fantastic experience. The Maharajah was a young man, not yet thirty. In one of his palaces he had a record library containing every imaginable recordings of serious music, a large range of loud speakers, and several concert grand pianos...." "In the weeks I stayed there, the Maharajah agreed to paying for the recordings of the Medtner piano concertos, an album of his songs, and some of his chamber music; he also agreed to give me a subvention of 10,000 pounds a year for three years to enable me to put the Philharmonia Orchestra and the Philharmonia Concert society on firm basis...." This largesse proved sufficient to transform Legge's fortunes in 1949. He was able to engage Herbert von Karajan as conductor. The repertory the young Maharajah wished to sponsor were Balakirev's Symphony, Roussel's Fourth Symphony, Busoni's Indian Fantasy etc. The association produced some of the most memorable recordings of the post-war period. The Maharaja also enabled Richard Strauss's last wish to be fulfilled by sponsoring an evening at the Royal Albert Hall by London's Philharmonia Orchestra with German conductor Wilhelm Furtwängler in the lead and soprano Kirsten Flagstad singing his Four Last Songs in 1950. The Maharaja was equally a good critic of music. When asked by Legge to pass judgement on recent additions to the EMI catalogue, his views were as trenchant as they were refreshingly unpredictable. He was thrilled by Karajan's Vienna Philharmonic recording of Beethoven's Fifth Symphony ('as Beethoven wished it to be'), held Furtwängler's recording of the Fourth Symphony in high esteem, and was disappointed by Alceo Galliera's account of the Seventh Symphony, which he would have preferred Karajan to record. Above all, he expressed serious doubts about Arturo Toscanini's recordings. 'The speed and energy are those of a demon', he wrote to Legge, 'not an angel or superman as one would ardently hope for'. One of the reasons he so admired Furtwängler's Beethoven was that it was 'such a tonic after Toscanini's highly strung, vicious performances'. Writing in the July 1950 edition of "THE GRAMOPHONE" Walter Legge sums Maharajas's monumental contribution to Western Classical Music: ....Many more correspondents have written expressing their admiration for the vision, constructive enterprise and generosity of the young Indian Prince who conceived this plan, and who is making it possible for the music lovers throughout the world to learn, enjoy and study works which but for his knowledge and love