Alright, so the title of the review is corny, forgive me, please. Normally, I prefer the original version of Verklärte Nacht for string sextet over the string orchestra setting, although both were done by Schoenberg so there is no question of authenticity. This is the only rendition of the string orchestra version that brings back what I usually miss from the sextet, and that is the ensemble's closeness. Verklärte Nacht is relentlessly intense up to the shift to D Major (which is, in my opinion, one of the finest modulations in all of classical music), and then broadly exultant for the rest of the work. Usually, a full orchestra will lose a good deal of this in their lack of absolute togetherness, but Orpheus holds it together as well as or better than most sextets. The solo work from the principal strings, especially the all-too-seldomly recognized Nardo Poy, viola, is exemplary.The first Kammersymphonie is presented in its original version for 15 soloists, although Schoenberg later expanded it for a larger orchestra. I will agree that it is not the easiest piece to listen to nor digest, nor is the second Kammersymphonie, however, Schoenberg's precision shines through brightly in both recordings here. One of the distinctions that places Schoenberg near the top of my list of favorite 20th century composers is his intricacy, which is often lost in orchestras with less of a sense of ensemble than Orpheus. Kudos to Mr. Dine, English Horn; Ms. Palma, flute; and the rarely heard Mr. Neidich, e-flat clarinet for adding extra shimmer to this already sterling recording.