The orchestral performances are not precisely perfect, but do show great spirit. The concertos are excellent Weinberg: "Concerto for Cello and Orchestra, op. 43" (1948) with the USSR State Symphony under Rozhdestvensky, the "Concerto for Violin and Orchestra, op. 67" (1959) with the Moscow Philharmonic under Kondrashin, and the "Concerto for Flute and Strings, op. 75" (1961) with the same orchestra under Barshai.
The soloists were of course some of Russia's very best; the recordings give us three masterful interpretations and very lively orchestral accompaniment. All three works show Weinberg in fine form, brilliant.
The historical importance of these recordings make them invaluable and the performances themselves give us much to appreciate. They may not be perfectly definitive in their totality, but the solo parts get a glorious treatment. They are seemingly essential, then, for any Weinberg enthusiast, and anyone who wishes to know more about Russian musical modernism in the mid-20th century.