david@agora.hf.intel.com (David Robinson) (08/27/90)
The following article is from POSITIVE FEEDBACK, the newsletter of the
Oregon Triode Society, and is Copyright 1990, all rights reserved. This
article may be posted or reprinted, as long as it is not resold, and as
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David W. Robinson
Editor, POSITIVE FEEDBACK
david@agora.hf.intel.com
VINYL REFLECTIONS
A BAKER'S DOZEN OF SCHEHEREZADES
Larry Sturtz
Well, ten actually, but included are alternate pressings of the Reiner
(2) and the Beecham, to get to the magic thirteen.
Rimsky's brilliant 1888 symphonic tone poem has long been a hi-fi
touchstone. Without researching the subject at all, there must be over
one hundred recorded performances. Our thirteen are:
1. Pierre Monteux, San Francisco Symphony, RCA Camden CAL-451, released
1958 (re-issue of RCA LM1002, c. 1950).
2. Sir Thomas Beecham, Royal Philharmonic, Angel 35505, c. 1960.
3. Sir Thomas Beecham, Royal Philharmonic, EMI SXLP 30253.
4. Pierre Monteux, London Symphony, London STS15158, c. 1958 (re-issue
RCA LSC2208 and VICS 1013).
5. Morton Gould, "His Orchestra," Quintessence, PMC 7042, recorded 1955
(re-issue of RCA VICS 1444).
6. Leonard Bernstein, New York Philharmonic, Columbia MS 6069, 1959.
7. Leopold Stokowski, London Symphony, London Phase Four, 21005, 1965.
8. Fritz Reiner, Chicago Symphony, RCA LSC 2446.
9. Fritz Reiner, Chicago Symphony, RCA, ARP 1-4427, .5 series, re-
mastered 1982.
10. Fritz Reiner, Chicago Symphony, Chesky RC-4, 1968.
11. Andre Previn, London Symphony, RCA LSC 3042, 1968.
12. Bernard Haitink, London Philharmonic, Philips 6500410, 1972.
13. Sergiu Comissiona, Houston Symphony, Vanguard 25021, 1983.
The old Monteux mono is a fine performance in the rather dry-eyed
Monteux manner. I don't know the recording date, but 1950 seems right.
There is little top or bottom, but the clear sound lets you know what's
going on. For the specialist only.
The Beecham Angel was my first Scheherezade. I still like it. A veil
is lifted with the EMI pressing. There is warmth, the bass is detailed
rather than bloated, and the grain is gone. Concert master Steven
Staryk and Bassoonist Gwydion Brooke are exemplary in their solos.
Beecham keeps it exciting. The EMI is highly recommended.
The STS is the third incarnation of the 1958 stereo Monteux. I don't
have access to either of the RCAs. The sound of LSC 2208 is rated 10+
by James A. Mitchell in his ongoing survey of Living Stereos. Monteux's
is a thoroughly enjoyable performance worthy of consideration as an
"only Scheherezade" in a collection. If you should be fortunate enough
to locate LSC 2208 or VICS 1013, you should by all means invest.
Morton Gould's Quintessence was recorded in 1955 by Louis Lapton, but
not issued in Stereo until 1969 on VICS 1444. Layton caught the strings
very well, but the winds are spotlit, possibly done in the re-mastering.
The performance seems a bit glib and superficial. Superfluous, in view
of the competition.
Bernstein italicizes many inconsequential details, provides arbitrary
retards and luftpausen aplenty. My late Columbia pressing had a severe
rumble. The second movement brass solos have two tempi - slow mo and
turbo. Etc. Etc. Not recommended unless you collect unusual
performances.
Stokowski directs a relatively straight but exciting performance in the
Phase Four sumptuous "wall of sound" manner. This is one of the earlier
Phase Four issues and is a very good representative of its kind.
Imaging is of course arbitrary, and groups of instruments pop up in
unexpected places. A lively, committed reading. If you like Phase
Four, you do a lot worse. Recommended for believers.
The Reiner Shaded Dog is amazing. You forget stereo systems and listen
to the music. No spotlights, no digits, just music. My 14S/11S
pressing shows some wear but remains completely listenable. Should you
get an opportunity to acquire a copy, do not hesitate.
The .5 re-issue can be dispatched quickly. The re-mastering cut off the
top, taking all the hiss and ambience, leaving a Phase Four-ish hulk.
Don't waste your money. In fact, I can make anyone a very good deal.
See Fanfare 6/4 for Roger Dettmer's review. He loved it.
The Chesky sounds very close to the Shaded Dog to me, except for a
slight bit of pre-echo [Hmmm. Another case of print-through on an older
master tape? DWR] and a somewhat bassier tonal balance. Maybe it's the
lack of hiss that gives the impression. A fine achievement.
Recommended.
My Previn is a mint White Dog, 1S/1S stampers, engineering by Kenneth
Wilkinson, pressing by Dynagroove. What do you get? In my case, bored.
Neither performance nor sound is distinctive. Don't see any reason to
acquire this disc. Don't know exactly why I have it. Save your money.
With Philips at the helm, poor Sinbad sinks in a sea of low frequency
goo. Too bad, because Haitink's performance is worth repeated hearing.
I can only presume the recording was mastered with strong bass emphasis
to sound strong on bass deficient systems. Of course, it could be my
pressing. Reluctantly, not recommended.
Comissiona's audiophile (I know that because the label says so) was
pressed not too well by Europadisk. Unless you hoard Scheherezades, I
can't think of any reason to acquire this perfectly reasonable
performance.
Summarizing, Reiner, Beecham, Stereo Monteux and Stokowski are worth
acquisition in my opinion. A record I don't have that has a formidable
reputation for both sound and performance is the second Ansermet, London
6212. I have not heard any of the newer digitals, i.e., Muti,
Tjeknavorian, Previn-Philips, Dutoit, et al.
For now, if the sultan gives it a break for a few nights, I wouldn't
mind.
Larry Sturtz