Mason Bates & San Francisco Symphony (Michael Tilson Thomas) / Works for Orchestra
Формат записи/Источник записи: [DSD][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2016
Жанр: Classical
Издатель (лейбл): SFS Media
Продолжительность: 01:11:18
Наличие сканов в содержимом раздачи: Booklet (pdf)
Треклист:
The B-Sides
01. Broom of the System 4:12
02. Aerosol Melody (Hanalei) 4:00
03. Gemini in the Solar Wind 5:32
04. Temescal Noir 3:14
05. Warehouse Medicine 4:45
Liquid Interface
06. Glaciers Calving 6:47
07. Scherzo Liquido 3:54
08. Crescent City 8:24
09. On the Wannsee 4:29
Alternative Energy
10. Ford’s Farm, 1896 7:07
11. Chicago, 2012 5:53
12. Xinjiang Province, 2112 8:05
13. Reykjavik, 2222 4:52
Контейнер: DFF (*.dsf)
Тип рипа: tracks
Разрядность: 128 (5,6 MHz/1 Bit)
Формат: DSD128
Количество каналов: 2.0
Лог проверки качества
foobar2000 1.4.6 / Dynamic Range Meter 1.1.1
log date: 2019-08-03 15:10:23
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Analyzed: San Francisco Symphony, Michael Tilson Thomas / Mason Bates: Works for Orchestra
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DR Peak RMS Duration Track
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DR14 -3.62 dB -23.75 dB 4:11 01-The B-Sides: I. Broom of the System
DR14 -10.08 dB -28.30 dB 4:02 02-The B-Sides: II. Aerosol Melody (Hanalei)
DR13 -3.02 dB -21.65 dB 5:33 03-The B-Sides: III. Gemini in the Solar Wind
DR12 -10.04 dB -27.60 dB 3:14 04-The B-Sides: IV. Temescal Noir
DR13 -3.00 dB -20.35 dB 4:45 05-The B-Sides: V. Warehouse Medicine
DR15 -3.02 dB -24.12 dB 6:47 06-Liquid Interface: I. Glaciers Calving
DR15 -7.84 dB -28.55 dB 3:54 07-Liquid Interface: II. Scherzo Liquido
DR15 -3.01 dB -22.81 dB 8:25 08-Liquid Interface: III. Crescent City
DR16 -5.27 dB -28.14 dB 4:29 09-Liquid Interface: IV. On the Wannsee
DR15 -3.02 dB -22.79 dB 7:08 10-Alternative Energy: I. Ford's Farm, 1896
DR12 -3.01 dB -19.89 dB 5:53 11-Alternative Energy: II. Chicago, 2012
DR10 -3.01 dB -18.48 dB 8:07 12-Alternative Energy: III. Xinjiang Province, 2112
DR17 -3.02 dB -25.30 dB 4:51 13-Alternative Energy: IV. Reykjavik, 2222
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Number of tracks: 13
Official DR value: DR14
Samplerate: 5644800 Hz / PCM Samplerate: 352800 Hz
Channels: 2
Bits per sample: 1
Bitrate: 11290 kbps
Codec: DSD128
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Об альбоме (сборнике)
Fifteen years ago, I had been on California soil scarcely a month when I stumbled into Davies Symphony Hall. Immediately, Michael Tilson Thomas and the San Francisco Symphony blew my musical mind. The inaugural SFS American Mavericks festival featured some of the most demanding and audacious symphonic programs I had ever encountered—from John Cage to David Del Tredici—and through ingenious programming and presentation, the experience was thoroughly engaging and fun. That spirit of joyful adventure is what I so cherish about Michael and the SFS, and why this release is such a milestone for me.
The three pieces on this album are my largest electro-acoustic works, my wildest explorations into the power of an expanded symphonic palette and its implications for imaginative new forms. The electronic sounds range from glaciers to industrial techno to a NASA spacewalk, which raises the creative challenge of integrating them into the orchestra and thereby taking the medium to new places. New sounds have often provoked new forms throughout music history—think of the Technicolor textures of Berlioz and Wagner bringing to life ingenious programmatic forms— and I look to the digital world as an important twenty-first century expansion of the orchestral sound world.
Michael has been a tremendous mentor over the years, always challenging me with obscure listening assignments and, often, actual composition assignments (The B-Sides began as a response to Schoenberg’s Five Pieces for Orchestra). During my years in the Bay Area, it has been quite a trip to migrate from SFS audience member to contributing composer, and the San Francisco Symphony continues to be my window into the limitless possibilities of an orchestra.
——Mason Bates, excerpt from liner notes
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发表于 2020-12-8 15:06:38
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