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In this compact disc, taken from a complete set of the symphonies made in the 1960s, [Istvan Kertesz] and company capture [Antonin Dvorak]'s charm with great flair. The LSO boasts much the same richness that Floridians have been treated to during its visits to Daytona Beach -- the strings glowing, the brasses brilliant but full-bodied -- and it's preserved here in round, natural sound that hardly gives a hint of its age.

London Symphony Orchestra/ Istvan Kertesz, Philharmonia Hungarica/Antal Dorati Decca Collectors Edition 476 2303 (4 CDs) *** Decca served Hungarian composer Zoltan Kodaly well over the years.

Perhaps it was just wishful thinking on my part that the Schumann Spring Symphony offered by Kertesz and the LSO a year earlier might come anywhere near the same exalted level. The men and women of the orchestra who covered themselves with glory in the Brahms seem little more than dutifully going through the motions, and [Istvan Kertesz] doesn't really seem to have his heart in it either.

This wonderful 1962 recording of Symphony 8 has long been a favorite among our reviewers, and with a new 24-bit remastering it sounds better than ever. It was always a great-sounding recording from the golden years of Decca-London. Now it breathes easier, has more \"space\", more room to expand-the ceiling has been raised. The interpretation is exciting and not without majesty-second only to George Szell.

This is the third recording of La Clemenza di Tito to appear this year, and despite an impressive lineup on paper, it proves something of a disappointment.

Kodaly's Peacock Variations are supplemented here by a 1937 choral arrangement by the composer of the Hungarian folk tune the variations are based on. The 16 variations themselves are beautifully played by the Suisse Romande under [Istvan Kertesz]-so nicely played, in fact, that I'd recommend this to anyone interested in hearing a unique document of Kertesz with the Suisse Romande, were not this a full-price \"Testament\" to recording companies trying to milk collectors for all they are worth.

[Istvan Kertesz] was a very talented musician, whose life ended tragically in a swimming accident in Israel when he was in his early 40s. His recordings of Dvorak's and Mozart's symphonies were especially memorable. His Dvoraks are still the best in the business. Kertesz's 1965 account of the [Bruckner] is smooth, nicely shaped, very well played, and also rich in detail and expression. It was also well recorded (originally by Decca) in rich, spacious, warm stereo sound.

Kertesz's recording has been given the latest 96kHz 24-bit processing and sounds almost contemporary. It still isn't an ideal performance, but it is so far superior to [Sawallisch] that it now must take first place. The soloists are all decent and Kertesz leads effectively. Decca includes Kertesz's fine recording of the Symphonic Variations as well as Kodaly's Psalmus Hungaricus. That remains a very fine and well-recorded item.

This work was revised by Werner Egk (1901-83) in 1959 and recorded in 1960. It is typical of Austrian Radio tapes of the period. The sound is close and dry and is not up to the standards of the day for good monaural recordings. Nevertheless, the ear quickly adjusts and the general details of the performance come through clearly. This is part of Orfeo's series dedicated to Egk's memory.

You would expect a concert recording like this to be less than ideal in sound but perhaps more spontaneous. But there's no predicting. The Saint-Saëns sounds simply wonderful, and [Jean Martinon]'s conducting is simply great. But the [Dvorak] is clearly inferior in sound to the DG-both cello and orchestra.