Customer Reviews: Read 4 more reviews...
 Excellent, but not so obviously "the best"... October 29, 2008
1 out of 1 found this review helpful
Originally posted on my music review blog. Check my profile if you are interested.
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Rimsky-Korsakov's 'Scheherazade' is a wonderful, intoxicating piece of music. Standing as the composer's most beloved composition, its picturesque Orientalism--realized through brilliant, inventive orchestration and an outpouring of exotic melody--lends itself perfectly to conductors' varied styles. Listeners adore comparing performances--invariably, Reiner's recording is extolled for its technical excellence, Stokowski's for its mysticism, and Svetlanov's for its 100% genuine Russian bombast.
Yet, even in such a crowded field, this present performance by Sir Thomas Beecham is perhaps the most universally admired recording of 'Scheherazade.' In fact, it is so admired that even the colossal ego in Herbert von Karajan initially declined to record the work, remarking that Beecham's interpretation could not be improved upon.
Frankly, the praise is bit overdone. This is not to say that this is a bad recording--by no means! Beecham was one of those conductors who could seemingly do no wrong, and there is certainly nothing wrong here, per se. But for comparison, let us draw upon one of Scheherazade's very best performances--Ernest Ansermet's lamentably rare 1954 recording with the Paris Conservatoire Orchestra.
Take the opening few bars. The Sultan's theme roars out of the brass, and Scheherazade's voice--symbolized by the haunting violin solo that unifies all four movements--responds, spinning the first of her tales, 'The Sea and Sinbad's Ship.' Beecham's opening shows the maestro in classic form, smoothly propelling the metallic, ominous sound of the brass with a very musical and masculine snap. And his violinist is very good, depicting our heroine with seductive style. In contrast, Ansermet's sultan is bit less forceful, a bit warmer and more balanced with the strings and reeds. His sultan has just a little more weight around the middle and strides in purposefully. Ansermet's violinist plays swiftly, with considerable freedom and feeling--in his hands, Scheherazade's' feminine voice coyly convinces the sultan to pause and listen.
In the second movement, 'The Story of the Kalendar Prince,' Beecham's bassoon soloist is really very good, aptly injecting a bit of awkward character into his solo without sacrificing rhythm. The strings are very elegant. And the maestro's same, classy, snappy phrasing works wonders in the faster parts of the music, particularly in all those wonderfully rousing orchestral strikes towards the end where his wide dynamic range really comes to bear. Clearly, Beecham has the superior orchestra and they play the pants off this music. Yet, Ansermet somehow makes his comparatively sloppy ensemble sound more appropriate--the fluttering, less precise winds are the voices of his characters, and the lighter, thinner strings are the dust and air they breathe. With them, he takes full advantage of Rimsky's colorful and atmospheric orchestration, defining each melodic line with unerring clarity.
And these trends continue. In the third movement, 'The Young Prince and the Young Princess,' Beecham is all elegance and charm, making a tasty "Beecham bon-bon" of this romance. And his clarinetist depicts a lovely princess indeed. But Ansermet's is a lighter, sweeter, and more innocent pair of lovers--by comparison, Beecham has too little fairy tale and a bit too much Tchaikovsky. Is that such a bad thing? Well, no, actually it's great, and no one could ever say that Beecham's conception lacks character. But Ansermet's storytelling is second to none.
The last movement, 'The Festival of Bagdad - The Sea - The ship goes to pieces on a Rock surmounted by a Bronze Warrior,' with its mad dash to finish line and final moments of redemption, suits both conductors just fine. Beecham displays typical panache and energy, galloping through with a palpable sense of fun and arriving at a most sensuous conclusion. Here, his superior orchestra really does give him an edge. Still, Ansermet handles himself well, with the Baghdad festival coming off as quite a ragtag affair and the orchestra's bright, blaring trumpet intruding in a wonderfully impetuous way.
In short, both recordings are excellent, but neither is the end-all performance. Beecham provides a vivid musical picture of a far away, exotic, spice-filled fantasy world. Ansermet provides a threadbare magic carpet and takes you there.
The "filler" of Borodin's Polotsvian Dances are hard hitting and very exciting, demonstrating essentially the same qualities as Beecham's 'Scheherazade' but in music even better suited to them. The appearance of the Beecham Choral Society is a plus. The sound is typical 50's--clear and very closely miked. The bass is a little weak, but not unacceptable.
Recommended, but don't limit yourself to just this recording of 'Scheherazade.' Get several different ones and argue over them. It's fun!
Rating: A-
Beecham beats it. October 15, 2008
0 out of 1 found this review helpful
I enjoyed the power of this recording and recalled a live performance at the State Cinemas in Kilburn,London and how Sir Thomas Beecham would conduct without a baton punching the air for emphasis. Buy it but don't expect to match my enjoyment.
rjp
 Cadenza April 29, 2007
2 out of 2 found this review helpful
Of all the recordings of Scheherazade by Rismsky-Korsakov, the one conducted by Sir Thomas Beecham is the performance that is most generous to his musicians. Each cadenza is given such exquisite freedom, the woodwinds particularly, that the solo musician can truly explore the glorious expression of Rimsky-Korsakov. Cadenzas in the Story of the Kalander Prince, the second movement, are so beautifully syncopated, patient here, passionate there, forceful there; so beautifully dynamic, quietly reliant on a single clear note or loud enough to where the instrument is abuzz with natural harmonics. And the final movement of the piece, Shipwreck, here Sir Thomas, more than any other conductor, lets the tapestry of music unravel until there is nothing left but this one last, long golden thread of solo violin.
A classic that survives because of Beecham's infectious good humor July 13, 2006
4 out of 4 found this review helpful
Beecham conducted music with a smile, a rare gift that other conductors who possess better techniques and more virtuosic orchestras must envy. This 1958 Scheherazade remains a classic because it flows so naturally and unfolds with such good humor. In the U.S. many collectors automatically reach for Reiner's ultra-polished, stupendously played Living Stereo recording on RCA, whereas in the U.K. collectors just as automatically reach for Beecham.
By comparison, the Royal Phil. isn't a virtuoso ensemble, but their feeling for the music, their supple flexibility and relaxed phrasing outstrip Reiner's cool-sounding Chicago Sym. I love both recordings--and several by Stokowski, who is more flagrantly showing off--but if it came down to a desert-island choice, I think I'd go with the more humane, less spectacular Beecham. EMI's recorded sound is quite open and natural, also, showing its age only in a bit of snarl in the loudest tutties. Woodwinds ae deightfully prominent, strings are recessed.
Extraordinarily charismatic September 3, 2004
10 out of 10 found this review helpful
This review is basically the same as the one I wrote for an earlier CD
reissue of this fine recording. Now that it has been rereleased as a
Great Recording of the Century, it will get the attention it deserves.
Beecham's recording of Scheherazade has not been out of print ever since
it was first released in 1958. It is quite simply the best recording of
Rimsky-Korsakov's finest work. The sound quality of the recording is
excellent for its time, and the engineers for the CD have done a good
job. The Royal Philharmonic Orchestra plays fabulously well, and
Beecham brings out all of the mystery, sensuality and barbarism that
used to be associated with the Orient. The notes that come with the
recording describe it best: "extraordinarily charismatic". It is not an
exaggeration. No one does the violin solos better than concertmaster
Steven Staryk, and Jack Brymer's clarinet solos are also brillant.
As a bonus, this CD also has the best recording of Borodin's Polovtsian
Dances I have ever heard. Unlike most recordings of these dances,
excerpted from "Prince Igor", it includes the choral voices just as they
are in the opera (in English, rather than Russian, though).
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