The Serenades by Dvořák and Tchaikovsky, Schönberg’s Verklärte Nacht, and the Bridge Variations by Britten: all these masterpieces from the corpus of music for string orchestra belong to the very nucleus of our repertoire. But in recent decades we have further enriched our genre by initiating commissions, presenting numerous premieres, and having music specially arranged for us. And occasionally we have also discovered gems that are never played.
On this album ‘Lento Religioso’ we bring together several romantic works, each with a very specific expressive power of its own. Some are genuine pieces for string ensemble, others are adaptations created for us. Some arrangements are simple: you play the four parts of a string quartet with all the strings of a string orchestra and have a nice bass part written, and a ‘new work’ is born. But it can also be a complicated process. In ‘translating’ a work written for piano or symphony orchestra, the arranger must make complex artistic and technical decisions. In any adaptation lies a danger, but also a potential; will the listener be disappointed in comparing it to his previous knowledge of the piece, or pleasantly surprised by new aspects presented by the arrangement? This tender, melancholy, and languishing album is intended for the inquisitive listener.
– Candida Thompson
Artistic director, lead violinist
Total time: 01:16:41
Van den Hul
DSD 64fs AD1 / Grimm Audio (2014, 2016) DSD 256fs Horus / Merging Technologies (2020)
Pyramix Workstation / Merging Technologies
Bruel & Kjaer 4006, Schoeps
Rens Heijnis, custom design
|Original Recording Format|
Willem de Bordes
Jared Sacks (except Lekeu is recorded by Daan van Aalst)
Stadsgehoorzaal, Leiden (2014) Bethlehemkerk Studio 150, Amsterdam (2016, 2020)
|Recording Type & Bit Rate||
DSD 64 (2014, 2016) and DSD 256 (2020)
|Release Date||September 11, 2020|
(…) This is clearly a deeply felt example of what in the 1960s might have been a concept album called ‘Music to Relax To’. And then there is the sound! (…) Clarity and definition are exemplary. (…) this is as good as digital sound gets. (…)
Performance: 4 // Sound: Balance: 5, Inner balance: 5, Detail and clarity: 5, Dynamic range: 5
Amsterdam Sinfonietta laat op nieuwste cd Lento Religioso in ruim vijf kwartier horen dat een rustig tempo niet saai maar juist heel intens kan zijn. (…) De musici weten met hun expressieve, uiterst sonore toon- en klankvorming de aandacht moeiteloos naar zich toe te trekken.
I do not think that the Amsterdam Sinfonietta had anything else in mind than producing an album of “several romantic works, each with a very specific expressive power of its own”. A selection of genuine and adaptations for string ensemble. But in the face of actual global Covid-19 health developments, it may come across quite differently, reinforcing feelings of distress and desolation. However, as many, or possibly all of us know, music can do wonders. In this specific case, the magic of ‘its expressive power’ reaches way beyond suffering. It not only brings soothing consolation to people having lost family in hard-hit areas but surprisingly it also has an uplifting effect on the mind.
Some of the chosen compositions are familiar, like Wagner’s Prelude from Tristan und Isolde, played here in an arrangement by Adrian Williams, and one of the favorites of the Amsterdam Sinfonietta; some are less so, like Lekeu’s Adagio pour quator d’orchestre and maybe also Bridge’s Lament for String Orchestra. Read all about it in Willem de Bordes most instructive liner notes. The title song comes from Korngold’s Symphonic Serenade. The Lento Religiose, which “sounds like a melancholy farewell” (dixit Willem de Bordes) is the central and main part of the Serenade. Hopefully, the Amsterdam Sinfonietta will bless us with an integral recording of the serenade as it is sorely missing in the hi-res catalog.
Each new release by the Amsterdam Sinfonietta is a gift to even the most demanding music lover. I have quite a number of their albums, starting with their preceding New Sinfonietta Amsterdam, and none are below ‘excellence standard’. This one is no exception. For this recording, the core complement of 22 has been reinforced with 21 more players, according to what is required for each work. The result is an impressively energetic sound palette as, for instance, in Wijnand van Klaveren’s brilliant adaptation of Alban Berg’s first piano sonata and Korngold’s Symphonic Serenade Op. 39, as well as in the warmth of the ardent ‘Leidenschaft’ in Wagner’s Tristan und Isolde. Both highlighting the Sinfonietta’s world-class reputation.
With a fast-growing number of remastered ‘oldies’, many heroic recordings of the past have been brought back to the DSD catalog. But for creating a feeling of presence, like hearing the music as though it is played at home, it won’t do. Fortunately, some producers, like Channel Classics, are at the cutting edge of sound reproduction. With this release, I was lucky enough to sit in the best seat in the hall.
Copyright © 2020 Adrian Quanjer and HRAudio.net – republished at NativeDSD with permission.
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