Classical music reviews

Whether having a nice dinner, reading a good book, or just relaxing in your garden, this is a great album to listen to. I recommend it for those special occasions.

Living Waters

Appalachian liquid crystal
Bubbles up through cracks
In ancient stones
Cradled by dark mountain ferns
Caressed by pure pine air.

Springing eternally forward
Crystal becomes mountain stream
Dancing down through lofty meadows
Gaining volume surging ahead
Torrent glistens
In sunlight.

Dr. Jeff Bjorck is a multi-talented artist. He writes music and poetry. He is also a clinical psychologist, researcher and professor at Fuller Theological Seminary's Graduate School of Psychology. He has a unique connection with nature and the creator. His music is almost a prayer because he plays spontaneously from the heart.

"Sometimes I feel like a third party, listening to the whole process as an interested observer." ~Jeff Bjorck

This album is like sunlight glistening through a forest on which the rain has just fallen. It is spectacular in its clear crystal notes and the sounds flow like a refreshing breeze through your being. I feel calm, happy and content when I listen to Pure Piano Portraits. It is like Jeff has somehow captured the feeling of joy in his music.

1. Be Thou My Vision - A worshipful piece which embodies thankfulness and praise.

2. Butterfly Sunrise - The notes fade in and out, there is no rush. Like a butterfly enjoying the early morning fluttering from one flower to the next, the notes seem to land and take off and you can almost see a butterfly taking off and landing and then flying off into the distance. There is a sense of peace and joy in this selection.

3. Mountain Echoes - The notes linger like echoes. There are moments of solitude and then a burst of energy. As if each note travels on its own path and then at times they all return at once.

4. Walk Down Steward Lane - An energetic almost tumbling experience. The music swirls around like a happy child playing out in a field of wild flowers. I see yellow flowers and the scent of freesia appears to me.

5. Can't Say How I Feel - Contemplative and emotional. There is a definite questioning tone that reflects a certain indecision. The notes ask questions only you can answer.

6. Catskill Mountain Meadow - This debut album was inspired by his love for the Appalachian woods and Catskill Mountains of his youth.

7. Living Waters - Clear crisp notes mingle with certainty. Spiritually spectacular.

8. Twilight - What amazes me about the titles of these songs is how they really do reflect the amazing visual journey each piece presents. The notes soften, you can imagine a glow from the sky just as the sun is below the horizon.

9. River Sunset - If you can imagine the reflection of the setting sun spreading out over a river and looking like a wavy picture in a dream, that is what "river sunset" sounds like.

10. Waiting for Farewell - A certain sadness and sense of loss is definitely apparent here at the start. Then resolution almost seems to set in as hope is realized.

11. Starlight Ragtime Waltz - Deeply relaxing.

12. Jerusalem - Hopeful. An arrangement of one of his favorite hymns.

If you love David Lanz, Jeff Brickman, Danny Wright, Wayne Gratz., Robin Spielberg or George Winston, you will love Jeff Bjorck. You may also want to consider: Pure Piano Panoramas.

You can play this CD when relaxing, reading or when you need a soothing escape
into your dreams. I find this music wonderful to fall asleep to or to listen to in moments of reflection. You can really just enjoy the music for what it is, in its pure form without any distractions.

Exquisitely Beautiful and Elegant Melodies to Calm and Quiet the Heart.

~TheRebeccaReview.com

I love piano music, not the least because I've played piano myself for some years. I am especially fond of contemporary piano solos (you could say "New Age") like George Winston, Jim Brickman and the like. Jeff Bjorck composes piano music in this genre, but gives it his own unique quality--very attentive to rhythm and evocative of nature and introspection.

When I got this CD, I lent it to family members, and all of us played it endlessly. It is really soothing and just the thing to put on for a Sunday morning, when you want quiet music with a meditative tone. In particular, the adaptation of "Jerusalem"--one of my favorites, is far from the majestic solemnity of this hymn; here it is quiet and deep and almost a fantasy or improvisation on the theme.

If you like contemporary piano, you are certainly going to like this CD.

This is really a great performance by Herbert Von Karajan and the Berliner Philharmoniker. One nice detail I would like to refer to. At the end, just before the roaring sound, wich also started the Symphony, returns, in fact this sound symbolises the huge mountain standing there somewhere in the dark, you actually hear the Berliner Philharmoniker play the very last ray of sunlight before the night sets in. It is done by one oh so sensible swiftly stroke on the strings. Gosh, how great this all is. Karajan and the Berliner at their best.
It is also very interesting to listen to Richard Strauss' own conducting of this his own work, as produced by Preiser Records from Austria or Music and Arts Program of America.

Yours,
Gert

I have heard and own many recordings of the alpine symphony by Richard Strauss. This one is by far the best. You may be able to buy a recording for a much cheaper deal, but you will get what you pay for. No recording matches Karajan's interpretation and Berlin Philharmonic's playing. The orchestration of Strauss's Alpine Syphony is extremely heavy and complex. Most recordings make this symphony sound muddy or noisy at times, but the Berlin Philharmonic under Karajan plays with such clarity and precision yet at the same time achieving the full expression and emotion of the piece. This recording will be the closest thing to hearing it live. The recording Quality is quite good compared to most alpine symphony recordings.

As regards to Strauss's An Alpine Symphony.

This work has not achieved the success and fame of his earlier symphonic poems. Most people consider An alpine symphony inferior to the early tone poems. Some people say it is too extreme and extravagent, too programattic. When Strauss wrote this piece it was on the downward slope that became his career. Music Historians like to think of Richard Strauss's genius demonish with his old age. Well, I believe other wise. Strauss's genius measures throughout his career, from death and transfiguration to the four last songs. Concerning the alpine symphony, I believe this is his most mature tone poem. A beautiful program of the mountains and waterfalls. The orchestration is at the peak of his genius. Also, within the strict use of a program, Strauss develops themes throuhout the entire work almost making it seem absolute.

So buy this cd, if your a Strauss fan this will be among your beloved favorites.

von Karajan worked wonders with the Berlin Philharmonic in this recording. Take one of the best conductors to have ever lived and combine that with one of the world's foremost orchestras and you get brilliance! von Karajan and the Berlin Philharmonic were able to glorify Strauss's orchestration genius so well, especially in Waterfall, where one can practically envision a waterfall in front of his or her own eyes. The color brought to this performance by the orchestra members is what makes this recording so wonderful. von Karajan's conducting tour de force is also another key role in this work, especially when working with a score orchestrated for over 100 performers. You cannot go wrong with this recording of one of Strauss's finest orchestral works. I highly recommend purchasing this recording if you are looking to buy a CD for Eine Alpensinfonie. It is worth it.

An excellent rendition of Shostakovich's two jazz suites plus his Piano Concerto #1. However, I've heard Rostropovich conduct all three in person, and would welcome a recording of his, since he was a great friend of Shostakovich's. It hasn't been done, and until it is, this will suffice as a fine addition to any classical library.

If Shostakovich had decided to write in the Russian folk idiom, this CD would probably be the best glimpse into that genre.

Intending to raise the level of Soviet jazz, we now have two jazz suites scored for orchestra, but featuring instruments used in a way we don't normally hear in Shostakovich. Using xylophone, twangy guitar, accordion, harmonica, and saxophones, we are treated to various "dance forms" such as waltzes, polkas, foxtrots, and marches. Shostakovich goes from the militant, to the humorous, to the sensual, each with an engaging and "catchy" Russian melody and unusual orchestration. He also orchestrates the famous "Tea for Two" into a short fantasia, which is rather whimsical.

The 1st piano concerto is a kind of odd fit on this CD in my opinion. More in the vein of what we are used to hearing from mainstream Shostakovich, he is rather melodic and often quotes from other works. The bare bones orchestration of piano, trumpet, and strings gives this work a very transparent feel. The first movement has an ominous opening theme. The slow second movement is very exciting in its own right with its sense of drama, rarely dwelling in lugubriousness, carrying the sense of dread from the first movement. The third movement is a sort of recitative to the last movement. The last movement has an unusual string mode mixture, the piano goes into a dance feel and the trumpet has some fanfare licks. Both piano and trumpet work together very well as separate soloists in this movement. He ends in a fury with piano and string poundings, the piano has some raucous quotes, and the trumpet ends with fanfares.

Overall, the performances are stellar. The jazz suites have natural Russian flair, the slow with great sumptuousness, the fast never taking itself too seriously and never careening out of control. The piano concerto doesn't fit the program in my opinion, but a very fine performance indeed. This CD is a must for any collection and an easy introduction to the lighter side of Shostakovich.

Who knew Shostakovich had such a sense of humor? This disc is delightfully entertaining and sparkles a the turn-of-the century cosmopolitan sound that is simultaneously reminiscent of Milhaud, Gershwin, and Ibert. The result is something supremely different. It's certainly worth a listen or two.

I was a little suspicious of an ensemble so hiply marketed as BOAC, but this is a really enjoyable recording and a beautiful piece by Riley. It's striking to think that while the Europeans were producing such moving (and often beautiful) pieces of angst and alienation, horror and war-weary self-loathing, Riley came up with this piece that is so inventive and yet so sunny and simply beautiful.

The easy connections are to Glass and Reich, of course, but it also reminds me of various Kronos Quartet recordings and (oddly) of McCartney's experiments in sound textures on Fireman: Rushes.

Recommended for the curious and for those arriving at contemporary chamber and orchestral music by way of pop and rock.

in the energy of the performance. I've had the original recording for a long time, and have enjoyed it as the first "definitive" sound of the piece. But this Bang On A Can version brings out the real inner beauty of the piece. WIth fewer musicians, and such diverse instrumentation, the individual lines stand out clearly while still blending into the overall mix and wash of sound.

I just listened to this for the first time and I am in total rapture from it.

All I can say is WOW.

This is an excellent recording of In C, not to be missed.

This is a good rendition of In C. There are so many different versions played by so many very different groups whose approaches vary greatly. Each performance has its "moments". There are a great many "moments" on this album, to be sure. You can pick your favorites too, after a few listenings. There is so very much going on during this recording. Your favorites might even start to vary.

Thumbs up to Bang on a Can!

If you like this one, check out the Shanghai Film Orchestra Version.

Bang on a Can ought to record Olson III.

There have been many complete recordings of "Aida" made between 1928 and the present, not even counting the numerous "live" performances circulating as pirates. Yet, of all of them, this set continues to outsell most others in spite of its sound and a few performance flaws.

The mono sound is actually quite good for its age. This set, made in 1955, had fuller body to the orchestral sound, not being quite as thin and boxy-sounding as the 1950-53 RCA opera recordings led by Renato Cellini with basically a pick-up band. The Rome Opera forces perform well under Perlea, an experienced theatre conductor with a good sense of musical pacing and shaping, but one who occasionally opted for slower-than-written tempi. This is his one flaw as a conductor here, but when you compare his reading to the much quirkier ones of Solti, Leinsdorf, Karajan or Levine, Perlea comes out pretty good. For some strange reason, however, the mono sound is drier and boxier on CD than it was on LP: obviously this transfer was made long before 20-bit remastering and clearer sound! However, boosting the treble restores a more natural balance.

Going down the cast list: Milanov, whose voice could float beautifully on top but sound somewhat base and hollow further down her range, is a surprisingly good Aida, curbing her tendency to elongate notes beyond their written length except for a couple of instances. She also sings dramatically, something one is not used to hearing from her, especially at this late stage of her career.

Barbieri, on the other hand, usually over-dramatized things, but here as in the Serafin "Ballo in Maschera" she sings with both a glorious tone and attention to musical detail. An excellent Amneris, surpassed only by Rita Gorr on the Solti set and equalled by no other.

Bjorling is usually not a favorite of mine in opera; his beautiful, silvery voice usually just soars through the music without any sense of what he is singing about. Here, however, he is remarkably sensitive to both text and dramatic situations. I'm guessing that either Christoff or Perlea (or both) gave him a good talking-to prior to the sessions. He sounds passionate in the Nile Scene duet, anxious and frightened in the Nile Scene finale. Good job!

Having not listened to him in some time, I had forgotten what a dramatic AND musically sensitive singer Leonard Warren was. His only drawback was his gruffy timbre, which just seemed to get gruffier and woolier as time went on. But the voice could also "bite," and it does so here. He is the second-best Amonasro on records, after the underrated Giuseppe Valdengo.

Christoff is his usual snarly self, but here both voice and character click. He was an excellent Ramfis because he, like Ramfis, was pompous, arrogant and overbearing. It was perfect typecasting.

My favorite "Aida" still remains the Toscanini, despite the cold singing of Tucker as Rhadames (in the first two acts - he warms up well for the last 2) and the tremulous, unfocused Amneris of Gustavson, but this makes a superb second choice. Now, if only RCA would remaster it with 20-bit sound and change it from 3 to 2 CDs...but don't hold your breath!

Not to sound like a detractor, but the best Aida studio recording and stage performance was that of Leontyne Price in the title role. The 1970 RCA Red Seal recording is the all-time greatest recording of Aida. Still, this is the finest studio recording of Aida for its time in the 1950's, at a time when Maria Callas was the reigning prima donna assoluta. Callas, however, never made Aida her signature role as say her Normas, Toscas and Medeas and sang it too little times to be noticed. There is a studio recording of it dating to a time when she was still a young star. However, Zinka Milanov possessed the right vocal equipment for Aida, with stunning pianissimi that perhaps even influenced Montserrat Caballe. Her voice is colorful enough so that in more dramatic scenes she can make it rougher and more intense in pitch. She is lucky to have the renowned and much loved Swedish tenor Bjussi Bjorling as Radames. Bjorling makes the role of Radames a lyrically resplendent one, with few dramatic outbursts and suffusing the arias with elegant Italian diction. Fedora Barbieri sings a terrific Amneris, singing the role with a mighty voice that cuts through the orchestra. But even with this great cast, I still prefer the 1970 recording with Leontyne Price as the definative Aida of all time, Placido Domingo as the most glorious Radames, Grace Bumbry as a noble Amneris and Sherill Milnes as Amonasro. But still fans of Milanov will want to own this one.

This was the recording that introduced me to the beauties of the opera "Aida." I was honored to be able to borrow it from a friend's mother. I listened to it in awe. However, I was not able to buy it, as at that time, I simply could not find it. Later, I bought one with Leontyne Price, and of course, I fell madly in love with that recording. I now have many recordings, including a live on with Maria Callas. The opera has become a staple in my record collection. Finally, decades later, I was able to buy this recording and really listen to it, and compare it to all those others I have. Is it the best of the best? Well, I don't know, but it is pretty near there if it is not there. I love Price's sound more than Milanov's, but both bring something special to the role. Now everyone speaks of Caballe's wonderful pianissimo in the Patria Mia aria. It is wonderful, but if one follows the score, that famous and treachrous high C in not sung all piano through that passage. Verdi writes a crescendo leading to that high C, and then it is sung piano and is to melt away, or fade away, never rushed till the phrase is over. What Caballe sings is wonderful, breath taking actually, but what Milanov sings is what Verdi asked for. Her high C, and the high A that is sung after it, is not just a wonderfully poised pianissimo, she sings what Verdi wrote. She begins the phrase delicately and sings a crescendo, and on the high C she sings a pianissimo and fades it away ever so delicately and descends. There is more to AIDA than this one aria, and more to this aria than this one phrase, but here we hear it as Verdi wrote it. It sends shivers up one's spine. I think this is the only recording ever recorded where the singer actually sings what Verdi wrote. This is the recording that converted me to the Milanov sound. The duet with Bjoerling simple gives one goose bumps all because of how their voices blend and the drama they bring to that beautiful singing.
With all my recordings of this opera, I still say this one is at the very top, maybe tying with Price (the recording with Jon Vickers). Great as Callas was in her portrayals, AIDA was not her role, and I really can't see her removing the foundation from under this recording. Aida is opera, dramatic opera, but it is opera that requires the best in vocal technique and beauty. This is truly a "gold standard" by which many recordings of Aida will have to be judged.

"A Woman's Journey" is the recording debut of Yiling Huang. Classically trained in Taiwan, Austria, and the US, Huang's music is very structured and finely-crafted. The album was produced by Paul Speer (formerly with David Lanz), and performed on a Bosendorfer piano. Most of the sixteen pieces are quite short and very classical in feeling, and each tells a slightly different story. Some of these are about events in Ms Huang's life, experiences in nature, and a very deep spiritual relationship with a soul mate or loved one. Several stories are set in the 19th century, and the influence of that period of music is very apparent. All of the selections are solo piano, and a few have nature sounds woven into the music (water, birds, rain).

The title track opens the CD. Realizing that we all have a different journey through life, there are also many common emotions we all experience. This piece is a musical reflection of many of these emotions, from tender to turbulent. "Riversong" is very interesting in that it makes a lot of harmonic changes that really aren't expected, much as a river can be unpredictable - a lovely piece! "Interlude 1" is a bittersweet piece that has a lovely melody flowing over an arpeggiated left hand. Reflective and emotional, I like this one a lot, too. "Freedom" tells the story of a 19th century woman who is determined to leave her unhappy life behind. Energetic and moving, you can sense the determination as this woman packs her bags, mounts her horse, and rides off to follow her dreams. "New Horizon" is my favorite track. Strong and hopeful, there is the feeling of elation that comes with a new beginning and a fresh start. I also really like "Rain Song," a lively but gentle appreciation for the beauty and melody raindrops create.

"A Woman's Journey" is a very promising debut!

After listening to the selections you have from your album, I was so captivated by the artistry and mood expressed in each selection that I simply wanted to hear more of your beautiful music. Your mastery of the Bosendorfer brought out the delicate resonances of this legendary instrument. Your music is so expressive and deeply spiritual - it conveys so many thoughts and emotions that I couldn't take it all in on the first preview - I must listen to it again and again. Thank you for bringing your music to the world and thank you for bringing it to me.

Everyone in our family love Yiling's music. I listen to this CD in my car, on the way to work, on going home. The soothing music make the worse traffic seem tolerable.
Our son Andrew listens to her music going to sleep every night. He said it makes him have good dreams.
Thanks for making such beautiful music for all of us.
Mike, Maria and Andrew

Raphael's "Angel's of the Deep" is a lovely, soulful, tranquil composition that sincerely soothes and profoundly comforts. It embodies a purity and an otherworldly love gleaming inside that undeniably radiates out while listening. The instruments used in the cd are: synthesizers, shakti harp and guitar, flute (I love it on "Remembrance"), congas and udu. The first track begins with ocean breezes and unbelievably gorgeous synthesizers and crescendos to the songs of whales and/or dolphins. The music as a whole flows effortlessly as every single track is so unfathomably Beautiful. All the track names are so ethereal, I love that. If you like heavenly sounding music, you will thoroughly enjoy Angels of the Deep. Sitting here, taking my time listening to each track, I appreciate it all the more and I didn't think that was possible. Recently, I played it to aid my studying for my summer A & P II final exam because it supplied me with peace and surrounded me with light and love--just what I needed during all those long hours of study. I'd keep starting it over as needed and just found out tonight that it [AOTD,] along with a merciful, Christian teacher and God (as always) guiding me, I received an A in the class! I know "Angels of the Deep" had its part in keeping my mind calm, my soul relaxed and my heart overflowing with beauty to help me absorb the material.

I love new age music. I don't own a lot, but the ones I do have are very special. I believe I was meant to have them. Many of them are gifts and/or they "found me." Here's hoping this finds a place in your home and heart like it has mine. AOTD is divinely and eternally distinct and should grow in your heart with each listen. If you're a lover of Beauty, a "new age" music lover or a lover of "all things ocean," it is a must own. o8E
Soar!

I am not a fan of newage music, and have no idea what drove me to buy this CD when I saw it on the shelf; maybe my love of water. Then I listened and immediately knew; this isn't your usual synthesized, sickly sweet, faux naturale new age music. This is a masterpiece, beautifully orchestrated and performed. It is honestly the best healing medicine on my shelf of 1500 CD's. Don't hesitate. You need this one.

In January, 1996, I underwent a crystal attunement with a practitioner who used the Marcel Vogel crystals and a unit called the triangulation unit. It was a wonderful uplifting experience that had me riding in a golden river of light for weeks. I bought "Angels Of The Deep" about a month after my crystal attunement and during the third tract, the golden rush I had felt with my attunement flooded through my system. That golden healing energy remains with me to this day and is reestablished every time I play this CD. I know that without "Angels Of The Deep", I wouldn't have been able to recapture and hold that energy. I'm now on my 4th CD. The vibration of this music has the power to uplift, energize and heal. Just close your eyes, let yourself go, and listen.

I did not expect a primer on Indian music. I expectd, instead examples of songs in different styles. This CD does do that to a limited extent, but Ravi Shankar spends too much time instructing the audience. The music that is presented seems rough and un rehearsed

As great as the music is, if you are distracted by the presence of vocals...then buyer beware. Ravi does a fair share of talking on this CD...and while the info is interesting enough...some listeners may find the vocals distracting. I would recommend the CD "Three Ragas" as the best, vocal-free Shankar CD.

Others have already reviewed this recording more articulating than I can probably manage, but this recording will take you places you have never been before, or at least it did me, many years ago, and still. There is a notion of being in time, which Ravi explains better in a tangible way than anyone, in a way we can all relate to - the rhythym of the human touch and stroke, and there is a notion of being outside time, the outsideness of dreaming, and the insideness of feeling. This disc introduces both, as it introduces the practical and sublime qualities of classical Indian music.

Summer has a very nice sounding voice and her choice of songs is very good.Her Rich sounding voice is just perfect for the songs.

I heard Summer on a sampler cd I got for free from one of the local bookstores. I kept coming back to her song and liked it enough to order her entire cd from amazon. Great purchase to say the least. She moves effortlessly between classical and pop selections. She has a way of working within the song and not overextending - meaning she doesn't showboat. Don't expect any american idol grandstanding at any time. What you get is straight up professional singing from a classicaly trained vocalist. It doesn't get boring thanks to a great mix of songs. The treatment of Sting's 'fragile' is especially nice. Not an essential cd but I still give it 5 stars because it's practically flawless.

This disk does not stay on the shelf too long. It usually goes where I go. Beautiful voice. Strong presentation. Listen and you will find a gifted lady. Enjoy.

Through recommendations from several guides on classical music, I got to listen to this record, and of course the music itself is glorious, truely delightful and all of that. As long as you stay focused on the slow parts, you have no trouble appreciating this record. The problem starts when the more vigorous parts set in. Then it is revealed that the nice moderato slows are combined with much too fastly played quick tempi. The same can be said about the 3 last symphonies by the same composer, conducted by Karajan in the Double Decca version.

I didn't expect this to happen with Rostropovich here, because of the good reviews, but also because of his Russian roots. I would have thought he was well able to convey the true Russian feeling in this work. Sadly enough, it really just is a very bad-balanced piece of playing, which is not to be accounted on the BPO, but as Haitink once said: "There are no bad orchestras, just bad conductors."

I'm afraid this here is the case with this recording. Rostropovich is likely to be better off with Cello concertos (playing or conducting - for a fine example check out his first recording with Korean prodigy Han-Na Chang).

For a better choice of Tsjaikovsky's masterpieces, I'd go for Previn and the LSO (EMI) or Karajan and the VPO (in his younger years on Decca). You'd be much more satisfied.

First and foremost, let the obvious be stated: Tchaikovsky's "Nutcracker", the Suite in particular, is one of the all-time greatest pieces of music of any kind ever composed anywhere, PERIOD. The sheer beauty of the melodies, the mystical magnetism of the harmony, the gorgeous colorations of the orchestration, make The Nutcracker an all-time classic of human endeavor, from the era when it wasn't embarrassing to create Art that is BEAUTIFUL. Since early childhood, this writer is in a rapturous state every time I hear it. The great Russian romantic composers really knew how to convey a rich world of emotion through the orchestra. This recording, then, like virtually any recording of this masterpiece (as well as "Swan Lake" etc.), deserves 6 stars by virtue of the compositions themselves, before we even consider the interpretations of the conductor and the musicians. That said, there is something that bothers me about this recording. Although I can't prove it, and although I'm only an "amateur" audio engineer, and although Deutsche Grammophon is historically a highly reputable and well-respected label known for excellence in recording, it sounds to me as if some studio tampering went on in the area of dynamics, the rise and fall of the volume levels in the louder and softer portions of the music. The cover notes mention some sort of "dynamic enhancement" that was done. Apparently, some sort of electronic studio compression (or perhaps, "expansion") device was employed during the recording, or more likely, the mastering, of the record, the audible result being that the dynamics are exaggerated, so that the soft passages are very, very soft, and the loud passages very, very loud. The goal at the time was surely to expand the audible dynamic range in the recording. In romantic music, however, where there are sometimes sudden dynamic "leaps" especially from soft to loud, this seems to push the dynamics too far in an unnatural way. And practically, what happens is: if you're listening to a soft passage, such as the very beginning of the Overture or the Dance of the Sugar Plum Fairy, you'll turn up the volume until you can hear it at a reasonable level, then, when a loud passage arrives, it comes swelling up as if someone is literally turning up the volume just as the orchestra does the same, and you'll go running to turn it down. The first time I heard this CD in headphones, I nearly jumped out of my shoes! The performance is good, although my own feeling is that German orchestras tend to sound a bit too "rigid" or "disciplined" for this type of music which needs to "ebb and flow" in an emotional way; perhaps this has to do with conductor Rostropovich's interpretation. Possibly a more recent (="DDD") recording might do more justice to the dynamics inherent in Tchaikovsky's composition without resorting to any sort of studio trickery which robs the recording of its transparency. ***ADD'L NOTE, Mar. 13, 2006: Since writing this review last month, I found a CD copy of the old Eugene Ormandy/Philadelphia Orch. recording, which is an excellent performance albeit not the newest digital sound quality, in a budget-priced ($6.98) series called "Sony Essential Classics". Highly recommended.

It's the Swanlake as you like to hear it. Great orchestra, lot's of instruments. Rich sound.