Tchaikovsky, Arensky

Amsterdam Sinfonietta

15.9933.49
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Original Recording Format: DSD 64

DSD 512 Exclusive

Tchaikovsky’s Serenade is one of the most beautiful of all works for string ensemble, and it has been frequently performed by Amsterdam Sinfonietta since its establishment in 1988.

Arensky wrote his Second String Quartet in memory of the composer, with whom he was befriended. His homage overflows with melancholy and dark tone colours. The middle movement, based on a song by Tchaikovsky, was later arranged by Arensky for string orchestra.

Amsterdam Sinfonietta took upon itself to arrange and perform the entire Second Quartet. In Tchaikovsky’s footsteps, Arensky made use here of religious chant and motifs from Russian folk music.

Tracklist

1.
Serenade for Strings - Pezzo in forma di Sonatina
09:22
2.
Serenade for Strings - Valse
03:51
3.
Serenade for Strings - Elegie
08:59
4.
Serenade for Strings - Finale
07:22
5.
Chamber Symphony - Moderato
10:33
6.
Chamber Symphony - Theme, variations
11:45
7.
Chamber Symphony - Finale
04:28

Total time: 00:56:20

Additional information

Label

SKU

37119

Qualities

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Channels

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Artists

Composers

,

Genres

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Cables

Van den Hul

Digital Converters

Grimm Audio

Editing Software

Pyramix, Merging Technologies

Mastering Engineer

Jared Sacks, Tom Caulfield (DSD 512)

Microphones

Bruel & Kjaer 4006, Schoeps

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.

 

Original Recording Format

Producer

Willem de Bordes

Recording Engineer

Jared Sacks

Recording location

Leiden, The Netherlands. Tchaikovsky: 19 October 2014 // Arensky: 18 & 19 October 2015

Recording Type & Bit Rate

DSD 64

Speakers

Grimm LS1

Release Date August 30, 2019

Press reviews

Diapason 3 out of 5

(…) le niveau usuel de l’Amsterdam Sinfonietta: un orchestre étagé, des fréquences graves nourries, de l’aération, une circulation sonore et musicale entre les pupitres. (…)

Gramophone

(…) the Sinfonietta violins are as sweet and silky as one could wish for (…) The dynamic range of both ensemble and discreetly resonant recording (…) defies one’s best efforts to listen beneath the theme and into the busy textures (…)

ResMusica

L’Amsterdam Sinfonietta et Candida Thompson ont eu l’excellente idée de confier au contrebassiste, compositeur et arrangeur néerlandais?Marijn van Prooijen?la transcription des premier et dernier mouvements, permettant ainsi à l’ensemble du quatuor d’être joué pour la première fois comme « symphonie de chambre » pour orchestre à cordes. (…) Même si l’on peut préférer la partition originale plus intime, l’œuvre résultante est superbe et prenante. (…)

Luister

“Deze nieuwe cd van Amsterdam Sinfonietta laat wederom zien dat zij een strijkorkest is van wereldklasse.”

Pleasantly Classic (Aangenaam Klassiek)

Amsterdam Sinfonietta plays the entire Second Quartet [Arensky] and links it to a dream performance of Tchaikovsky’s famous Serenade.  Bachtrack calls the ensemble so brilliantly played under the direction of concertmaster Candida Thompson – Fascinating.

 

BBC Music Magazine 4 out of 5

(…) to hear these gifted Amsterdam players savour Tchaikovsky’s exquisite string writing with such lustrous finesse has its own rewards. (…)

Gramophone

(…) the Sinfonietta violins are as sweet and silky as one could wish for (…) collectors who have enjoyed the Sinfonietta’s recent takes on Brahms will enjoy their cleaned-up Tchaikovsky.

De Gelderlander 5 out of 5

(…) zonnige klanken, veel sprankeling, passie, verdieping en elegantie. (…) Liefhebbers van weelderige strijkersklanken zitten hier eerste rang. (…) Heel sonoor en puur Russisch. Met wervelende slotmaten die je als luisteraar meteen op de repeat doen drukken. Wat een intensiteit. (…)

Opus Klassiek

(…) Dit is Tsjaikovski voor de eenentwintigste eeuw. (…) Misschien wel de mooiste aanwinst in het rijtje Kamersymfonieën [Arenski], met een eervolle vermelding voor Marijn van Prooijen. (…) Schitterend opgenomen in die heerlijke Stadsgehoorzaal van Leiden, geschapen voor dit repertoire.

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