Sonata for Violin and Piano no.2 in A major, Op.12 no.2
This wonderful piece, Beethoven Sonata no.2, it is unknown when exactly this piece was composed. But as the result of Nottebohm’s study on Beethoven’s sketch note, it is assumed to be composed in 1795. The piece is still clearly inuenced by Mozart, but perhaps surprisingly, it is Beethoven’s mood that is lighter. It lacks dynamics and articulations comparing to the other Beethoven sonatas. The first movement has a dierent character, more aable, witty and it ows with humour, fascinating interplay of violin and piano. The slow movement is based on a lyrical, melancholic theme. Each of its two parts is gently announced by the piano, then repeated by the violin. The Finale marks something of a return to the good-natured opening, Allegro piacevole denoting pleasure rather than re. It has a high-spirited rondo with frequent humourous touches. Among the three Sonatas in Op.12, it is possible to assume that Sonata no.2 has been composed first and this piece was dedicated to Antonio Salieri just as Sonata no.1.
Sonata for Violin and Piano no.3 in D major, Op.12 no.3
Beethoven Sonata No.3 features a sense of grandeur, power and majesty found in few other works of Beethoven’s early years. The piano writing is often of near-heroic proportions, by far the most substantial in the first three sonatas. It might just as well have been channeled into a sonata for solo piano. It answers one each other and doesn’t meet with violin accompaniment but so involved does the game of catch-up become in this delightfully playful movement, both instruments urging each other on to new deeds. The slow movement is the first Adagio in Beethoven’s series, con molto espressione. It has very much the emotional core of the work and one of the nest slow movements in early Beethoven. The finale is energetic, joyous rondo with a catchy if hardly distinctive main theme. Frequent contrasts of dynamics and register are a constant feature of the movement. Beethoven’s Sonata for violin No.1 through No.3 are included in Op.12. These three delicate pieces were composed in the same period between 1797 and 1789 when Beethoven was 27 to 28 years old.
Sonata for Violin and Piano no.10 in G major, Op.96
Beethoven composed his final violin sonata in 1812, nearly ten years after his second-to-last. It was written for the renowned French violinist Pierre Rode, who disliked overwrought virtuosity and gaudy endings and thus may have inuenced the calmness of this sonata. Gentle, musing atmosphere of Op. 96 is more probably an outgrowth of Beethoven’s evolving inner life. We encounter a “kinder, gentler” Beethoven, passing from his heroic middle period into a more ruminative, profound late period. In this piece, pain and struggle recede and are replaced by an intimate, pastoral warmth, relatively lyrical, subdued work. The first movement begins with a rustling, feathery trill, establishing the pastoral tone of the sonata. Shimmering trills, symmetrical arpeggios and melodies, and seamless exchanges between piano and violin set this apart as one of Beethoven’s most unique and fascinating violin sonata movements. The warm, hymn-like second movement, marked “slow and expressive,” is one of Beethoven’s most beautiful Adagios. A flowing, tranquil stream of melody is couched in rich harmonies. The peaceful movement concludes with a moment of suspended animation before diving into the more agitated third movement, Scherzo. Though distinguished by syncopated, end-of-the-bar accents, the music never becomes brusque. The Scherzo alternates with a graceful, waltzing Trio set over a bagpipe drone, again reinforcing the work’s pastoral character. In the fourth movement, Beethoven finally settled on a genial, folk-like melody as the basis for an unconventional set of variations. Four increasingly active variations lead to a prolonged, expressive Adagio, somewhat reminiscent of the atmosphere of the second movement. The initial theme eventually returns, leading to a boisterous section that is interrupted by a quiet, mysterious canon before returning to the original theme.The listener is surprised by a short, final Adagio, after which the violin and piano regain their resolveto exciting and joyous conclusion.
(Liner Notes in Booklet)
Total time: 01:05:07
DSD 512 fs, DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 24 Bit, FLAC 96 kHz
Merging Technologies Horus
Pyramix, Merging Technologies
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|
Sung-Bum Park – Balance Engineer: Jung-Hoon Choi
Audioguy Studio, Seoul
|Recording Type & Bit Rate|
|Release Date||October 18, 2019|
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