This hybrid SACD contains stereo and 4.0 multi-channel audio and I think it's fantastic!
For this album TOMITA created some of the most unusual, high quality electronic sounds ever heard. Then he used these sounds very effectively in some amazing orchestrations. The listening is as enjoyable as it is bizarre, quite an accomplishment in itself.
Emerson, Lake & Palmer and Tomita did it, and now also German band Stern-Combo Meissen has done it. Together with the Leipziger Symphonieorchester, a big choir and a vibrating Hammond Organ they`ve played the Mussorgski classic Pictures At An Exhibition…
"…The remaining selections are just as impressive sonically. But of course, marveling at the sound quality of these 40-year-old recordings is only a secondary consideration. Reiner's magnificent and still-unequalled performances remain the real reason for acquiring this disc. For newcomers, these new SACD transfers should remove any hesitations regarding sound quality, while veterans will feel an old romance rekindled. " ~ClassicsToday
Pairing evergreen works by Dvorak and Mussorgsky, this superb video from Belvedere featuring the Bavarian Radio Symphony Orchestra under the incomparable Mariss Jansons is a musical feast. Ever since its world premiere at New York's Carnegie Hall on December 15, 1893, Dvorak's American-flavored Symphony No.9 has been a cornerstone of the orchestral repertoire. Similarly, thanks to Ravel's superb orchestration, Modest Mussorgsky's Pictures at an Exhibition is a perennial audience favorite.
For his debut solo album, Robert Plant doesn't exactly succumb to everyone's expectations. With a less-potent vocal style, Plant manages to carry out most of the songs in smooth, stylish fashion while rocking out rather convincingly on a couple of others…
On this recording, Paul Lewis performs two major works of the keyboard repertoire. Decidedly programmatic, Mussorgsky's Pictures at an Exhibition is more commonly heard today in Ravel's orchestral version. However, the original for solo piano is both a technical tour-de-force and a brilliant example of the composer's coloristic gifts. The pairing is Schumann's Fantaisie Op.17, a work whose movements originally had evocative titles (Ruin, Triumphal Arch, Constellation). The 'program' was removed before publication, but the 'pictures' Schumann intended listeners to imagine remain.