LYRITA LOLLIPOPS. *Royal Philhar- monic Orchestra conducted by Myer Fredman, f London Philharmonic Orchestra conducted by Sir William Walton, 1-London Symphony Orch- estra conducted by Sir Arthur Bliss. Lyrita SRCS47 (L2.23).

Benjamin: Overture to an Italian Comedy*. Delius: A village Romeo and Juliet—The Walk to the Paradise Garden*. Walton: Portsmouth Point Overture. Siestat. Bliss: Adam Zero— Suite.

I suppose the alliterative title of this record was too obvious to resist. All the same, 'lollipop' is a word that should now be forgotten, especially as an excuse to put out a miscellany of pieces, few of which are lollipops in the sense that Beecham first used the word. Also, lollipops are quite cheap, even these days, which cannot be said of this record, especially as the music on one side lasts only just over I 6 minutes. I await with apprehension the arrival of Decca Dolly Mixtures or even HMV Humbugs (no offence intended).

In case you should think I got out of bed on the wrong foot this morning, I'll now put my other foot on the ground and write a word about the music. The l6 minute side is, as it turns out, by far the best. Arthur Benjamin's Ouerture to an Italian Comedy is easily the best of all the novelties, while I need hardly commend the Walk to the Paradise Garden. Benjamin's piece is sparkling and witty, with its uninhibited lapses into popular Neapolitan never overdone, and it deserves to be far better known. Myer Fredman gives it the exuberant performance it deserves, while he is equally good in the completely different Delius, played most sympathetically, yet with never the slightest touch of over-sentimentality. In both works the RPO distinguishes itself.

On the reverse side, Walton conducts Portsmouth Point in his usual lively style, yet it doesn't come off quite as it should, largely, I think, because it needs a slightly drier acoustic. I haven't compared it with his earlier performance (now available on HQM1006) but my recollection is that there it sounds more incisive. Here the very opening top D isn't clear enough, while surely the tune at letter C should set out with a firmer first note—and so on. It is not, in fact, a sharply defined enough recording. I confess I have always thought Siesta a sour little piece; but if you like it, then it is naturally very well played. The excerpts from Bliss's Adam Zero don't make compulsive listening, excellent as they no doubt were for a ballet. Perhaps the whole concert suite might make a greater impression. (Only three short pieces are recorded.)

All this doesn't sound very enticing—and this side isn't. I wish Lyrita would reissue the Benjamin/Delius side, getting Fredman to add an overture, say, that would make it of decent length, and couple it with a better reverse side. T.H.