At least two plums here‚ the first of them the Richter set‚ opening with a model ‘Classical’ Beethoven First Concerto (a little short on temperament)‚ Munch accompanying with a matching drive and formidable resolve. Possibly too formidable; the result of a balance which places Richter well behind a brightly recorded orchestra. By contrast‚ the Beethoven sonatas bring Richter into often alarming proximity (‘the practice­room experience’‚ I wrote in my notes) with nothing to come between you and the full force of his always extraordinary articulation. And this Appassionata remains a phenomenon – ‘explosive’ is an understatement – anything could happen. Much the same could be said of the Brahms Second Concerto (and here‚ fortunately‚ RCA’s sound is some of the finest they ever produced in Chicago)‚ but be warned: if a carefully modulated Brahmsian discourse is your preference – like the kind Gilels provided with Reiner and the same orchestra in 1958‚ a couple of years before this recording was made – you may be upset‚ possibly even offended. I found it riveting‚ the playing always wonderfully varied. Munch’s Berlioz is another set to cherish here‚ less for the Symphonie fantastique (fine though that is; properly volatile)‚ as for the Overtures and shorter pieces‚ the performances electric with energy‚ and dispatched with an élan that is at once French in spirit but emphatically transatlantic in execution. Given the mostly fine sound in this set – especially the astonishing width and depth of the image in ‘The Royal Hunt and Storm’ – it is a shame that stereo tapes do not appear to exist of the 1955 sessions for Les nuits d’été. Still‚ for a marriage of style and content‚ it remains a benchmark – Victoria de los Angeles with all the vocal range‚ and variety of expression needed for these songs. In its time‚ Ozawa’s 1967 Messiaen Turangalîla Symphony was an event – not the first ever recording‚ but the first to make a serious impression. For many‚ its appearance on CD will bring back something of the thrill of that first en­counter – the Toronto players well prepared if not always technically immaculate‚ the recording closer‚ more analytical than is the norm nowadays. Sadly‚ the sound is also given to stretches of opacity and‚ in general‚ creates only a moderate impression of the huge scale of the piece. Janowski’s Roussel symphonies are much more recent‚ and beautifully balanced performances in every sense. But – and it is a big ‘but’ – in both the Messiaen and the Roussel‚ I became aware of a remastering process which reduces the set’s appeal. It is possible that BMG has entrusted the remastering for this series to different sources. The Richter set and the Berlioz are – very happily – free of radical attempts at ‘noise reduction’. Most of the contents of the Mendelssohn‚ Dukas/Ravel and Chausson/Debussy sets would seem to have gone through a ‘noise gate’ – which effectively removes tape hiss‚ and at the same time leaves low­level material often sounding wavery and muffled‚ original dynamics falsified and natural instrumental decay unnaturally hurried on its way. If you need convincing‚ try Oistrakh’s opening solo in the Chausson Poème; I guarantee that your reaction will be a mixture of sadness and disbelief. Had the remastering of these sets been entrusted to people who care‚ they too would have been plums. In the event‚ they must be deemed lemons.