The charismatic Italian conductor Victor de Sabata is the subject of a handsome Deutsche Grammophon CD celebration (479 8197, 4 cds). A curvaceous post-war London Philharmonic Eroica is shaped and moulded with the utmost artistry whereas a version of Sibelius’s tone poem En Saga from the same period piles on the excitement virtually by the bar. Mozart’s Requiem from Rome in wartime enjoys a stellar vocal line up of Tassinari, Stignani, Tagliavini and Tajo and moves seamlessly from ascetic piety to emotional warmth with apparent ease while the Berlin Philharmonic sessions include a highly dramatic Brahms 4 (the end of the finale kept on a very tight leash, a-la-Toscanini), Dances of Gálanta with more Hungarian-style inflections than many a home-grown rival, a lean and lustrous Feste romaine (what a piece!) and highly charged accounts of the Trsitan ‘Prelude und Liebestod’ and Richard Strauss’s Tod und Verklärung. Great conducting this, and make no mistake. Good transfers to CD, the Brahms sounding quite different to the version in DG’s recent ‘111 The Conductors’ set where the imaging is much more ambient. This drier version is I think preferable. Also included, a fascinating printed conversation between our Gramophone’s Editor-in-Chief James Jolly and de Sabata’s son and daughter. I shan’t spoil it for you here but you’re in for a couple of anecdotal surprises. One thing continues to perplex me though. How come the Jewish de Sabata (his Jewish mother Rosita Tedeschi was a talented amateur musician) was allowed to perform in fascist Italy and in Germany with the Berlin Philharmonic at a time when the Reich Orchestra’s Jewish musicians were long gone? Can anyone enlighten me?