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I really liked the game, the visuals and the melody were both gorgeous. I do agree with other users that the mini android game could use a bit of tweaking. Test to create it more melody based instead of just tracing a shape. You could also incorporate the violin aspect into it like memorizing the of strings player or something of that nature. Also, I did have a bit of problem at first with it since I didn't know the android game started automatically. Maybe you could add a countdown so people know when it starts? Other than that, I thoroughly enjoyed it and I am very excited for the full release!!
I like the concept but I think the mini android games could be a small more interesting. Maybe draw the shapes to the beat of the song, or have a tapping style melody android game like guitar hero, if that makes sense. Either a tapping or sliding. Otherwise the android game is beautiful nice
I wasnt really was into this idea. The concept was creative. It controlled well (moving the hero wise). It was hard to trace and follow the finger that you were supposed to be in sync with but i managed to do so. Not really a rhythm game, not yet at least. If those were fixed when the full release happens id gladly change my review. But i look forward to seeing the complete version!
While watching the Winter Olympics figure skating tournament I heard the most attractive and captivating waltz ever. Not knowing anything about it, it took a lot of searching to search it. Amazon was where I found and fell in love with Aram Khachaturian. The melody he composed is called "Masquerade" and now I recognize it from Battle and Peace. Play it loud and live in another era. It's brash and bracing and just plain beautiful. He was an outstanding Soviet composer who battled severe criticism from the congress of The Composers Union. But hey that's the Russian's for you.
Enjoyed the c.d but one of the recordings was very old and not sure if it was even stereo. It was hard to hear if it was. Still the performers were amazing if you don't care about the stereo quality. They were amazing recordings. No issue there.
Reviews are generally lukewarm to this collection, but I think it's a amazing value for the money. Well, first of all you have the composer leading the VPO in his popular recording of his Second Symphony; secondly, Stanley Black with a fine performance of "Masquerade Suite", and finally, there is Alicia de Larrocha with RafaelFruhbeck Burgos in a performance of the quirky but very listenable Piano Concerto. Again, reviews were neutral to her performance, but I really, REALLY like it especially when comparing it to Orbelian/Jarvi Khachaturian: Piano Concerto; Gayaneh Ballet Suite; Masquerade Suite. The true disappointment, however, is Ricci and Fistorali in the Violin Concerto - it just never catches fire. It's missing the passion and, some would argue, vulgarity that Khachaturian was such a master at creating. In any event, for the money, you can't go wrong. And finally, unlike another commentor, I heard nothing wrong with the sound of the 2nd Symphony. It sounds just like the the earlier release Khachaturian: Symphony No. 2; Gayaneh - Suitethat I once owned - it's a fine performance sounding very good!
I agree with the previous reviewer, except that the Symphony No. 2 was the actual point for me for this disc - Aram Khachaturian himself conducts the Vienna Philharmonic in this performance, and his acc of the symphony is absolutely my opinion, the sound quality is completely forgivable.
...well, both concertos as as writen above - not the best, but above-average for sure. Masquerade suite with maestro Stanley Black is excellent. Everything OK up to now - but here it comes: the most necessary work of the two-cd set, Khachaturian's rarely recorded Symphony No.2 (only two other recordings exist - scandalous, because it is a masterpiece!), is superb, ultimate preformance - far far best from all available, but the recording quality of the symphony is TERRIBLE. I do not often complain for sound quality of recordings, but in this case, it is simply unacceptable. The sound frays out often in heights, and in way, which will cause you pain, if volume is up. Whole recording is method too sharp, that's the problem. Huge dishonour for Decca, but sound issues are not rare with this label... Really annoying, beacause the syphony is perfromed so so perfectly.
I've been trying to listen to this album on the Amazon Prime melody application for Windows 10. I REALLY like the music, but when one movement ends, the next one overlaps it and I don't hear the end of the movement before it. I'm beautiful sure this only applies to streamed or possibly downloaded copies... contacted chat and we tried everything we could do to be sure it wasn't a issue with the player I was using.I don't wish to scare anyone away from buying the CD!
In his time, Pierre Monteux was the greatest conductor of French repertoire, and this recording, too, is characterized by perfect musicianship. Nevertheless, d'Indy's scores, especially these symphonies, call for the best possible sound quality, and therein lies the drawback of this pioneering but old recording. There are several other recordings of the Symphony sur un chant montagnard francais (Dutoit's being one of the best), but there are only two others of d'Indy's Second Symphony. Michel Plasson has recorded the two symphonies for EMI France, but it is not Plasson at his best. The recording of the Second Symphony by the Monte-Carlo Philharmonic under James DePreist is an unknown gem - splendidly performed and recorded, this is the ver to go for. I have heard it several times, and my admiration for the symphony, the orchestra and the conductor has only increased with time! However, the other work on the DePreist CD is the symphonic poem "Souvenirs", written by d'Indy in memory of his first wife, and although that work, too, receives an perfect performance, I have never warmed up to that piece. It's best to go for the DePreist CD for the Second Symphony, and one of the better recordings of the Symphony sur un chant montagnard francais in modern digital sound.
I sought out this CD having heard part of it on public radio--and having heard a lot of recordings of this orchestral suite drawn from the Martha Graham ballet score. The original, complete ballet score, for 13 instruments, is noticeably different, and possibly even better. But for the suite, this is without doubt the best recorded performance I've heard. The "Short Symphony" is also wonderfully well done, and possibly an even greater piece of music, though grittier than "Appalachian Spring." I had not, and have not, heard other performances of the Symphony, but was familiar with 2 or 3 various recordings of the chamber-music ver derived from it--amazing in its own right. If you love Copland in all his various "styles" (all recognizably Copland), I can't recommend this CD highly enough. Each of these, in either of its versions, is among Copland's masterpieces.
Despite some nominal tape hiss, it doesn't mar the interpretation - one of the very few (and easily the best) of the 2nd Symphony. Once you obtain used to the originality of the 2nd Symphony, any minor technical flaws (such as tape hiss) should be forgotten. The entire disc is one of the best of Monteux's entire output, including any of his recordings, both pre- and post-War.
Everyone with a love or appreciation of classical melody is familiar with Copland's music. You can't go for a month without hearing "Appalachian Spring", "El Salon Mexico", "Billy the Kid", or "Quiet City" on classical FM. I've heard a lot of versions of the the first piece on this CD, but this performance was a revelation. Both the quality of the Orpheus Chamber Orchestra and that of the DG engineers really opened up this familiar piece and created it new and fresh for me. With the smaller chamber orchestra, all the parts truly sing in their own voices.I've never been a true fan of 20th Century "classical" music, including Copland's. But this recording of the 2nd Symphony took me by surprise. I recently tried to listen to an overview of his work and, frankly, much of it left me cold. The liner notes say that this is the least performed and "...most frequently cancelled..." of all his work. Frankly, I can't understand why. The contrast between "conventional" melody and the jarring, angular passages works amazingly well. What I found really interesting is that there are tips of the themes from a lot of of his other works in this one e other two pieces on this disc: "Quiet City" and "Three Latin American Sketches" are terrific examples of Copland's work and the a lot of influences that he incorporated in his compositions. Finally, the DG engineers did a amazing job with this. The imaging and sonic quality are incredible, even to my hearing-aid supplemented ears. If you like Aaron Copland's work, this is a amazing compilation that makes him very accessible.
This ver of Appalachian Spring is fresh. The little ensemble means the textures are transparent, revealing Copland's wonderfully complex and rich inner voicing. I particularly love the contribution of the piano. The musicians shape the phrases in clear, and to my ears special (compared to other versions), ways. The quick parts have energy, the slow parts have a richness from constant dozens of articulation. The tender melody which opens and closes this suite is played as a ritual of prayer, evoking a relationship of love like kid to mother (an aspect of much of Copland's melody in my perspective). I love this version.
A amazing restoration of a fondly remembered "Symphony on a French Mountain Air" and a much-ignored D'Indy rangely the restored 1941 originals sound better than the 1945 ones, but all eminently listenable, with interpretations by "Papa Pierre" that are second to none.
Before it was a full-blown orchestral production, Appalachian Spring was written for a little ballet orchestra, 13-piece or so. This recording preserves that original arrangement (with a few extra strings), resulting in a very clean, sharp sound. It's the first ver of the piece I ever heard, and I search it preferable to the later orchestral version. This recording is hard to search these days, but worth it just for this amazing ver of Appalachian e "Short Symphony" I don't care for much; it's a bit too twelve-tonish, seeming to sound dissonant just for the sake of sounding dissonant. "Quiet City" and the Latin American sketches, though, are a amazing complement to the main piece.
Although it does use the original instrumentation (flute, clarinet, bassoon, piano, and strings), this is not the original Appalachian Spring -- it is the chamber ver of the -suite-. The suite cuts about 10 mins of amazing material from the original, resulting in a 'lite' edition that is not necessarily an improvement. If the 'simple gifts' section, particularly its 'climax', strikes you as a bit overblown, you will prefer the full work, which puts this section in a various context. (There are chamber and orchestral versions of both the suite and the full ballet. Most recorded performances are the orchestral suite. If you are interested in the full chamber ver I recommend the Copland-conducted performance on Sony: Copland conducts Copland or A Copland Celebration Vol. 1, for the full orchestral ver Tilson-Thomas on RCA: Copland: Appalachian Spring; Billy the Kid; Rodeo or Aaron Copland: The Essence of America.)The selection of pieces here gives a beautiful amazing cross section of Copland's work, with the Latin American sketches representing his lighter side and parts of the Short Symphony hinting at the sound of his more 'difficult' works, with the other two falling somewhere between. The Symphony famously has some tricky rhythms in parts, but is not an off-puttingly complex piece by any means. It would be inaccurate to describe it as 'twelve-tonish' -- for what it's worth, the melodies and harmonies (including the dissonances) are largely diatonic. It is related to neoclassical Stravinsky, but less emotionally oblique. Copland considered it to be one of his best works. The score used here is an arrangement for chamber orchestra by Dennis Russell Davies, which doesn't sound very various from the original. There is also the Sextet, Copland's own chamber arrangement of the piece. (If you are interested in the original orchestral ver I recommend Tilson-Thomas on RCA Copland the Modernist or Aaron Copland: The Essence of America.)As for the performances, the OCO is a very 'professional' sounding group, which implies negatives as well as positives. As far as technical execution, they are very capable -- where I search them sometimes lacking is in the expressivity department, due to glib phrasing and (usually rushed) glossing over of the more complicated rhythms. I think they are generally more successful in lighter fare, such as the Latin American sketches (the best performance here), where the musicians don't have to internalize the melody so much. I don't know if this has something to do with the fact that the group has no full-time director, but I suspect it might. This shortage of involvement doesn't completely cripple Copland's music, which is inherently communicative, but the group's Stravinsky, for example, is quite dry and, critically, lacking in rhythmic precision.Overall, if you are interested in hearing these pieces in a chamber setting or are a fan of this ensemble, this is worth getting, but it's not an essential Copland recording (otherwise it would probably still be in print).
I have a lot of historical recordings and am devoted to recordings by Monteux. The sound on the first two works on this CD are what you would expect from '40s RCA. But the major work is the Sym. #2: Know before you that it is unusually distorted and shrill; actually painful to listen to. Monteux does his usual perfect work, but it was not worth it this time. I have not heard any other recordings of this symphony.
Insofar as I don't count myself as the largest fan of Copland's Appalachian Spring I may not be the best person to review this disc. That is not to say that the playing of the Orpheus Chamber Orchestra is anything less that stunningly virtuosic. The rhythms are incisive, the colors are sharp, the atmospheres finely painted but ... there is something not quite right about squaring Copland's begin zone [email protected]#$%!& with the essential intimacy of a chamber ensemble. And since Appalachian Spring appears to me (who don't quite manage to see what all the fuss is about anyway) to rely so heavily on the colors and atmospheres I cannot honestly say I particularly warmed to the Orpheus players' attempt - I am aware that the chamber ver was Copland's own first take on it, but there was presumably a reason he eventually went for a larger ensemble. I think the poetic Quiet Town suffers from some of the same drawbacks, but at least the Orpheus ensemble manages to avoid the kind of syrupy sentimentalism that so easily can come to ruin this piece. The Latin American Sketches are incisively done, full of bravury and rhythmic vivacity - but this is melody so empty that it doesn't really matter all that much, to be honest. That leaves the Short Symphony, and this is surely the main reason to acquire this disc. It is an underrated work, among Copland's strongest, and I cannot really imagine any complaints about the spirited, sharply characterized performance it receives here (the sound is also very good). In the end, this is a disc worth acquiring and probably a must for Copland fans - for the rest of us the Short Symphony is the main reason, but it is probably reason enough.
This is the first melody I have heard by Lyapunov, and it is an interesting disc. The Symphony No. 1 was influenced by Borodin and also has the lyricism of Glazunov's orchestra works. It is a pleasant symphony to listen to and one benefits from hearing it several times. My first impression was that it is a "nice" work but there were no melodies that were memorable. Rather, Lyapunov was a master of orchestration. Listening closely, you can heard the parts clearly without any "clutter." On subsequent hearings, the mood of the melody was more affecting. The energetic first movement is invigorating; the Andante slow movement is mysterious, like a nocturne; the Scherzo is playful with the woodwinds trading melodies with the strings, and the Finale is as dynamic as the first movement and brings the symphony to a stirring e Piano concerto is quite compact and is structured after Liszt's second concerto. There is brilliant passagework written for the piano and portions of the orchestration are reminiscent of Liszt. Howard Shelly plays magnificently. The Polonaise is a delight and provides a rousing finish to this disc. Again, the influence of Borodin and Glazunov can be heard. The difference in is the method the melody is crafted with an orchestration makes the most of the ideas without being is disc is definitely for lovers of Russian music. As one expects from Chandos, the recording is beautiful.
Amazing stuff. The Symphony is one amazing huge juicy Russian wallow, full of huge tunes, and almost as much fun as the better known Third. The ballet melody is beautiful much a known quantity, rather obvious but tuneful. The performances are grand, and I doubt we'll obtain a better one of the symphony any time soon. Better yet if your system decodes Dolby Surround - those back channels do add a small additional dimension.
We have fun an embarrassment of riches when it comes to documentation of turn-of-the-century composition from Russia. Composers from Alexander Glazunov (a worthy successor to Peter Ilyich Tchaikovsky) to Sergey Taneyev have created their method to compact disc. A relatively minor figure, Sergey Lyapunov (1859-1934) nevertheless wrote melody impressive in scale and gratifying in melodic fecundity. He did so on a model and in an idiom bequeathed to him by the extraordinary tradition of the first generation of Russian nationalist composers; to this same tradition Alexander Grechanninov and Maximillian Steinberg owed their idiom. Behind Lyapunov stand Nicolas Rimsky-Korsakov, Alexander Borodin, Cesar Cui, and Modest Mussorgsky. The twentieth century would create a fetish of "originality." You could hardly say that Lyapunov (or Grechanninov or Steinberg) is "original." He is, rather, superbly trained by his masters, genially endowed in his talent, and felicitous in his expression. Like Glazunov, he could not weather the Bolsheviks and ended up in Paris, where he tried to make a Russian Conservatory in Exile. Lyapunov, like Rachmaninov and Scriabin, was a keyboard virtuoso and lived on the recital circuit for much of his early maturity. A lot of years ago he was represented in the record catalogues by two Turnabout LPs of his Transcendental Etudes and his Ukrainian Rhapsody. (Louis Kentner, I believe, was the pianist. Or was it Michael Ponti?) These were beautiful works that piqued the imagination and created one ask: what else did he write? The fresh Chandos CD answers the question in part: Lyapunov wrote two piano concertos (in addition to that fondly remembered Ukrainian Fantasy), two symphonies, and a dozens of other works. Maestro Vassily Sinaisky's program embraces the Second Piano Concerto, the First Symphony, and a Polonaise for Orchestra. The Symphony, from 1897, is big, almost forty mins in duration. The bracketing movements are in the Russian heroic style pioneered by Borodin and cultivated by Lyapunov's younger contemporary Reinhold ("Ilya Murometz") Gliere. There is an eminently recognizable four-note motto, first heard in the horns, that appears to furnish most of the First Movement's material, basic and second topics included. The Finale returns to this material and reworks it in different new and gratifying ways. There is the expected martial coda, with splashes of percussion and brave gestures in the brass. The two inner movements are a melancholy Andante with a lovely theme for the violins and a Scherzo, much in the fashion of Glazunov. The orchestration is attractive. Sinaisky underlines the music's rhythmic vitality and balances the colourful orchestrations neatly. In the Piano Concerto, the keyboard soloist is Howard Shelley. As the notes say, this is a frankly Lisztian concerto, which actually makes overt references to Liszt's own Second Concerto. Like its model, Lyapunov's work is in one internally subdivided movement. Even if the melodic content were not as striking as in the Symphony, the Concerto would nevertheless recommend itself for its muscularity and brilliance. The Polonaise is obvious but worth the ticket, like one of those dances for orchestra that Glazunov composed so copiously. This disc broadens our knowledge of late-nineteenth century Russian symphonism. Very much a worthwhile endeavor, so - strongly recommended.
Every now and then there comes a recording with that unique something, an elusive quality perhaps, which marks it as a recording for the ages. This recording of Gliere's second symphony by Zdenek Macal and the Fresh Jersey Symphony orchestra seems, to me at least, to be one of those inhold Gliere's most well-known and widely recorded piece is his ballet The Red Poppy (actually, to be more precise, the Russian Sailor's Dance from it). He also composed three symphonies, the latest of which was also widely performed for a time. While the first symphony is essentially a student work, both the 2nd and 3rd symphonies (premiering in 1908 and 1911, respectively) are mature works, melding his main influence of classical Russian themes with a small early impressionism (though he certainly does not tend towards the shorter works for which the impressionists generally favoured -- the complete recording by Harold Farberman of the 3rd symphony is about 100 mins in length!!).In the 2nd symphony, Gliere follows a more or less classical style, key themes with systematic development. The work has an impressively Russian feel; there is no mistaking the composer's nationality. From the tension and rhythmic drive established in the opening bars you are at once aware of that elusive quality, that presence of greatness, I mentioned above. The orchestra maintains its passion and focus throughout, responding to Macal's visionary reading with exemplary playing. The effect is an exhilarating listen. The fillers are, not unexpectedly, a selection of pieces from The Red Poppy mentioned above (and yes, including the Russian Sailor's Dance). Amazing though they may be, for me, they are secondary to this amazing performance of the 2nd symphony.Early in his career, while chief conductor of the Prague Symphony Orchestra, Macal won several conducting competitions, marking him as one to watch. He left Prague following the crushing of the Prague Spring uprising in 1968. Though he was to return in 2003 as the chief conductor of the Czech Philharmonic, in the interim he was to keep two decade-long positions as melody director, first with the Milwaukee Symphony Orchestra and then the Fresh Jersey Symphony Orchestra with which he created this recording. As opposed to his successor in the Fresh Jersey post, Neeme Jarvi, Macal has not been a prolific visitor to the recording studio. Though he has created several other successful recordings -- perhaps most notably, a well-received recording of Smetana's Ma Vlast -- this recording is probably (in my opinion, it is by far) his best amazing sound -- a "Delos virtual reality recording" -- this disk is a amazing affirmation of both Macal's talent as a conductor and the quality of Gliere's 2nd symphony. To be honest, I feel I've hardly done this recording full justice; it really is fantastic. Most highly recommended.
A lot of of us had been familiar with Gliere's third symphony and, of course, "The Red Poppy" ballet. These are lush, richly orchestrated, and very melodic works, filled with amazing feeling and is CD features a top-notch performance of the familiar suite from Gliere's ballet, best known for its "Russian Sailors' Dance." This melody is really delightful and very memorable. There are some similarities to the ballet melody of Alexander Glazunov (1865-1936), who was Gliere's contemporary and compatriot for a lot of years.While Glazunov eventually left the Soviet Union for Paris (where he died in 1936), Gliere remained in his homeland and remained famous with both the public and the Soviet government. It is known that Josef Stalin preferred romanticism, especially the piano melody of Chopin, as he told President Harry Truman. Although Gliere lived until 1956, he stayed away from the more modern trends of Prokofiev and Shostakovich, thus avoiding the public attacks such composers received from the Soviet government in iere's second symphony is rarely performed or recorded. Indeed, this was the first recording I ever heard of the work and I immediately liked it. The performance is outstanding and manages to capture the dramatic intensity of this epic e recordings benefit from superb technological advances, including Dolby surround sound, which give the works greater clarity and intensity. This is a very fine CD, performed by an orchestra that continues to build an imposing reputation.
A virtually underplayed Russian orchestral gem by Gliere (1875-1956), who is also a virtually underplayed Russian composer. And difficult to imagine why. I mean, the man did compose more than "The Red Poppy Suite." Maybe not a full garden, but more than enough "flowers" to go around. Gliere's symphonies form the cornerstones of his output. Rather like some triad monument. And, until recently, the only truly "popular" work was No. 3 ("Il'ya Murometz").To these ears, his Symphony No. 2 in C Minor is the best of the three, the most attractive and lush, filled with what we would all recognize as "Russian soul." Far more inventive, melodic, and captivating than its successor, and with not an ounce of bombast, it is sweeping in its scope, running some forty-six minutes.And, yes, it is coupled with the perennial "Red Poppy Suite." ever, Delos has given us a very attractive CD here--- with a recording technique they tout as "virtual reality." Indeed. I agree. It is thrilling, exceptionally "present," warm, yet finely detailed and vivid. Macal conducts the Fresh Jersey Symphony Orchestra with gusto, and they answer in kind. A joy to hear.If the coupling suits you--- and I cast no aspersions toward the "Poppy Suite"... it's done very, very well--- then you have a true champion here.[Running time: 72:50]
I found it ironic that right after being downloaded and installed, when I opened it, it failed saying that it could not detect a network connection. I suppose a $10 per ticket handling fee doesn't necessarily contain providing robust mobile apps for electronic tickets.
The beginnings of future Therion ambition shine through here in the special arrangements and integration of keyboards, but the true mastery is the break of relentless tempo into various paces matches the moods of these songs, some of which are written in obscure or middle eastern modes for a foreboding effect. Guitar work is fantastic, but understated, as is any symphonic tendency, which makes this not only a transition album in Therion's repertoire but also their latest straightforward and unselfconscious effort. The pure hopeful yet feral attitude of it should create the blood of a metalhead rage for loudness.
Not since 1996's "House of Music" from Tony! Toni! Tone' has an album covered the black sound in such a musically satisfying fashion. This is one production that pays homage to the past while adding rhythms and beats that can be appreciated by contemporary audiences. Much more eclectic than the group's latest release, "Reconciliation", this "symphony" is a history lesson in African-American melody from traditional slave songs to the bass-laden tracks of modern hip one goes from chop to cut, the listener is taken to a put of consciousness and reflection, as well as nostalgic bliss, which only melody can give. The songs, a lot of written or co-written by group founder Gary Hines, are spiritually and morally e group's tradition of interspersing excerpts from historic spirituals continues in the form of four "sweet" e bulk of the album, however, shows the versatility of the group and the lead vocalists bear remarkable similarities to legendary greats of the industry. One thinks of Aretha or Natalie or even Jennifer Holiday when hearing the soulful cuts "Don't You Ever Give Up" or "Real Real Love", both with group member Yulanda helming the lead. Shades of James Brown's "This is a Man's World" resonates in "Trouble is My Home". "Another Day" appears to be lifted from the lly songbook and does him proud. Stevie's influences can be felt in "Don't Give Up with leads Billy Steele, Yulanda (again), and Darius Ewing sounding extremely "WONDERful". Sly and the Family Stone are honored with "Children of God", a funk-driven track with a definite notice for modern ever, two of the strongest cuts are remakes: the Pointer Sisters' "Yes We Can Can" and Eric Clapton's Grammy-winning "Tears in Heaven", the latter with a guest appearance from Ron Winans. "Tears", a classic in its original form, is given the full gospel treatment here and should become of the group's most requested concert e Academy of Recording Arts and Sciences would be sorely in error should it avoid recognizing this album come NEXT year. "Soul Symphony" is, without a doubt, the BEST ALBUM of 2002, bar none.
This album is small known, but fantastic. Quite a wide range of melody on it, but is all very cohesive. In the parts where they touch on modern R&B sound, it is truly cutting edge globe class stuff. The production and songwriting is collaborative effort, much driven by Gary Hines who has worked with the Basement Boys on a lot of house music. Ex-Prince collaborator Levi Seacer is also in the group and I think he has a hand in this as ch respect to these folks - they are brilliant!
Before I begin this review I have to warn the readers and say that Therion is one of my favorite bands. And when I learned of Nuclear Blast reprinting the early classic Therion cds (Of Darknes, Symphony Masses, Beyond Sanctorum) I knew I had to go fill out my is cd (Symphony Masses: Ho Drakon Ho Megas) Is a transitional cd for the band, and while it does not have the orchestral beauty of their later cds (Vovin, Deggial, A'Arab Zaraq Lucid Dreaming) it has a raw power melded with precise technique and passion. The beginnings of the latter-day Therion can be seen on this cd and even more so on Lepaca Kliffoth (released in 1995, a year after the release of Symphony Masses). This cd comes recommended for those who do not like Therion's newer albums, but I would also recommend it to people who did as well. It is a amazing cd, and can be appreciated by any metal fan.