The music we chose for this recording highlights the ‘cello as a solo instrument and illustrate the impact of pre- Hispanic Amerindian traditions and Spanish based Creole influences as well as the effect of more modern musical developments like the tango on Argentine composers.
My personal interest in this music comes from my father Alberto, to whom I lovingly and respectfully dedicate this album. On my first journey to Argentina with him when I was a young performing ‘cellist, he introduced me to the sounds and textures of a fascinating and colorful country, one I had only previously known as a child on vacation. All of a sudden this music filled me, from Ginastera’s rhythmically contrasting works to the sentimental and passionate Tangos played over the radio, to the rich repertoire of folk songs performed by Eduardo Falú. On each successive return I discovered more about the wonders of the land extending from the icebergs beyond Tierra del Fuego in the south, to the jungle and waterfalls of Iguazú in the north. I learned more about the fabulous and simultaneously tragic history of the many peoples of Argentina, drinking Yerba mate and discussing the Guardia Vieja (the first generation of tango players) with the Porteños (people from Buenos Aires), riding horses with friends in the Pampas, the rich Argentine grasslands. Unforgettable events included playing in the large, ornate, Italianate opera house, the Teatro Colón, going to the many post concert asados (Argentine barbecue feasts) at country estancias or ranches. Over the years I continued to search for Argentine music written for my instrument, and I asked composers and arrangers to create more works for ‘cello. It is my privilege to be presenting some of these works in this recording.
Total time: 00:29:59
Steven Hoffman, Bob AttiyehYarlung recorded this album directly to two tracks of RMGI 468 analog tape running at 15 ips, with no mixer. We used the Hapi converter and Pyramix software from Merging Technologies in Switzerland to make these transfers to DSD. Our sincere thanks to Merging Technologies for making this quartet of releases possible.
|Original Recording Format|
The Broad Stage, Santa Monica California
|Recording Type & Bit Rate||
Analog to DSD256
|Release Date||December 13, 2014|
While there aren’t a large number of DSD 256 titles to listen to, Native DSD offers a number of well recorded titles to enjoy. One title that I particularly liked was Yarlung Records / Merging Technologies Te Amo, Argentina. This recording highlights the cello playing of Antonio Lysy. Te Amo, Argentina is an analog recording made with minimalist recording techniques.
This DSD 256 recording captured the clarity of tone and the rich sonority of the cello. The recording sounded very real reproducing the venue acoustics of the Broad Stage 449 seat concert hall. DSD 256 displayed the ultimate potential of DSD recording not really heard on DSD 64 recordings. Listening to DSD in native bitstream will reveal just what is possible with DSD sound reproduction; especially DSD 256.
“…sonically and musically exquisite…. If you don’t agree that this is one of the finest recordings you have ever heard, your system needs to go in for repairs.
…this is music making of the highest caliber to go along with analog recording quality of the highest caliber. How often does that happen?
…If that piece doesn’t grab you first play (it will after a few), Schifrin’s more cinematic, dramatic and immediately melodic Pampas will.
…I’ve played this record repeatedly over the past few days and I can’t get enough. When it’s over you’ll sit in stunned silence, I guaranty!”
The Audiophile Voice
“… you’ll hear the sound quality right away, I’m sure. Even before your brain starts analyzing the soundstage, bass and treble extension, dynamics macro and micro, etc., you’ll know you like it.”
The Absolute Sound
“…Cellist Antonio Lysy and pianist Bryan Pezzone play gorgeously and are gorgeously recorded, the sound immaculately clear and immediate, rich in tonal splendor, and revealing of the venue (Santa Monica’s The Broad Stage). The deeply resonant cello pizzicatos at the end of Schifrin’s Pampas ring off into air-filled space like starlight into infinity.”
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