Previn's crisp and rhythmic account of the Falla ballet brings out the Stravinskian associations, effectively so, but in most ways his version has to yield before the outstandingly warm and evocative reading from Dutoit, not least on recorded sound. The contrasts are all the plainer on CD, for the Decca recording sounds wider-ranging with far more space round the instruments, yet with no loss of clarity on inner detail. In a way the relative closeness and dryness of the Pittsburgh sound suits the reading, but it is hard to justify the face-to-face immediacy of Frederica von Stade at the very start, where the singer sounds closer than the orchestra. The distancing of Huguette Tourangeau on the Decca is far more effective. One minor advantage of the Philips version is that ten bands are indexed for the ballet instead of only two on Decca. The Decca fill-up is far more generous, the complete El amor brujo rather than just the ''Ritual Fire Dance''.'