Some of this collection, which dates from 1967 shows Sir Adrian in repertoire he was not often given the chance to explore on record. I particularly enjoyed Gershwin's Cuban Overture, where the LPO players punch out the strong syncopated rhythms and caress the long, lazy tunes with evident relish. Portsmouth Point bustles along cheerfully and Danse macabre is neatly pointed, while Gwenneth Pryor sparkles attractively in the Wedding Cake caprice. It's a well-contrasted programme, in fact, for in quieter mood Christopher Bunting catches the brooding, soulful quality of Kol Nidrei very effectively and Sir Adrian shapes the little Wolf-Ferrari trifle with much delicacy. Falla's dance is, however, despatched with efficiency rather than atmosphere, and the Circus Polka, taken much more quickly than in Stravinsky's own two recordings, is surely too fast, with its grotesque elephantine good humour rather lost. Apart from one or two booming bass notes in Portsmouth Point the recording is very good.'