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[古典] [tr24] [sm] [SM] Ludwig Van Beethoven - 钢琴奏鸣曲Opus 109,110和111 - 在听力机器内 - 贝多芬在他的阔地木 - Tom Behin - 2017(古典)

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发表于 2020-12-8 15:05:14 | 显示全部楼层 |阅读模式
Inside the Hearing Machine - Beethoven on His Broadwood - Tom Beghin
Формат записи/Источник записи: [TR24][SM][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2017
Жанр: Classical
Издатель (лейбл): Evil Penguin Records Classic
Продолжительность: 01:03:26
Наличие сканов в содержимом раздачи: Буклет PDFТреклист:Ludwig van Beethoven (1770-1827)
Sonata in E Major, Opus 109 (comp. 1820, publ. 1821)
1. I. Vivace ma non troppo - Adagio espressivo 03:35
2. II. Prestissimo 02:41
3. III. Andante molto cantabile ed espressivo 12:20
Sonata in A-flat Major, Opus 110 (comp. 1821–1822, publ. 1822)
4. I. Moderato cantabile molto espressivo 05:52
5. II. Scherzo. Allegro molto 02:38
6. III. Adagio, ma non troppo - Fuga. Allegro ma non troppo 09:39
Sonata in C Minor, Opus 111 (comp. 1821–1822, publ. 1823)
7. I. Maestoso - Allegro con brio ed appassionato 09:31
8. II. Arietta. Adagio molto semplice e cantabile 17:10
Recorded in Academiezaal, Sint-Truiden, Belgium, July 19–21, 2016Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/88,2
Формат: PCM
Количество каналов: 2.0
Лог проверки качества

foobar2000 1.3.16 / Dynamic Range Meter 1.1.1
log date: 2018-08-11 19:52:58
--------------------------------------------------------------------------------
Analyzed: Tom Beghin / Inside the Hearing Machine: Beethoven on His Broadwood
--------------------------------------------------------------------------------
DR         Peak         RMS     Duration Track
--------------------------------------------------------------------------------
DR14      -4.85 dB   -24.61 dB      3:35 01-Sonata No. 30 in E Major, Op. 109: I. Vivace ma non troppo - Adagio espressivo
DR13      -5.98 dB   -23.74 dB      2:42 02-Sonata No. 30 in E Major, Op. 109: II. Prestissimo
DR15      -2.76 dB   -24.57 dB     12:21 03-Sonata No. 30 in E Major, Op. 109: III. Andante molto cantabile ed espressivo
DR14      -5.89 dB   -25.27 dB      5:53 04-Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile molto espressivo
DR14      -4.92 dB   -24.32 dB      2:39 05-Sonata No. 31 in A-Flat Major, Op. 110: II. Scherzo. Allegro molto
DR16      -3.56 dB   -25.28 dB      9:40 06-Sonata No. 31 in A-Flat Major, Op. 110: III. Adagio, ma non troppo - Fuga. Allegro ma non troppo
DR14      -4.19 dB   -23.09 dB      9:31 07-Sonata No. 32 in C Minor, Op. 111: I. Maestoso - Allegro con brio ed appassionato
DR15      -1.82 dB   -25.45 dB     17:11 08-Sonata No. 32 in C Minor, Op. 111: II. Arietta. Adagio molto semplice e cantabile
--------------------------------------------------------------------------------
Number of tracks:  8
Official DR value: DR15
Samplerate:        88200 Hz
Channels:          2
Bits per sample:   24
Bitrate:           2164 kbps
Codec:             FLAC
================================================================================

Доп. информация: https://www.insidethehearingmachine.com/
Источник: qobuz.com
Композитор: Ludwig van Beethoven (1770-1827)
Исполнитель: Tom Beghin, piano
John Broadwood & Sons (London, 1817, serial number 7362)
replica by Chris Maene (Ruiselede, 2013)
Tuning: well-temperament by Vallotti/Young (1799), a1 = 430 Hz
Об альбоме (сборнике)
Can we get into Beethoven’s creative mind, especially in the last phase of his life when he was coping with severe hearing loss? Tom Beghin’s new recording of Beethoven’s Piano Sonatas Opus 109, 110, and 111 is an artistic exploration of how Beethoven’s musicking was shaped by the work environment he created with the help of colleagues and friends. Not only does Beghin perform Beethoven’s trilogy of pianistic masterpieces on a magnificent new replica of Beethoven’s Broadwood piano, he uses a reconstruction of the Gehörmaschine that was mounted on the composer’s piano so he could continue to create music as his hearing declined.
“You do hear better when you bring your head under this machine, don’t you?,” André Stein asked Beethoven. Two centuries later, we too can bring our heads under the machine and wonder: Do we hear Beethoven differently? Beghin draws us inside the hearing machine, where we feel as well as hear the essence of Beethoven’s rambunctious and irresistibly poetic musical vibrations. Inside the Hearing Machine invites us into the multisensory playground of a deaf composer for whom the machine was more than a hearing aid and who interacted with his instrument through much more than sound.
                                                                                       
                       
                       
                       
                       
                       
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