In the "Story of the Kalender Prince," the Italian leader does not tell us of history. At least it was not that fabulous talent of Leopold Stokowski. I do not think he seeks to entertain or distract. In the absence of narrative pleasure, you can admire the perfect discipline of Philadelphia desks. No surprises or eccentricity outbid on the score, except that accent to 4'45 crescendo re very supported by trombonist.
In the thirty-three steps preceding the final accelerando (10'20-11'56), the eighth note is supposed to calm down gradually from 126 to 100: Muti extends this coda, almost twice slower than what was noted Rimsky.
This offering by the flute and the horn occasionally to treat beautiful twilight colors.
With a dotted quarter at 40 instead of 52, the maestro still dealings with metronomic requirements of Andantino, albeit rarely met, but nevertheless is among the least softened his colleagues. Especially as the suave melody in G major advances beautifully phrased by the violins and cellos.
The interlude in B flat major ("piu mosso pocchisimo" 3'25-5'20) is directed to suitable tempo, exemplarily organized by percussionists: this is a princess who wears noble bearing. The return of the opening theme then can contemplate the superb instrumental adornment American musicians, eloquent without sentimentality.
For the "Festival in Baghdad," readability supports frenetic tension enhanced by Muti, with a touch of ferocity (brass 2'10!)
Listen then scrapes thick of violas and cellos to measures 206-261 (3'20-3'59) which drive the swirling spirals of flutes and oboes.
Immediately, listen carefully and you will perceive these sixteenths strafed the trombones (on the cymbal hit) and trumpets (the tambourine) it executed with exceptional acuity blast!
Bows are not left to articulate the dreaded ringing note triplet staccato (6'18-6'29).
The fast "spiritoso" (7'04-7'32) offers another staggering demonstration of the velocity of the Pennsylvanian band: dry, nervous, thoroughly joysticks but absolutely controlled.
For the sinking hull creaks, the ship suffers. Ruthless damage, screaming disaster.
To summarize, this is a severe interpretation, sharp, assertive, almost bitter; heady, peppery as the mysteries of the East. Such a demonstration of virtuosity absorbs all the resources of the orchestra.
Point soliciting or beads in colifichet: affability is dismissed.
Recorded twelve months earlier, in February 1981, the "1812 Overture" enjoys miking pomp, very noisy in the Finale (which blasts bass drum!): Delivery among the most muscular and spectacular that I know.