Dvorák's 9th symphony paints the town red, for sure. But that's not all! The strings of András Keller are able to blossom like flowers. They don't play uniformly but with a seemingly congenital naturalness as if it were easy for 14 violins to sound as homogeneously and at the same time as individually as a single violin. Also for the woodwind instruments it is not just the high performance that counts but the sensitivity and the flowing of the music, for example the English horn solo in the second movement. The brass: no power play but rich and gentle, always sensitive chords. The tempi, the transitions, everything flows organically and invites you to go along. It's no surprise that one role model for András Keller is Wilhelm Furtwängler. Without any showing off the well-loved cellist Miklós Perényi gently carries you off into the mysterious world of the rondo op 68/8 and "Klid" (silent wood) op. 95. Three slavonic dances from op. 46 round off the program. The ("Klassik-heute") recommendation of Guido Krawinkel in the latest review of another TACET recording was: "... Keep your eyes closed and listen." That's what we suggest here also.