840 (Pure DSD)

Enno Voorhorst

16,9935,99
(1 customer review)
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Original Recording Format: DSD 256
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Guitarist Enno Voorhorst follows his first two DSD albums from Cobra Records – Concerto Metis and Modinha – with 840. It features the guitarist playing compositions from Satie, Poulenc, Andriessen and Francaix in Stereo, 5 Channel and Binaural DSD 256 in this new Pure DSD release.

The number 840 appears above the score of Satie’s Vexations. It indicates the number of repeats of this piece with a length of only one minute and a half. Now it suddenly takes over 16 hours to perform it.

This is a good example of the innovative and sometimes absurd genius of Erik Satie. Some early reviewers called him a charlatan, but according to Stravinsky Erik Satie was one of the great composers of his days besides Bizet and Chabrier. Debussy arranged two Gymnopédies for orchestra successfully, whilst Roussel praised his impeccable counterpoint and John Cage pronounced Satie the ‘indispensable’ and ‘art’s most serious servant’. Erik Satie (1866-1925) was a man who raised opinions.

On this album all tracks are somehow related to the music by Erik Satie; five of them are arrangements of his piano works which are combined with pieces that carry the ideas of Satie. The influence of Satie on French music is not to be underestimated and he can be seen as a navigator towards new musical developments. He liked to be ironical, absurd, and funny and for his whole life he had a deeply rooted dislike of conventions in all its forms. It made him a forerunner in the field of many musical innovations, the most typical and daring one being his harmonic language with its remarkable resolutions and parallel chords. Also pop musicians feel connected to this new invented approach to harmony. The repertoire of this album reaches from 1884 with the very first composition of Satie, until 2019 with Acruarela nr.7 of Camilo Giraldo dedicated to Enno Voorhorst.

Track 20 on this album 4′33″ (pronounced “four minutes, thirty-three seconds” or just “four thirty-three”) is a three-movement composition by American experimental composer John Cage (1912–1992). It was composed in 1952, for any instrument or combination of instruments, and the score instructs performers not to play their instruments during the entire duration of the piece throughout the three movements. The piece consists of the sounds of the environment that the listeners hear while it is performed, although it is commonly perceived as “four minutes thirty-three seconds of silence“. The title of the piece refers to the total length in minutes and seconds of a given performance, 4′33″ being the total length of the first public performance.

His earlier album Concerto Métis with The String Soloists, released in 2018 and available at NativeDSD, received wonderful reviews both in the Netherlands and abroad. Classical Guitar Magazine wrote: ‘This is a superb recording featuring playing of the highest order.’

Please note that track 20 is intended to be silent (see explanation in paragraph #5 above).

Enno Voorhorst – Guitar

Tracklist

1.
Improvisation XII, hommage à Schubert
02:14
2.
Petit Ouverture à Danser
01:56
3.
Iguaque
03:36
4.
Hommage à Satie
03:30
5.
Vexations
02:03
6.
Notte a Venezia - Tramonto Veneziano
02:47
7.
Notte a Venezia - Lullaby Veneziana
02:58
8.
Notte a Venezia - Aurora Veneziana
03:12
9.
Sarabande
02:12
10.
Etude nr.2
02:02
11.
Pièces Froides
01:56
12.
Adagio opus 44 (Ommagio a Johann Sebastian Bach)
07:55
13.
Herbert’s Story (from the movie Nebraska)
02:02
14.
Preludio from Serenata
01:34
15.
Tombeau
02:43
16.
Un beau Baiser (from the Theatre Production George Sand)
03:30
17.
Acuarela nr.3 (Homenaje a Erik Satie)
02:26
18.
Acuarela nr 7 (Memorias de un Navegante, para Enno Voorhorst)
02:58
19.
Gymnopédie nr.1
02:09
20.
4’33
04:33
21.
Allegro
00:31

Total time: 00:58:47

Additional information

Label

SKU

COBRA0084

Qualities

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Artists

Composers

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Instruments

Original Recording Format

Recording engineer

Tom Peeters

Release Date October 20, 2021

Press reviews

Quad-raad

In a word, it’s wonderful. Solo guitar for an hour. And then played by Enno Voorhorst!

Actually, the guitar is the only instrument that will feel live sitting in a living room environment. The title ‘840’ refers to the song above the score of Satie’s ‘Vexations’. It indicates the number of repetitions of this piece with a length of only one and a half minutes. Now it suddenly takes no less than sixteen hours to carry it out.

A good example of the innovative and sometimes absurd genius Erik Satie. I also refer to the text by Enno Voorhorst himself in the booklet. Clearer explanations couldn’t be better!

The recording is as I am used to from producer/recording engineer Tom Peeters of Cobra. How clean can it be? Well, listen!

Audiophile Source 5 out of 5

Exceptional. The finest digital recording of a guitar I have heard.

In terms of the performances, Voorhorst effortlessly encompasses the different styles with an unforced naturalness of expression. His tone is defined, but resonates beautifully throughout the registers at all dynamic levels, he has an enviable range of tonal shading at his command.

1 review for 840 (Pure DSD)

    A thoroughly engaging and well-spent hour with this delightfully articulate guitarist. Enno Voorhorst is a master of subtle grace, dynamic drive, and brilliant technique. But, he never allows his huge technique to overshadow musically compelling communication of nuance and emotion.

    In this album, Voorhorst seems to play reflectively for himself, not an audience. Listening to this recording, I felt like a privileged observer allowed to sit in on Voorhorst’s most intimate, personal reflections as he communes with these musical compositions. We are granted the unique privilege of listening in to a very private space, with nothing between us and the sound of his guitar and no one else around.

    A lot of my reaction to Voorhorst’s recital comes directly out of the marvelous recorded sound given us by Cobra recording engineer Tom Peeters. This recording is one of those rare combinations of exceptional musicianship and superb engineering that creates an almost transcendent musical experience. The Pure DSD256 recording is superbly resolving of detail and captures all of the delicate harmonic overtones that make music sound live.

    For a special treat, if you have excellent headphones, further enhance the intimacy of your listening experience by listening to the binaural version of this recording. Captured in parallel to the main stereo array, the Neumann Head binaural recording system used by Tom Peeters eliminates a host of complex phase issues to deliver an even more pure DSD256 listening experience. Yes, you lose some of the sense of ambience heard in the stereo version, but much of that is phase confusion that is not imposed on the binaural recording. Also, give the binaural recording a touch more volume than the stereo (perhaps 2 dB) to make what you’re hearing more fully comparable. Listening through my Stax SR-900s electrostatic earphones and dedicated HeadAmp Blue Hawaii electrostatic amplifier, the sound of this recording is as clean and pure and detailed as any I have ever enjoyed.

    Rushton, April 2022

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Cobra Records 60 albums

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