RAVEL. Daphnis and Chloë—Complete Ballet. Dallas Symphony Orchestra and Chorus conducted by Eduardo Math. RCA digital RL13458 )f5.99).

Ravel's luminous score rarely fails to work its magic, and this account by forces from Dallas is no exception. Although the orchestra is not in the absolute top rank by American standards, it is still very good indeed and the playing is superior in richness of string sonority and the sensitivity of the woodwind phrasing to that of the Suisse Romande for Ansermet (Decca Eclipse ECS824, 3/66). True, intonation falls short of perfection in one or two places but these blemishes are few and short-lived and scarcely diminish the attractions of this record. This is, of course, the first account of Daphnis to have been recorded digitally and the sound is very firmly focused and clean while the quietness of the background and the superbly silent pressing adds to the sense of realism. The balance is musically judged and the acoustic has a natural warmth and space to commend it. Some listeners may well find the "Danse générale" a trifle too measured but much the same can be said of Monteux's speed in his celebrated account for

Decca (JB69, 12/59). Eduardo Mata gives a well characterized account of the score and the contribution of the Dallas chorus is of good quality too. Overall the performance lacks the sheer ecstatic quality and dazzling virtuosity of the Munch version (RCA V1CS1297, 12/70—nla) or the sense of intoxication and poetry that the late Jean Martinon brought to the score in his set with the Orchestre de Paris (HMV SLS5016, 12/75). Competition in this field is strong, and compelling though the claims of this newcomer may be in terms of sheer sound, Monteux still remains the more poetic and better played version. It was Monteux, too, who conducted the very first performance of the score. Were Martinon's version made available on a single record, it would, I think, be my first recommendation. This newcomer is very good (and has the advantage of excellent recorded sound) but just falls short of real distinction. R.L.