Among the digitally recorded versions of Orff's cantata, Mata's RCA version is, all in all, the best recommendation, the sound both brilliant and atmospheric, the work well placed, volatile and imaginative. The soloists too are impressive with, to quote EG, ''Barbara Hendricks's sensuous soprano tone beautifully caught''. Muti's is an analogue original and the CD transfer has not added anything. In fact, as EG pointed out, there is ''just a suspicion that the LP is more open''.
Now along comes Previn's mid-seventies analogue version to sweep the board. This time the EMI engineers have a marked success on their hands. The edge and the bite of the original are enhanced, and the remaining hiss is cleverly controlled so that silent pauses remain silent and one only notices the background slightly in some of the quieter vocal solos in the latter parts of the work. The performance is a triumph, with a wonderful swagger, seductive rhythmic pointing and a life-enhancing sense of joy conveyed in all life's earthly pleasures (indeed, the boys of St Clement Danes obviously relish their participation in the joys of ''Courtly Love''). The soloists, too are splendid, Thomas Allen especially fine, but Sheila Armstrong and Gerald English also characterizing strongly. The vigorous singing of the main chorus is superbly projected and the range of mood is wide, conveying wit and quality as well as an exuberant, bite. There are 25 access cues—absolutely vital in this piece to find one's way about. Also a plus point: RG's notes are excellent. However, the fat little booklet with its text and translation is not too easy to remove from its plastic case because of its bulk.'