Felix Mendelssohn
A Midsummer Night’s Dream – incidental music, Op. 61 & Overture, Op. 21
London Symphony Orchestra & The Monteverdi Choir, Sir John Eliot Gardiner
Формат записи/Источник записи: [DSD][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2017
Жанр: Classical/Orchestral/Choral
Издатель (лейбл): LSO Live
Продолжительность: 00:55:03
Наличие сканов в содержимом раздачи: Буклет PDFТреклист:
Felix Mendelssohn (1809–1847)
Overture: A Midsummer Night’s Dream, Op 21 (1826)
A Midsummer Night’s Dream: Incidental Music, Op 61 (1842)
01. Overture
02. Incidental music: Narration – “Ay me! For aught that I could ever read”
03. No 1 Scherzo
04. No 2 L’istesso tempo
05. No 2a Allegro vivace
06. No 3 Lied mit Chor
07. No 4 Andante
08. No 5 Allegro appassionato
09. No 7 Nocturne (Con moto tranquillo)
10. No 8 Andante
11. No 9 Hochzeitmarsch (“Wedding March”) & No 12 Allegro vivace come primo
12. Finale (Allegro di molto)Musicians:
Ceri-Lyn Cissone (narrator), Alexander Knox (narrator) & Frankie Wakefield (narrator)
London Symphony Orchestra & The Monteverdi Choir, Sir John Eliot Gardiner.Контейнер: DSF (*.dsf)
Тип рипа: tracks
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0Доп. информация: Recording:
Live 16 February 2016 in DSD 128fs, at the Barbican, London
Nicholas Parker producer & audio editor
Classic Sound Ltd recording, editing & mastering facilities
Neil Hutchinson for Classic Sound Ltd balance engineer, audio editor, mixing & mastering
Jonathan Stokes for Classic Sound Ltd recording engineer.
LSO Live LSO 0795 (2017)
2ch DSD64 (2.18GB)
Источник (релизер): wardrobemalfunction (PS³SACD) https://lsolive.nativedsd.com/albums/LSO0795-mendelssohn-a-midsummer-nights-dream
Лог DR
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foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2019-08-13 23:05:11
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Analyzed: ? / ?
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DR Peak RMS Duration Track
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DR15 -2.99 dB -23.11 dB 12:13 01-LSO-Mendelssohn_A-Midsummernights-Dream_01
DR11 -15.12 dB -27.03 dB 1:04 02-LSO-Mendelssohn_A-Midsummernights-Dream_02
DR15 -5.67 dB -25.45 dB 4:18 03-LSO-Mendelssohn_A-Midsummernights-Dream_03
DR13 -12.91 dB -26.87 dB 3:32 04-LSO-Mendelssohn_A-Midsummernights-Dream_04
DR17 -6.33 dB -26.24 dB 2:12 05-LSO-Mendelssohn_A-Midsummernights-Dream_05
DR14 -8.88 dB -26.27 dB 4:40 06-LSO-Mendelssohn_A-Midsummernights-Dream_06
DR12 -14.25 dB -27.04 dB 1:41 07-LSO-Mendelssohn_A-Midsummernights-Dream_07
DR15 -5.88 dB -25.62 dB 4:20 08-LSO-Mendelssohn_A-Midsummernights-Dream_08
DR14 -9.00 dB -25.95 dB 6:11 09-LSO-Mendelssohn_A-Midsummernights-Dream_09
DR15 -5.10 dB -25.37 dB 3:19 10-LSO-Mendelssohn_A-Midsummernights-Dream_10
DR15 -3.13 dB -22.58 dB 5:13 11-LSO-Mendelssohn_A-Midsummernights-Dream_11
DR13 -12.25 dB -27.05 dB 6:25 12-LSO-Mendelssohn_A-Midsummernights-Dream_12
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Number of tracks: 12
Official DR value: DR14
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
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Об альбоме (сборнике)
Continuing his award-winning cycle of works by Felix Mendelssohn, Sir John Eliot Gardiner leads the LSO, his Monteverdi Choir & 3 talented young actors from the Guildhall in a landmark performance of ‘A Midsummer Night’s Dream’, which was performed as part of the 400th anniversary of Shakespeare’s death. To mark the celebrations, Gardiner produced a special version of the work featuring some cuts to the original movements that, in his words, “remove all of the music relating to the Mechanicals & thus focus on the world of the fairies & the human lovers”. Mendelssohn, who adored Shakespeare’s writings, composed his concert overture based on ‘A Midsummer Night’s Dream’ in 1827 aged 17, after having read a German translation of the play. The overture was immediately acclaimed as a masterpiece & quickly became a popular favourite throughout Europe. Years later in 1843 he was asked by the King of Prussia to provide a score for an entire production: 14 short works based on themes & moods from the original overture, with a broadly romantic sound although classical in style & structure.
“…much to enjoy here…pinpoint precision of melody-carrying flutes & violins, the sure footed bass & above all a sense that the composer is being taken seriously.”
~ Gramophone
It definitely still feels like a full representation of Mendelssohn’s sparkling music….& sparkle it does: there’s a real lightness of touch in the Overture, & I was delighted with the way that Gardiner manages to make familiar music sound fresh…I wouldn’t have thought there was anything Gardiner could have done to invigorate that most familiar of tunes, namely the Wedding March, & yet that’s exactly what he does.
AllMusic:
Mendelssohn’s incidental music for A Midsummer Night’s Dream, Op. 61, was completed 16 years after he wrote the Overture, Op. 21. The consistency of style and musical unity between them belie the disparate dates of composition. The overture was by an incredibly musically gifted youth of 17, and the incidental music was by the music director of Prussia’s King Friedrich Wilhelm IV’s Academy of the Arts and the Leipzig Gewandhaus Orchestra.
A Midsummer Night’s Dream had always been a favorite of Felix and his sister, Fanny. The commission for the remaining music came from the King, for a Potsdam production of the play, one of several commissions for theatrical music Mendelssohn received while in this post. The producer of the play was Ludwig Tieck, one of the translators of the definitive German version of the play, the same version that the Mendelssohns had enjoyed and absorbed thoroughly as their own.
The incidental music consists of 14 sections, including the overture. There are vocal sections and instrumental movements. The vocal selections include the song “Ye spotted snakes” and the melodramas “Over hill, over dale,” “The Spells,” “What hempen homespuns,” and “The Removal of the Spells.” The melodramas served to enhance Shakespeare’s text. The remaining sections are primarily cues. The music combines the traditional forms and structures of Classical music with the feeling and expression of the Romantic era. Throughout the sections, Mendelssohn sprinkles themes and motives pulled from the earlier overture to create coherence.
The instrumental movements, Scherzo, Intermezzo, Notturno, and the “Wedding March,” are usually excerpted with the overture for orchestral concert performance. The Scherzo appropriately introduces the fairy-world of Act Two with rapid, running passages in the woodwinds, similar to the string passage in the opening of the overture, both set in a minor mode. The rest of the orchestra joins the woodwinds in a Classical sonata-form movement. Several small motives are repeated, up and down, then down and up the scale, to form the development section. The Intermezzo represents the confusion encountered as Hermia awakes, with a swirling melody buffeted about by the orchestra. The rustic players enter jauntily, represented by the bassoons and ending the Intermezzo in the major. A German Romantic horn melody is the theme of the Notturno. The music evokes the dreams of the couples as Puck puts right his previous mischief. The “Wedding March” opens with that oh-so-familiar trumpet fanfare, fitting for the Duke of Athens’ wedding. Two trio sections are separated by the opening theme; the final occurrence of the main theme includes twittering flutes and strings, suggesting the fairies’ part in the matchmaking. The “Finale” returns to the overture for most of its sparkling material, ending with the same four woodwind chords that begin the entire work.
Although some consider Mendelssohn’s work to be lightweight and uninspired, the entirety of A Midsummer Night’s Dream proves otherwise in its inventiveness in reviving his older material and in its expression.
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发表于 2020-12-8 15:05:55
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