With Eduardo Mata's tragic death in a plane crash at the start of this year still fresh in our minds, I should like to have been able to say many nice things about this release (which was recorded in July of last year). But if ever there was a curate's egg of a disc, this is it. The best thing about it is the last of the Homenajes, that in memory of Falla's mentor Pedrell, which is played with sensitivity and affection: the El amor brujo ballet has its moments – a chilling ''Dance of terror'' and some beautiful solo playing in the 7/8 ''Pantomime'' (one of Falla's most beguiling inspirations) – but taken as a whole it does not challenge the best of the existing dozen versions now available. Martha Senn (who is described as a Colombian mezzo, though I had always been led to believe that she was Swiss) is drowned by the orchestra in the ''Cancion del amor dolido'', but in view of her broken-backed phrasing that is not that great a loss. Incidentally, this work is recorded at a higher level than the other items (a different session?).
Martha Senn also offers the familiar Seven folk-songs (which, it is claimed, were first performed by Josefina Revillo, though all authorities I have ever seen name Luisa Vela) in Berio's ingeniously stylish orchestrations. I haven't heard her previous recording of them (Nuova Era, 5/90), which IM praised, but here she is frankly inadequate, with little depth of expression or tone, poor phrasing and unclean fioriture (which are given quite inappropriate jerks in the ''Nana''). As to the suite from the Three-cornered hat, the ''Neighbours' dance'' (not ''Neighbour's'', please, Dorian) is singularly lacklustre – perhaps it was just too hot that day – and the final jota has eccentric changes of speed which are, I'm afraid, most unconvincing.'