Scheherazade Imaginative orchestrator and supreme colorist, Rimsky-Korsakov, he started the symphonic suite Scheherazade in the summer of 1888, spent in the quiet of a remote village of propitious remote district of Luga, at the time when he had just completed the orchestration of Prince Igor Borodin left unfinished by his friend and colleague, who died the year before. Probably it was the seductive exoticism of that excellent score to fertilize theatrical creativity of the Russian composer. The superb symphonic – it goes without saying – draws inspiration from the tales of the Arabian Nights penetrated in European culture long ago thanks to the fortunate French Galland, according to a taste for exoticism that went spreading exponentially in music but also in painting and more generally in the western custom of the last twenty years the 800 and the first of the new century.

Bundled version includes both recording techniques

This bundle includes both exact same same orchestra, same conductor, same interpretation and same location as the originally released version. The addition in version 2 is that in the first version (SACD148) the recording has been made with three couples of valve microphones, all ancient and original Neumann U47, U48 and M49. This special edition has been recorded with only two microphones, Neumann U47’s, capturing more acoustics of the theatre.

Giulio Cesare Ricci tells us:

“In the original release I had two native masters made at the same time: one master is analogue (with which I made the Vinyl) and the other master is digital DSD 64. While for this special edition, the native recording is analogue made with the AMPEX ATR 102  1/2 inch  76 cm/sec analogue editing. The analogue master was transferred direct-to-DSD 64.”