Florilegium / Telemann – Concertos & Cantata Ihr Volker Hort
Формат записи/Источник записи: [DSD][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2016
Жанр: Classical/Chamber
Издатель (лейбл): Channel Classics
Продолжительность: 01:26:34
Наличие сканов в содержимом раздачи: Буклет PDFТреклист:
Concerto in E major 16:35
01-Andante 03:19
02-Allegro 05:27
03-Siciliana 03:19
04-Vivace 04:29
Concerto in A minor 16:15
05-Grave 03:54
06-Allegro 04:22
07-Dolce 03:40
08-Allegro 04:18
Cantata Ihr Volker hort 11:56
09-Aria 05:34
10-Recitative 03:10
11-Aria Halleluja 03:11
Concerto in D major 13:27
12-Moderato 02:26
13-Allegro 03:47
14-Largo 03:53
15-Vivace 03:21
Concerto a 4 in A minor 10:08
16-Adagio 02:27
17-Allegro 01:48
18-Adagio 01:41
19-Vivace 04:11
Overture in F major 18:09
20-Ouverture 03:28
21-Courante 01:40
22-Bourree I,II 02:45
23-Loure I,II 03:48
24-Menuet I,II 02:22
25-Forlane 01:32
26-La Tempete 02:32
Musicians & their instruments:
Ashley Solomon (Director) flute: after Palanca, by Martin Wenner, 2005 recorder: after Bressan by M.Grinter, 1997
Alexandra Bellamy oboe: Copy of Denner, c.1720, by Toshi Hasegawa oboe d’amore: Copy of Eichentopf, c.1730, by Alfredo Bernadini, 1994
Sally Holman bassoon after Eichentopf, Nüremberg, c.1720, by Leslie Ross, 1993
Anneke Scott horn 1: Copy of Leichsteinschneider, c.1720, by Tony Halstead & John Webb, 1996
David Bentley horn 2: Copy of Leichsteinschneider by Tony Halstead & John Webb, 1989
Bojan Cicic violin 1: Ruggieri, Cremona, c.1680 (kindly loaned by Jumpstart Junior Foundation) viola d’amore: Eamon Murray, Dublin, 1995
Jean Paterson violin 2: Fabrizio Senta, Turin, 1669
Magdalena Loth-Hill violin 3: Anonymous, Venetian, c.1680 (kindly loaned by Jonathan Sparey)
Ylvali Zilliacus viola: Jan Pawlikowsky, Krakow, 2004
Jennifer Morsches cello: Anonymous, Italian Tyrol, c.1720
Reiko Ichise viola da gamba: Copy of 7-string Bass Viol, after Barbey, Paris 1720, by D. Rubio, 1986
Carina Cosgrave bass: Anonymous, c.1870, conversion by Bryan Maynard
David Miller theorbo: after Italian models, Martin Haycock, 1995 baroque guitar: after Voboam, Martin Haycock, 1990
Terence Charlston harpsichord: Double-manual German-style after Fleischer, by Colin Booth, 2014 and chamber organ: German late 17th century positiv organКонтейнер: DSF (*.dsf)
Тип рипа: tracks
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0Доп. информация: Channel Classics CCS38616
Producers: Ashley Solom, Jared Sacks
Recorded: At St Michael’s Church, Highgate, London, UK 1-3 December 2015
Recording engineer, editing Jared Sacks
Tech info: Microphones: Bruel & Kjaer 4006, Schoeps
Digital converter: DSDS Super Audio / Grimm Audio
Pyramix Editing / Merging Technologies
Speakers: Audiolab, Holland
Amplifiers: Van Medevoort, Holland
Cables: Van den HulИсточник (релизер): wardrobemalfunction (PS³SACD) https://www.channelclassics.com/catalogue/38616-Telemann-Concertos-cantata-Ihr-Volker-Hort/
Лог DR
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foobar2000 1.6.2 / Dynamic Range Meter 1.1.1
log date: 2021-03-04 17:06:29
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Analyzed: Florilegium / Telemann Concertos & Cantata Ihr Volker Hort
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DR Peak RMS Duration Track
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DR12 -13.03 dB -27.98 dB 3:20 01-Telemann-Concerto in E major twv53-Andante
DR14 -11.83 dB -28.04 dB 5:28 02-Telemann-Concerto in E major twv53-Allegro
DR13 -12.25 dB -28.86 dB 3:19 03-Telemann-Concerto in E major twv53-Siciliano
DR13 -12.36 dB -28.10 dB 4:27 04-Telemann-Concerto in E major twv53-Vivace
DR14 -11.20 dB -27.20 dB 3:57 05-Telemann-Concerto in A minor twv52-Grave
DR14 -09.36 dB -26.77 dB 4:21 06-Telemann-Concerto in A minor twv52-Allegro
DR13 -13.27 dB -28.32 dB 3:41 07-Telemann-Concerto in A minor twv52-Dolce
DR13 -10.73 dB -27.05 dB 4:16 08-Telemann-Concerto in A minor twv52-Allegro
DR14 -12.85 dB -29.98 dB 5:37 09-Telemann-Cantata Ihr Völker hört twv1-Aria Ihr Völker hört
DR14 -13.46 dB -29.98 dB 3:11 10-Telemann-Cantata Ihr Völker hört twv1-Recitative Die Finsternis entweicht
DR13 -14.62 dB -30.31 dB 3:08 11-Telemann-Cantata Ihr Völker hört twv1-Aria Halleluja
DR13 -13.56 dB -28.66 dB 2:28 12-Telemann-Concerto in D major twv51-Moderato
DR14 -11.31 dB -27.94 dB 3:47 13-Telemann-Concerto in D major twv51-Allegro
DR13 -13.48 dB -29.43 dB 3:54 14-Telemann-Concerto in D major twv51-Largo
DR13 -11.27 dB -28.02 dB 3:19 15-Telemann-Concerto in D major twv51-Vivace
DR12 -13.65 dB -29.48 dB 2:30 16-Telemann-Concerto a 4 in A minor twv43-Adagio
DR12 -14.21 dB -29.72 dB 1:48 17-Telemann-Concerto a 4 in A minor twv43-Allegro
DR12 -14.02 dB -29.98 dB 1:42 18-Telemann-Concerto a 4 in A minor twv43-Adagio
DR14 -13.66 dB -30.46 dB 4:09 19-Telemann-Concerto a 4 in A minor twv43-Vivace
DR13 -10.75 dB -27.68 dB 3:30 20-Telemann-Overture in F major twv55-Ouverture
DR14 -15.05 dB -30.45 dB 1:41 21-Telemann-Overture in F major twv55-Courante
DR14 -10.76 dB -27.84 dB 2:45 22-Telemann-Overture in F major twv55-Bourree 1 & 11
DR14 -14.55 dB -30.18 dB 3:49 23-Telemann-Overture in F major twv55-Loure 1 & 11
DR14 -10.95 dB -29.23 dB 2:22 24-Telemann-Overture in F major twv55-Menuet 1 & 11
DR13 -09.87 dB -26.02 dB 2:32 25-Telemann-Overture in F major twv55-La Tempete
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Number of tracks: 25
Official DR value: DR13
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)
Regular performances in some of the world’s most prestigious venues have confirmed Florilegium’s status as 1 of Britain’s most outstanding period instrument ensembles. Since their formation in 1991 they have established a reputation for stylish & exciting interpretations, from intimate chamber works to large-scale orchestral and choral repertoire.
Georg Philipp Telemann came from an affluent but unmusical family. Though he showed early promise as a performer & composer, his mother had other ideas & tried to discourage him by confiscating all his musical instruments. As a law student in Leipzig, however, he became increasingly involved in ‘extra-curricular’ musical activities. He composed a cantata every 2 weeks & had written 4 operas by the time he gave in totally to his real passion. Fame & fortune in a creative artist’s lifetime do not necessarily presage the judgement of posterity. Throughout Germany Telemann basked in the sunshine of success, far eclipsing his contemporary colleague & occasional competitor Johann Sebastian Bach. In 1722 he was chosen by the city fathers of Leipzig
for the position of Kantor at the St.Thomas Choir School; Bach was approached & secured this position only after Telemann had turned the offer down. When City Councillor Platz announced
the appointment of Bach as Kantor for the churches in Leipzig in 1723, his pronouncement stated, “Since the best man could not be obtained, mediocre ones would have to be accepted.” Telemann had no intention of going to Leipzig. He simply used the offer to improve his bargaining position at Hamburg, where he established himself as Kantor of the 5 main churches in the city & ultimately as Director of the Hamburg Opera (an unheard of combination that annoyed the city fathers). He remained in Hamburg until his death in 1767.
Like many German composers, he was quick to embrace the tonal & thematic structure developed by Vivaldi, but he excelled in exploring possibilities of tone-colour, creating unusual combinations of instruments in his solo-groups. In this opening work, his Triple Concerto in E major, instead of the strong primary colours of oboe and violin, he uses the delicate shades of the oboe d’amore & viola d’amore. The oboe d’amore, pitched lower than the standard baroque oboe, has a bulb-shaped bell that gives it a gentle, covered sound; the viola d’amore has the somewhat retiring tone of a viola, but enhanced by the shimmer of sympathetic strings. The sound of the flute is made to match its partners by the choice of key: the many forked fingerings which are required for the accidentals encourage a gentler sound than the brighter, more popular keys (for the flute) of D or G. As so often in Telemann’s orchestral music, the rhythms & gestures of Polish music add to the life & vigour of the work, especially in the 2nd movement, where here the influence of his 2 years in Sorau, Poland (1705-06) are undeniably clearly represented. Telemann himself confesses in his autobiography to having less of a taste for the concerto form than for others; perhaps this is the reason why more than half of the works of
this type which have survived were not written for just 1 soloist, but for 2 or more instruments, each being of equal importance.
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发表于 2022-3-13 14:33:28
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