.  A great performance from a great orchestra is like a trip to the spa:  just lie back, close your eyes, and luxuriate in the sheer sonic splendor of it all.  I've got quite a few versions, and I've heard everything mentioned above except Mackerras, Celibidache (need to get that), Rezuka, and Golovanoff.  For a first recording, I'll encore the recs for Reiner and Beecham, and add Eugene Ormandy as another excellent budget choice. 

But the damnedest thing is, they're *all* good.  Perhaps it's because I've spent too much time on boards like this (and therefore chosen well), but I don't think I've ever heard a version of this that I didn't like -- heck, I've got Hermann Scherchen's (of all people!) on my iPod at the moment, and it's fabulous (coupled with a really thunderous Tchaikovsky 1812 to boot).  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.

[Bulldog]

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

[karlhenning]

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

Such a popular piece, there are inevitably going to be so many recordings, so there are bound to be some dawgs out there. (No offense to the esteemed bulldog.)

[Moldyoldie]

I'm not nearly as enamored of Beecham's rightly famous recording as are many. However, Reiner's Chicago recording of roughly the same vintage still packs plenty of color and wallop and the detailed recording is outstanding -- still a favorite!

A contrasting favorite not yet mentioned here is Krivine's with the Philharmonia on the now-defunct Denon label - a very expansive rendering that's just as beautifully evocative.  I'm guessing it's barely still available.

My imprint was Dorati's Minneapolis recording on Mercury; I haven't heard it in years and must revisit it one of these days.

Here are my recent written thoughts about the Gergiev recording:

Rimsky-Korsakov: Scheherazade
Borodin: In the Steppes of Central Asia
Balakirev: Islamey
Kirov Orchestra, Mariinsky Theatre, St. Petersburg
Valery Gergiev, cond.
PHILIPS
Believe it or not, it must be over a year since I last heard Scheherazade; whether on record, on the radio, or otherwise by sheer accident.  Others may mock this colorful suite for its seeming ubiquity and stark mix of sweetness and bombast; I still love it on occasion -- especially when it's a performance as raw as this!

Valery Gergiev and the Kirov Orchestra strip the work of much of its over-romanticized varnish and present it as a powerful expression of Scheherazade's steadfast guile in the face of the Sultan's intimidating presence.  The opening story of "The Sea and Sindbad's Ship" commences slowly and most powerfully, then begrudgingly builds to an explosive crescendo.   Scheherazade is portrayed by a most forthright solo violin -- hardly sweet.  While "The Kalendar Prince" is similarly forthright, we're introduced to a great deal of unique characterfulness from the massed winds and power from the strings.  The resonant acoustic here (processing?) certainly intensifies the effect.  "The Young Prince and Princess" progresses with a rhythmic lilt and an appropriate measure of romance without necessarily tearing at heartstrings.    The multi-part finale consisting of "Festival at Baghdad", "The Sea" and "The Shipwreck" unfurls with great panache and features some surprising speed and emphatic percussion during sections of heightened drama -- fabulous!  The suite winds down from all the excitement with a most divergent and satisfying repose.  What sets this performance apart from so many others I've heard is the unique flavor of the Russian orchestra spurred on by Gergiev's take-no-prisoners conducting; it's particularly for those seeking some Slavic spice in this often westernized warhorse of oriental colors.

Borodin's familiar chestnut In the Steppes of Central Asia is presented with some pungent phrasing in the strings far removed from Beecham and Broadway.  Balakirev's mostly entertaining travelogue invention Islamey gets the blood stirring again to conclude the program. 

Some have criticized the sound recording as being either too resonant or too constricted and harsh during fortissimos; I can't rightly say I was taken aback by any of that. With this performance, it was actually "good" to hear Scheherazade again.