Martin Lohse - Collage de temps
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания: 2018
Жанр: Classical, Chamber
Издатель (лейбл): Dacapo
Продолжительность: 00:56:34
Наличие сканов в содержимом раздачи: Буклет PDF
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0
Источник (релизер): qobuz.comТреклист
MARTIN LOHSE (1971 - )
Collage de temps (2013)
Concerto for piano and sinfonietta
1. I. Presto con sonore
2. II. Andante poco dolente
3. III. Andante cantabile
4. IV. Moderato più mosso
5. V. Allegro poco agitato
5 Momenti mobile (2013)
for accordion duo and piano trio
6. No. 1, Allegro con passione sostenuto
7. No. 2, Andante con dolore sostenuto
8. No. 3, Moderato con brio
9. No. 4, Menuetto. Allegro grazioso con espressione
10. No. 5, Allegro meno mosso
Moto immoto (2009 - 2015)
for sinfonietta
11. Adagio con passione sostenuto
Исполнители:
David Lau Magnussen, piano
Christina Åstrand, violin
Toke Moldrup, cello
Bjarke Mogensen, accordion
Claudio Jacomucci, accordion
Danish Chamber Players
Casper Schreiber, direction
Лог проверки качества
foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2018-11-13 18:02:30
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Analyzed: David Lau Magnussen, Danish Chamber Players, Casper Schreiber / Martin Lohse: Collage de temps
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DR Peak RMS Duration Track
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DR13 -1.26 dB -19.46 dB 5:47 01-Collage de temps: I. Presto con sonore
DR11 -11.18 dB -25.40 dB 2:51 02-Collage de temps: II. Andante poco dolente
DR13 -3.89 dB -23.48 dB 3:54 03-Collage de temps: III. Andante cantabile
DR13 -13.10 dB -30.89 dB 3:19 04-Collage de temps: IV. Moderato più mosso
DR13 -0.05 dB -19.96 dB 6:57 05-Collage de temps: V. Allegro poco agitato
DR13 -3.97 dB -23.38 dB 3:59 06-5 Momenti mobile: No. 1, Allegro con passione sostenuto
DR13 -10.85 dB -31.02 dB 5:29 07-5 Momenti mobile: No. 2, Andante con dolore sostenuto
DR13 -8.12 dB -24.32 dB 3:57 08-5 Momenti mobile: No. 3, Moderato con brio
DR14 -4.86 dB -24.21 dB 6:34 09-5 Momenti mobile: No. 4, Menuetto. Allegro grazioso con espressione
DR14 -0.36 dB -20.37 dB 3:41 10-5 Momenti mobile: No. 5, Allegro meno mosso
DR14 -2.92 dB -24.33 dB 10:13 11-Moto immoto
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Number of tracks: 11
Official DR value: DR13
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2275 kbps
Codec: FLAC
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Об альбоме (сборнике)
The first couple of minutes of the piano concerto Collage de temps already give a crystal-clear, audible example of Martin Lohse’s composition technique, which he calls ‘mobile’. Fifteen seconds into the movement a rhythmically striking figure begins which appears in a variety of instrumental colours: in the piano, later with an emphasis on strings, then on the winds and with the sound of the full ensemble. A good minute later the character changes completely, and does so again shortly afterwards, and then again. The music hangs in front of the listener as independent figures – mobiles – and although they constantly show new sides of themselves you recognize them easily. Without invoking the parallel too strictly – it will not bear that – the listening experience when you concentrate on Lohse’s acoustic mobiles is almost like hearing an old Baroque rondo. First one theme comes, then another, then the first one comes back, a third shows its face, the first one returns etc. This parallel make sense not so much in the precise structuring of the score as in the experience of the listener: on the face of it we hear ‘the same’, but we have been changed by the time that has passed, so the music is not identical either to what we heard before.
There are several layers in Lohse’s music. The mechanical drive from the first theme in Collage de temps is saturated with the driving force and rhythmic certainty of American minimalism, and later motifs can cast the listener’s associations in the direction of Schubert’s Moments musicaux and Verdi’s operas. There is thus a tonal recognizability in the sculptural sound-universe. In purely thematic terms we are not far from the tonal language of the past. But the way the music is put together is radically different. The point of the title, Collage de temps – collage of times or tempi, or composite times or tempi – is almost self-evident when one listens to the music, and is a precise description of what one hears: times that have been put together. Both musical ‘times’ – tempi that are put together with other tempi – and a mixture of times and idioms from musical history, from the dance suites of the Baroque through the elegance of the Rococo and the emotional outbursts of Romanticism to the rhythmic swing and motif repetitions of Minimalism. The role of the piano soloist changes depending on the musical motif: sometimes as an integral part of the ensemble, sometimes more like a rampant bull in a china shop; sometimes again as a fully fledged soloist with emphatic, striking musical expression.
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发表于 2020-12-8 15:06:52
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