Lutoslawski & Dutilleux - Cello Concertos (2018)

Dutilleux, Lutoslawski

Johannes Moser

Thomas Sondergard

This album features cello concertos by Witold Lutos?awski and Henri Dutilleux performed by the multiple prize-winning German-Canadian cellist Johannes Moser and the Rundfunk-Sinfonieorchester Berlin, conducted by Thomas Søndergård. These works, premiered in 1970, are two of the biggest gems of the twentieth century, the golden age of the cello. While equally virtuosic and engaging, both pieces showcase different aspects of the musical landscape of the late twentieth century. Lutos?awski’s concerto explores the possibilities of chance composition in the form of a duel between the solo cello and a ferocious orchestral accompaniment, in which the individual ultimately prevails. In comparison, soloist and ensemble work together more smoothly in Henri Dutilleux’ “Tout un monde lontain”. In this “cello concerto”, the composer invokes a mystical “world from afar”, inspired by Baudelaire quotes and full of allusions to French musical greats such as Debussy and Messiaen, while simultaneously sounding unmistakably Dutilleuxian.

This is Moser’s fourth album as an exclusive PENTATONE artist, after releases with the cello concertos of Dvo?ak and Lalo (2015), Elgar and Tchaikovsky (2017) and works for cello and piano by Rachmaninov and Prokofiev (2016, awarded with a diapason d’or and ECHO Klassik 2017). The Rundfunk-Sinfonieorchester Berlin has an even longer track record with PENTATONE, including albums with Vladimir Jurowski (Mahler/Strauss 2017, Schnittke 2015) Jakub Hr?ša (Bartók/Kodály 2018) and Marek Janowski (complete Wagner operas, 2011-2013).

Read more

Johannes Moser

Hailed by Gramophone Magazine as “one of the finest among the astonishing gallery of young virtuoso cellists”, German-Canadian cellist Johannes Moser has performed with the world’s leading orchestras such as the Berlin Philharmonic, New York Philharmonic, Los Angeles Philharmonic, Hong Kong Philharmonic, Munich Philharmonic and Israel Philharmonic Orchestras as well as the Chicago Symphony, London Symphony, Bavarian Radio Symphony, Frankfurt Radio Symphony, Royal Concertgebouw, Tokyo Symphony, Philadelphia and Cleveland Orchestras. He works regularly with conductors of the highest level including Riccardo Muti, Lorin Maazel, Mariss Jansons, Valery Gergiev, Zubin Mehta, Vladimir Jurowski, Franz Welser-Möst, Manfred Honeck, Christian Thielemann, Pierre Boulez, Paavo Jarvi and Semyon Bychkov, Yannick Nézet-Séguin and Gustavo Dudamel.

Known for his efforts to expand the reach of the classical genre, his passionate focus on new music, and his commitment to reaching out to young audiences, Moser aims to present classical music in ways with which listeners of all ages can engage and connect. He was a recipient of the prestigious 2014 Brahms prize, and his recordings have earned him three ECHO Klassik awards and the Jahrespreis der Deutschen Schallplattenkritik. In 2015 Moser signed an exclusive contract with PENTATONE, and has released albums with the cello concertos of Dvo?ak and Lalo (2015), works for cello and piano by Rachmaninov and Prokofiev (2016, awarded with a Diapason d’or and ECHO Klassik 2017) and Elgar and Tchaikovsky cello concertos (2017). Born into a musical family in 1979 as a dual citizen of Germany and Canada, Moser began studying the cello at the age of eight. He was the top prize winner at the 2002 Tchaikovsky Competition, in addition to being awarded the Special Prize for his interpretation of the Rococo Variations.

Johannes Moser performs on a 1694 Andrea Guarneri cello, generously on loan from a private collection.

photo: provided in Press Release by PENTATONE

Read more

Lutoslawski & Dutilleux - Cello Concertos (2018)

Dutilleux, Lutoslawski

Johannes Moser

Notes:

NativeDSD selectively creates higher DSD bitrates of label's releases using two methods (Merging Technologies Album Publishing and Singnalyst HQPlayer Pro), depending on the original edited master source. In order to understand the processes, a bit of background is appropriate.  

NativeDSD sells only recordings that were originally recorded in DSD or DXD (352.8KHz PCM). The overwhelming majority of these recordings were edited and post processed in DXD, then converted (modulated) into DSD deliverable bit rates. NativeDSD acquires the label's original DXD edited master, and using Merging Technologies Album Publishing, creates a first generation DSD64, DSD128, and DSD256, as well as a DXD FLAC deliverable.  Additionally, on selected recordings, a 32bit PCM WAV file is extracted (the DXD PCM FLAC is 24 bits by format definition), and uses it to modulate a DSD512 using HQPlayer Pro.

The exception to the above are the few label recordings (Yarlung, Eudora, Just Listen etc.) that record in DSD, and do no PCM post processing mixing, level balancing, EQ etc. That's doable by restricting post processing to just editing, where only the edit transition interval (typically 100ms or less) is PCM converted, leaving the DSD music content unaltered when rendered. For those recordings, the DSD edited master (the actual recording master with edits) is used with HQPlayer Pro to re-modulate the missing DSD bitrates.

Why do any of this? It's to provide a DSD bitrate deliverable choice, allowing a customer to purchase the highest DSD bitrate their DAC will support.

It's correct that there's no additional music content information contained in the higher DSD bit rate from the original DSD bitrate. What's different is the uncorrelated modulation noise content placement in the frequency spectrum. When a DSD original file is converted to DXD (PCM), the inherent DSD modulation noise is removed through the decimation filtering, and re-inserted when modulated back to DSD. The modulation noise (again, uncorrelated) is the carrier part of the DSD bitstream modulation, and an inherent part of the DSD bit stream.

 

While the spectorial shape is the same regardless of the DSD bitrate, it's effective start and end points move an octave higher for every doubling of the DSD bitrate. For DSD64, the uncorrelated modulation noise is about -110dB at 20KHz, rising to about -50dB at 100KHz. For DSD512, the modulation noise is about -110dB at 160KHz, and -50dB at 800KHz. What this allows is for the customer's DAC to use gentler, more Gaussian shaped reconstruction filters, with far improved phase response.

 

Recording Type & Bit Rate: DSD 64

Quality & Channel Selection
Select Quality and Channels to calculate the price below More info

Quality

This album is available as ST+MCH download (Stereo + Multichannel)
All lower DSD rates included with an active NativeDSD Plus subscription. Learn more.
Album Download duration price
PTC5186689: Lutoslawski & Dutilleux - Cello Concertos
00:53:38   Select quality & channels above
Tracks.
1.
Cello Concerto - I. Introduction
Lutoslawski
00:05:36   Select quality & channels above
2.
Cello Concerto - II. 4 Episodes
Lutoslawski
00:07:14   Select quality & channels above
3.
Cello Concerto - III. Cantilena
Lutoslawski
00:05:39   Select quality & channels above
4.
Cello Concerto - IV. Finale
Lutoslawski
00:06:29   Select quality & channels above
5.
Cello Concerto 'Tout un monde lointain' - I. Enigme. Tres libre et flexible
Dutilleux
00:07:02   Select quality & channels above
6.
Cello Concerto 'Tout un monde lointain' - II. Regard. Extremement calme
Dutilleux
00:06:56   Select quality & channels above
7.
Cello Concerto 'Tout un monde lointain' - III. Houles. Large et ample
Dutilleux
00:04:27   Select quality & channels above
8.
Cello Concerto 'Tout un monde lointain' - IV. Miroirs. Lent et extatique
Dutilleux
00:05:22   Select quality & channels above
9.
Cello Concerto 'Tout un monde lointain' - V. Hymne. Allegro
Dutilleux
00:04:53   Select quality & channels above

User Reviews

Other albums from this label