Concertgebouw Orkest Rimski Korsakov Scheherazade Krill

Even with 15 other versions of Rimsky's masterpiece of orchestral virtuosity to choose from — some in the top flight — this was recognized from the first as one of the most rewarding, thanks largely to Krebbers's exceptionally sweet, gently appealing and bewitching personification of the story - spinning Scheherazade and to Kondrashin's skill in pacing and shaping movements as a whole, relating the diverse tempos and building up tension and dynamics by careful control so as to create climaxes of thrilling intensity and power. the 'shipwreck' finale, in particular, was overwhelming; and this was achieved without resorting to the ultra - fast tempos adopted by some conductors to whip up excitement. The Concertgebouw's crisp, sonorous and sensitive playing (full marks both to the splendid strings and to the wind soloists) was caught with the utmost fidelity; but the Compact Disc's total exclusion even of minimal extraneous background now marks a still further improvement, as can be judged by the dead silence against which Scheherazade's pleadings are heard. The final coda is ravishingly beautiful.

For this second collaboration between the Luxembourg Philharmonic Orchestra, Emmanuel Krivine and Zig-Zag Territoires, two major Russian works were chosen. Both make the orchestra sound sumptuous with, for the first, the complicity of that fantastic colourist and orchestrator Maurice Ravel, and for the second, the skill of a composer nicknamed ‘the magician of the orchestra’. Emmanuel Krivine excels in these works, which demand much of all the musicians and necessitate as much commitment as perspicacity from the conductor, at the service of scores magnifying the fantastic musical instrument that is the modern symphony orchestra.

Andris Nelsons is one of the most sought-after young conductors on the international scene today and once again served notice of his extraordinary talent in Summer 2011 when he conducted two concerts with the Royal Concertgebouw Orchestra of Amsterdam at the prestigious Lucerne Festival. This concert, available on DVD and Blu-ray features, amongst a programme of Rimsky-Korsakov, Beethoven and Dvořák, the Grammy Award-winning pianist Yefim Bronfman performing Beethoven’s majestic Fifth Piano Concerto and Chopin’s Etude in F major.

This may not be an essential Scheherazade, but it is a very good one. Vladimir Ashkenazy certainly knows how this music should go. His is an idiomatic and balanced interpretation of Rimsky-Korsakov's score. This is not a Stokowskian swoon fest, nor a precision powerhouse performance like Reiner’s. It is does not surge with the high octane of Svetlanov, nor is it ablaze with the passion of Kondrashin – the latter’s performance with the Concertgebouw (Philips 454 550-2) is my benchmark. It is, however, a colourful and highly enjoyable account played by a virtuoso orchestra on top form.

I wouldn’t have thought the world was anxiously waiting for a historically informed performance of Rimsky-Korsakov’s Scheherazade . Written in 1888 and a masterpiece of orchestration, it would seem that this was one work that really cries out for the full resources of a modern symphony orchestra. So I was surprised when I saw a listing for this new recording with the Bruges-based period-instrument ensemble, Anima Eterna. Despite all the heat generated in some quarters, I remain fairly neutral regarding H.I.P., seeing it neither as the salvation of music from 20th-century excesses nor as the death of music through formalism. At their best, H.I.P. performances throw a different light on the overly familiar.