Double double. (The Music).

Have you ever seen a warhorse in an audiophile dogfight? Pardon the mashed metaphor, but that's what we've got going here this month. When Telarc recently released a CD of Rimsky-Korsakov's Sheherezade in audiophile-grade DSD sound (Telarc CD-80545, featuring the Atlanta Symphony Orchestra conducted by Robert Spano), we thought a natural comparison would be to the audiophile-oriented Reference Recordings HDCD-processed release that garnered high praise for its sonic virtues when it was released back in 1999 (Reference Recordings RR89CD, featuring the London Philharmonic Orchestra conducted by Jose Serebrier).

As always, Tom and I have refrained from discussing these two recordings other than deciding that these were the two we would compare for this issue. Because this is an odd-numbered issue, I will lead off with my observations and then Tom will present things from his point of view.

KWN: Let me say at the outset that these are two very well recorded and well performed versions of Rimsky's colorful scores (both CDs are filled out with The Russian Easter Overture). From a sound quality perspective, there is little to choose between them. Both have a warm, wet, slightly distant sound. Both have spectacular bass drums (the Telarc at times in the final movement sounds a bit more forward and powerful, the RR a bit deeper in pitch and more natural in perspective, but both can give your woofers a good workout). And for once, the recording levels are quite similar, making it easier for me to do A/B comparisons of passages using the remote on my Legacy Audio preamplifier (for the record, the rest of the equipment was the same as I have been using for a while now -- Arcam Alpha 9 and Weltronics CD8 CD players, AVA FET-Valve 550hc power amplifier, Legacy Audio Empire speakers, and Legacy Audio Point One subwoofer. For the record, in my final comparisons, I played the RR disc through the Arcam to take advantage of its HDCD capability.)

In careful comparison, the main differences in sound that I heard were that the RR production seemed slightly more distant, mixing in more hall sound; and that the Telarc had better focus with solo instruments, particularly the solo violin, which seemed more firmly anchored than that in the RR version. The closer perspective and better focus of the Telarc gave it the overall sound quality nod, but only by a whisker. Subjectively, both were quite pleasing, and should be so even to the fussiest of audiophiles, particularly those with systems of sufficient radiating power and wallopsome wattage to project a big, powerful sound.

Sonically, then, things are pretty well a wash. How about musically?

Both orchestras play well, although I must report that the solo violinist in London, Joakim Svenheden, seemed to play his part with a touch more expression than his Atlanta counterpart, Cecylia Arzewski (who, as I mentioned above, was recorded better.) In matters of interpretation, I find that I prefer the faster first movement of Serebrier, and the slower third movement of Serebrier. And although the timings of the even-numbered movements were quite close, I still found myself with a slight preference for the Serebrier versions.

When all is said and done, then, Serebrier emerges as the top dog in the battle of conductors, and even though they were slightly outpointed in the sound quality skirmish, then, Reference Recordings wins the warhorse dogfight. Woof!

TL: I was not looking forward to writing this Double Double. For the longest time I thought of this piece as a warhorse -- one that I had no interest in listening to again because it was already etched into my consciousness. But how did this piece become trite, for lack of any other term? I think it is largely because it is such a great piece of music that it is played so often, and not only because of its memorable themes but because of its superb orchestration. At least that's the way I look at it now, after hearing this piece played by Robert Spano and the Atlanta Symphony Orchestra expertly recorded by the Telarc engineers.

There was a bit of unease when it was announced that Robert Spano was taking over the helm at the ASO. Spano was regarded by some to be more of conductor of contemporary works. The ASO was (and still is?) regarded as a conservative institution. I have had the pleasure of attending a few concerts of Spano leading his Brooklyn Philharmonic in the last few years. Yes, he is a fine conductor of contemporary works - but I've also heard him conduct Beethoven with skill. And his excellent performance on this CD proves that he is indeed a very capable conductor of the standard repertory. But who knows, maybe he will inject some modernism into the ASO's programming, and bring the audience with him.

That said, this disc of Scheherazade is one fine CD. I suppose part its appeal is that it stands up to my long-term reference, the Chicago Symphony Orchestra conducted by Fritz Reiner on RCA, recorded in the late 1950s. Sure, the recording techniques are much different -- very basically the RCA has more of a front-row sound and much larger image size than the Telarc, but that's not what deems comparison. It is the playing of this piece -- and the Telarc shows that Spano is indeed a great conductor of this work.

Plus, the Telarc recording quality is fantastic. The midrange and treble sound velvet-smooth. The transparency emanating from solo groups of instruments, especially the solo violin and the string sections, is astounding. Added to this is the deepest soundstage I've heard in quite a while. Although the recording as a whole sounds as it is recorded from a more distant perspective than some of the other ASO/Telarc discs that I have in my collection -- it is still noticeably focused. Call it a slightly more of a mid-hall than front-row point of view, if you will. But it hardly detracts from the performance because it seems so appropriate. Perhaps it adds a bit of mystery to an already mystical performance.

The Reference Recordings disc is recorded from a more familiar perspective -- front row and then some. The percussion seems to enter my listening room, and solo instruments, too, are placed way forward in the soundstage. These are not negative comments, at least I don't mean them to be -- this is another top-notch recording from the RR team, and it is right up there with their other recently released CDs. It is indeed an audiophile spectacular. But there lies the problem -- it is a superb recording of a respectable performance, not a magnificent performance as is the case with the Telarc. And even though the bass drum in the forth movement of the RR disc rattles the foundation of my home, it is not enough to place this CD over the Telarc.

That's not to say that I'm going keep only one of these CDs in my collection. The Reference Recordings CD will make an excellent demonstration disc for my system, and might even come in handy when evaluating equipment. But as a cure for the staleness of this piece of music the Spano/ASO/Telarc wins.

'Nuff said.