Ozawa's Carmina Burana confirms Orff’s own view of the music: 'The simpler and more significant the utterance, the more direct and striking is the effect.' The performance is thoroughly idiomatic, while the preference for slower tempi in many sections emphasises the detail and colour of the scoring, features which are aided by a recording which has transferred well from its analogue original. With full documentation, including texts and translations, this disc is a real bargain.

Performance: 5 (out of 5); Sound: 5 (out of 5)

-- Terry Barfoot, BBC Music Magazine

The young person's guide to the orchestra (though not presented as such) and anyone's guide to orchestration coupled together: and if you like the idea, I can scarcely imagine it being better done. You may think Ravel's orchestration of Mussorgsky too sophisticated—but you can hardly deny its invention and skill.

Both works are played with very great virtuosity, to the extent that you are likely to get much pleasure from hearing a superb orchestra showing off, and also, in the appropriate places, playing with much sensitivity. In the Mussorgsky, "The Old Castle" is most beautifully played; "Tuileries" is only an allegretto non troppo, no more, and is all the more attractive for it, while "Bydlo" isn't drearily slow. But there is brilliance in plenty: in the terrific vitality of "Gnomus", in the lightness of the "Dance of the Chickens in their Shells", in the characterisation of "Goldenberg and Schmuyle", and in the market at Limoges. The brass in "Catacombs" is exceptionally well judged and Ozawa makes a link into the next piece that is not marked but is very effective.

The piece is not, as usual, complete on one side but that doesn't matter with a concoction of this kind. My test copy did a bad groove jump in the loudest part of "The Great Gate of Kiev" but that will no doubt not be a general flaw. This was the stereo—the mono played perfectly well: all the same, these pieces, both Mussorgsky and Britten gain very greatly from the spaciousness of stereo. The Britten is almost equally well done —certainly the playing is of the greatest virtuosity. I would have liked the theme 'cleaner' and more Purcellian, for even though it is fully orchestrated by Britten, I feel sure he wants the character of its composer kept: and in the final fugue, when the brass bring back Purcell's theme, very grandly, Britten's fugue theme gets swamped in both stereo and mono, which misses the whole point of the writing.

But in general the recording is very good indeed and I have the greatest admiration for the Chicago orchestra's playing under Ozawa.

T.H., Gramophone [9/1968] Reviewing Original LP