The Symphonic Dances, Rachmaninov's last work, were written for Eugene Ormandy and the Philadelphia Orchestra between September 22nd and October 29th, 1940, and masterly the scoring is, too. A version for two pianos had been completed by August 10th the same year, and was given a memorable performance at a private, family gathering at Rachmaninov's house in Beverly Hills, California, in June 1942, by Rachmaninov and his friend and neighbour Vladimir Horowitz. There is, therefore, some justification for recording the two-piano version, even though the orchestral colour is lost—notably in the eloquent alto saxophone theme in the first movement's central episode, the violin also and the woodwind flourishes in the waltz-like second movement. It is, nevertheless, this movement which, to my mind, comes off best in this performance, recorded in preparation for the Munchner Klaviersommer in 1983. In general, the playing of Argerich and Economou is brilliant, but rather cool and clinical: a quality emphasized by DG's dry recording.
Economou's transcription of Tchaikovsky's The Nutcraker suite is harder to justify, skilful though it certainly is, and no matter how subtle the playing may be it cannot match the tinkling celesta and the treacly bass clarinet in the ''Dance of the Sugar-plum Fairy'' or the gentle flutes in the ''Dance of the Mirlitons''. Again, I find the playing deft and accomplished but not really affectionate. There is not much magic in the ''Arabian Dance'', and the ''Trepak'' is so brusque as to be almost grotesque.'