Monteux's Ravel:
"Ma mere l'oye is a notable case of a composer simplifying his style yet remaining himself. It is heard here in the ballet version, that is with the "Prelude", "Danse de rouet" and various interludes Ravel added for theatrical use, and in this form still evokes what he called "the poetry of childhood". This seems to be Monteux's view of :he work, also, and the textures are most sensitively moulded—in the "Prelude". for example; the tenderness of such things as the "Petit Poucet- melody, too, is quite affecting. In the other two pieces Ravel confines himself to particular rhythms, counteracting this with as much variety as possible in Lavalse and making a virtue out of monotony in Bolero. Monteux's account of the latter is as musical as can be, and never too insistent. La valse is a darkening and intensification of what had been achieved in V alses nobles et sentimentales; and the sombre opening hints at the later Concerto for the Left Hand. This, also, receives a performance of unobtrusive mastery, and the climax is grimly exuberant."

Zinman's Dukas:
"In L'apprenti sorcier the rhythm is consistently buoyant, the quality of the wind and the 'whipping' phrases of the strings imaginative and full of verve."

Marriner's Fauré:
"Marriner and his players have an affectionate approach [to the Requiem], with plenty of sensitivity in their shading and no lack of strength either, but all is accomplished at a tempo that has nothing overinsistent or pretentious about it. The choir, well balanced and unspoilt by intrusive vibratos or edgy basses, are highly skilled in maintaining the long line of phrase, especially important in the tenors' "Requiem aeternam" and Agnus Dei. As to mood, that too is nicely judged. Max Harrison's insert-notes quote Faure remarking, with approval, that somebody had called his Requiem "a lullaby of death". The lulling motion of the "Offertoire" supports this, and is well caught here; equally, any touch of the soporific or sanctimonious is avoided, in a performance that achieves tenderness without sentimentality."