It is difficult to think of a better programme to form a one-record representation of Strauss's orchestral music. If also the various pieces are to be played by one orchestra under one conductor one might wish for a rather wider choice; but few would deny that this orchestra and this conductor are at the very least way up in the top bracket of reasonable choices. And it happens too that they have been caught, in all four pieces, with a very good standard of recording: Strauss's great spans of the fullest possible climaxes (Salome calls for a minimum orchestra of some 120 players, and the others could hardly be managed decently with an orchestra of less than 80) come up very well indeed in their new recention. And finally, the sleeve-note is by William Mann, who not only knows more about Strauss than most of us do about getting dressed, but also offers his information lucidly and elegantly. This is a very acceptable record indeed.'