An unused chance

Too bad, too bad. In this CD I was really looking forward. But to make it equal to say: if you're hoping to emotional touching interpretations of DDR classics, will be disappointed here.
Sonically it has very maintained at "Ostrock in classical music" to the original recordings. Typical instruments like the sitar-like sounds in Karats "The Blue Planet" and the other instrumental timbres in the pieces correspond to what you have in mind. This saves disappointment. But this concept also makes it unnecessarily difficult. How can one of a classic you have in your ear, make a new edition, without alienating the familiar sound character?
Well, you simply lubricates to remaining gaps in the sound with uninspired additional string passages that support the existing harmonies. This procedure resulted in a cluttered sound image. There are, indeed while listening no eye-openers because the strings overlays introduce new melodies or interesting reinterpretations of familiar topics. You put anything contrary counterpoint. Many of the gathered here Ostrock classics I could imagine how they would have of a chamber musical deconstruction and an expressive presentation can benefit, such as Peter Gabriel's album "New Blood" has demonstrated it in 2011 masterfully.

The second major error of "Ostrock in Classical" is the unpardonable haste with which the pieces are presented. Almost all the songs are played much faster than they were in the original.
The German Film Orchestra Babelsberg, conducted by Bernd Wefelmeyer also consistently avoids all occasions to pace phrasing and short breaks. Musical phrases are generally not offset from each other, the motives go too faint as a slurry into each other. Most of the tracks are driven and presented without breath.
A little sounds this production, like having a Estraden orchestra, which has no intrinsic relation to pieces, driven in an expensive studio. Although the result has a solid, full-bodied sound, but the musical impression is uninspired, driven listlessness.
Too Bad. What could have been to ramp up these pieces all! To me it does a little sorry for the composer and for interpreters who are not likely to be very happy with this recording. However, there are exceptions. Dirk Michaelis sings forcefully and well designed in his plays. His two pieces are also offered a lot quieter. Also "In the evening some days" stands out effortlessly from, is interpreted expressive of Werther Lohse and goes by under the skin. The two pieces of Silly act also very alive. With them Richie Barton himself wrote the arrangement, and it is noticeable that it is organic fits here in the pieces. Albatros Karat could have been very nice if Claudius Dreilich had sung with a little expression and accentuation.