DVORAK. Symphony No. 8 in C major, Op. 88. Scherzo Capriccioso, Op. 66, London Symphony Orchestra conducted by Istvan Kertesz. Decca

LXT6044: 0 SXL6044 (12 in., 30s. 11 d. plus 5s. 0-21-d. P.T.).

Concertgcbouw, Scell (2(52) )R) Q ACL46

Phiib., Sawaliisch (1/55) © 33SX1034

LPO, Silvestri (11/58) © ALP1537: (7/62) OASD470 LSO, Doiati (6161) 9 MMA11128: 0 AMS16075 Philh., Ciuiini (11/62) 9 33CX1815 0 SAX2461 Boston SO, Munch (11/62) 9 RB6509 0 SB6509 Columbia SO, \Valtcr (1163) 9 BRG72097 9 SBRG72097

Here is yet another well-played performance of this popular symphony and it is difficult to say more than that it is recommendable along with several others. Kertesz conducts it with sympathy and gets excellent playing from the LSO. There is little that is unusual in his intepretation nor does one expect or want anything unusual in the performance of this generally cheerful and extrovert music, which is a very satisfactory state of affairs but doesn't give one much to write about! Naturally, he brings out some details of the score which particularly interest him and pays less attention to others, but the points are small and the comment can be made of any other conductor in the list above.

The stereo recording is excellent—the mono has not reached me—and considering this record in comparison only with those of comparable sound, I would choose between this one, Dorati and Walter. Dorati gets even smarter playing from the same orchestra, though somewhat at the cost of Dvoták's characteristic amiability; if it is the most sheerly brilliant performance you want, then this may be your choice. Walter will remain mine, if only because of his choice of speeds in the finale. Kertesz does the usual rush off at the first tutti, which is all very exciting though, as Walter shows, there are good reasons for keeping to something like the speed relationships suggested by Dvoták in the score. For one thing, the ensuing flute solo becomes lyrical and beautiful instead of being turned into a bit of breathless virtuosity. (As a matter of fact, you can usually hear even the best players snatching a breath, as the poor things obviously have to, but I must hand it to the LSO's Alexander Murray—he never seema to breathe at all.) More seriously, with less disparity of speeds, the whole movement hangs together so much better.

There is, however, the fill-up to affect Your choice and many will prefer the less hackneyed Scherzo caprice iwo to the Academic Festival Overture on Walter's record, especially as Kertesz brings it off very well indeed. It is an extremely difficult piece to play— hence, I suppose, its infrequent concert performance, for it is marvellous music-and it is tricky to conduct. Two of the other records of the symphony have this same fill-up, Sawallisch and Giulini; the Sawallisch is getting a little old, well as he conducts both works, the Giulini performance of the Scherzo Gapriccioso, slow and flabby, is one of the reasons I cannot recommend his record as a whole. T.H.