This "Scheherazade" captured the 26-31 January 1967 remains the only record that Karajan ever devoted to Rimsky-Korsakov. One of these works he always avoided in concert and then make the suspect discographic opportunism. Anyway, show lovers will not be stolen by this tempestuous rendition of "The Sea and Sinbad's ship", which puts us in his eyes and ears, exhibits an emirate luxury, and stirs the drama: The journey promises heated when the maestro overheating to 64 the dotted half of the Allegro non troppo (1'36-3'11) and increases the voltage at each statement of the theme of the Sultan. The winds are unleashed violent, which turns to grandiloquence in development (189-205 measures 7'54-8'25) petri hieratic Bruckner. A confused clamor of brass strand in reverb. This feast continues in the "Story of the Kalender Prince" the solo bassoon and oboe (0'41-2'16) resonate in a tone almost oracular slower than expected by the third partition (quaver = 81 instead 112) for this opening Andantino. The Austrian leader is more diligent arises when the Allegro molto (3'56-), while emphasizing the reference to the description: creamy phrasing (clarinet and bassoon on pizzicato fat in two episodes Moderato assai), turnings expanded and flexuous ... A sated opulence emerges when this warlike array, rather wish we could run with pugnacity. Few rods that bend at the speed required by the composer for the sweet melody of the "Young Prince and Princess" with a black dot within 39 Karajan remains below the lively tempo (52) called for Quasi allegretto, but do not abuse languor. We might expect its usual propensities aestheticizing, but it does not surornemente: simple joint or polite indifference. In the center pane (Pocchisimo piu mosso, 3'32-), discussed here with quiet subtlety, too playful point the percussive accompaniment shows little audible (snare drum, triangle, tambourine) but respects the nuances piano-pianissimo dictations by text. Karajan designs the "Festival in Baghdad" with a sensual touch, which first pushes the bow of Michel Schwalbé to leave the reserve. We also taste the sandy colors of the flute (1'26-1'36), the amber reflections that soften their violins spiccato (3'09). And we savor these opulent draperies (3'32-4'13) as a Persian carpet (the dull and muffled sound of the bass drum!) Rich but not heavy or opaque textures Berliner Philharmoniker crispy like fine oriental pastries. Even his trombone players do not take the shipwreck (8'03) too seriously, as if to say "this is just a story." Moreover, the cellos and basses German does not fail to impress when they scrape their squeaky triplets "sul ponticello" (9'26), which cause the fatal disembowelment of the ship on the rock.
To summarize what listening inspires me, this Sultana "velvet paw" is a seductive feline, she knows how to coax us, and insidiously baits. I would give it a 4 star rating, but the two program complements are favorably tip the balance.
On 13 October 1966, the single record of "Italian Capriccio" by Karajan was a total success, any finesse, precision, brilliance and irresistible charm that spreads to all desks. The same day was engraved "1812 Overture" after a first try (not very convincing) in London with the Philharmonia in January 1958 to Emi. Here the usual orchestral introduction was replaced by a hymn sung version of "Lord save your people," fervently declaimed by Don Kosaken troops Serge Jaroff. Discipline and panache, controlled effervescence (listen to the rumbling bass): the maestro conducts the Berliner kids to sow the rout in the ranks of Napoleon's army.
