Rimsky-Korsakov: Scheherazade

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Rimsky-Korsakov: Scheherazade



Catalogue No:




Release date:

31st Jan 2011




66 minutes


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Rimsky-Korsakov: Scheherazade

Rimsky Korsakov:

The Tale of Tsar Saltan Suite, Op. 57

Scheherazade, Op. 35

Maria Larionoff (violin)

Flight of the Bumble Bee



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Described by the composer as a kaleidoscope of fairy-tale images and designs of oriental character, Rimsky-Korsakov’s symphonic suite Sheherazade has delighted listeners for generations. The rapturous solo violin plays the part of the slave who narrates the wonderful tales of the Arabian Nights, including the adventures of Sinbad, Prince Kalender and the Festival of Baghdad.

The suite, or ‘musical pictures’, from The Tale of Tsar Saltan depicts episodes from this magical opera, from which the mischievous Flight of the Bumblebee is also drawn.

The Seattle Symphony is one of the world’s most recorded orchestras, with 12 GRAMMY® nominations and two Emmy Awards.

Nikolay Andreyevich Rimsky-Korsakov: Scheherazade, Op. 35

I. The Sea and Sinbad's Ship

II. The Kalender Prince

III. The Young Prince and the Young Princess

IV. Festival at Baghdad - The Sea

Nikolay Andreyevich Rimsky-Korsakov: Tale of Tsar Saltan Suite, Op. 57

I. The Tsar's Farewell and Departure

II. The Tsarina in a Barrel at Sea

III. The Three Wonders

Nikolay Andreyevich Rimsky-Korsakov: Tale of Tsar Saltan, Op. 57: Flight of the Bumblebee

Tale of Tsar Saltan, Op. 57: Flight of the Bumblebee

Gramophone Magazine

July 2011

“Gerard Schwarz's seasoned Seattle Symphony makes a more than favourable impression, with cultured solo playing and an impressive opulence and corporate blend. Schwarz has an articulate and often seductive story-teller in his concert-master-turned-sultana Maria Larionoff, whose immaculate tuning would alone help stave off her master's displeasure”

BBC Music Magazine

July 2011


“Maria Larionoff imbues her violin solos with some feeling, and there is some excellent work from the wind principals...In the less familiar Tsar Saltan Suite...Tempos click into place effortlessly, and the lapping figure which represents the sea comes across with more character than in Sheherazade [sic]”

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