This performance of Scheherazade remains one of the finer modern versions, sumptuous as might be expected from Philadelphia, but with an extra rhythmic edge thanks to Muti’s insistence on precision and accuracy. There are numerous instrumental touches to delight the connoisseur, from the elegant woodwind solos in the second movement to the prominent open fifths thrumming under the flute arabesques in the finale’s central section. The only fault lies in the recording, which seriously lacks deep bass but otherwise captures the proceedings faithfully. The 1812 Overture, another thrilling performance alive with excitement, suffers from the opposite problem. An early digital effort, it tends toward fierceness on top and heaviness on the bottom, but it’s still a lot better than most other 1812s, and the climaxes do pack a serious wallop. On musical grounds alone, there’s no doubt about it: this one’s a keeper.
