Limes (2017)

Bach, S. Gubajldulina, Schubert, Runchak, Turi

Samuele Telari

This recording was done all the way from the beginning to the end, with no pauses during the execution of every piece, with no subsequent cuts throughout the editing nor interventions during the mixing process. As in a live concert, but it was recorded in a dedicated room. The studio working and the execution process, together with the performer's interior attitude, were those needed in a live recital, not for a studio recording session. This difference is drastic and, along with the other parameters, is aimed at creating a prototype, which also carries on a strategy of commercial remuneration, something particularly problematic for such products as CDs. Technology, art and market.

The choice of the pieces reflects the personality of this young performer. Telari is a total musician, a quiet, thoughtful and elegant artist, often absorbed in intangible listening practices. The album starts off with a magnificent version of Prelude and Fugue in B minor, BWV 544, one of Bach's few organ works not belonging to a cycle and of which the autograph has survived, the pedal part is written down below the staff, in red ink. An exuberant work, combining organ monumental sonority with intensity of expression, respecting the strictness of counterpoint. Harmonic support and melody, the two hemispheres in the Kantor's universe, emerge clearly here, thus emphasizing the affinity between the two instruments. “This is hardly a transcription for organ of the original. It is rather an adaptation. I just divided the voices between right and left”, Telari said. As hands slide over the two keyboards of the bayan, we can feel and see the solo instrument engaging a self-talk, questioning itself, multiplying into a polyphony of voices, dynamics, echoes upon echoes. The achieved balance between vertical architecture and linear narrative, between rhythmic pulses and contemplative pace, is performed with an exemplary limpidness of contours.

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Samuele Telari

Samuele Telari, rising star of the classical accordion, born in Spoleto in 1992. Gets the Master Degree in accordion at the Santa Cecilia Conservatory in Rome, in M ° Massimiliano Pitocco’s class, with 110 honors and honorable mention. He was awarded in a lot of national and international competitions such as: Claudio Abbado Prize 2015 , "Città di Castelfidardo" Prize 2013, "Premio Zinetti" (Sec. Soloists), "Premio A. Salieri", "Civardi Prix (Val Tidone Competition)", 3rd place "Wettbewerb Klingenthal Accordion", "Contemporaneamente Fisarmonica" (Conservatorio “Santa Cecilia") and many others. Recently he has performed many concerts as a soloist in important Italian and european festivals and concert halls: Kammermusiksaal the Berliner Philharmonie and the NY Sal the Royal Danish Academy fo Music in Copenhagen, Royal Academy of Music in London., Festival "Day of the Ukranian and bayan accordion-2014 "(Kiev) at the invitation of the famous composer Volodymyr Runchak," Musica Svelata" Accademia Filarmonica Romana, Palazzo Montecitorio (the Queen's Hall), Theater "San Carlo" Modena, Capitoline Museums (Hall of the conservatives), Blue Palace Pisa , Teatro Marcello, Villa Torlonia, Palazzo Gonzaga, Casa Menotti (Spoleto), Festival New Consonance, Academic Hall (Conservatorio Santa Cecilia), Eliseo Theatre, Museum of Rome in Trastevere, Piazza Campitelli (Sala Baldini), Teatro Tor Bella Monaca, Museum MAXXI, "Val Tidone Festival", "É / Eliseo Classical Music", Mantova Musica Concert Season, "Società Umanitaria", "Star of Competitions" Kragujevac (Serbia), "Musei in Musica" (Rome), Concert Season "Filarmonica Umbra "XIV Festival Pergolesi Spontini, and with important orchestras, such as: Berliner Staatskapelle, “I Virtuosi Italian", the “State Hermitage Orchestra” at the "Musical Olympus Festival” held in St. Petersburg performing the Concerto in World Accordion and Orchestra "Zenith" by Enrico Blatti. He made première for Alessandro Sbordoni, Caterina Di Cecca, Marco Morgantini, Massimo Munari, Maccaglia Simone, Simone Cardini, Domenico Turi. He took part in many Masterclasses with very famous professors and musicians: Yuri Shishkin, Mika Väyrynen, Claudio Jacomucci, Friedrich Lips Pavel Fenyuk, Vojin Vasovic, Frank Angelis, Derek Bermel. He has chamber music collaborations with clarinetist Alice Cortegiani (Duo Essentia), saxophonist Jacopo Taddei and accordionist Andrea Pennacchi (Duo Rison.An.Sa). Since 2013, he is the accordionist of Imago Sonora, roman ensemble in-residence for contemporary music at the Accademia Filarmonica Romana that is specifically devoted to the performance of 20th century and 21st century repertoire.
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Limes (2017)

Bach, S. Gubajldulina, Schubert, Runchak, Turi

Samuele Telari

Cables: MIT, VDM
Digital Converters: Horus, Hapi
Editing Software: Pyramix
Mastering Engineer:

The recording was originally digitized using the Horus audio system in DSD 256.  he original session tracks were edited and rebalanced (which meant going through the mixer)  in the only available format for that purpose; the Pyramix 352.8KHz/24bit PCM (DXD). Prior to the advent of direct digital delivery, the next step in the production process from 352.8KHz/24bit PCM would be the DSD64 edited master for SACD production. What we have done now is also make a direct conversion to DSD128 and DSD256 from that original DXD edited master, without going through any interim processing steps.


Those DXD to DSD conversions are not up-samplings, as they would be going from one PCM sampling rate to another, for they are different encoding systems. PCM is a digital value sample based system, and DSD is a digital bit density modulated system. Conversion from any PCM sample rate to any DSD bit rate system is a remodulation, not an up-sampling.

We feel there is an audio advantage to this process in using the original files


The 1st couple of large diaghphram valve Mics by Charteoaks almost omnidirectional configuration in A+B
The 2nd couple and 3rd couple are around 3.5 mt on the same bar and line in A+B
The 2nd stereo are DPA 4003 with a special pream
The 3rd stereo are DPA 4017

Producer: Igor Fiorini
Recording Engineer: Francesco Rubenni - Daniele Zazza - Igor Fiorini
Recording location: La Sala del Rosso
Recording Software: Merging
Recording Type & Bit Rate: DSD256
Speakers: Siena by Rosso Fiorentino

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Album Download duration price
VDM03855035: Limes
01:10:59   Select quality & channels above
Preludio e fuga BWV 544
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De Profundis
S. Gubajldulina
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Andante con moto da La Morte e la Fanciulla D810
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Messa da Requiem
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Ombra, omaggio a Lorenzo Indrimi
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Dance Macabre
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