Mussorgsky. It’s like Geoge Szell had given you his place at the podium. The instruments are in their proper position over a 180º arch from your left to your right. From the introduction, you feel the orchestra has the intention to go forward. The pace is pretty fast, but not too much. When the brasses play you see them in the back, in an elevated position. The woodwinds in the center are closer and the mass of the violins is well balanced with the heavier strings on the right, the double basses at the extreme. To have a good idea of the sound of the center section, listen to #5 Ballet Des Poussins. At the beginning of Part II, you can appreciate the balance of the strings, with those on the right always present, not eaten up by the mass of violins. After a few seconds the trumpet gives further depth to the scene. You hear its sound coming from the back of the orchestra, raised over the other instruments. The scene is very dynamic, the sound volume goes all the way up skirting the limit of saturation a couple of times. A very beautiful recording with no flaws. It gives you a real taste of the instruments quality and weight. A great interpretation, made of well closed musical phrases, that takes you from the beginning to the end in one single well paced sentence. Liadov. The strings on the right and the harp on the left, open the view over the lake, creating immediately a sense of vastness and profundity. Every section of instruments enters very delicately, populating the lake of details. You see every instrument in its precise location, the bass drum on the left, is played very, very softly. To the end, soft and distant horns introduce to the finale, to a vision that disappears. PB
