It is sad that so inspired a version as this of the Bruch Scottish Fantasy should be coupled with so seriously flawed a recording of Harold in Italy. The irony is that where the sound for the Bruch, dating from 1960, is full-bodied and generally well balanced, if limited in range, the 1972 recording of the Berlioz is very dim, with the orchestra only half-heard, lacking detail, set well behind the prominent viola soloist. Added to that, audience noises are intrusive. Tolpygo, with his warm, firm tone, plays very well, but this is more a symphony than a concerto, and Oistrakh as conductor is not nearly as imaginative here as in the role of violinist in the Bruch. With Rozhdestvensky drawing fine playing from the orchestra Oistrakh gives the fast movements a rare sparkle, always spontaneous in his expressiveness, and in the Andante builds from heartfelt meditation to the most passionate climax. What a pity the Bruch could not have been coupled with more featuring Oistrakh as violinist.'