Combattimento Consort Amsterdam, Jan Willem de Vriend - Haydn: Divertimenti
Формат записи/Источник записи: [DSD][OF]
Наличие водяных знаков: Нет
Год издания: 2009
Жанр: Classical
Издатель (лейбл): Challenge Classics
Продолжительность: 00:59:18
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): spiritofturtle.comТреклист:
Octet (Divertimento no. 1) in G major Hob.X:12
1. Moderato
2. Adagio
3. Finale: Presto
Quintet in D major Hob.X:10
4. Adagio
5. Allegro
6. Menuet and Trio
Octet (Divertimento no. 3) in G major Hob.X:5
7. Adagio
8. Allegro
9. Presto
Octet in D major Hob.X:1
10. Allegro moderato
11. Adagio
12. PrestoExecutive Producer: Anne de Jong
Recorded on: 13-15 January 2009
Recording location: Waalse Kerk, Amsterdam
Recording producer: Bert van der Wolf
Recorded by: NorthStar Recording Services
Лог проверки качества
foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2018-08-04 05:37:15
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Analyzed: Combattimento Consort Amsterdam, Jan Willem de Vriend / Haydn: Divertimenti
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DR Peak RMS Duration Track
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DR14 -9.79 dB -27.19 dB 5:16 01-Octet (Divertimento No. 1) in G major, Hob.X:12: I. Moderato
DR17 -6.39 dB -28.31 dB 5:23 02-Octet (Divertimento No. 1) in G major, Hob.X:12: II. Adagio
DR14 -7.51 dB -26.96 dB 3:25 03-Octet (Divertimento No. 1) in G major, Hob.X:12: III. Finale: Presto
DR12 -13.14 dB -28.76 dB 5:45 04-Quintet in D major Hob.X:10: I. Adagio
DR14 -9.83 dB -28.40 dB 4:17 05-Quintet in D major Hob.X:10: II. Allegro
DR13 -13.57 dB -30.48 dB 3:37 06-Quintet in D major Hob.X:10: III. Menuet and Trio
DR13 -11.79 dB -28.28 dB 5:34 07-Octet (Divertimento No. 3) in G major Hob.X:5: I. Adagio
DR15 -7.95 dB -26.71 dB 5:07 08-Octet (Divertimento No. 3) in G major Hob.X:5: II. Allegro
DR13 -8.53 dB -26.45 dB 3:22 09-Octet (Divertimento No. 3) in G major Hob.X:5: III. Finale: Presto
DR16 -8.07 dB -28.20 dB 5:56 10-Octet in D major Hob.X:1: I. Allegro moderato
DR15 -11.74 dB -30.41 dB 6:51 11-Octet in D major Hob.X:1: II. Adagio
DR15 -7.69 dB -28.34 dB 4:30 12-Octet in D major Hob.X:1: III. Finale: Presto
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Number of tracks: 12
Official DR value: DR14
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)
On May 1 in the year 1761, Joseph Haydn (1732-1809) entered into the service of the princes of Esterhzy. It was an association that would last nearly 30 years and prove fruitful for Prince Nikolaus I and the composer. At first, Haydn was merely the deputy kapelmeister. He was expected, as specified in the contract, to behave, obligingly write whatever music was assigned to him, and comport himself as an example to the other musicians. Additionally, he was to report in livery to the prince each day at noon to receive his instructions for the day.
Several years later, he was named kapelmeister. In this function, he wrote nearly all of the music heard in the court, from piano sonatas to symphonies, violin concertos to operas. Under the influence of the Enlightenment, the relationship between employer and employee began to change in the second half of the 18th century. Previously, a court or church musician was considered a servant who should bow to his superiors and be at all times obedient. But now, a musician — at least, an outstanding one — was seen more as a valued employee who could bring credit to his patron and should thus be fostered. Haydn held an enviable position with the Esterhzys in that regard. To a degree, he had a confidential relationship with Prince Nikolaus, owing in particular to the prince’s unusual hobby: Nikolaus was a passionate player of the baryton. This relative of the viola da gamba was even then uncommon. The baryton, roughly the size of a cello, has six or seven strings that the musician plays upon and an additional nine to twenty strings that provide resonance through sympathetic vibration, lending the instrument its unique muffled sound. Because it was so difficult to play, the instrument never became very popular, and it was largely obsolete by Haydn’s time. As the prince played the baryton, however, Haydn as a matter of course had to compose for it.
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发表于 2020-12-8 15:06:04
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