Gary Cooper & Rachel Podger
Mozart - Complete Sonatas for keyboard & violin, vol. 3
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2006
Жанр: Classical/Chamber/Piano/Violin
Издатель (лейбл): Channel Classics Records
Продолжительность: 01:17:27
Наличие сканов в содержимом раздачи: Буклет PDFТреклист:
W.A. Mozart
Sonata in Bb, KV 454
01 Largo 01.45
02 Allegro 05.42
03 Andante 07.55
04 Allegretto 06.31
Sonata in C, KV 28
05 Allegro maestoso 03.49
06 Allegro grazioso 02.06
Andante & Fugue in a, KV 402 (385e)
Completed by Maximilian Stadler
07 Andante, ma un poco adagio 07.40
08 Allegro moderato 03.45
Andante & Allegretto in C, KV 404 (385d)
09 Andante 02.22
10 Allegretto 01.17
Sonata in Bb, KV 8
11 Allegro 04.47
12 Andante grazioso 04.13
13 Menuet I & II 03.11
Sonata in Eb, KV 380 (374f)
14 Allegro 06.31
15 Andante con moto 11.21
16 Rondeau: Allegro 04.24Rachel Podger, violin
Gary Cooper, fortepianoКонтейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DST64
Количество каналов: 5.1, 2.0Доп. информация: Channel Classics CCS SA 23606 (2006). DSD recording
Producer: Jonathan Attwood
St. Michael’s Church, London, UK (2005)
Engineer / Mastering: Jared sacks
SACD rip via PS3 to iso (3.9GB)
Iso was made with sacd-ripper version 0.36 for PS3, from the magical Mr_Wicked.
Technical Specifications:
Microphones: Bruel & Kjaer 4006, Schoeps
Digital Converters: DSD Super Audio/Meitner Design AD/DA
Speakers: Audiolab, Holland
Software: Pyramix Editing, Merging Technologies
Mixing Board: Rens Heijnis, custom design
Mastering Room: B+W 803d series speakers, Classe 5200 Amplifier
Cables: Van den Hul
Источник (релизер): ManWhoCan (PS³SACD) http://sa-cd.net/showtitle/3866
Об альбоме (сборнике)
The duo partnership Gary Cooper & Rachel Podger has taken them worldwide. These recordings of Mozart’s Complete Sonatas for Keyboard & Violin have received countless awards & accolades, including multiple Diapason d’Or awards & Gramophone Editor’s Choices, & hailed as ‘benchmark’ recordings.
“Finally, one asks why there hasn’t previously been a complete recording on historical instruments. From my ‘privileged’ position as listener-in-chief, I can tell you it is because no pair can make such transparent & difficult music sound so effortless, elegant, witty, emotionally persuasive & enjoyable.
~ Jonathan Freeman-Attwood, producer.
Anyone thinking of Mozart as a performer probably imagines him at a harpsichord or fortepiano, an accurate picture. Mozart was a gifted keyboard player, but not a showman of the keyboard. He detested empty virtuosity. Wolfgang, however, had been trained from his earliest years by his father Leopold as a double talent. He played both harpsichord & violin. The popularity of his sonatas, variation sets, & concerti for the piano has tended to overshadow his violin compositions, but the 1st sounds that his baby ears received probably came from his father’s violin. Wolfgang heard him tuning the instrument, saw him putting on new strings now & then, playing, rehearsing. He heard Leopold praising his violin & commenting on the music. Until Wolfgang moved to Vienna in 1781, the sound of the violin had accompanied him virtually every day of his life, for Leopold had been with him almost constantly. And of course 1756 is 1 of the most magical in the history of music because of Mozart’s birth. But in that same year, 1 of the most authoritative musical treatises of the 18th century appeared: Leopold Mozart’s violin method, entitled “Versuch einer gründlichen Violinschule”. In it was collected the experience & knowledge drawn from Leopold’s years of teaching. His patron at the archepiscopal court of Salzburg, Sigismund von Schrattenbach, had appointed him not only as a violinist (from 1743 onward) & later as vice-kapellmeister (1766), but also as violin teacher for the choirboys (from 1744 onward). Wolfgang undoubtedly studied & worked through the book, & as a child he would have seen great piles of copies at home & in the bookstores. Reprints appeared later in Germany in 1770, 1787 (the year of Leopold’s death), 1791 (the year of Mozart’s death), & 1804. In 1790 a French translation was brought out, but remarkably soon, fully 24 years earlier than the French edition, a Dutch translation was published. This must have been a particularly expensive investment for such a small linguistic market.