Till and Don are both given deeply felt, very dramatic readings, though the playing is a shade more emphatic than in performances by Clemens Krauss or Strauss himself. Salome's Dance is performed slowly and quite deliberately until the final climax; and the Gotterdammerung excerpt, straightforwardly and strongly realized, is less compelling than either the 1936 (see below) or the 1949 version (previously available in several UK editions). The Siegfried Idyll is played quite swiftly and in a fresh, direct fashion. '