Classical Music

Classical Music

RIMSKY-KORSAKOV: SCHEHERAZADE

PIERRE MONTEUX EDITION VOL 11

Borodin and Tchaikovsky were both hostile to Rimsky-Korsakov's Third Symphony when they heard it in its first version, but not as critical as the composer himself. What we have here is its third and final revision, purged of the excesses of technique that, he wrote in his memoirs, made it all too dry. In this version, which has had several recordings, it is enjoyable less as the solemn exercise to which Borodin objected than as a piece of vivid orchestral writing with some attractive ideas guiding it. It therefore fits easily into a programme of Korsakov orchestral show-pieces, of which the most substantial is the musical picture Sadko.

Svetlanov is an old hand with this music, and he draws properly colourful performances from the orchestra, clearly and brightly recorded. The version of the symphony is preferable to Yondani Butt's over-stressed performance with the LSO or the limper version by Kitaienko with the Bergen Symphony Orchestra. Serious collectors of Rimsky-Korsakov's symphonies will no doubt have acquired the fine set by Neeme Järvi with the Gothenburg Symphony Orchestra on DG: this is on two records, and contains all three symphonies together with the Russian Easter Festival Overture and the Capriccio espagnol. For those following Svetlanov's series (the two other symphonies were reviewed last November) or for what might be called a Rimsky-Korsakov taster, even if not of his best music, the present disc is very acceptable.

-- Gramophone [10/1995]

Drawn from the worldwide catalog holdings of Sony Classical, which includes both the Columbia/CBS and RCA Victor label imprints, the SONY Classical Originals, SONY Classical Masters Singles and Box Sets, SONY Opera and Opera House series offer an extensive selection of highly desirable and collectible pressed import editions, smartly-designed and graphically-pleasing, featuring the most sought after recordings by the world's preeminent, legendary artists both past and present, with many titles newly re-mastered in 24bit High Resolution Audio.

It was Nikolay Rimsky-Korsakov’s older brother, Voin, who first put ideas of travel, ships and the sea into the would-be composer’s head. The young Nikolay had never set foot aboard a boat but Voin’s evocative letters home from the Far East, where he was stationed in the Imperial Russian Navy, proved more than sufficient. Nikolay’s career path looked set even from his childhood bedroom, where he learned nautical terms, rigged-up model ships and practiced tying knots, his mind full of the adventure and romance of seafaring. In 1856, he enrolled as a naval cadet and completed six years of training. During that time another passion nudged its way into Rimsky’s heart: music. Barely a year into his studies at the naval academy, the young Nikolay saw his first opera. Soon he heard symphonies by Beethoven and Mendelssohn and encountered a piece by his senior Mikhail Glinka, Jota Aragonesa. Even before he embarked on a three-year voyage around the world aboard a clipper, Rimsky knew he wanted to be a composer, not a seaman. Afterwards, having sailed into some of the great ports of the world, he returned home happy never to leave Russia again – the only journeys Rimsky wanted to make were musical. This new release is a new, stunning release by Vasily Petrenko conducting the Oslo Philharmonic Orchestra in a exhaustive survey of Rimsky-Korsakov orchestral output, including the most idiomatic Scheherazade.

Classical Music

Chandos has wisely reduced this original, expensive three-disc set to a moderately priced twofer, without losing any music at all. The performances are wonderful: this recording was made in the first flush of Neeme Järvi's relationship with Chandos, when their recordings with the Scottish National Orchestra were winning accolades the world over for their sonic brilliance. At the time, much of this music was also difficult to find (particularly the suites from Christmas Eve and The Invisible City of Kitezh), and so were additionally welcome in such glittering interpretations. Even now they hold up extremely well: Järvi's strength always was his willingness to let the orchestra cut loose in the big moments, especially the march music in Le coq d'or, or the Dance of the Tumblers from The Snow Maiden. Also as usual, the string playing lacks that last ounce of precision and rhythmic clarity (the galloping rhythms in Christmas Eve, for example), but few will complain. BIS's ongoing series of Rimsky's orchestral music with the Malaysian Philharmonic has even finer sonics, but if you're looking for just the opera suites, you can hardly do better than this.

--David Hurwitz, ClassicsToday.com

Recording with Chandos for the first time, this album marks the beginning of a new partnership with the Toronto Symphony Orchestra. A regular presence in concert halls throughout the US and Canada, this recording also comes as the TSO embarks, in August, on its first European tour since 2000 under the baton of Peter Oundjian, who this year celebrates his tenth anniversary as Music Director. He also conducts in this performance of Rimsky-Korsakov’s ever-popular symphonic suite Sheherazade.

Many composers have drawn inspiration from the collection of folklore known as the Arabian Nights but none has captured the imagination so vividly as Nikolay Rimsky-Korsakov in Sheherazade, composed in 1888. In the story, Sheherazade escapes the murderous intent of her husband, the Sultan Schariar, by entertaining him with fascinating tales every evening for 1001 nights. Rimsky-Korsakov’s four movements allude to individual episodes and images from the stories in dazzling orchestral colour.

The suite opens with a stern and strident brass theme representing the bloodthirsty Sultan. A winding melody for solo violin that returns throughout the work represents the answering voice of Sheherazade. The kaleidoscopic second movement has the character of a scherzo while the third is tender and lyrical. The finale is a boisterous and exuberant carnival, calmed by the return of Sheherazade’s theme which brings the work to a serene conclusion. - Chandos

Review Quote

"Both conductor and orchestra make a very positive impression in Sheherazade. Oundjian shapes the music with passion and affection and pulls off some powerful climaxes. He is not afraid to go all out when the music requires it. But Oundjian is also a man who attends to details. The precision of the playing is first-class.

Rimsky’s score abounds in virtuoso opportunities for principle players in the orchestra and it is a joy to hear the TSO musicians show off. It is the concertmaster who gets the most opportunities and Jonathan Crow clearly demonstrates why he is such an asset to the orchestra..." - Paul E. Robinson, Musical Toronto

A mystic realm tinged with the scent of foreign spices, bewitching music, vivid color and sensual delights... Orientalism sparked a new wave of romanticism in Western art in the 19th century, which had a profound influence on artists. At the time, The Arabian Nights had long been popular in Russia, in a French translation by Antoine Galland that indulged the Francophile passion for all things Arabic. For Rimsky-Korsakov who had a life-long fascination with fairytales especially those from the exotic setting of the mythical Orient,"Scheherazade"was an ideal theme. Born into a family of Russian naval officers, music and the sea became his passion since childhood and he graduated from the Naval Academy of St. Petersburg to become a naval officer himself. While pursuing his musical studies, he embarked on numerous ocean voyages, visiting Brazil, America, Europe etc The Oriental Ballet Suite "Thousand and One Nights" was originally conceived as an orchestral work, first published for piano solo in 1927, and then arranged for orchestra by the composer himself. It gained popularity immediately after it's release and was broadcast on several radio stations.

Opera Suites, Vol. 3

This album offers a new approach to the character of Scheherazade, with Rimsky-Korsakov's musical masterpiece transcribed for the forces of Ensemble K and a previously unpublished text, freely adapted from the Thousand and One Nights and ancient love poems, which tells the story of Scheherazade. The Franco-Iranian actress Golshifteh Farahani plays Scheherazade, while Kristin Winters is her sister, Dinarzad: 'For me, this story is a literary and historical treasure of humanity. But our collective imagination has seen Scheherazade as either a seductress or a submissive woman who told stories to survive. The greatness of this character goes far beyond that, and in fact represents the ancient figure of the "hero", or rather the heroine!', says Simone Menezes, who is artistic director of this project. For this second collaboration with Alpha Classics (after Amazonia, ALPHA990), she presents two versions of the programme, one with music and texts, the other with Rimsky-Korsakov's music alone.

Originally released in 2007, Artur Pizarro and Vita Panomariovaite’s ‘Rimsky-Korsakov: Piano Duos’ has been re-issued as part of Linn’s ECHO series. These two talented pianists bring to bear their skill and virtuosity in three colorful arrangements encompassing Rimsky-Korsakov’s most popular music for orchestra, Scheherazade, Sadko and Capriccio Espagnol. Mr. Pizarro’s prize-winning performance at the Leeds Piano Competition marked the beginning of his international concert career. “…wonderful… very effective, evocative and exhilarating performances.” (Int’l Record Review)

Sapyegina/Lissovsky/Fedoseyev/Tchaikovsky Symphony Orchestra.