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[古典] [DSD] [ISABELLE VAN KEULEN&Ronald Brautigam - 格里格,伊莱加,西贝利乌斯:小提琴和amp的音乐;钢琴(周年纪念版) - 2007年(古典)

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发表于 2022-3-13 14:33:27 | 显示全部楼层 |阅读模式
ISABELLE VAN KEULEN
& RONALD BRAUTIGAM
MUSIC FOR VIOLIN & PIANO
Grieg, Elgar and Sibelius
Формат записи/Источник записи: [DSD][OF]
Наличие водяных знаков: Нет
Издание: Anniversary Edition
Год издания/переиздания диска: 2007
Жанр: Classical
Издатель (лейбл): Challenge Records Int.
Продолжительность: 01:00:53
Наличие сканов в содержимом раздачи: Буклет PDF
Треклист:
EDVARD GRIEG (1843-1907)
Sonata for violin and piano no. 1 in F major, op. 8 (1865)
1. Allegro Con Brio 9:25
2. Allegretto Quasi Andantino 4:39
3. Allegro Molto Vivace 8:49
SIR EDWARD ELGAR (1857-1934)
4. Sospiri, Op. 70 (1914) 4:58
JEAN SIBELIUS (1865-1957)
5. Humoresque, Op. 87 No. 2 - Allegro Assai 2:33
6. Humoresque, Op. 89 No. 2 - Andantino 3:43
7. Humoresque, Op. 89 No. 4 - Allegro 2:58
SIR EDWARD ELGAR
Sonata for Violin and Piano in E Minor, Op. 82 (1918)
8. Allegro 7:26
9. Romance 8:04
10. Allegro Non Troppo 8:05
Isabelle Van Keulen - violin
Ronald Brautigam - piano
Контейнер: DFF (*.dsf)
Тип рипа: tracks
Разрядность: 128(5,6 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0
Official DR value: DR14

foobar2000 1.4.6 / Dynamic Range Meter 1.1.1
log date: 2021-11-19 11:50:59
--------------------------------------------------------------------------------
Analyzed: Isabelle van Keulen, Ronald Brautigam / Grieg, Elgar, Sibelius: Music for violin & piano
--------------------------------------------------------------------------------
DR         Peak         RMS     Duration Track
--------------------------------------------------------------------------------
DR13      -6.32 dB   -25.66 dB      9:23 01-Sonata No. 1 in F major, Op. 8: I. Allegro con brio
DR13      -5.80 dB   -25.31 dB      4:40 02-Sonata No. 1 in F major, Op. 8: II. Allegretto quasi andantino
DR14      -5.83 dB   -24.16 dB      8:55 03-Sonata No. 1 in F major, Op. 8: III. Allegro molto vivace
DR16      -9.75 dB   -32.61 dB      5:00 04-Sospiri, Op. 70
DR14      -6.40 dB   -25.42 dB      2:32 05-Humoresque Op. 87, No. 2: Allegro Assai
DR14     -12.20 dB   -31.02 dB      3:44 06-Humoresque Op. 89, No. 2: Andantino
DR14      -8.37 dB   -27.76 dB      3:04 07-Humoresque Op. 89, No. 4: Allegro
DR13      -6.52 dB   -24.32 dB      7:27 08-Sonata in E minor, Op. 82: I. Allegro
DR17      -5.92 dB   -28.43 dB      8:05 09-Sonata in E minor, Op. 82: II. Romance
DR13      -5.91 dB   -23.86 dB      8:03 10-Sonata in E minor, Op. 82: III. Allegro non troppo
--------------------------------------------------------------------------------
Number of tracks:  10
Official DR value: DR14
Samplerate:        5644800 Hz / PCM Samplerate: 352800 Hz
Channels:          2
Bits per sample:   24
Bitrate:           11290 kbps
Codec:             DSD128
================================================================================

Доп. информация:
Recording: Northstar Recording Services BV / The Netherlands Recorded at: Galaxy Studios, Moll Belgium
Recording dates: 8-9 & 10 feb 2007
Original Recording Format: DSD64
Об альбоме (сборнике)
The year 2007 marks Grieg's death a century ago, the birth of Elgar 150 years ago and Sibelius' death fifty years ago. This is generally a good reason for bestowing extra attention. In this case it is also a particularly good moment to consider the legacy of these composers and draw special attention to their lesser-known works. Edvard Grieg is best known as the composer of Peer Gynt, the piano concerto and miniatures on Norwegian national music. Edward Elgar is above all the composer of the Enigma Variations, the Pomp and Circumstance Marches and Salut d'Amour. And Jean Sibelius put Finnish nationalism on the map with mythical symphonic poems and seven granite symphonies. The fact that they also composed magnificent chamber music works is so far less deeply etched into the collective mind; an omission that cries out for rectification.
In 1900, at the age of 65, Grieg wrote to one of his friends that he considered his three violin sonatas to be among his best works. 'The first (1865) is naïve, rich in ideas’. Edward Elgar wrote his Violin Sonata op. 82 following a period of doubt and illness and with a new awareness of the path he wished follow. The Violin Sonata has in fact remained an underrated masterwork, which perfectly reflects Elgar's reborn state. The short Sospiri (1913, later arranged for violin and piano) was composed in response to the death of a family friend. The six Humoresques by Jean Sibelius were created at the height of the First World War and of the Finnish struggle for independence from Russia, which Sibelius championed in his music.
Review:
Grieg, Elgar, Sibelius: Music for Violin & Piano Review by Uncle Dave Lewis
Isabelle Van Keulen & Ronald Brautigam: Music for Violin and Piano -- Grieg, Elgar and Sibelius is based on a rather hokey premise; that 2007 is the 100th anniversary of Grieg's death and the 50th of Sibelius' death and that it is the sesquicentennial of Elgar's birth. "This is generally a good reason for bestowing extra attention," remarks annotator Paul Janssen. Okay, by that same token, we should also be looking forward to the release of a disc combining the music of Joseph Joachim, Cecile Cheminade, and Ralph Benatzky by the end of 2007 -- point made. All public radio-like programming considerations aside, there is a connection between these three in that Grieg and Sibelius are Nordic and that Elgar, though he composed a piece called In the South, is at least "Northern" in his orientation. In ancient times, the ancestors of these composers enjoyed a close, if somewhat rumbustious, relationship, as then the Anglos and Brits of old were constantly attempting to repel Vikings and other Nordic invaders. Throughout this program, a mixture of white-hot romanticism and emotional chilliness pervades in the music, though not in Isabelle van Keulen's playing, which is everywhere warm-blooded, full-throated, and pregnant with emotion. Brautigam, better known as a soloist, nevertheless has invested his efforts into many recordings as an accompanist and chamber musician, and here he plays with equal parts drama and sensitivity. He is not helped by Challenge Classics' recording, which, although crystal clear, tends to favor the piano at the expense of the violin, at times sounding as though off to the side in the aural perspective. Despite the annotator's corny presupposition and the slight dislocation of the soloist, these world-class artists do considerable justice to this slate of familiar post-romantic violin and piano works. Despite the power of the Nordic marauders, the Anglo Elgar comes across best of the three through a cracking reading of his Sonata in E minor, Op. 82, and van Keulen's superbly expressionistic account of his wispy and brief Sospiri, Op. 70.
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