Classical music reviews

I just recently got this album and I don't know where I was when it was released (by looking at the other reviews it seems it was in 2001) but this is truly wonderful playing and a great addition to anyone's music library whether you're an avid classical piano fan or just someone looking for music that feels real. I'm not sure how the title connects to the music but maybe the artist is trying to draw something out in his approach that he feels is overlooked elsewhere - or maybe the liner notes are enough to suggest that he just wants us to slow down and listen for the "hidden" beauty around us but whatever it is I'm interested. McArthur's playing can sound alternately huge and delicate and I for one miss the level of dynamic contrast that he displays in other playing I hear in classical, pop and jazz.
Five stars for sure! I wish I could see him play in Paris this year. It seems to be his only performance date currently scheduled on the website listed on the back of the CD.

I was just looking over what others are saying about your playing. There are some really nice reviews. A couple low lifes, but no one pays any attention to them anyway. You are a great musician. I really respect you. I hope, as I develop my own skill, to resemble you in some small way. It would be an honor.

Looking forward to hearing you in New York!

I bought this cd after my friend encouraged me to do so. The first time I listened to this I didn't find it at as exciting as I had hoped. However, subsequent listenings reveal that there is a lot going on in John McArthur's interpretation. He doesn't mess about with Bach, but draws out rythms and subtleties which you always suspected were there, just maybe hadn't heard before.

I LOVE Christmas. I love the festive atmosphere. I love the spirit of giving and I love Christmas music.

This stuff, however, is downright painful to listen to. A few tracks, with the slower tempo, can be tolerated in small doses, but the more "upbeat" number are too awash in synthesizer arrangements and come across as little more than "a disco Christmas" and severely test my love for the music of the season. Destined for shopping mall PA systems everywhere.

Jesus died for this?

Happy Holidays Fox News zombies. If spirituality actually meant anything to you, maybe you'd spend less time in malls.

Definitely a CD for the Holiday and another good classic by chip davis. If you like their music, then this is a "Must get".

Copland shows us why it's called classical while still giving audiences something anyone can enjoy. I highly recommend this CD to people who want to learn to appreciate classical music or introduce their kids to it. Aaron Copland blends American history (sounds of "Simple Gifts") with sprightly sound and sweeping romance to create treasures that paint a visual picture for the listener. Highly recommend. The drive to work would be unbearable without this CD!

I believe that for a person not to have this CD in their collection woujld be a sign that they just do not know what great music is.

How people can buy Britney Spears music, and not buy this, is beyond me.

Get it if you don't have it, and share the joy.

These pieces are now availible on SACD, and as great as the CD is, the SACD version is breathtaking. I have owned these pieces on LP and cassette in my youth, but these works really "open up" in multichannel SACD with an extremely wide dynamic range and soundstage. Lenny was a personal friend of Copland and was a great admirer of his works. The performances here show his love and respect for these works. I have heard other conductors, but none come close to the exciting interpretations given here. Leonard Slatkin and the St. Louis Symphony come a close second...but these are the definitive interps. The SACD multichannel version really out classes the CD version...but, alas, it doesn't seem to be offered on Amazon!

I really enjoy this music. I like the quality and style of music presented by the Irish Tenors, and I like Christmas music. This is the perfect CD for me. I like hearing it from early November through the holiday season. I have given this album as a gift, and it was much appreciated. I would recommend it for anyone who likes traditional Christmas music.

I have the CD and the tape of this item and I have also seen the Concert twice.TWICE !! The most amazing part of it is when Anthony sings his LITTLE JESUS BOY. When I went to the concert the first time I wasn't really prepared for the effect that song would have on me. On the CD & tape he sings with a Choral Group to back him up. EXCEPT FOR THE FIRST LINES OF THAT SONG !!!!!.

IT IS ONLY HIS VOICE WE HEAR, AND WHAT A VOICE !!! But at the live shows, he does the same thing, but without the music, and the effect it has IS LIKE A PHYSICAL BLOW TO THE SENCES. I think every one in the place just held our breath until he was finished. IT'S THE MOST BEAUTIFUL SOUND THAT EVER CAME FROM THE MOUTH OF ANY SINGER I HAVE EVER HEARD. I play that one number over and over just to hear ANTHONY'S VOICE. I guess by now you know that I think all THE IRISH TENORS are great, but there is always something special about each of them on certain numbers they each sing. I especially like the trio doing AMAZING GRACE. They do it so well together. Just can't wait for the new "STUFF" FROM YOUR #1 FAN. JOAN WAY

Like millions of others I discovered the Irish Tenors through PBS. I promptly began looking for anything else by these wonderful performers and found this Cd. The music is soul-satisfying as the Christmas music is all sacred (the closest to secular is "Good King Wenceslas"). The arrangements are in turn glorious, tender, and sweet. "Suo Gan" by McDermott, ''Sweet Little Jesus Boy" and "The Wexford Carol" by Kearns are highlights. Of the ensemble pieces, "Silent Night" and "Joy to the World" stand out. But the crowning selection is "The Holy City." We are wearing the album out and it's only May. We'll have to have another copy for Christmas!

I can see someone admiring these recordings, since they are very well executed and crisply presented, with no major flaws. And I can see why Mozart was considered one of Karl Bohm's best composers if you like his foursquare, unsmiling approach. Apparently many other listeners and reviewers don't demand more than what this bargain set of the last six symphonies delivers.

But Bohm's traditional Teutonic conducting sounds pretty limited to me, not because of the "authentic" movement now in vogue but because great Mozart conducting must be joyous, light on its feet, and full of wit and alertness. Bohm is brisk and efficient instead. Bruno Walter was born even earlier than Bohm, and yet he got all those things right. That's why I return to him again and again, not to this set, much as I love the Berlin Phil.

Precision. That is what comes to my mind when listening to a Karl Bohm interpretation of Mozart. Mozart's final symphonies are ageless masterpieces of music. Anyone can recognize the opening Allegro moto of Symphony No. 40 in G-Minor (one of Mozart's only symphonies in a minor key). Just finding a collection with these wonderful symphonies is a great find.

As to the sound quality, Deutsch Gramophone spent extra time and resources into reissuing these originally analog recordings. It is nice to be able to hear every woodwind in balance and the string sections in their glory. The sound does not seem forced or artificial and the quality is absolutely superb.

These recordings were completed during the height of Bohm's time as a conductor. His interpretations are truly "viennese" in that tempos and structure are very precise and meticulous. Some may think his tempi are slow or plodding, but they offer a very nice interpretation that perhaps was accepted in Mozart's era. The 35th, 39th, and 41st symponies in the set are my favorites.

I would also suggest looking at George Szell's performances with the Cleveland Orchestra, for they offer a different interpretation but are also superb.

Columbia SO recordings (NOT with the New York PO) , which are OOP, this Bohm is the one to have, the only one you need actually. As I've heard at least 6 other major conductors, Klemperer , Mackerraas, both Levine's etc etc.
The only 2 I kept are the Walter ,got mine from a used cd dealer in the UK online :-) and the Bohm, complete sym set, which is the way to go for Mozart fans. There's quite a few very good syms in the 1-34.
All that stuff you read about Bohm being a "kapplemiester" (germanic style/cold), old fashioned, tutonic, is very misleading. I hear nothing of the sort and wish these comments would stop.
Though I was forwarned about Bohm being off track in approach with his german orch, I sense there is some anti-german sentiments in these negative comments about Bohm. None of this criticism leveled against Bohm is factual, only a prejudice in their minds.

As to
Details, tempos, instrument quality, sound quality, orch size all are in perfect harmony with Mozart.
. Bohm and the Berlin show forth a understanding of Mozart that none except Walter can rival.
The Klemper/Philharmonia on TESTAMENT, not the EMI release(which are duds) are not too bad, but not in the same category as either Bohm or Walter.
I sat down one day and compred all 3, and concluded the Klemperer were not necessary , for sound issues and also not on par with Bohm's definitive recording.

EDIT: I should mention that i read on a forum recently, he recalled Bohm from his vinyl set that the performances were 'a bit dull". Bohm does not speed read. Any conductor that takes Mozart too fast is doing a disservice to these richly detailed scores. Mozart requires detailed attention, which is what Bohm brings. Yet the life is there, not dull at all.

Paul Best
Baton Rouge
paulfbest@cox.net
Edit:Allright 7 of 10 have found my comments to be helpful. My best score yet on any of my reviews. Glad I could be of help, save others some $'s on avoiding un-necessary purchases.

It may sound like harsh judgement but there were only two songs that intrigued me and that I could see someone using on a film score. But as a whole it really is a pretty mediocre and forgetable CD. It actually serves its purpose though as it can put you to sleep as well as any other lullaby but I was hoping for something that would serve me better as background music as I sit at this PowerBook. Bottom line: It's OK but it sure ain't Heroin!

This CD is okay, but has a number of high-pitched, almost whiny songs that aren't very soothing. It wasn't what I was expecting out of a lullaby CD.

An excellent collection of peaceful, consoling music from around the world. Possibly if everyone experienced such music and went to sleep at ease with the world, they would wake up to a better world.

...Yes indeed, another review from that "Drummer J" guy. And you guessed it...I'm here to talk some drumming (among other things). I've always liked Ozzy's music weather its his solo material or his days with Black Sabbath. I've also always liked whatever group of musicians he's hired in the past on various releases. However, the musicians here on "Speak of the Devil" will always be my favorite (please don't hit that 'Not Helpful' button... I would have eagerly spent 3 times the cost of this album had Randy been involved, but we all know how that 'story' played out). Which brings me to the main reason of this review...and the reason I listen to this release over EVERY other Ozzy album-----Mr. Tommy Aldridge! (though Brad Gillis and Rudy Sarzo are more than 'worthy'). Tommy is somewhat of an over-looked 'Giant' among the drumming community. I don't really understand this considering he was/is at the forefront of double-bass evolution, along with Bellson, Cobham, Moon, Appice, Lombardo, Etc...The intense drumming on this album had such a profound effect on me that 2 weeks later I was laying down all my savings on my first double bass pedal....what a joyous day! (P.S. I couldn't afford another seperate bass drum to be exactly like Tommy...plus I would have had to shed 40 or 50 pounds to get "the Look"). I have been a "lifer" on the drumset for the past 25+ years and can honestly say that I have never "woodshedded" as hard and long as I did learning the groundbreaking techniques heard on "Speak of the Devil". But when things started to "click", my drumming was never the same again and consequently, I have never strayed too far away from the 'trusty-old' double bass. As for the live album, they don't get much more inspired than here. The three newest members not only breathed new life into these BS classics, they took them to new heights---once again, I dig every player that has been associated with the Ozzy camp, but these guys...WOW! Tracks like "Fairies Wear Boots", "Symptoms of the Universe" and "War Pigs" (among others), have never sounded better...at least to my ears. And though Mr. Gillis is NO Randy Rhodes, he does more than an efficient job throughout...covering Iommi's parts effectively while 'injecting' his own style to the songs. As for Mr. Sarzo, he's a Monster! Not only does he cover the low-end parts with 'gusto', he certainly looks like he belongs with the original "Madman" with his constant "head-banging" and stage antics. And last, but not least, "The Man", Ozzy is in fine form physically and vocally for this session--- I recently picked up the companion DVD for this release and its a great statement of what this particular band was capable of in concert...but beware, the DVD contains a whole different setlist...mostly Ozzy's solo material. I rank this album roughly #6 or #7 as far as my favorite live albums ever recorded...and this comes from someone who doesn't consider himself a "Metal Head" anymore. Strongly reccommended!

OK, so we all pretty much know about who Ozzy is these days, as he has soared to new heights with his show on MTV, and his family becoming "pop culture" icons. Most of you are really familer with all his solo work, and I am sure most of you are familar with his Black Sabbath material, but besides "Blizzard of Oz," which is his best solo album, "Speak of the Devil" one of the more unknown Ozzy records (none of the songs on this CD get airplay, well they do, but not these versions) is a remarkable LIVE album. This was recorded shortly after RR had passed away, and OZZY got the guitarist from Night Ranger (I forget his name) to join his backing band, and he does a great job filling in as OZZY performs all of his Sabbath Material on this. The versions of these Songs are second the none, and are 50x heavier then the orignals. I cant reccomend this album enough, Just the opening of Symptoms of the Universe is so Kick ass, and the opening Riff with Ozzy Sceaming is so amazily heavy, you tend to forget that these were Sabbath songs. This is a lost treasure, and every OZZY fan should have this one, cause even though most of you might think its not worth owning since it contains previously released material, these versions of these songs are the best that were ever recorded. Pick it up and judge for yourself..ENJOY

A friend mine had this album back in high school and we used to blast it 'till our ears rang. That was 19 years ago and I haven't heard it since. Well, never underestimate the power of rediscovery my friend. I just received a remastered copy today and interupted my wife's viewing of Entertainment Tonight to listen to it. Lets just say that it almost brought tears to my eyes it was so freakin' good! OH YAH BABY!

...Yes indeed, another review from that "Drummer J" guy. And you guessed it...I'm here to talk some drumming (among other things). I've always liked Ozzy's music weather its his solo material or his days with Black Sabbath. I've also always liked whatever group of musicians he's hired in the past on various releases. However, the musicians here on "Speak of the Devil" will always be my favorite (please don't hit that 'Not Helpful' button... I would have eagerly spent 3 times the cost of this album had Randy been involved, but we all know how that 'story' played out). Which brings me to the main reason of this review...and the reason I listen to this release over EVERY other Ozzy album-----Mr. Tommy Aldridge! (though Brad Gillis and Rudy Sarzo are more than 'worthy'). Tommy is somewhat of an over-looked 'Giant' among the drumming community. I don't really understand this considering he was/is at the forefront of double-bass evolution, along with Bellson, Cobham, Moon, Appice, Lombardo, Etc...The intense drumming on this album had such a profound effect on me that 2 weeks later I was laying down all my savings on my first double bass pedal....what a joyous day! (P.S. I couldn't afford another seperate bass drum to be exactly like Tommy...plus I would have had to shed 40 or 50 pounds to get "the Look"). I have been a "lifer" on the drumset for the past 25+ years and can honestly say that I have never "woodshedded" as hard and long as I did learning the groundbreaking techniques heard on "Speak of the Devil". But when things started to "click", my drumming was never the same again and consequently, I have never strayed too far away from the 'trusty-old' double bass. As for the live album, they don't get much more inspired than here. The three newest members not only breathed new life into these BS classics, they took them to new heights---once again, I dig every player that has been associated with the Ozzy camp, but these guys...WOW! Tracks like "Fairies Wear Boots", "Symptoms of the Universe" and "War Pigs" (among others), have never sounded better...at least to my ears. And though Mr. Gillis is NO Randy Rhodes, he does more than an efficient job throughout...covering Iommi's parts effectively while 'injecting' his own style to the songs. As for Mr. Sarzo, he's a Monster! Not only does he cover the low-end parts with 'gusto', he certainly looks like he belongs with the original "Madman" with his constant "head-banging" and stage antics. And last, but not least, "The Man", Ozzy is in fine form physically and vocally for this session--- I recently picked up the companion DVD for this release and its a great statement of what this particular band was capable of in concert...but beware, the DVD contains a whole different setlist...mostly Ozzy's solo material. I rank this album roughly #6 or #7 as far as my favorite live albums ever recorded...and this comes from someone who doesn't consider himself a "Metal Head" anymore. Strongly reccommended!

OK, so we all pretty much know about who Ozzy is these days, as he has soared to new heights with his show on MTV, and his family becoming "pop culture" icons. Most of you are really familer with all his solo work, and I am sure most of you are familar with his Black Sabbath material, but besides "Blizzard of Oz," which is his best solo album, "Speak of the Devil" one of the more unknown Ozzy records (none of the songs on this CD get airplay, well they do, but not these versions) is a remarkable LIVE album. This was recorded shortly after RR had passed away, and OZZY got the guitarist from Night Ranger (I forget his name) to join his backing band, and he does a great job filling in as OZZY performs all of his Sabbath Material on this. The versions of these Songs are second the none, and are 50x heavier then the orignals. I cant reccomend this album enough, Just the opening of Symptoms of the Universe is so Kick ass, and the opening Riff with Ozzy Sceaming is so amazily heavy, you tend to forget that these were Sabbath songs. This is a lost treasure, and every OZZY fan should have this one, cause even though most of you might think its not worth owning since it contains previously released material, these versions of these songs are the best that were ever recorded. Pick it up and judge for yourself..ENJOY

A friend mine had this album back in high school and we used to blast it 'till our ears rang. That was 19 years ago and I haven't heard it since. Well, never underestimate the power of rediscovery my friend. I just received a remastered copy today and interupted my wife's viewing of Entertainment Tonight to listen to it. Lets just say that it almost brought tears to my eyes it was so freakin' good! OH YAH BABY!

Decca's recording engineers were the best in the world at capturing orhestral impact, as they showed in Solti's Ring cycle. His Mahler Eighth won equal fame for sonic drama--this huge symphony sounds as massive exploding from home speakers as it might in live performance. The orchestra and soloists are also first rate, and to this day--as the reviews here demonstrate--Solti's version ranks very high in sales and fame.

Musically, however, thre is the usual high-voltage Solti aggressive drive throughout and little poetry. The sonics are surprisingly shrill and uncomfortable in this digital remastering--what hapened to the gorgeous bloom of the LP originals? I have known this set since the day it shot out of the cannon, and it's a relief to hear far more musical versions by Haitink, Sinopoli, Bernstein, Abbado, Gielen, and Colin Davis.

Gustav Mahler's Symphony No. 8 "Symphony of a Thousand", like his second symphony, requires great forethought and is quite problematic to perform, nonetheless record with some semblance of quality. This Decca Legends digital transfer of Sir Georg Solti's great 1971 Vienna performance was the first to translate well to a recorded medium, where others failed.

The first problem in putting together the Symphony No. 8 is instrumentation. A large woodwind section, brass section with 8 horns, 8 trumpets, 8 trombones, celeste, piano, organ, harmonium, mandolin, not to mention eight soloists, two mixed choirs, and a children's choir is tough to balance, not to mention perform. The symphony is in two parts: the first part is on a Latin text, the famous Veni, Creator Spiritus. The opening with full organ and double chorus brings me to the second problem in putting the work together, the music is terribly difficult. Solti has combined the Chicago Symphony Orchestra, two Viennese choruses, and the Vienna Boy's Choir; by all accounts, a world class occasion. The musicians tackle the virtuosic music in stride, on both the instrumental and vocal sides. The 20+ minute first part is a unceasing, breathless praise to God. The music's extreme ranges and quickly changing harmonic foundations are performed with reckless abandon here, as Solti does anything but dwell, but instead forges ahead. The soloists, all legends of their time (and this time as well) are a treat. Each are heard well over the orchestra (the tenor is sometimes overwhelmed by the orchestra and soprano soloists) and the same goes for the chorus. The ending Gloria is taken at break-neck speed and ends as stated in the text, gloriously. The second section is in German and sets the final scene of Goethe's Faust. A scene of redemption, it fills the rest of this 79 minute CD. A bit more subdued, the lovely opening instrumental gives a breather after the first part. The rest that follows is rather operatic in nature, with arias, duets, ensembles, and chorus work. The last six minutes, which begins extremely soft in the chorus and strings, is the last great build-up to the conclusion of the work, a splendid finale. The third problem in putting together the work, especially from a modern perspective, is quality of sound and balance. Suffice to say, with the 1971 transfer, it is very difficult to tell the age of the recording. All voices speak well across the board, and the Chicago Symphony Orchestra cannot be beat by any other ensemble, especially the brass section, and only on rare occasions are their signs of the recordings' age. The voices are clear and the text is conveyed satisfactorily. Each classical music fan has their favorite "Symphony of a Thousand" by Gustav Mahler; this is mine. An easy recommendation.

Mahlerians will testify that this recording is not only a classic, but one of those unsurpassed legendary recordings of the century, and while there are many fine versions conducted by notable names like Karajan and Bernstein, Solti's triumphal interpretation is mind-blowing and surreal, making this recording the absolute and definative Mahler Symphony Number Eight. Furthermore, this 60's recording features the supremely magnificent operatic voices of soprano Lucia Popp, Arleen Auger, mezzo soprano Yvonne Minton, bass Martii Talvela, and the others-Kollo and Harper are equally impressive. Their male and female voices are harmonious, capturing the Oratorio mood (like Haydn's Creation) with utmost passion and spirituality. By the time Mahler finished his 8th, he had established himself as an outstanding composer whose music was radiant and suffused with the spiritual beauty and aesthetic idealism of the late German Romantics that followed Richard Wagner- namely Richard Strauss. As a pure Romantic, his music was modern in that it was complex music, music of philosophical and metaphysical/spiritual nature -which of course reflected the mood of the turn of the century, which was headed for World War II and reflected the conflicted and spiritual, brooding nature of Gustav Mahler himself. Mahler was born Jewish but converted to Catholicism. Both faiths inspired his music.

Starting with the Second Symphony, dubbed "The Ressurection", Mahler went above and beyond what Beehoven did in his 9th. Mahler used extremely large orchestras, a great number of choruses, and music that is very long and meditative. Often, it sounds mystical, tragic and transcendental. One can even meditate (as in Buddhist meditation) to this very music! It takes the mind and heart upwards into spiritual realms. It is music that is not easy to understand at first, and for symphony-goers, it is the equivalent of Wagner opera. No one can go to a Mahler symphony, especially his latter ones - 8th, 9th and 10th, for the first time at a symphony itself. The experience is far too overwhelming. While much has been said about the greatness of this recording, it is never too late to say that this symphony is masterful because it benefits from perfect timing. Decca's Legendary Recordings normally date from the 60's, when the recording industry (especially for classical repertoire) was at its zenith. At this time, LP recordings of Karajan conducting symphonies, operas, as well as such other notable conductors like Giulini, Leonoard Bernstein, Antal Dorati and Andre Previn, were to be found in record stores along with LP's from The Beatles, The Mamas and The Papas and Rolling Stones. These classical works have been reissued by Decca beautifully. So the sound is top-notch. Solti in the 60's was in his prime, powerful, confident and balanced. His later recordings seem to age slowly with him, though he retained his vitality as conductor and in musical prowess of the scores he selected. Solti is unbeatable here. At this time, at this date, no other conductor, not even Karajan himself, could surpass him at least in this particular symphony. He had it nailed. And how fortunate he was to contract the likes of Lucia Popp, Arlene Auger, Marti Talvela and Renee Kollo to come together and sing their German hearts out in blissful bravura. Their voices are angelic. Please please check out this illustrious recording and see for yourself that even Mahler would have died happy knowing this recording would eventually come along.

As I write this, there are 31 reviews ahead of me, all of them exuberant on Kleiber's interpretation. I cannot contest that. I must assume that all, or most, of the reviewers have listened to the music with the score in hand or have listened to 8 or 10 conductors who have read this music. Theres hardly any mention of the sound quality of the recording, except one reviewer who says it is an early digital. The Penguin Guide - which I read after buying the CD from Amazon - puts it way down among the recommended recordings, noting that while any Kleiber recording is an event of stature, it admits that this early digital exposes its technical limitations - "shrill and glassy" sounds above the stave. I have many DG Originals with outstanding sound and outstanding performances. This disk is a great disappointment, even after hearing it several times. It certainly shouldnt be the beginner's first choice!

Kleiber's interpretation of Brahms' final symphony is the sine qua non of any classical music collection. Brahms is part Bach part Beethoven but mostly himself. That said, his symphonies are some of the most significant accomplishments in the classical repertoire because he combined the better achievements of his two predecessors. This Fourth is not his best, (the Third is) but Kleiber casts a spell that cannot be ignored. Therefore, consider this one of the musical gems that you must have if only for the first movement alone. This disc (and Tchaikovsky's Fourth by Bernstein) have been replaced more times than any others in my collection. And every time, I only buy the Kleiber version. Kleiber sustains the demands of Brahms from alpha to omega as few other conductors can, especially the rondo-fugue and theme-and-variations which are demanding without relent. In toto, the Fourth lacks the organicity (intentionally so) of its predecessor pair. That said, the first movement is the most beautiful twelve minutes of sound you will ever hear. I could swear it were the name of God. And you will too.

I have always found Carlos Kleiber an interesting and enigmatic conductor. One whose performances are worth hearing time and again. Ditto with this fine recording.

Brahms might also be viewed as an enimga, and his dense orchestral works either attract or put people off. As with many listeners, my earliest introduction to Brahms was via his symphonies, in my case von Karajan, Walter and an old Toscanini mono set. While I continued to listen to Brahms on CD and in the concert hall, eventually my listening turned more towards his chamber and vocal works.

A few years ago I decided it was time to look more closely at the Brahms symphonies. This recording has been one of my recent discoveries and has rekindled my interest in Brahms the symphonist. Kleiber and the legendary VPO turn in a first rate and very interesting performance.

Listening to this CD I was able to notice little things about the orchestration and the tempos that were handled just a little differently than I had heard before. Also, there is an energy to it that that one frequently finds lacking with peformances of Brahms symphonies. I could go on with more specifics, but better you make your own observations. My advice, buy it and listen!