[DSD][OF] Holland Baroque Society, Eric Vloeimans - Old, New & Blue - 2013 (Jazz, Baroque)

Holland Baroque Society, Eric Vloeimans / Old, New & Blue Формат записи/Источник записи: [SACD-R][OF] Наличие водяных знаков: Нет Издание: Discography Год издания/переиздания диска: 2013 Жанр: Jazz, Baroque Издатель(лейбл): Channel Classics Records Продолжительность: 63.05 Наличие сканов в содержимом раздачи: Да Треклист: 1. Vloeimans - Mine own King am I & Joel 2. Bach - Ach, dass ich Wassers gnug hätte 3. Bach - Choral Ertöt uns durch dein Güte, BWV 22 4. Susato - Pavane Mille Regretz 5. Vloeimans - Tender Mercies 6. Vloeimans - Sans Parure 7. Tallis - If ye Love me 8. Vloeimans - Wet Feet 9. Hammerschmidt - Paduan a5 10. Steenbrink - Ciacony 11. Vloeimans - Tender Mercies 12. McCartney - Blackbird Контейнер: DSF (*.dsf) Тип рипа: tracks Разрядность: 64(2,8 MHz/1 Bit) Формат: DSD Количество каналов: 2.0 Доп. информация: Technical Specifications: Microphones: Bruel & Kjaer 4006, Schoeps Digital Converters: DSD Super Audio/Grimm AD converter Speakers: Audiolab, Holland Software: Pyramix Editing, Merging Technologies Mixing Board: Rens Heijnis, custom design Mastering Room: B+W 803d series speakers, Classe 5200 Amplifier Cables: Van den Hul Источник (релизер): channel classics Композитор: Vloeimans, Bach, Suato, de Prez, Gombert, Tallis, Hammerschmidt, Steenbrink Исполнитель: Holland Baroque Society Eric Vloeimans - trumpet   Об исполнителе (группе) Holland Baroque Society, Eric Vloeimans     Об альбоме (сборнике) preview The match between Holland Baroque Society and Eric Vloeimans has a little of both. One of the marriage partners – leaving aside who is the bride and who the groom – stands firmly in the world of the Baroque but pricks up its ears to the sounds of today. The other is a magician on the trumpet, improvising, composing, listening and ever ready to learn. A marriage between two such different partners inevitably blurs boundaries and makes time flow. The trumpet, historical instruments and best man March Constandse on the bandoneon merge to create a colourful present for all listeners, like the icing on a wedding cake. Holland Baroque Society acts as host with five top pieces from the world of early music. Firstly, a lament by Johann Christoph Bach, a distant cousin and predecessor of the great Johann Sebastian Bach. The motet Ach, dass ich Wassers gnug hätte evokes a world of sorrow with a fragment from the Book of Jeremiah: ‘O that my head were a spring of water, and my eyes a fountain of tears, so that I might weep day and night for the slain of my poor people’. Of overwhelming beauty is Bach’s portrayal of the sighs and sobs of the prophet – and here the trumpet too. In a more hopeful mood is the chorale Ertöt uns durch deine Güte, which is really a homage to the passing of time and the circle of life, with a final glimpse of salvation. This version of Johann Sebastian Bach’s creation, taken from the cantata Herr Christ, der einige Gottessohn, begins with the most fragile of sounds from the bandoneon. The mild melody invites exploration, seeming to lead even to a clash, after which Eric Vloeimans and Marc Constandse rejoin the genious Bach. Mille regretz was really the standard of the Renaissance. The four-part chanson by Josquin des Prez, a sad song of lovers’ farewell, was an immediate hit and was quickly heard throughout Europe in all sorts of versions. Sometimes in the purest traditions of polyphony, as in Nicolas Gombert’s six-part setting (with Vloeimans as a real consort player in the middle of the texture), sometimes as a stately dance as in Tielman Susato, and sometimes as an invitation to the player to demonstrate every bit of his virtuosity. In these so-called diminutions, a melody is spun out in gradually faster notes according to refined rules. Here the trumpet scrapes against the subtle sound of the cornetto, a wind instrument that set the tone in the Renaissance and early Baroque. The Pavan by Andreas Hammerschmidt is another wonderful example of polyphonic early music, but now specially written for an instrumental ensemble. The anthem If ye love me takes us to Renaissance England, precisely between Henry VIII and Queen Elizabeth I. Sung at countless weddings in England and the United States, the text expresses the love of God as a mirror of the love and respect of partners. Magnificent in all its simplicity, this little four-part piece provides a rich melodic arsenal for Vloeimans’s extensive improvised prelude.