Borodin (often as scored by other hands, it is true) usually gives every opportunity for a fine orchestra to declare itself. He does so here, and the Mexico orchestra take full advantage of it. The wind, especially, are regularly invited to declare their sharp, pungent attack and their sensitive soloists alike; and the heavy brass declare an excellent blend, helped by the roundest and steadiest of tones for the trumpets.
The attack, of course, is called for almost throughout, the music beyond question demanding it regularly. The symphony responds splendidly, Batiz pushing it through with vigour. The first movement, indeed, could be thought even rather too athletic, relative dignity somewhat missing; yet nearly everywhere Borodin's own marking can be read as justifying this. But this is not music in which over-excitement can be read as a major crime; and the other virtues of the performance are very substantial. So too are the Polovtsian Dances, where a distinctly nippy tempo does once make a very well played clarinet solo yet sound hurried; and in the Prince Igor Overture, where the breeze is tempered by substantial variations, in some sections, of the basic pulse.
But these are invigorating readings, put into splendid effect by the orchestra, and forwardly recorded in very clear and naturally-toned sound. The record most certainly earns a place among the best on its intrinsic merits, even without taking account of it being in the budget-price category.'