# What are some good Scheherazade by Rimsky Korsakov recordings?



## Declined

I heard the Florida Orchestra perform this and it was absolutely incredible. All the more so because it was conducted by Mei-Ann Chen. I didn't even know there were female conductors. And she was probably the best conductor I've seen so far. She was so enthusiastic. 

In any case.....what are some good recordings of Scheherazade?


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## StlukesguildOhio




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## joen_cph

Celibidache/DG 
http://inkpot.com/classical/russianceli.html


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## StlukesguildOhio

Forgot Stokowski... still one of the best!


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## violadude

Declined said:


> I heard the Florida Orchestra perform this and it was absolutely incredible. All the more so because it was conducted by Mei-Ann Chen. *I didn't even know there were female conductors*. And she was probably the best conductor I've seen so far. She was so enthusiastic.
> 
> In any case.....what are some good recordings of Scheherazade?


Oh? 

http://www.classical-music.com/article/11-of-best-female-conductors

Marin Alsop is probably the best known female conductor at the moment.


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## Guest

The Gergiev is very good and was my favorite for a long time. Then I got a recording by Gerard Schwarz and the Seattle Symphony that I think is even a little better.

View attachment 68481
View attachment 68482


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## Triplets

The Reiner is most critics choice. Spectacular


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## Guest

Triplets said:


> The Reiner is most critics choice. Spectacular


No doubt it's a great performance if you don't mind the old noisy recording and lack of definition and clarity.


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## elgar's ghost

I enjoy the Naxos recording but I'm more intrigued by the fill-up these days - the Tsar Saltan Suite is a tasty teaser and after reading about the opera in the Penguin Opera Guide it leaves me regretting that there has been no recording of the complete work for over half a century (pity Gergiev didn't record it as part of his Kirov series instead of settling for the seemingly less ambitious The Tsar's Bride).


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## D Smith

The Reiner is a fantastic performance and, trust me on this, the sound is just fine.


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## Heliogabo

Stokowsky and Philadelphia, Karajan and Berliner are my choices.


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## Becca

Declined said:


> All the more so because it was conducted by Mei-Ann Chen. I didn't even know there were female conductors. And she was probably the best conductor I've seen so far. She was so enthusiastic.


http://www.theguardian.com/music/2015/mar/11/barbara-hannigan-conducting-britten-sinfonia


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## Haydn man

My favourite is the version by Kondrashin with the Concertgebouw
An older performance but a good recording quality


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## Antiquarian

I like the Temirkanov with the New York Philharmonic (RCA). The Mackerras / LSO (Telarc) has good sound, but I just don't like it as well as Yuri's. The version that has the most sentimental value for me is the one conducted by Vladimir Fedoseev with the Moscow Radio Symphony Orchestra (Vox Cum laude / Melodiya ). Makes me wonder if Scheherazade is best conducted by a Russian.


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## Xaltotun

I'll second the Temirkanov. Very lush and dreamy. I have the Kondrashin but I usually find it a tad too harsh.


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## Simon Moon

D Smith said:


> The Reiner is a fantastic performance and, trust me on this, the sound is just fine.


I completely agree.

I have the Analog Productions 200 gran vinyl, and the 176khz/24 bit download of same, from the original masters.

I also have a couple of much more modern recordings on red book, and I don't find the noise to be a problem, and the detail is not lacking on the Fritz Reiner 'Living Stereo' recording.

It is actually a very transparent recording with impressive imaging. The soundstage extends well beyond the edges of my speakers, and is very deep.


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## Declined

Considering I just bought the Reiner from Amazon, this is good to know.


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## Nereffid

The recent recording from the Borusan Istanbul Philharmonic/Sascha Goetzel makes some small changes to the orchestration to include Turkish instruments (notably a couple of linking passages between movements played on oud). I don't imagine it would replace anyone's long-time favourites, but it's a nice alternative and worth checking out.


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## bigshot

This has always been one of my favorite pieces and the Reiner is good. But my favorites are Previn / LSO (hard to find!) and Bakels / Malaysian Philharmonic Orchestra. You wouldn't think the Malaysians would know how to play Russian music, but they are amazing. Great sound quality. Their Antar is the best I have ever heard.

By the way, I have always found the Mackerras VERY disappointing. It is super bland.


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## david johnson

reiner/cso. many also enjoy beecham!


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## Pimlicopiano

I think it's hard to beat the lyricism and exotic sound worlds conjured up by Svetlanov and the USSR State Symphony Orchestra - I've got the original Melodiya LP - and there are some later live versions recorded by the BBC. The Melodiya recording is still available on CD as part of a Rimsky Korsokov anthology from Svetlanov.


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## Declined

I like Reiner. Great interpretation. The audio is very clear. I can clearly distinguish all the instruments....but I just don't get that feeling in my ears from listening to sound with depth.


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## techniquest

Anyone remember the old LSO / Goosens recording? It was my very first 'Scheherazade' way-back-when' a mono LP on the Music for Pleasure label


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## Oldhoosierdude

I listened to many before deciding on this one.


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## Holden4th

Yes, Reiner is outstanding but my favourite is Stokowski with the LSO. One other I would recommend is Karajan/BPO particularly for the amazing solo violin of Michel Schwalbe.


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## Pugg

Royal Concertgebouw Orchestra, Kirill Kondrashin, lonely at the top.

http://www.prestoclassical.co.uk/r/Philips/4757570


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## jdec

Holden4th said:


> Yes, Reiner is outstanding but my favourite is Stokowski with the LSO. One other I would recommend is* Karajan/BPO particularly for the amazing solo violin of Michel Schwalbe.*


Yep, this one is actually my favorite solo violin rendition from all the Scheherazade versions I have.


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## Oldhoosierdude

techniquest said:


> Anyone remember the old LSO / Goosens recording? It was my very first 'Scheherazade' way-back-when' a mono LP on the Music for Pleasure label


Yes. It is available now on a remastered download through Amazon. It was $4 US when I got it. Quite good, almost rivals Reiner's recording.


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## Larkenfield

Becca said:


> http://www.theguardian.com/music/2015/mar/11/barbara-hannigan-conducting-britten-sinfonia
> 
> View attachment 68487


Great article by Barbara Hannigan. I'm a huge fan. She's a force of nature who reminds me of a valorous goddess straight out of the profound depths of Valhalla. Her picture is spectacular . . . stunning.


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## david johnson

do not forget this amazing adventure, featuring the lost vocal parts


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## Bill Cooke

For many years my go-to Scheherazade was Reiner's, but then I heard Stokowski's Phase IV Recording with the London Symphony Orchestra, and I was blown away.


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## Brahmsianhorn

The greatest Scheherazade recording ever taped was the 1927 Stokowski recording with the Philadelphia Orchestra, even better than the newer stereo Stokowski despite the old sound. The Philly strings are perfectly lush, and the interpretation is the greatest I know. My copy is on Biddulph.

Otherwise my go-to modern recording is Kondrashin. Great interpretation in lush sound topped off by Hermann Krebbers’ seductively beautiful account of the violin solo.

I also like the aforementioned Reiner, Gergiev, and Mackerras. However, one glaring omission from this thread that I rate above all three is Sir Thomas Beecham. I might rate this one above Kondrashin except for the older sound quality.


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## CnC Bartok

I'd also rate Beecham ahead of Kondrashin, albeit only just. Beecham remains my go-to version, has done for many years. Yes, the sound quality is a bit old, but it has never detracted from any enjoyment, not for me, anyway. It's still stereo, just a bit hissy and harsh.....

Kondrashin runs him close, the other recording I cherish is the Dutoit one on Decca. Fantastic sound quality!


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## Brahmsian Colors

Bill Cooke said:


> For many years my go-to Scheherazade was Reiner's, but then I heard Stokowski's Phase IV Recording with the London Symphony Orchestra, and I was blown away.


Agree the Reiner is excellent, but I too prefer the Stokowski/London Symphony Phase Four recording, *not his Royal Philharmonic version* . I also prefer the highly musical Beecham/Royal Philharmonic interpretation.


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## mbhaub

Best: Goosens, Chung, Immerseel 
Runners Up: Reiner, Mackerras, Karajan, Beecham...and several others.
Worst: STOKOWSKI, Ormandy, Termirkanov, Spano and a bunch of others. 

Why are the worst the worst? They do not respect RK. They make cuts (Ormandy!), tamper with the orchestration and worse. RK was one of the greatest orchestrators of all time. He was a genius in this difficult art. So why add xylophones? Why change the octave in the first violin parts? Why change RK's very clear piano markings to Sforzando-piano? It's not a matter of interpretation - it's a matter of being able to read a score, do your best to do what the composer intended and then make music with it. Goosens made a magnificently beautiful and exciting recording and he followed the score better than most. There is no Stokowski version that is worth a damn. The most egregious is the Royal Philharmonic recording on RCA where he actually begins the 2nd movement before the 1st has finished. I was so disgusted by that when I first heard it that I tossed that disk right into the dumpster. Horrible and grossly disrespectful. The Phase-4 - is that the one with the xylophone? Awful. 

If I had to keep only one though, it would be the Jos von Immerseel with the Anima Eterna Orchestra - yes, it's a Historically Informed Performance, but they sure spent a lot of time looking at what the composer wrote and really bring it to life. Thrilling and almost flawless. And unmolested.


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## Orfeo

I am always enamored by this recording, so well paced and superbly recorded. The Gergiev album is very fine and Serebrier's Reference Recordings album with the London Philharmonic is well executed.


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## Heck148

Brahmsianhorn said:


> The greatest Scheherazade recording ever taped was the 1927 Stokowski recording with the Philadelphia Orchestra, even better than the newer stereo Stokowski despite the old sound. The Philly strings are perfectly lush, and the interpretation is the greatest I know. My copy is on Biddulph.


That is a really fine version - featuring some legendary musicians - the title role may be played by M. Mischakoff [who was long-time Concertmeister for Toscanini/NBC]; Wm. Kincaid, M. Tabuteau, D. Bonade, J.W. Guetter are the WW principals - Anton Horner, Saul Caston, G. Simons are brass principals....Guetter's work is esp delicious - he was a great player, tragically struck down by cancer at an early age.


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## Taplow

This thread has caused me to purchase more recordings of Scheherazade than I could ever have imagined wanting to own before discovering TC.


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## Oldhoosierdude

Taplow said:


> This thread has caused me to purchase more recordings of Scheherazade than I could ever have imagined wanting to own before discovering TC.


Don't read any Beethoven Symphony cycle threads.


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## Taplow

Oldhoosierdude said:


> Don't read any Beethoven Symphony cycle threads.


Yes, I think the ten I already own is enough for now.


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## realdealblues

There's lots of good recordings of this work. A few of my favorites are:

Monteux/San Francisco Symphony Orchestra (Mono)
Bernstein/New York Philharmonic Orchestra
Reiner/Chicago Symphony Orchestra
Kondrashin/Royal Concertgebouw Orchestra
Muti/Philadelphia Orchestra
Ansermet/Suisse Romande Orchestra
Stokowski/London Symphony Orchestra (Decca)
Spano/Atlanta Symphony Orchestra

All top of the heap and all worth hearing in my book...


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## Merl

I like many of the ones already mentioned here (Reiner, Gergiev, Ashkenazy, Beecham, etc) but I'm particularly fond of Ansermet's account with the Suisse Romande, Schwarz on Naxos and, especially, Dorati's performance with the Minneapolis SO. Love the sound on all of these. but there's summat about Dorati's slightly odd reading that appeals to me. It sounds wonderful for its vintage.


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## Heck148

Scheherazade is similar to Ravel's Bolero, in that it lives or dies by the orchestral soloists...the concertmaster/mistress solo in the title role is all important, same with clarinet, bassoon. Major solos, for all principals actually.


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## Star

Beecham with RPO

Kondrashin with RCO


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## cougarjuno

Beecham

but I have to listen to some of the others that I'm not familiar with


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## Larkenfield

david johnson said:


> do not forget this amazing adventure, featuring the lost vocal parts


Loved the vocal parts. Thrilling!


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## st Omer

The Philadelphia Orchestra conducted by Eugene Ormandy in the the sixties on a Sony budget recording with the Capriccio Espanol and The Russian Easter Overture.


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## mbhaub

This could have been THE Scheherazade. Great playing by the soloists, great conducting, the Fabulous Philadelphians in their Golden Era. RKs three greatest scores on one disk (why doesn't that happen more often?) BUT....why oh why did Ormandy take that silly cut in the third movement!!!!!! Rimsky knew what he was doing, and for Ormandy to edit like that was just dumb. I know, I know...in that era conductors tampering with scores was acceptable and very common. But still...


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## Michael Diemer

Scheherazade is one of my top two or three pieces. I've been wanting a great recording for some time now. I have a live version with Bernstein, a tape off the radio with Gergiev, and one with Armin Jordan and the Suisse Romand. I had a vinyl back in the 70's which I loved, but can't remember who did it. In any case I lent it to someone and it's gone. 

After reading this thread, I think I'm going to get the Reiner. So many good things have been said about it. I can't believe Ormandy did what he did with it, I really like him in general. His La Mer with the Cleveland was spectacular. 

I'm hoping I can hear the triangle in the Reiner. It seems to get washed out in most recordings, but it has some great moments that need to be heard. Yeah, that NRK, he really knew how to write for the triangle...


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## mbhaub

Michael Diemer said:


> I'm hoping I can hear the triangle in the Reiner. It seems to get washed out in most recordings, but it has some great moments that need to be heard. Yeah, that NRK, he really knew how to write for the triangle...


I thought I was alone in this - there are indeed many recordings, some new and well-thought of, that the triangle is nearly non-existent. Was I going deaf? Nope. Maybe the conductor didn't like it; the recording engineers didn't want to hear it; the players got lost (it's happened). The Previn/VPO recording has a noticeably absent percussion section at times. Same with Barenboim. But then 60 year old recordings from Reiner and Goosens it comes through loud and clear!


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## Michael Diemer

mbhaub said:


> I thought I was alone in this - there are indeed many recordings, some new and well-thought of, that the triangle is nearly non-existent. Was I going deaf? Nope. Maybe the conductor didn't like it; the recording engineers didn't want to hear it; the players got lost (it's happened). The Previn/VPO recording has a noticeably absent percussion section at times. Same with Barenboim. But then 60 year old recordings from Reiner and Goosens it comes through loud and clear!


I'm glad to hear it comes thru in the Reiner. Another check in his column. Can't wait to hear it.


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## Oldhoosierdude

If you want an excellent Sheherezade, beautifully remastered and free try this one








Available here
http://rediscovery.us/index.html

Gould, like Stokowski, offers a unique take.


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## Brahmsianhorn

techniquest said:


> Anyone remember the old LSO / Goosens recording? It was my very first 'Scheherazade' way-back-when' a mono LP on the Music for Pleasure label


Thank you for this recommendation! I like it even better than Reiner as the interpretation is superior, right up there with Stokowski, Beecham, Kondrashin and Gergiev. Very exciting and well-paced! And the sound is a model of clarity and brilliance if not quite as good as Reiner's.



bigshot said:


> This has always been one of my favorite pieces and the Reiner is good. But my favorites are Previn / LSO (hard to find!) and Bakels / Malaysian Philharmonic Orchestra. You wouldn't think the Malaysians would know how to play Russian music, but they are amazing. Great sound quality. Their Antar is the best I have ever heard.
> 
> By the way, I have always found the Mackerras VERY disappointing. It is super bland.


And thanks for the Previn recommendation, another forgotten gem! This too I put right up there with the handful of other greats. Unfortunately it is hard to find on CD, but here it is on YouTube:


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## skywachr

Sorry to make such a late entry to this discussion but I found this thread and forum at the same time. I want to reiterate a comment made by a few earlier posters to the effect that the Goossens LSO recording is quite extraordinary in every way. I own numerous Scheherazade on lp, CD, and tape. I just recently acquired this version on cassette of all things and find it to be quite amazing in terms of interpretation, orchestral and soloist performance and sound quality. A caveat, the cassette is being played on a top quality 3 head deck into an audiophile system. Your results may vary but I can give this version a truly enthusiastic recommendation. I think it is in fact the best of all the numerous ones I have. Quite a surprise.


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## flamencosketches

I like Fritz Reiner with Chicago. Haven't heard many others.


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## NLAdriaan

For the dreamy fairytale atmosphere, I can only recommend Kondrashin and the Concertgebouw orchestra, with concertmaster Herman Krebbers. Everything comes together in this 1980 recording.


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## Enthusiast

Kondrashin, Beecham and Gerviev for me, too. Each with very different but very strong attractions so it is worth having all three. And then there is Reiner and Celibidache (Munich) which are also very good. I haven't heard the Goossens, I'm afraid.


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## Brahmsianhorn

I posted my own survey of Scheherazade recordings last month:

Survey of Rimsky-Korsakov Scheherazade recordings

I've been surveying as many recordings as I could find over the past year and thought I would post the results here. These are listed in descending order - five stars being the highest - based on performance only, not accounting for sound quality. I believe that people can determine how important a factor that sound quality is for themselves, so I do comment on the sound and supply the date.

Survey of Rimsky-Korsakov's Scheherazade Recordings

Stokowski (1927) (Biddulph) (*****) - Stokowski at his best, combining passion, beauty, and an improvisatory interpretation that manages to sound just right. Although there is the inevitable constant hiss, the sound quality is surprisingly good for the period, with the lush Philadelphia sound vividly caught. This recording truly captures the essence of the work. There is an alternate take of the first movement which is even more committed than the original.

Stokowski (1934) (Cala) (*****) - The same collaboration as before with similarly magical results. Choice between this and the earlier Philadelphia recording will come down to taste. Interpretively, Stokowski is a bit more risk-taking at times in this later recording. I prefer the slightly more natural feel of the earlier version. The later recording does boast more clear sound, though the earlier recording has greater body and fullness accentuating the beauty of the Philadelphia strings.

Stokowski (1951) (Testament) (*****) - Stokowski's later versions find him slightly more wayward compared to the earlier Philadelphia accounts but still exhibiting his inimitable sensuousness. The 1951 Philharmonia account is simply ravishing with plenty of beauty, power, and gusto in abundance. The sound is somewhat muddy even for the time period, but it represents obvious improvement over the earlier accounts in presence, fullness and clarity.

Kondrashin (1979) (Philips) (*****) - This is my top choice in modern sound, supplying a perfect blend of color, excitement, and beauty. Given the excellent sound quality, it makes an ideal first introduction to the piece as Kondrashin's interpretation is one where everything sounds right. Herman Krebbers' lovely, authoritative account of the violin solo is a major bonus. The final movement is among the most powerful ever recorded.

Gergiev (2001) (Philips) (*****) - If you want unbridled passion, look no further. Gergiev's interpretation is seductive, impassioned and powerful in the best Russian tradition. This really knocks your socks off! Some find the interpretation too subjective, but for me Gergiev is one of the few to really capture the essence of the work in the same way as Stokowski's old Philadelphia accounts.

Beecham (1958) (EMI) (*****) - That Beecham touch and sensitivity works its wonders. Few if any have ever captured the ethereal dreaminess of the work like Beecham. Perhaps there is a certain lack of thrust and power compared to some others, but taken on its own merits the recording is essential listening. No consideration need be made for the 1958 sound, which is excellent and full-bodied.

Stokowski (1964) (Decca, Cala) (*****) - Stokowski is not quite as inspired as in 1951 and even a bit more mannered. However, with the vastly improved sound quality you get an invaluably vivid taste of Stokowski's way with the work. This stands among the handful of greatest stereo recordings in its thrust and passion. Essential for lovers of this work. If you value modern sound, this is the Stokowski version to get.

Van Beinum (1957) (Decca) (*****) - If you want a great vintage recording without the mannerisms of a Stokowski, look no further than Van Beinum. The performance is robust, exciting, romantic, and the Concertgebouw in their heyday perform gloriously. The sound quality lacks fullness and clarity in comparison to contemporary recordings from Beecham and Reiner, but this is more than made up for in the lush sounds emanating from the orchestra.

Previn (1968) (RCA) (*****) - Though his spacious, measured approach may not appeal to all tastes, Previn's earlier account blends poetic sensuousness with robust, overwhelming climaxes in an interpretation that is unerring in its inspired concentration and spontaneity. The London Symphony performs gloriously, and the sound quality is clear and full.

Goossens (1958) (Everest) (*****) - Another one of the more underrated Scheherazade recordings, this is one that truly captures the magical, evocative nature of the work with plenty of excitement and sensuousness in abundance. Goossens allows the music to unfold naturally, and many may prefer this approach to that of more celebrated readings. The Everest sound is a model of its kind in its brilliance and clarity.

Dobrowen (1953) (Archipel, Opus Kura) (*****) - Another great pre-stereo account in sound that is quite acceptable for the period. This is a red-blooded, passionate performance with plenty of beauty and nuance. The Philharmonia play as if their lives depend on it.

Golovanov (1950) (Russian Classic Collection) (****1/2) - You will not find a more brazenly intense version of the work than this. Indeed, some may find it too high octane and the interpretation a bit too heavy-handed. The virtuosic playing is incredible, with the beautiful violin solo by none other than a young David Oistrakh. This is one of those versions that falls into the category of those that pack an emotional wallop but are not meant for everyday listening. The 1950 sound is quite acceptable for the time.

Stokowski (1974) (RCA) (****1/2) - Stokowski returned to the recording studio a fifth time nearly half a century after his first effort. Again, the results are revelatory if not quite as inspired as in previous efforts. In terms of sound quality, none of his previous recordings match the clarity of this one, though the 1964 recording has plenty of body and is even more committed and thrilling.

Haitink (1972) (Philips) (****1/2) - A solid, central recommendation in excellent, full sound. The London Philharmonic plays gloriously, and the interpretation from Haitink is alert and dedicated if not quite as individual as some others.

Ormandy (1973) (RCA) (****1/2) - Ormandy's last recording in Philadelphia presents their best collaboration. The interpretation is rock solid and the playing is stupendous - lush, grand, tense, and with thrilling climaxes. Only a slight lack of forward impetus at times prevents this from rating higher.

Dorati (1958) (Mercury) (****1/2) - From the opening bars is it apparent that Dorati understands the sensuous nature of the work. This is one of the most exciting, rapturous of versions, recorded in excellent vintage Mercury sound. Things are taken somewhat on the quick side, and there is a relative lack of tonal opulence in the strings.

Reiner (1960) (RCA) (****1/2) - Arguably the most celebrated modern recording, particularly among audiophiles. However, on my list it falls short of that acclaim. No doubt the playing and sound quality are spectacular. However, despite its brilliance I get the feeling that this could be a performance of any orchestral work. Everything is done with great efficiency, but I fail to hear the sensuous spirit of Scheherazade come through as it does with those listed above.

Mackerras (1990) (Telarc) (****1/2) - This recording marries ethereal beauty with powerful attack in sound that is a marvel of clarity. The brass playing in particular is the most impressive of any Scheherazade recording I know. My only quibble with this interpretation is that in its clarity and perfection it misses some of the sensuous passion of others. As impressive an account as it is, I wouldn't want it to be my only version.

Matacic (1958) (EMI, Testament) (****) - Another great recording from the 1950s that captures the evocative magic of Scheherazade. The Philharmonia play beautifully, and the sound is good for the period. The interpretation may strike some as relatively pedestrian, but the music speaks in such a way as to make this a worthy choice.

Stokowski (1962) (Guild) (****) - Any Stokowski recording of this work is going to be worth a listen, and this live recording certainly displays his flair and mastery of the score, if a bit more mannered and contorted as his later versions tended to be. However, even though the Philadelphia Orchestra is on top form the recording quality and performance itself are not competitive with his other versions.

Ansermet (1948) (Dutton) (****) - The extra flexibility and panache of Ansermet's earliest recording as compared to his later ones is pure gain. Despite its age the sound quality is very full and atmospheric though obviously more limited than the 1960 Decca recording.

Gaubert (1928-29) (Serie Contrepoint, Columbia 78) (****) - A virtuosic reading in surprisingly clear sound. Though the reading is on the fast side, the musicality is undeniable, exhibiting a romanticism and panache you don't find too often these days.

Silvestri (1967) (EMI, Royal Classics) (****) - Silvestri paces everything just right, with plenty of excitement in abundance even though the Bournemouth Symphony cannot match others in virtuosity. The sound is clear though has a certain cavernous quality.

Ormandy (1953) (Sony) (****) - Though Ormandy still shows traces of deliberateness, this account shows him and the Philadelphia Orchestra in much better form than in their later efforts. Things progress quite naturally and with plenty of excitement, virtuosity, and poetry in abundance. The sound is very decent mono. Unfortunately this has never made it onto CD.

Muti (1983) (EMI) (****) - Muti goes for broke in the first movement in an interpretation which may strike some as even too thrustful though certainly lush and impressive, enhanced by excellent, clear sound. The rest of the performance settles down a bit with plenty of sensuousness if missing the last ounce of inspiration.

Karajan (1967) (DG) (****) - This scores as an above-average effort due to the typical Karajan/Berlin lushness which highlights the ethereal beauty of the work. There is a certain lack of bite and excitement - perhaps even a bit of German heaviness at times - but those prioritizing beautiful sound will not be disappointed. Michel Schwalbe's violin solo is among the most beautiful in the catalogue.

Ansermet (1960) (Decca) (****) - A very beautiful vintage performance, though quite a bit on the careful side. Adherents of this performance see it as all the more evocative for its want of thrust and momentum. For me this is what I would classify more as a straight-forward, no-nonsense reading.


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## Brahmsianhorn

Gould (1955) (RCA LP) (***1/2) - Gould serves up a sort of "Stokowski-light" interpretation. The results are not always entirely convincing, but it is a lush, free-wheeling reading with plenty of exciting moments. The sound is decent 1950's quality. This has not been released on CD.

Chailly (1994) (Decca) (***1/2) - Some lush, passionate playing from the Concertgebouw and excellent sound make this a solid version, though Chailly is not without a few distracting interpretive choices.

Temirkanov (1993) (RCA) (***1/2) - Though not quite as distinctive or nuanced as others, this is a solid performance in excellent sound. The interpretation is sensitive if not quite evoking the magic of, say, a Beecham. This issue will appeal to those wanting an idiomatic reading without too much interpretive fuss.

Monteux (1942) (RCA, Archipel) (***1/2) - Robust, exciting performance, though played at times terribly fast. Nevertheless it packs a dramatic punch. The 1942 sound is acceptable for the period though obviously no match for Monteux's later account.

Ashkenazy (1987) (Decca) (***1/2) - This is a lush, romantic reading in opulent sound. Ashkenazy's interpretation is sensitive even if at times there is a certain want of excitement. Overall this makes for a solid modern, digital choice.

Jansons (1988) (EMI) (***1/2) - There is plenty of sensuous poetry in this performance that avoids any excess of dramatic impact. Though this will not appeal to all tastes, there is a singularness of purpose that makes it worthy of consideration, particularly given the clear, beautiful sound quality.

Previn (1981) (Philips) (***1/2) - While no match for Previn's earlier effort, this Vienna Philharmonic traversal nevertheless stands as a solid performance in excellent sound. Everything is judged and paced well if lacking a certain amount of impetus and inspiration.

Fricsay (1956) (DG, Beulah) (***1/2) - A very sensitive, beautiful interpretation, though a little on the cool side. The first movement in particular lacks in momentum. The Berlin Philharmonic in its heyday displays plenty of color and body, though the mono recording lacks presence and body.

Rostropovich (1974) (EMI/Warner) (***1/2) – Much of this interpretation is somewhat on the slow side, even plodding at times, yet the final movement is quite thrilling. Rostropovich maintains a keen sense of phrasing throughout with lush playing from the Orchestre de Paris.

Ansermet (1954) (Decca, EMI) (***1/2) – This is taken at a much quicker pace than Ansermet’s later recording, which at times serves only to accentuate the straight-forward nature of the reading. Though it lacks the later recording’s more ethereal beauty and is rather dryly recorded, this one has a bit more drama, flow, and dash.

Monteux (1957) (Decca, RCA) (***1/2) - Monteux's phrasing is sensitive and admirable though missing the passion of his earlier version. The sound is adequate though not up to the standards of the best from the period.

Bernstein (1959) (Sony) (***1/2) - Although the New York Philharmonic plays brilliantly at times, the interpretation is too deliberate and self-conscious. You miss the free-flowing nature of the best readings. The last two movements fare better. The sound quality is bright and detailed, but there is a constant hiss present.

Kletzki (1960) (Classics for Pleasure) (***1/2) - Lovingly molded interpretation, beautifully played by the Philharmonia, though this is not a performance that will knock your socks off. The sound is adequate but no match for contemporaries like Reiner and Beecham.

Leinsdorf (1960) (EMI, Urania) (***) – The biggest selling point for this recording is the luscious Capitol sound, offering excellent clarity and accentuating the exquisite playing of the soloist. Otherwise the performance is not particularly distinctive, though there are moments of beauty and excitement.

Bakels (2003) (BIS) (***) - Competent if unspectacular performance. Strong points in its favor include a lovely violin solo, clear, opulent sound, and an exciting final movement.

Ormandy (1962) (Sony) (***) - The first thing that jumps out at you is the ravishing violin solo from Anshel Brusilow. This is a very sensitive reading, and the Philadephia Orchestra is second to none in brilliance and execution. However, Ormandy is often quite restrained and even metronomical, and this is not a performance for those looking for passion and thrust. The sound quality is very good for the period.

Scherchen (1958) (Westminster) (***) - Scherchen is never boring, and this recording is full of passion and moments of electricity. However, there are plenty of interpretive choices that feel forced and disrupt the natural continuity of the work. In addition, the sound is substandard and the playing often scrappy.

Dutoit (1990) (Decca) (***) - This is an under-powered performance to be sure. However, it carries appeal for those who prefer a more gentle interpretation and value beauty of sound.

Jarvi (1987) (Chandos) (***) - Another fairly careful reading that emphasizes the ethereal beauty of the work and downplays the more dramatic aspects. The approach is enhanced by the excellent sound quality.

Boughton (1988) (Nimbus) (***) – Delicacy is the hallmark of this performance, with contained lushness and beautifully sensitive phrasing, if a bit on the precious side, in a clear recording.

Skripka (2014) (EMG) (***) – These Moscow forces supply a strong, conventional interpretation that qualifies as a solid if not spectacular version.

Wordsworth (1993) (RPO) (***) - Truly a middle-of-the-road recording. The sound quality is decent, the interpretation is conventional, and the performance strikes the right chords without being particularly distinguished.

Masur (1999) (***) – Well-played, sensitive, if somewhat pedestrian and unremarkable rendition, featuring excellent sound and the New York Philharmonic on top form.

Mauceri (1987) (MCA, LSO) (***) - A relatively clean, competent performance in good, clear sound. There are some good climaxes and fine sensitivity, though at other times the interpretation is sluggish.

Serebrier (1999) (Reference Recordings) (***) - This is taken at a deliberately brisk pace. Certainly there are moments where the approach produces thrilling climaxes and attacks. However, we know from others that this work needs more room to breathe for the full effect to come through.

Litton (1988) (EMI) (**1/2) - Though the outer movements supply moments of excitement at the climaxes, this rendition is otherwise lacking in inspiration and any hint at the sensuousness nature of the work.

Fedoseyev (2005) (Melodiya) (**1/2) - A deliberately cool, detached approach that is saved only by an exciting account of the finale. Some see the reserved approach as refreshing. For me it goes too far in its attempt to eschew sentiment.

Schwarz (2011) (Naxos) (**1/2) - Though there are moments of lush phrasing, much of this performance is comparatively pedestrian. The sound is excellent, and this comes at budget price.

Mehta (1989) (Sony) (**1/2) - Despite some sensitive playing from the Israel Philharmonic, particularly the violin soloist, this is by and large an under-powered, underwhelming rendition.

Svetlanov (1969) (Melodiya) (**1/2) - Very cool, clean interpretation. For me, it is too uninvolved emotionally to warrant praise, but certainly there are some who will favor this approach.

Ozawa (1978) (DG) (**1/2) - A very tame, gentle approach. Though the phrasing is certainly sensitive at times, the interpretation is mostly faceless. The biggest selling point here is the sweet, sensuous playing of the violin soloist, Joseph Silverstein.

Dutoit (2010) (Onyx) (**) – Despite good presence and execution from the orchestra, as well as commendable sensitivity, this interpretation from Dutoit is less inspired than his earlier, already underpowered approach.

Frémaux (1988) (Collins) (**) – Fairly bland, faceless reading aside from a few moments of virtuosic brilliance in the outer movements.

Immerseel (2005) (Harmonia Mundi) (**) - Not only is this a "period instrument" performance with minimal vibrato, but the interpretation is cool and four-square, an apparent attempt to "authentically" present the score without any hint of a performer subjecting his will. I suppose some may like this, even as a novelty, but for me it robs the music of its natural essence.

Spano (2001) (Telarc) (**) - Though lauded in some quarters, this is little more than a well-recorded run-through. The orchestra plays well, but the interpretation is quite mechanical and robotic.

Chung (1993) (DG) (**) - Generally competent performance in excellent sound, but mostly devoid of any passion, excitement, or flair.

Barenboim (1993) (Warner) (**) – Well-played account from the Chicago Symphony but lacks passion and inspiration.

Maazel (1986) (DG) (**) – Largely dull, by-the-numbers, uninspired recording. Though uncontroversial and somewhat sensitive in spots, everyone involved seems to just be going through the motions.

Svetlanov (1979) (EMI) (**) - Though there are some moments of poetry, this interpretation is so contorted towards the slow and plodding that the effect of the work is lost.

Celibidache (1984) (EMI) (**) - Eccentrically slow. Certainly there are some lovely moments, but overall the performance simply does not hold together.

Perlea (1957) (Vox, Tuxedo) (**) - Though there are a few moments of decipherable musicianship, this is generally a sluggish, uninspired performance given a mostly perfunctory interpretation. The sound is adequate, though fairly confined and cavernous.

Yuasa (1995) (EMI) (*1/2) - A fairly comatose reading. Only the final movement has any moments of life, but overall this comes across like a first rehearsal.


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