Ravel of unusual flair and poise. Rarely have I heard such wide-ranging variation of pace in the Alborada's central section so immaculately controlled: the strange syncopated pulsing of the harp (obviously spotlit), and very precise spelling out of the song in the middle strings. A more questionable imaginative touch is the much slower tempo with plenty of rubato for the central section of Le tombeau's ''Rigaudon'': a rather extreme reaction to Ravel's Moins vif. But I like Gelmetti's Assez vif for its outer sections—bright and breezy (though trumpets could have added more brilliance), without resort to the over-lively tempos adopted by most conductors. The woodwind playing throughout Le tombeau has wit and warmth, even if the oboe's articulation in the opening ''Prelude'' is not flawless.
The Pavane is always a revealing test of orchestral timbre and blend: the degree of horn vibrato in Stuttgart is perhaps surprising, and I wonder if I will be alone in finding just a hint of sourness in the clarinet tone. In general the orchestra need fear little from more de luxe rivals; though strings are refined but not very full-toned, and a comparison with Dutoit (Decca) in, say, the Menuet antique reveals a certain lack of tonal splendour and real weight in the bass. Microphones are obviously aplenty: the sound is bright and lively (with a discreetly controlled dynamic range), and perspective and positioning shift slightly between items.'