Experiencing Gary Bertini's balletically informed tempi and subtle balancing of the second Daphnis et Chloé suite's ravishingly diversified orchestration is like floating in a large, aural aquarium where you never encounter the same exotic creature twice. The lean, silvery string tone throughout recalls the best of vintage French orchestras, while the brass come into their wonderfully focused own in the "Danse général". In the G major Concerto, Martha Argerich's energy and inspiration are channelled towards less rhythmically wayward ends than in her 1984 studio version with Abbado... there are many instances that reflect the pianists maturity, added breadth and colour in comparison to her febrile 1967 DG benchmark... the first movement's voluptuous "musical saw" trills plus more resourceful legato pedalling of the slow movement's cantabile lines.