Three other great recordings

Nikolai Golovanov (conductor)

In this extraordinary 1949 recording with the USSR Grand Symphony Orchestra, Golovanov well exceeds the norms of interpretation: his additions to Borodin’s score, underlining the motto theme with rumbling timpani, or ending the Scherzo’s final long-sustained woodwind chord with a bass note, are mere details in a blazing account whose sheer intensity makes even the famously flamboyant Leopold Stokowski seem positively sober. Yet Golovanov’s conviction allied with the superlative quality of his musicians results in a compelling performance. (Urania WS121307) Loris Tjeknavorian (conductor)

This 1977 recording captures a committed, redblooded performance with a good professional orchestra

(the National Philharmonic) in resonant yet well-detailed sound. Tempos are generally close to Rimsky’s, with the Scherzo just a touch faster than the published ‘semibreve = 108’. Be warned, though, that there are several small but potentially irritating glitches, most glaringly in the Scherzo’s trio section, involving a brief mismatch

between the heavy brass and the rocking pizzicato accompaniment. (RCA Red Seal 82876-62321-2)

Jean Martinon (conductor)

In this 1958 LSO performance, precision and tone quality count for much, though having expression generally kept at arm’s length is not ideal for Borodin, one might think; yet the result is compelling and impressive. The Scherzo, whirring like a well-tuned motor, is an impressive demonstration of ensemble work; and, most curiously, the slow movement comes out particularly well in Martinon’s purposeful account, with a beautifully played horn solo. The recorded sound – though rather close-focus and quasidetailed – is still an attractive example of early stereo. (Decca 455 6322)

And one to avoid…

Yevgeny Svetlanov is normally a conductor one can count on for being engaging and imaginative in this kind of repertoire.

But in his 1966 recording he presents a performance which, although disciplined, feels episodic rather than coherent, and is too often becalmed. Even the finale, although taken at a decently lively tempo, appears joyless, with woodwind melodies stiffly articulated rather than sung.