Rimsky-Korsakov: Scheherazade; Borodin: Symphony No. 2.

Rimsky-Korsakov: Scheherazade; Borodin: Symphony No. 2. Kiril Kondrashin, Concertgebouw Orchestra. Philips 475 7570.

Recorded in 1979, Kondrashin's performance of Scheherazade is one of my four favorites in this work, the others being Reiner (RCA or JVC), Haitink (Philips), and Beecham (EMI). This disc also marks the fourth incarnation of the recording I've owned: one LP and this, the third CD. I'm not sure I didn't like it best on LP, but this newest, 96kHz/24-bit remastering is probably the best-sounding of the Kondrashin CDs.

Kondrashin's way with the work is big, robust, energetic, and composed, the conductor filling out all the varied differences in the work from soft to loud, serene to bombastic, with equal measure. It is probably the best all-around interpretation one can find, even if it doesn't score high in any single area. For instance, I think Haitink beats him in poetic beauty; Beecham beats him in sparkle and charm; and Reiner beats him in excitement and sonics (especially in the JVC XRCD edition). But there is no discounting Kondrashin's reasoned, rational, levelheaded approach to the music. This, incidentally, is in contrast to Valery Gergiev's more-recent Kiev recording, which I found too erratic. Kondrashin makes the four movements more of a whole, the entire piece hanging together better as a single composition rather than appearing like a series of unrelated tone poems.

I wish I could say the same of the coupling, the Borodin Second Symphony, which Kondrashin recorded a year later with the Concertgebouw in 1980. It seems like it's more in Gergiev's Scheherazade style, rather too boisterous and mercurial for my taste. But, then, I'm used to the refined, yet stimulating, Borodin recording by Jean Martinon on Decca.

The sound of the new, 2006 Rimsky-Korsakov remastering at first didn't seem any different to me than my older CD recording; then, after numerous comparisons instantly switching back and forth between two CD players, I began to detect a couple of minor things: the new 24-bit edition is subtly smoother and maybe, just maybe, a touch more dynamic. Nevertheless, the differences are so small that I couldn't really recommend the disc to people who already own the earlier version. It's a tad lusher, plusher, and more radiant than ever, though, and it will not disappoint many listeners. The Borodin, recorded live, is brighter and noisier than the Rimsky-Korsakov, with more of a small background hiss noticeable at times.