I specified Sony Philips management, not the Music Div. Yes, the music division remains committed to SACD. The management side has been the problem. Given the small number of people who have SACD players even now, I still think it would be a good idea to have a list of say, 50 top sonic SACDs that newbies could sample. There is also the issue of DSD downloads although these are still few in number. Good luck with the thread.
I went to Amoeba Classical section with the sole intent of picking up some classical SACD to check out. Despite my BFA in music composition, I'm not extremely well-versed in classical composers, so I thought I would just look for Living Stereo releases not knowing what I'd end up with. Picked up these two. How did I do? Are these good choices for the first classical SACDs in my collection? Besides Living Stereo, are there classical labels to look for and avoid in terms of SACD?
My latest purchases from Acoustic Sounds: Beethoven* / Enescu*, Julie Steinberg, David Abel – Beethoven Sonata in G Major. Op 96 For Piano And Violin; Enescu Sonata No. 3 Op. 25 In Rumanian Folkstyle Label: Analogue Productions – CAPC 8315 SA, Wilson Audiophile – W-8315 Format: SACD, Stereo, Album Country: US Released: 2017 Genre: Classical Style: Romantic, Modern Mastered by Kevin Gray at Cohearent Audio Falla*, Ansermet*, L'Orchestre De La Suisse Romande, Teresa Berganza – The Three Cornered Hat Label: Analogue Productions – CAPC 2296 SA, Universal Music Special Markets – B0026237-06 Format: SACD, Hybrid, Stereo, Album, Limited Edition, Remastered Country: US Released: 2017 Genre: Classical Style: Impressionist, Modern Mahler*, Zubin Mehta - Los Angeles Philharmonic Orchestra – Symphony No. 3 In D Minor Label: Analogue Productions – CAPC 117 SA, Decca – 6.48127, Universal Music Special Markets – B0019683-16 Series: Decca Classical Series – Format: SACD, Hybrid, Stereo, Album, Reissue, Remastered CD, Reissue, Remastered, Stereo Country: US Released: 2016 Genre: Classical
I think you did really, really well. These are some of the best SACD recordings to have appeared in the last 20 years. I would in fact like to see more of them as the Living Stereo Catalog (of analog recordings) is quite large and extensive and we have only seen maybe 5 - 10% (of the catalog) on SACD so far. It's hard to say that there are any labels to avoid. LSO-live record in the challenging (and famously dry) acoustics of the Barbican Hall in London, so I always recommend sampling their recordings before buying (since the sound quality can vary a great deal from recording to recording). There are simply too many labels to recommend...I would say almost any label putting out SACDs, puts out a quality product. Once you start buying SACD recordings, you will get a feel for a particular label's "house sound" and you will be able to pick your own favorites. Right now, I am concentrating mostly on new Classical SACD releases and those are (mostly) coming from labels like Pentatone, BIS, Chandos, Channel Classics, Challenge Classics, Universal Japan, Tower Records Japan, Analogue Productions, Mobile Fidelity, Sony Japan, Dutton-Vocalion, and many others.
1st Listen Tango, Rudolf Werthen & I Fiamminghi, Telarc SACD: I just got this disc earlier today and am now sitting down for a first listen. I love Tango music and this disc features some great Tango arrangements from Rudolf Werthen and the I Fiamminghi Orchestra of Flanders. I like the way that this has been recorded in the typical flattering, luscious house acoustic Telarc are famous for. I have heard some Tango albums where the acoustic was too dry but this sounds perfect. This disc dates from 1999 and I was shocked to discover (a week ago) that I did not already have it, so I ordered it. I am very glad I did. I find the pieces intensely romantic and I just get swept up in the music.
I forgot to mention the label Reference Recordings...they are putting out a lot of quality new (SACD) recordings like this one:
Thanks, I'm glad I picked out good things. I've listened to the Bartok and I really liked the music and the fidelity. Obviously, music like this needs to be listened to over and over, but it was a nice introduction to Classical SACD. Thanks for all of your helpful info too. Off subject, but I also scored a single layer SACD of Mingus Ah Um for $25!
1st Listen Mussorgsky Night on Bald Mountain, Pictures at an Exhibition (orch. Ravel), Prelude to Khovanshchina, Paavo Jarvi & the Cincinnati Symphony Orchestra, Telarc-SACD: I have a gazillion different versions of these pieces but I found this for a good price and could not pass it up (plus Paavo Jarvi's Telarc SACD recordings are starting to get scarce - there is a box set of the Jarvi Telarc recordings but they are not SACDs). The first thing that captures my ear in Night on Bald Mountain is the incredible dynamic and frequency range captured in the recording (something that Telarc are famous for). I hear some very staccato accents from Jarvi in the phrasing of the piece. I love the diabolical nature of the music. I like the subtlety of the tolling bells (subtle is a word that does not often come to mind with this piece). I like that Jarvi is able to bring out this accent. It makes the piece sound more three-dimensional. I hear some really delicious woodwind playing in the slow section. Ravel's is my second favorite orchestration of Mussorgsky's Pictures at an Exhibition. It's the one everyone plays, but it is not my favorite. My favorite orchestration is that by Leopold Stokowski (which I find even more exciting than Ravel's). Jarvi and the Cincinnati Symphony Orchestra play the standard Ravel orchestration. I have heard many different approaches to this piece. Jarvi seems to be emphasizing the psychotic, Cabinet of Dr. Caligari-like aspects of the piece. He presents each Picture as one in a sequence of grotesque images. It's a very expressionistic interpretation. I like the sound, intonation and playing of the Cincinnati woodwinds. I am loving the horn playing too. The woodwinds sound delightful in the "Ballet of the Unhatched Chicks" Picture. Jarvi brings out a sinister and disturbing (Caligari-like) quality in the "Samuel Goldenberg & Schmuyle" sequence. I hear this same quality (plus a sepulchral element) in the "Catacombs" and "With the Dead" Pictures. The "Hut on Fowls Legs" Picture sounds diabolical. I love the way the woodwinds heckle and chirp menacingly. In Jarvi's interpretation, the "Great Gate of Kiev" sequence recalls the "Songe d'une nuit du Sabbat" from Berlioz "Symphonies Fantastique" (right down to the tolling bells). The disc concludes with Mussorgsky's Prelude to Khovanshchina. It's a less well known piece, which explores different themes than Night and Pictures. The Prelude sounds very evocative and whets my appetite to hear the whole opera. I like the way that Jarvi brings out the subtleties in the music. This SACD was released by Telarc in 2008, produced by Robert Woods and engineered by Michael Bishop.
I will admit I have very little classical music in my library but what I do have are SACDs. I am also not very knowledgeable about the subject but I can share what I like. Here are some. Mozart – The English Concert, Andrew Manze – Night Music • Eine Kleine Nachtmusik Label: Harmonia Mundi – HMU 807280 Series: Production USA – Format: SACD, Hybrid, Multichannel, DSD Country: Europe Released: 2003 Mozart - Donald Runnicles, Atlanta Symphony Orchestra & Chamber Chorus – Requiem Label: Telarc – SACD-60636 Format: SACD, Hybrid, Multichannel, Stereo, Album Country: US Released: 2005 Tchaikovsky, Erich Kunzel, Cincinnati Pops Orchestra – Tchaikovsky 1812 Overture (New DSD Recording) Label: Telarc – SACD-60541 Format: SACD, Album, Hybrid, Multichannel Country: US Released: 2001 Holst / Grainger, John Eliot Gardiner, Philharmonia Orchestra – The Planets / The Warriors Label: Deutsche Grammophon – 471 634-2 Format: SACD, Album, Hybrid, Multichannel Country: Europe Edvard Grieg, Bergen Philharmonic Orchestra, Ole Kristian Ruud – Peer Gynt Suites Nos. 1 And 2 / Funeral March / Old Norwegian Melody / Bell Ringing Label: BIS – BIS-SACD-1591 Format: SACD, Album, Hybrid, Multichannel Country: Europe Released: 2006 Only 30 classical albums in my library of 3200 and each is an SACD from the early 2000's when I was very into the multi-channel sound and sought almost anything at the time. These have grown from technology curiosities to musical favorites. But, I have never gone beyond.
New Classical SACD alert: Presto Classical's site shows a nice list of new Classical SACDs: New & Future Releases - Buy classical music and opera recordings - SACD (page 1 of 7) | Presto Classical There are a few that I have added to my list (of SACDs to get):
1st Listen Brahms Violin Sonata in F minor, Scherzo, Sonata No. 1 in G major, O kuhler Wald, & An die Nachtigall, Ulf Wallin, violin & Roland Pontinen, piano, BIS SACD: I was astonished by Vol.2 of this two-SACD set, after I found it in my local record store two weeks ago, so I hurriedly ordered Vol. 1 to complete the set, received it yesterday and am sitting down for a first listen today. The first thing that captures my ear listening to the Allegro appassionato 1st movement of the Sonata in F minor is the exceptionally sweet and singing tone of Ulf Wallin's violin playing. I love the dialogue that Mr. Wallin has with Roland Pontinen at the piano. This must be one of the most beautiful sounding discs of these pieces that I have yet come across. I hear great passion and moxie in the playing. The sophistication and styling of Mr. Wallin's playing reminds me of two favorites, Yehudhi Menuhin and Vadim Gluzman, and he marries this (sophistication) to a searching, singing tone that's reminiscent of Itzhak Perlman. I could listen to Mr. Wallin play all day long! I feel the same way about Mr. Pontinen's playing. I hear a luminosity and depth of insight in his playing that gratifies me greatly. I love the gentle, singing phrases (from both players) in the opening of the 2nd movement, Andante un poco adagio. They create a mood of warmth and nostalgia. I hear sprightly rhythms in the 3rd movement, Allegretto grazioso and more of Mr. Wallin's singing tone and Mr. Pontinen's luminosity. I love the way that the players get into the rhythms of the 4th movement, Vivace, as well. The recording creates a hyper-realistic illusion of the performers in the room with me. I am so impressed by their playing that I have a strong urge to shake their hands (an urge that I am restraining until the end of the performance). The players sound equal parts passionate and delightful in the Scherzo from the F.A.E. Sonata. I find this an amazing piece. It's written for chamber players but I always here a myriad of voices and instrumental lines. It's as if I am listening to a full orchestra. I love the gentle, romantic opening of the 1st movement, Vivace ma non troppo of Sonata No. 1 in G major. I love the pizzicato playing from Mr. Wallin in this 1st movement and I continue to be delighted by the sweet, singing tone that he creates with his instrument. Mr. Pontinen matches him note for note. I love the dialogue between them. I love the tender, elegiac mood that Mr. Pontinen and Mr. Wallin create in the 2nd movement, Adagio. I am so engrossed in this performance that the computer has shut off repeatedly. I hardly know what what to say. I find the passion and spontaneity in the way the principals play the 3rd movement, Allegro molto moderato, very moving. This deserves an ovation! O kuhler Wold is an adaptation (for violin & piano) of a Brahms song. I once again have the sensation that I am hearing far more voices and instrumental lines than are possible for two players to create. Perhaps this is why Robert and Clara Schumann proclaimed (20-year old) Brahms a "Symphonic-thinker" after just hearing Brahms play one of his piano pieces. An die Nachtigall is another gorgeous adaptation (for violin & piano) of a Brahms song. I find the playing here exquisite. That is a word that I can apply to this whole album. Volume 1 has astonished me just as much as Volume 2 did. This was recorded in Sweden, produced by Robert Suff and engineered by Marion Schwebel in May 2017. I cannot praise the recording team enough. I have never heard Brahms captured more authentically on any format. This disc gives one of the most convincing demonstrations of what SACD can do yet! I cannot give this album a higher recommendation. Standing ovation. Get it at once! I cannot wait to get the BIS SACD Albums of Schumann and Liszt Sonatas by these same artists!
Great idea for a thread! I've had this Kooiman and pupils JS Bach organ integrale box in my heavy rotation recently. Stunning recording quality and performances, it all came together for this one.
This is a great reissue series from AP. I've compared a few against the Sony BMG SACDs and in most cases the AP have quite a bit more tape hiss than on the BMGs, same with bandwidth, frequency extension and overall "in room" realism. I am not really a fan of Clifford Curzon which is why I never checked it out in the past, I bought this blind when it was on sale and it has quickly risen to one of my favorite performances of the Trout Quintet, which happens to be one of my favorite Schubert works.
1st Listen Bach Toccata in C minor, Partita No. 2 in C minor & English Suite No. 2 in A minor, Martha Argerich, Universal Japan SHM-SACD: Listening to Argerich playing Bach's Toccata in C minor, I hear tape hiss and a warm, lucid sound. This is not the glassy, aggressive, brittle DG sound of old but sounds buttery smooth (but with plenty of brilliance as well) and analog-like instead. I love it. I hear the same combination of brilliance and warmth in the Partita No. 2 in C minor. I love the way Argerich brings out a sense of individuality and personality in pieces that can sometimes sound impersonal and academic (to my ears). I hear passion and emotion in her playing (of Bach). I hear the same kind of passion and emotion in the way that Argerich plays the English Suite No. 2 in A minor. This recording was remastered (super successfully) to DSD by Emil Berliner Studios in 3/2021. The SACD sounds like master tape quality.
Here is a thread I started on the AP tape reissues of the Living Stereo albums, these are their flat transfers from the original 3-tracks: Acoustic Sounds RCA Living Stereo 3-track and 2-track tape videos I can't quite bring myself to spend $450 as none of what they've released so far has my number one favorite performance (except for the Bartok Concerto for Orchestra) or if they do they are pieces I don't play often. Someone in our listening group has bought a couple and when comparing them against the AP SACDs on an Audio Aero SACD player the two sound extremely close. https://www.youtube.com/watch?v=6Ur8ivMD8vQ
(Classical) SACD sale alert: Dutton-Vocalion are having a Summer sale! https://www.duttonvocalion.co.uk/
1st Listen Chopin Preludes, Martha Argerich, Universal Japan SHM-SACD: I have long wanted to like these recordings but the brittle, clangorous sound of previous (digital) versions always put me off, so I am turning now to the latest (and only) SACD release to see if the master tape actually had more to offer (all along) and the recording just needed the right remastering to show this. Right off the bat my ears detect a warmer (less metallic) quality to the sound. It sounds warm and lucid. I can appreciate the subtlety in Argerich's performance of Prelude No. 2 so much more than I ever could before. These are all (so far) much more listenable than previous digital versions. The lack of gross distortion allows me to appreciate Ms. Argerich's interpretations more...for instance I could never really appreciate her good taste in pacing and timing before. Distortion made the recording sound rushed to my ear (and perhaps my ears were so bothered by distortion that I wanted to rush through the listening session). Now I can appreciate (and enjoy) Argerich's (good) judgement and presentation with regard to her pacing choices. Even in forte passages (such as in Prelude No. 8) everything sounds so much firmer and less brittle (previously forte passages sounded like they were perpetually on the verge of break-up). I love the sense of nobility and the beauty in Martha's interpretation of Prelude No. 9. I love the mercurial sense of humor that she brings to Prelude No. 10. I love the sense of the "diabolique" that she brings to her interpretation of Prelude No. 12. I find the contrasting qualities of warmth and romance that Martha brings out in Prelude No. 13 very gratifying. I hear a buttery smooth (yet still brilliant) quality to the sound that helps me enjoy this piece. Martha whips up a delicious mini-storm in Prelude No. 14 and Prelude No. 15 "Rain Drop" sounds delightfully wet, conjuring images in my mind of a child stuck indoors on a rainy day who passes the time by counting rain drops. I hear an intense quality of romance and nostalgia in Ms. Argerich's interpretation of the "Rain Drop" Prelude. I love the manic zaniness that Ms. Argerich brings to her interpretation of Prelude No. 16. I love the charm and romance that Martha brings out in Prelude No. 17. Wow! This sounds spectacular! I hear such intelligence (and good judgement) in Argerich's playing. I love the passion and drama that Martha brings out in Prelude No. 18 and the sense of nostalgia that she kindles in Prelude No. 19. I love the way Martha attacks the world-weary opening chords of Prelude No. 20 (without hamming it up). I appreciate Martha's taste and judgement. I love the contrasting sense of brightness and joy that Martha brings out in Prelude No. 21. The cacophonous structure of Prelude No. 22 (in previous digital versions) used to sound unpleasant but that's no longer the case and I can now appreciate the way that Martha Argerich illuminates these structures. Moreover, the qualities of brilliance and passion in Ms. Argerich's interpretation of Prelude No. 24 now sound unhindered by distortion allowing me to appreciate the interpretation a 1000x more. I love the crashing and solemn final chords! I hear more tape hiss in Ms. Argerich's recording of the Prelude in C sharp minor indicating that this came from another recording session, but Ms. Argerich's searching, probing intellect and her way of bringing out the emotion in the pieces remains very consistent. The Prelude in A flat major also comes from this 2nd recording session (the background remains consistent). The liner notes say that the Preludes Nos. 1-24 were taped in 1975 and the final two (posthumous) Preludes were taped in 1977. Wow! I think these pieces sound like they have been re-born in this latest restoration. I think only those who had heard the master tape previously truly knew what riches the tapes actually contained! Now all of us can hear it! The master tape to DSD remastering was completed in 3/2021 by Emil Berliner Studios.
1st Listen Dvorak Symphonies Nos. 2 & 6 (Disc 2), Rafael Kubelik, Berlin Philharmonic, Tower Records Japan SACD: Despite the fact that recordings of Dvorak's Symphonies 7, 8 and 9 are near ubiquitous, recordings of the complete Dvorak Symphonies are much rarer (in fact I think this may be the only one on SACD). I don't know why the early Dvorak symphonies are ignored in favor of the later Dvorak symphonies because the early symphonies are also tuneful, melodious works. Tower Records Japan have managed to squeeze 9 Dvorak Symphonies onto five (well-filled) SACD (hybrid) discs. I don't like the way that Symphony No. 2 is split between Discs 1 & 2 but I guess that was the only way to get all the (9) Symphonies onto five SACDs. Rafael Kubelik sounds like a most persuasive advocate for all the Dvorak symphonies. I love the velvety quality of the strings in the 3rd movement of the 2nd Symphony. The (Berlin) brass section sounds very zesty too. This remastering has a sweet but lucid quality. The complexity and infectious joy of the writing in this 3rd movement of Dvorak's Symphony no. 2 reminds me of Mendelssohn. I am also hearing musical ideas, structures and soundscapes the like of which I have never heard before in the 4th movement of Dvorak's Symphony no. 2. I really like the passion, zest and beautiful intonation that I hear from the Berlin woodwind players in this movement. The Berlin brass section continue to shine. The clarity and the way all the choirs can be heard equally well are a hallmark of Rafael Kubelik's approach to conducting. The brass players are going nuts in this finale! The (Berlin) tympani are also making a fantastic contribution. I like the horn figures that open the 1st movement of Dvorak's Symphony no. 6. The drums sound arresting as well. I like the way they cut through. I hear some really zesty sounding melodies. I like the way the woodwinds open the 2nd (slow) movement of Symphony no. 6. Now the horns are joining the woodwinds and the strings. I hear more of the beautiful melodies that Dvorak is famous for. This slow movement seems to anticipate the "New World" Symphony that was yet to come, proving that as much as Dvorak was inspired by the New World, the melodies, thoughts and ideas in his Symphonies are very much his own. I love the Tarantella-like rhythms that open the 3rd movement of the 6th Symphony. The Berlin brass choir are adding some really zesty accents...as are the Berlin woodwinds. It's hard to believe that this is the Karajan-era Berlin Philharmonic because they sound so different under Kubelik. I love the slavic folk-dance elements of the music. It's a rollicking, rustic good time! The high spirits and energy in the 4th movement, Finale sound very infectious. The woodwind players are going wild. It's such a treat to be able to hear them so well (they are definitely not hiding out in the background somewhere). The strings continue to have that full, velvety quality that I have heard throughout. I like the way that SACD preserves the timbral qualities of the analog original recording. I love the way that Kubelik and his Berlin players attack the rhythms in this movement and the way they bring the movement to a majestic, rousing conclusion! The liner notes say that these recordings were remastered for SACD in 2018.
Oh my, Layman, you don't have Maag's Mendelssohn 3. If you're trying to collect them all, you really need to get that one.
Have you seen the price the disc is going for on Amazon now? https://www.amazon.com/dp/B0006GAY68?tag=hraudio-20&linkCode=ogi&th=1&psc=1 I am waiting patiently for a re-print. Universal Japan have brought back out-of-print (SACD) material for new runs (many times) in the past. It may only be a matter of time.
Besides the Maag Mendelssohn 3, Kertesz's Dvorak 9 and Ansermet's Borodin 2 & 3 occupy discs I would buy again and again looking for the best release of it. All of those are on HDTT's remasterings in DSD. Until the rerelease, you might try getting those there.
I've been streaming Martha's live recordings on and off. She makes the occasional mistakes but still remarkable that she can play that well at 80. She has a new album of Debussy with Barenboim. I'd like to see her make more recordings with Sergei Babayan. My favorite performances of the Chopin Preludes are Andrea Lucchesini's EMI CD. On SACD has been in my heavy rotation since I bought it: I posted about the sound quality here: #1003
1st Listen: Rimsky Korsakov Scheherazade, Kirill Kondrashin & the Concertgebouw Orchestra, Tchaikovsky Piano Concerto No. 1 in B flat major, Martha Argerich, Kirill Kondrashin & the Symphonieorchester des Bayrischen Rundfunks, Tower Records Japan SACD: I am hearing a realism and delicacy from the violin/orchestra dialogue of the 1st movement of Scheherazade that I have not heard in previous (digital) iterations of this recording. These were originally Philips recordings and I also own the first CD version. Violin soloist Herman Krebbers seems an ideal "story teller." I like the (exotic) atmosphere and drama in the interpretation. I hear a lot of orchestral color from the Royal Concertgebouw. The (SACD) remastering seems to present more of the beautiful acoustics of the recording venue than the rather dry sounding CD version did. I love the "femininity" in the solo violin passage that opens the 2nd movement. The Concertgebouw woodwinds sound superb. I love the "Middle-Eastern" accents that the woodwind instruments play with. It adds so much color and atmosphere. I love the way that the clarinets play the "Scheherazade" theme. The recording sounds like it has been transformed. I hear fine detail, treble stings, the resonance and pitch of instruments that I could not hear so clearly before. Tone colors sound sweeter and more saturated. I find the interpretation tremendously exciting. I love the atmosphere of romance that Kondrashin and his Concertgebouw players conjure in the 3rd movement. I also like the way the players attack the rhythms. This really enhances the sense of edge of the seat excitement. I like the exotic musical accents from the harpists. All the choirs sing so beautifully together. I like the sense of drama and danger in the opening of the 4th movement. Kondrashin and the Concertgebouw play the movement with a sense of excitement, joy and passion. This SACD remaster seems to enhance the rich sonic color and (tonal) authenticity of this recording, the resulting vibrancy reminds me of the restored frescoes of the Sistine Chapel. Kondrashin's interpretation of the piece sounds richly layered and subtle (making Gergiev's Philips SACD, for all its excitement, sound ham-fisted and crude in comparison). I now have a new favorite recording of Scheherazade! Yet, this is not a new recording and I think much of the beauty and subtlety of the interpretation were hidden away on the master tape...until now! Scheherazade was taped in 1979. The analog master tape to DSD remastering was completed (by Classic Sound) in 2016. I also hear sonic subtlety and realism in the opening of the 1st movement of Tchaikovsky's Piano Concerto No. 1 in B flat major. No modern pianist is more identified with this piece than is Martha Argerich and listening to this recording it's quite obvious as to why. She plays the piece with the animation and spirit of a person possessed (possessed by the music itself). I hear so much passion and electricity in her interpretation! Mr. Kondrashin and his Bavarian players seem to connect with her on an almost spiritual level. I love the contribution of the Bavarian woodwind section. They do a lot to create the element of fantasy in the piece. I love the woodwind figures that open the 2nd (slow) movement. I love the way that Martha Argerich answers the woodwinds. I love the warm, burnished tone of the orchestral cellos. I love the playfulness, the sense of mischief in Argerich's playing. I hear great refinement in her execution. I love the sense of excitement in the Presto 3rd movement. I have the sensation that I am sitting in the hall where this was taped maybe 4 or 5 rows back from the stage. The players sound palpably real. I can "see" Argerich's dark mane of hair in my mind as she unleashes her vast talent and passion on the keyboard (and the audience). The audience roar with approval! Standing Ovation! This (live performance) was taped in 1980 and remastered to DSD (by Classic Sound) in 2016.
1st Listen Paul Dukas, La Peri, Sorcerer's Apprentice & Symphony in C, Jesus Lopez Cobos & the Cincinnati Symphony Orchestra, Telarc SACD: The disc opens with the dramatic Fanfare for La Peri (a horn fanfare that seems to have inspired Copland's Fanfare for the Common Man). La Peri itself sounds like a delightful piece with clever and colorful orchestration (a hallmark of Dukas). I love the delicacy of the string playing. The tremolos sound very evocative. I like the dance rhythms that underlie the piece. The recording sounds both vivid and smooth with the atmosphere and mid-hall perspective that I often hear in Telarc recordings. I love the evocative tune (played on the woodwinds) that opens the Sorcerer's Apprentice. I like the way that Lopez Cobos and his Cincinnati players bring out the rhythms and the excitement in the piece. Listening to Dukas music I can hear the way in which the music influenced the development of 20th Century film music. The (Dukas) pieces seem to have inspired "Star Wars" and countless other film scores. The 1st movement of the Symphony in C sounds very "cinematic" but it actually predates and inspired the music of the cinema. The 1st movement concludes in a spirited fanfare. I like the change of mood in the 2nd (slow) movement. The music sounds very atmospheric, evocative and "cinematic." I like the way that Lopez Cobos and his Cincinnati players manage the mood shift (again) into the triumphal 3rd movement. I like the way they bring out the sense of edge-of-the-seat excitement in the performance. I like they way that Lopez Cobos conducting allows a myriad of orchestral voices the opportunity to be heard equally. I find the music to be a very dense and complex musical tapestry. Lopez Cobos makes following the myriad strands and voices easy. The crystal clear, dynamic and atmospheric Telarc recording also helps! I want to leap to my feat in ovation at the conclusion! This (SACD) recording was released in the year 2000 by Telarc.
