This reissue fills an important gap in that no other recording of Rinaldo is available. Critical response to this cantata has been very mixed over the years, but if detractors of the past had been able to hear Abbado's performance they might be more impressed. To this listener it certainly seems a richly inventive, deeply felt work, and very typical of its composer. When Abbado recorded Rinaldo in 1968 he was near the beginning of his recording career, and there is a fresh, eager response in his conducting. The Ambrosians sing beautifully, the orchestra is excellent and James King is a committed soloist, though some might find his somewhat strenuous delivery rather unattractive. The performance of Schicksalslied seemed to me to be slightly less impressive, for the opening seems a little lacking in character, and the middle section is taken at a rather hectic tempo. Both works have the benefit of vintage Decca 1960s sound, as does Nanie. The veteran Swiss conductor was a fine Brahms interpreter, and he produces a warm, understanding, somewhat objectively stated performance. His choirs are a little less well-disciplined than the Ambrosians, but singing and playing are more than satisfactory.'