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It is altogether amazing that with the same identical piece of music, two different recorded performances can leave widely differing impressions.

I have listened to a recording by the composer conducting an aggregate known as the "New Concert Orchestra," and in this rendition I was able to take in many incidental details along the way, enabling me to fully immerse myself in the piece.

I have also listened to another recorded version of the same music by Sidney Torch conducting the Queen's Hall Light Orchestra. This version is noticeably faster, with many of the details by comparison skimmed over, but by virtue of its faster tempo, I was enabled to better receive an overall perspective of the piece.

There are many instances of two or more versions of the same piece in the light music genre, and I have already pointed out some of these in a previous article. However, the differing impressions received, when the two are brought side by side, seem quite extreme in this case, with "Dance of an Ostracized Imp," as I have just indicated.

Which one prefers is a purely individual matter, and I would not wish to influence the readers of this comment one way or the other, as we all have fully valid reasons for our choice.

I would wonder, however, which version Robert was referring to or had listened to at the time he wrote his analysis, which essentially introduced me to the piece.

As one who specializes in light music, I was already familiar with the name of Frederick Curzon, having heard a number of his short novelty numbers, but I fear that his name is virtually unknown to most on this side of the Atlantic, although radio stations were broadcasting recordings of his work despite their general commercial unavailability here.

But the differences between the two versions of "Dance of an Ostracized Imp" are indeed striking for anyone seeking to make a comparison.