Lost in Venice (4 World Premiere Recordings) in Pure DSD is performed by violinist Vadym Makarenko and the Infermi d’Amore ensemble. It is available for our listeners at NativeDSD.Com one month before its release date in Stereo and 5 Channel Surround Sound Pure DSD 256 – its recorded bit rate.
The astonishing imaginative powers of Vivaldi as a composer of violin concertos receive perfect attention from the inspired soloist Vadym Makarenko and Infermi d’Amore in this album, which includes four premiere recordings.
These brilliant performances provide an opportunity to discover Vivaldi’s ability to take his concertos’ virtuosic idiom into the realms of theatrical description and drama. This outstanding recording also includes the Venetian master’s Concerto for Violoncello RV 788, the Two Violins Concerto RV 521 and the Sinfonia RV 786 as well as Veracini’s Ouverture No. 6 and Marcello’s Violin Concerto op. 1 no. 9.
This is a Stereo and 5 Channel Surround Sound Pure DSD 256 recording. It is available in Pure DSD exclusively at Native DSD – both in the recorded Stereo and 5 Channel DSD 256 bit rates and in other DSD bit rates created in the DSD Domain using the Signalyst HQ Player 4 Pro mastering tools by NativeDSD Mastering Engineer Tom Caulfield.
Lost in Venice, was mixed in post, but mixed entirely in DSD. Tom Caulfield at NativeDSD accomplished mixing channels from 12 different microphones: main pair, room pair and spot microphones. He did this following Producer and Recording Engineer Gonzalo Noque‘s instructions using the remodulation capabilities in Signalyst HQPlayer 4 Professional.
Vadym Makarenko – Violin
Natalie Carducci – Violin
Camille Aubret – Violin
Corinne Raymond-Jarczyk – Violin
Miriam Hontana – Violin
Ricardo Gil Sánchez – Viola
Bruno Hurtado Gosálvez – Violoncello
Ismael Campanero – Violone
Jadran Duncumb – Theorbo, Baroque Guitar
Emmanuelle Huteau – Bassoon
Joan Boronat Sanz – Organ, Harpsichord
|Analog to Digital Converter
Horus, Merging Technologies in Pure DSD 256
Dutch & Dutch 8c
Horus, Merging Technologies
Sonodore LDM-54, Neumann, Schoeps & Pearl
|Original Recording Format
|Pure DSD Mixing Engineer
|Pure DSD Notes
Lost in Venice, was mixed in post, but mixed entirely in DSD. Tom Caulfield at NativeDSD accomplished mixing channels from 12 different microphones: main pair, room pair and spot microphones. He did this following Gonzalo's instructions using the remodulation capabilities in Signalyst HQPlayer 4 Professional.
Iglesia de Santo Domingo, Fundación Villa de Pedraza in Pedraza, Segovia, Spain on January 10-13, 2022
Pierre Jaquier, dit Mathias, 1997
|October 25, 2022
TracklistPlease note that the below previews are loaded as 44.1 kHz / 16 bit.
Total time: 01:04:59
I must confess that I had not heard of this ensemble before. Putting this new Eudora release in my player was like going on a discovery trip. And such trips usually are the most rewarding. This one is no exception. Playing is fresh and articulate, the kind of Vivaldi most of us appreciate. The virtuosity on display in Overture No. 6 by Francesco Veracini is simply ‘out of this world’. In fact, all of this disc is a delight and it now stands proudly next to my best in this genre. Gonzalo Noqué has done it again. We ought to be grateful to Eudora Records for their valuable addition to the SACD catalogue. Not only in terms of excellent sound – as always – but also in regard to the high artistic and cultural level.
Infermi d’Amore transports us to Vivaldi’s Venice.
The effervescence of Lost in Venice, performed by Infermi d’Amore, a Swiss-based early music group comprising musicians of many nationalities, directed by Vadym Makarenko, will either boost spirits or leave you in need of a short spell of silence.
The works, mainly concertos, for violin, two violins or cello, are by Venetian stars of the later 17th and 18th centuries. Notably Vivaldi, with small contributions from Veracini and Marcello.
Variously rediscovered or reconstructed or incomplete, these pieces conjure the bustling spirit of long-ago Venice. The playing has a soaring, percussive energy and virtuosity. The slow movements come as welcome respite.
Truly special recordings deserve to be heard and celebrated. Such a truly special album is the newly released Lost in Venice by Infermi d’Amore, from Eudora Records.
On this album are alert, energetic, and beautifully played performances of works from three Venetian Baroque masters using instruments appropriate to the period. Complementing these delightful performances are the superb sonics captured by recording engineer Gonzalo Noqué in Pure DSD 256. The combination is a true musical feast.
Infermi d’Amore have collected works by Vivaldi (four of which are receiving their world premiere recordings here), Veracini and Marcello. These are works written for various combinations of instruments represented in this ensemble: violin, viola, violoncello, violone, theorbo/Baroque guitar, bassoon, organ/harpsichord. This instrumental diversity of color and timbre make for richly rewarding listening.
And all of this richness of color and timbre is made fully apparent by the deliciously transparent recording engineered by the ever-excellent Gonzalo Noqué. I think this is perhaps the finest recording I’ve yet heard from his hands, and I’ve been listening over the past several years to most of his releases. With this recording, Gonzalo has upgraded the microphones he uses to capture strings to the exceptional Sonodore LDM-54 microphones. Captured in Pure DSD 256 and maintained in DSD throughout the mastering chain, this is a truly exceptional listening experience for those who place high value on superlative sonics.
Ah, yes—in my abundant enthusiasm over the performance quality and the sound quality I forgot that I should perhaps say something about the MUSIC on this album. Okay, Vivaldi—check! Marcello—check! Oh wait, I should say more? Okay…
This is first class Vivaldi with energy, wit, and complexity. Why these have not been recorded before this I have no idea. Sometimes there is a reason for not recording some works, but not these. They are wonderful.
Indeed, the entire album is dedicated to presenting us with “lost” works: music that was left unfinished, or fell into neglect, or found itself in Venice purely by chance.