For this program of arrangements of music largely related to dance and folk songs, the performers have returned to the musical sources of Stravinsky’s Pulcinella. Transcriptions of ten pieces from the original music have been made by Steven Verhelst for brass quintet and harpsichord.
For the twenty-one movements of his ballet, Stravinsky brought together pieces from the Baroque and classical periods by the eighteenth-century Italians Domenico Gallo, Giovanni Battista Pergolesi and Carlo Ignazio Monza, the Netherlands duke and composer Unico Willem van Wassenaer andthe nineteenth-century Alessandro Parisotti. Only one of them remains known today: Pergolesi, who, shortly before his death, penned his immortal Stabat Mater which was to travel the world. In the manner of Stravinsky, who, as he admitted, gave old and forgotten music a new life by altering but little, so the musicians on this recording dust off the anonymity of unfamiliar composers and clothe them in a contemporary mantle.
Notable in the ballet music is that besides trio sonatas by Domenico Gallo, harpsichord suites by Carlo Ignazio Monza and a concerto grosso by Van Wassenaer, vocal pieces are also incorporated as textless dance music. These include arias from comic operas (opera buffa) by Pergolesi, such as Il Flamminnino and Lo Frate ‘Nnamorato, but also a sweet romantic song by Alessandro Parisotti (1853-1913), Si tu m’ami, which is a slightly odd man out within the complete sequence of movements, but through this very contrast fits so well into the vivid entirety of taut forms and lucid lines
Total time: 01:00:38
|Original Recording Format|
van den Hul
The recording was originally digitized using the Grimm AD1, which operates at DSD64. The 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 so we give you the choice and you can decide.
Bruel & Kyaer, Schoeps
Rens Heijnis custom made
MCO Hilversum Holland
|Recording Type & Bit Rate||
|Release Date||February 2, 2017|
(…) bemerkenswerter CD- Erstling von Brass United. (…)
Ensemblespel van het hoogste niveau! (…)
De missie van Brass United, om een groter publiek te kunnen overtuigen van de schoonheid van kopermuziek, zal met deze prachtige en veelzijdige cd zeker moeten slagen!
Brass United gaat nog een stapje verder en liet muziek uit drie eeuwen arrangeren die nu te vinden is op deze debuut-CD. Een uitdaging die niet alleen avontuurlijk is maar ook bijzonder goed geslaagd!
Vijf koperblazers die het volle spectrum benutten en zelfs de tuba een prominente rol gunnen, dan denk je aan een klank waarin zwaartekracht het wint van zweefvermogen. (…)
Schitterend eerbetoon aan dit icoon van de jazz.
Fenomenaal samenspel van Brass United (…)
Gedroomd kwintet is vrolijk makend goed (…) een debuut dat meteen in de roos schiet (…)
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