In the 1950s, Mercury records established its musical reputation largely with two intense, exciting European conductors performing miracles in the American provinces: Antal Dorati in Minneapolis, and Paul Paray in Detroit. With the less potent Howard Hanson advocating American music in Rochester, Dorati took most of the Austro-German, Hungarian, and Russian repertory, with Paray treating the French literature as far more than leftovers. Paray's interpretations were generally faster and more sharply pointed than those of the period's two other great French conductors, Charles M...