Vernon Handley's interpretation of Elgar's Second Symphony is, for my taste, more successful than his approach to the First. In particular, he manages the volatile changes of tempo and mood in the first movement outstandingly well, and he is impressive in the Larghetto, though nobody wrings the heart at the climax (fig. 86) as overwhelmingly as Barbirolli—and that is not only a matter of emotional temperament but because Sir John was better able than most conductors to teach his violins just how to provide the vibrato Elgar prescribes there. Handley's weakest point comes with the fugal section of the finale, where this tempo strikes me as a fraction too stolid. The LPO play very well and the recording is excellent, so at bargain price this is a most desirable issue. The curiosity is the inclusion of an organ part (not in the score) at the height of the finale. Boult said Elgar used to add it for effect (presumably at the Three Choirs Festival), but I cannot hear that much is gained.'