There is much to admire in these performances under Abbado, who secures consistently polished and refined playing from the LSO. Curiously, however, he indulges in a perceptible gear change near the climax of Bolero, pressing the tempo forward. Even though the actual gain in pace is marginal the effect is disconcerting and does not succeed in increasing the excitement of the final climax (nor indeed do the curious vocal contributions in the closing pages). The atmosphere of the Rapsodie espagnole is warm and sultry, with the rhythms of the ''Habanera'' lazily evocative, so that the brilliance of the closing ''Feria'' is emphasized by the contrast.
There are some lovely sounds, too, in Ma mere l'oye, especially in the ''Pavane de la Belle au bois dormant'', and the closing Fairy garden sequence which is characteristically restrained. But there is not quite the magic here of Dutoit's famous Decca version (410 254-1DH, 8/84; CD 410 254-2DH, 11/84). The Pavane pour une infante defunte is also grave and gentle in mood, following on most effectively after the ballet. The recording has a wide dynamic range and glittering detail, with the CD markedly sharper in focus and more tangible at lower dynamic levels than the LP and chrome tape, which sound much the same. Those wanting this particular programme will find that Abbado's natural empathy with the composer brings some fine music-making, but in Ma mere l'oye the conductor's fastidious care for detail brings a degree of coolness.'