Volume 2 of Antal Dortis London recordings for Mercury covers sessions between June 1960 (Tchaikovskys Pathtique Symphony) and August 1966 (Tchaikovskys Orchestral Suites). By way of a bonus, the set concludes with a rarity issued on Philips and scarcely seen since, an album of neoclassical works by Julian Orbn (Cantigas del Rey, sung by Heather Harper) and Manuel de Falla (the Harpsichord Concerto, with Rafael Puyana).
Doratis ear for colour, his rhythmic discipline and knife-edged attack were complemented by the high-definition, pin-point detail of Mercurys 35mm stereo engineering. Works by Dortis countryman Bartk came to life on record as never before. The versions of the Concerto for Orchestra, Divertimento for Strings and Music for Strings, Percussion and Celesta have scarcely been equalled since for atmosphere and accuracy. No less valuably, the box brings together the Mercury/Dorti versions of Bartks principal works for the stage, Bluebeards Castle (now with the spoken introduction included on CD for the first time) and The Miraculous Mandarin, as well as a definitive recording of The Wooden Prince.
Volume 2 of Doratis sessions in London draws on repertoire affinities established in the years covered by Volume 1. There is more sparking Haydn (Symphonies Nos. 59 & 81), the completion of symphony cycles by Brahms and Tchaikovsky, and another three concerto albums with the violinist Henryk Szeryng. Dortis coloristic and analytical gifts in music of the Second Viennese School are further explored with a 1962 album of expressionist-era orchestral pieces which won many new friends for this music at the time. Even more adventurous was the album dedicated to Surrealist-era Paris, coupling Saties Parade and Milhauds Le Boeuf sur le toit with rarities by Franaix and Auric.

The Mercury sessions in London expanded to include ensembles beyond the London Symphony Orchestra. The box features the Bath Festival (Festival Chamber Orchestra) and BBC Symphony orchestras, as well as the New Philharmonia Orchestra in a complete cycle of the orchestral suites by Tchaikovsky which became an instant classic on its release in 1967. By then, Dorati and Mercury had parted ways, but between them they left a lasting legacy of orchestral and engineering excellence.
The legacy has been lovingly restored and revived in this pair of boxes from Eloquence, featuring Original Jacket album covers, and new essays on the historical context and significance of these recordings by David Patmore as well as remastering and mastering supervision by Thomas Fine, heir to the Mercury legacy.