Ewald Demeyere - Tears: Harpsichord Laments of the Seventeenth Century
Формат записи/Источник записи: [DSD][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2013
Жанр: Classical, Harpsichord
Издатель (лейбл): Challenge Records
Продолжительность: 00:57:33
Наличие сканов в содержимом раздачи: Буклет PDF
Контейнер: DSF (*.dsf)
Тип рипа: tracks
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0
Источник (релизер): nativedsd.comWILLIAM BYRD (ca. 1540-1623)
1. Lachrimae Pavan (V)
JOHANN JACOB FROBERGER (1616-1667)
2. Fantasia VI, FbWV206 (H)
Partita VI, FbWV 612 (H)
3. I. Lamento sopra la dolorosa perdita della Real
4. II. Gigue
5. III. Courante
6. IV. Sarabande
THOMAS TOMKINS (1572-1656)
7. A Sad Pavan for These Distracted Tymes (V)
LOUIS COUPERIN (ca. 1626-1661)
Suite in F Major (H)
8. I. Prelude
9. II. Allemande grave
10. III. Courante
11. IV. Courante
12. V. Sarabande
13. VI. Branle de Basque
14. VII. Chaconne
15. VIII. Tombeau de Mr de Blancrocher
MELCHIOR SCHILDT (1592/3-1667)
16. Paduana Lagrima (V)
(H = Harpsichord; V = Virginal)
Лог проверки качества
foobar2000 1.3.17 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта: 2018-07-22 18:50:36
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Анализ: Ewald Demeyere / Tears - Harpsichord laments from the 17th-Century
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DR Пики RMS Продолжительность трека
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DR13 -7.39 дБ -24.08 дБ 6:31 01-Lachrimae Pavan
DR14 -10.23 дБ -26.10 дБ 4:59 02-Fantasia VI, FbWV206
DR14 -9.65 дБ -26.95 дБ 5:32 03-Partita VI, FbWV 612: I. Lamento sopra la dolorosa perdita della Real M.stá di Ferdinando IV
DR13 -6.43 дБ -22.32 дБ 1:28 04-Partita VI, FbWV 612: II. Gigue
DR13 -9.12 дБ -24.33 дБ 1:46 05-Partita VI, FbWV 612: III. Courante
DR14 -5.74 дБ -23.16 дБ 1:56 06-Partita VI, FbWV 612: IV. Sarabande
DR15 -9.10 дБ -26.45 дБ 9:14 07-A Sad Pavan for These Distracted Tymes
DR13 -10.86 дБ -26.48 дБ 3:35 08-Suite in F Major: I. Prélude
DR13 -6.48 дБ -22.79 дБ 3:15 09-Suite in F Major: II. Allemande grave
DR12 -12.64 дБ -26.96 дБ 1:16 10-Suite in F Major: III. Courante
DR13 -11.70 дБ -26.98 дБ 1:27 11-Suite in F Major: IV. Courante
DR12 -9.97 дБ -24.40 дБ 2:05 12-Suite in F Major: V. Sarabande
DR12 -9.83 дБ -23.68 дБ 0:46 13-Suite in F Major: VI. Branle de Basque
DR14 -5.53 дБ -21.82 дБ 2:29 14-Suite in F Major: VII. Chaconne
DR14 -10.33 дБ -26.92 дБ 4:31 15-Suite in F Major: VIII. Tombeau de Mr de Blancrocher
DR13 -8.48 дБ -24.42 дБ 6:43 16-Paduana Lagrima
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Количество треков: 16
Реальные значения DR: DR13
Частота: 2822400 Гц / Частота PCM: 176400 Гц
Каналов: 2
Разрядность: 1
Битрейт: 5645 кбит/с
Кодек: DSD64
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Об альбоме (сборнике)
Amongst the seventeenth-century harpsichord repertoire, the genre of pieces referring to a loss, whether or not the death of a person, takes a special place, and forms the leitmotif of this disc. These introspective pieces, actually being meditations or contemplations, achieve in a uniquely profound way an almost spiritual level. John Downland’s Lachrimae Pavan, initially a lute piece which the composer reworked as a lute song to the words Flow my Tears and as a consort piece, enjoyed great popularity in the seventeenth century. In fact, it occurs in more than one hundred manuscripts or prints in a variety of arrangements. For this CD I have included two of the finest of those transcriptions, by William Byrd and by Melchior Schildt. Byrd was one of the most influential composers of his generation, in his time called a Father of Musick and Brittanicae Musicae Parens.
After having been organist at the Lincoln Cathedral (1563-72), Byrd joined the Chapel Royal in London, where he remained until his death. Amongst his many keyboard works, Byrd was particularly active in producing the often connected pair of dances, the pavan and galliard, much favoured at the time. Characteristic of the form of these dances is that both contain three sections, each of which is repeated mostly in varied form. In contrast to Byrd, Melchior Schildt is a rather unknown figure today. A pupil of Jan Pieterszoon Sweelinck, Schildt worked as an organist at the Marienkirche in Wolfenbu?ttel (1623-26), at the Danish court in Copenhagen (1626-29) and at the Marktkirche in Hanover (1629-67). Amongst his surviving keyboard works, the Paduana Lagrima takes a special place. Just like Byrd’s version, Schildt’s setting of Dowland’s Lachrymae Pavan fully respects the sorrow and melancholy of the original, even if Schildt has incorporated unusual technical features such as runs in double thirds.
发表于 2020-12-8 15:06:41
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