This recording was done all the way from the beginning to the end, with no pauses during the execution of every piece, with no subsequent cuts throughout the editing nor interventions during the mixing process. As in a live concert, but it was recorded in a dedicated room. The studio working and the execution process, together with the performer’s interior attitude, were those needed in a live recital, not for a studio recording session. This difference is drastic and, along with the other parameters, is aimed at creating a prototype, which also carries on a strategy of commercial remuneration, something particularly problematic for such products as CDs. Technology, art and market.
The choice of the pieces reflects the personality of this young performer. Telari is a total musician, a quiet, thoughtful and elegant artist, often absorbed in intangible listening practices. The album starts off with a magnificent version of Prelude and Fugue in B minor, BWV 544, one of Bach’s few organ works not belonging to a cycle and of which the autograph has survived, the pedal part is written down below the staff, in red ink. An exuberant work, combining organ monumental sonority with intensity of expression, respecting the strictness of counterpoint. Harmonic support and melody, the two hemispheres in the Kantor’s universe, emerge clearly here, thus emphasizing the affinity between the two instruments. “This is hardly a transcription for organ of the original. It is rather an adaptation. I just divided the voices between right and left”, Telari said. As hands slide over the two keyboards of the bayan, we can feel and see the solo instrument engaging a self-talk, questioning itself, multiplying into a polyphony of voices, dynamics, echoes upon echoes. The achieved balance between vertical architecture and linear narrative, between rhythmic pulses and contemplative pace, is performed with an exemplary limpidness of contours.
Total time: 01:10:59
The recording was originally digitized using the Horus audio system in DSD 256. he 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
The 1st couple of large diaghphram valve Mics by Charteoaks almost omnidirectional configuration in A+B The 2nd couple and 3rd couple are around 3.5 mt on the same bar and line in A+BThe 2nd stereo are DPA 4003 with a special preamThe 3rd stereo are DPA 4017
|Original Recording Format|
Francesco Rubenni – Daniele Zazza – Igor Fiorini
La Sala del Rosso
|Recording Type & Bit Rate||
Siena by Rosso Fiorentino
|Release Date||March 24, 2017|
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