<B>GERSHWIN: Piano Music</B><BR> <I>Rhapsody in Blue</I> (solo piano version by Gershwin); 3 Preludes; "Sleepless Night"; Impromptu in 2 Keys; Song Transcriptions: "Sweet and Low-Down," "Maybe," "Clap Yo' hands," "So am I," "Looking for a Boy," "Someone to Watch Over Me," "That Certain Feeling"; Second Rhapsody (solo piano version by David Buechner)<BR> David Buechner, piano<BR> Connoisseur Society CD 4191 (CD only). Patricia A. Duciaume, eng.; E. Alan Silver, prod. D?D. TT: 59:26

<B>TORI AMOS: <I>Under the Pink</I></B><BR> Atlantic 82567-2 (CD). John Beverly Jones, Paul McKenna, Eric Rosse, engs.; Eric Rosse, Tori Amos, prods. AAD? TT: 56:52

<B>P&#196;RT: <I>Te Deum</I>, <I>Silouans Song</I>, <I>Magnificat</I>, <I>Berliner Messe</I></B><BR> T&#245;nu Kaljuste, Estonian Philharmonic Chamber Choir, Talinn Chamber Orchestra<BR> ECM 1505 (CD only). Manfred Eicher, prod.; Peter Laenger, Andreas Neubronner, engs. DDD. TT: 66:01

High-end audiophiles are space freaks---we relish the warmth and spaciousness of a fine, old performing hall almost as much as we do the music recorded in it. But my attendance at a series of orchestral concerts held last summer brought home to me---as never before---the sad fact that our search for the ultimate soundstage is doomed to failure: we're trying to reproduce three-dimensional space from a two-dimensional system, and it simply can't be done.

High-end audiophiles are space freaks---we relish the warmth and spaciousness of a fine, old performing hall almost as much as we do the music recorded in it. But my attendance at a series of orchestral concerts held last summer brought home to me---as never before---the sad fact that our search for the ultimate soundstage is doomed to failure: we're trying to reproduce three-dimensional space from a two-dimensional system, and it simply can't be done.

High-end audiophiles are space freaks---we relish the warmth and spaciousness of a fine, old performing hall almost as much as we do the music recorded in it. But my attendance at a series of orchestral concerts held last summer brought home to me---as never before---the sad fact that our search for the ultimate soundstage is doomed to failure: we're trying to reproduce three-dimensional space from a two-dimensional system, and it simply can't be done.

High-end audiophiles are space freaks---we relish the warmth and spaciousness of a fine, old performing hall almost as much as we do the music recorded in it. But my attendance at a series of orchestral concerts held last summer brought home to me---as never before---the sad fact that our search for the ultimate soundstage is doomed to failure: we're trying to reproduce three-dimensional space from a two-dimensional system, and it simply can't be done.

High-end audiophiles are space freaks---we relish the warmth and spaciousness of a fine, old performing hall almost as much as we do the music recorded in it. But my attendance at a series of orchestral concerts held last summer brought home to me---as never before---the sad fact that our search for the ultimate soundstage is doomed to failure: we're trying to reproduce three-dimensional space from a two-dimensional system, and it simply can't be done.

High-end audiophiles are space freaks---we relish the warmth and spaciousness of a fine, old performing hall almost as much as we do the music recorded in it. But my attendance at a series of orchestral concerts held last summer brought home to me---as never before---the sad fact that our search for the ultimate soundstage is doomed to failure: we're trying to reproduce three-dimensional space from a two-dimensional system, and it simply can't be done.