Shostakovich - Complete Chamber Music for Piano and Strings
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания: 2018
Жанр: Classical
Издатель (лейбл): Paraty
Продолжительность: 02:30:27
Наличие сканов в содержимом раздачи: Буклет PDF
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/48
Формат: PCM
Количество каналов: 2.0
Источник (релизер): prestomusic.com
Треклист:
01. Piano Trio No. 1, Op. 8 "Poème"
Piano Quintet, Op. 57
02. I. Prelude. Lento-Poco più mosso-Lento
03. II. Fugue. Adagio
04. III. Scherzo. Allegretto
05. IV. Intermezzo. Lento
06. V. Finale. Allegretto
Sonata for Violin and Piano, Op. 134
07. I. Andante
08. II. Allegretto
09. III. Largo
10. Moderato for Cello and Piano
Sonata for Cello and Piano, Op. 40
11. I. Allegro non troppo
12. II. Allegro
13. III. Largo
14. IV. Allegro
Piano Trio No. 2, Op. 67
15. I. Andante-Moderato-Poco più mosso
16. II. Allegro non troppo
17. III. Largo
18. IV. Allegretto-Adagio
Sonata for Viola and Piano, Op. 147
19. I. Moderato
20. II. Allegretto
21. III. Adagio
Исполнители:
DSCH - Shostakovich Ensemble
Filipe Pinto-Ribeiro, direction
Лог проверки качества
foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2018-12-04 21:28:48
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Analyzed: DSCH-Shostakovich Ensemble / Shostakovich: Complete Chamber Music for Piano and Strings
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DR Peak RMS Duration Track
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DR13 -1.98 dB -20.36 dB 10:42 01-Piano Trio No. 1, Op. 8 "Poème"
DR12 -2.14 dB -18.09 dB 4:02 02-Piano Quintet, Op. 57: I. Prelude. Lento - Poco più mosso - Lento www.israbox.com
DR13 -3.67 dB -22.45 dB 8:50 03-Piano Quintet, Op. 57: II. Fugue. Adagio
DR13 -1.72 dB -17.08 dB 3:21 04-Piano Quintet, Op. 57: III. Scherzo. Allegretto
DR13 -2.02 dB -22.23 dB 5:47 05-Piano Quintet, Op. 57: IV. Intermezzo. Lento
DR14 -0.20 dB -20.30 dB 7:13 06-Piano Quintet, Op. 57: V. Finale. Allegretto
DR13 -4.90 dB -24.70 dB 9:48 07-Sonata for Violin and Piano, Op. 134: I. Andante
DR13 -3.08 dB -18.85 dB 6:40 08-Sonata for Violin and Piano, Op. 134: II. Allegretto
DR14 -1.57 dB -22.17 dB 12:28 09-Sonata for Violin and Piano, Op. 134: III. Largo
DR10 -7.85 dB -23.84 dB 3:04 10-Moderato for Cello and Piano
DR12 -5.49 dB -22.66 dB 11:24 11-Sonata for Cello and Piano, Op. 40: I. Allegro non troppo
DR12 -3.17 dB -18.94 dB 3:09 12-Sonata for Cello and Piano, Op. 40: II. Allegro
DR12 -7.77 dB -26.71 dB 7:58 13-Sonata for Cello and Piano, Op. 40: III. Largo
DR11 -5.01 dB -21.79 dB 4:10 14-Sonata for Cello and Piano, Op. 40: IV. Allegro
DR13 -1.68 dB -20.78 dB 7:16 15-Piano Trio No. 2, Op. 67: I. Andante - Moderato - Poco più mosso
DR12 -2.43 dB -17.00 dB 3:01 16-Piano Trio No. 2, Op. 67: II. Allegro non troppo
DR13 -6.91 dB -25.69 dB 5:04 17-Piano Trio No. 2, Op. 67: III. Largo
DR13 -0.39 dB -18.09 dB 9:57 18-Piano Trio No. 2, Op. 67: IV. Allegretto - Adagio
DR12 -3.50 dB -21.49 dB 9:03 19-Sonata for Viola and Piano, Op. 147: I. Moderato
DR13 -2.15 dB -20.46 dB 7:03 20-Sonata for Viola and Piano, Op. 147: II. Allegretto
DR13 -3.43 dB -23.34 dB 10:39 21-Sonata for Viola and Piano, Op. 147: III. Adagio
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Number of tracks: 21
Official DR value: DR13
Samplerate: 48000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1336 kbps
Codec: FLAC
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Об альбоме (сборнике)
While underlining Dmitri Shostakovich’s importance in the history of music, the musicologist Lev Mazel wrote: ‘if human culture does not die out, the life and personality of Dmitri Shostakovich will be studied in depth for centuries and centuries. Just as every detail concerning Beethoven attracts the attention not only of specialists, but a great number of layman, every detail of the life and work of Shostakovich will be of interest to posterity’. So, what do we know of the life of Shostakovich? That it was full, agitated, under constant public judgement and without any slowing of creative output until the end. A few friends and family members could experience an image of him as an engaged citizen assuming his civic responsibilities but also, most importantly, an image of a citizen engaged with and devoted to his art like few others. This image began to be modified after his death as soon as his memoires, journals and diaries started to be published, a process which increased and developed during the post-Soviet era. This contributed to a re-evaluation of Shostakovich during the period following the Cold War and, more generally, of the whole phenomenon of Soviet culture. The posthumous reception of Shostakovich and his music, beyond expanded recognition of his artistic value, became the object of unflagging fascination on the part of musicians, musicologists, journalists and the general public. Even today, we witness great debates on the extra-musical content of his work, particularly the autobiographical fingerprint that Shostakovich explicitly inscribed in certain pieces –for example, his eighth String Quartet, the tenth Symphony, the first Concertos for Violin and Cello and the Sonata for Violin and Piano–, by imposing an occult musical signature. The famous musical motif DSCH which corresponds to the first letters of his first and last names, which correspond to musical note names in German: Dmitri (S)CHostakovitch = DSCH = D, E flat, C, B. On 5 January 1944, Dmitri Shostakovich wrote in a letter to Antal Molnár: ‘Chamber music requires of the composer the most perfect technique and the greatest depth of thought. I would not be too far from the truth if I affirmed that, sometimes, behind the “sparkle” of the orchestral sound is hidden a lack of imagination. Composing chamber music pieces is, for me, significantly more difficult than composing orchestral works…a lack of depth in the thought process in chamber music is simply intolerable’
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发表于 2020-12-8 15:04:01
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