JOHANN SEBASTIAN BACH: Orchestral Suites No.1,2&3 / Tripelkonzert - Acoustic Reality Experience [7.1 DTS-HD Master Audio Disc] [BD25 Audio Only] [Blu-ray]
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Description du produit
Description du produit
Ce disque audio DTS-HD MASTER offre un rendu de son fantastique de réalisme quand on l'utilise avec la PLAYSTATION 3 (sortie LPCM) ou un lecteur BLU-RAY avec sortie audio DTS-HD MASTER, avec un câble 1.3 HDMI connecté au récepteur audio DTS-HD MASTER. Nous recommandons l'installation de haut-parleurs 7.1 (6.1;5.1 SURROUND-SOUND) FULL-RANGE pour la perception complète de la restitution réaliste et du canal basses fréquences, qui est très importante pour cet enregistrement. Faites attention au fait que cet enregistrement a été produit à l'origine pour 7.1 son SURROUND, pour vous offrir une qualité de son d'un réalisme unique. C'est un disque audio uniquement.
SUITS NOS. 1 - 3 BWV 1066 1069
The four Orchestral Suites or Ouvertures BWV 1066 1069 are a set of compositions by Johann Sebastian Bach, probably composed around 1720 in Cöthen. The word ouverture refers to an opening movement in which a section of slow dotted-note rhythm is followed by a fugue; at the time, this name was also used to refer to a whole suite of dance-pieces in the French baroque style.
Ouverture No. 1 in C major, BWV 1066
3. Gavotte I/II
5. Minuet I/II
6. Bourrée I/II
7. Passepied I/II
Instrumentation: Oboe I/II, bassoon, violin I/II, viola, basso continuo
Ouverture No. 2 in B minor, BWV 1067
4. Bourrée I/II
5. Polonaise (Lentement) - Double
Instrumentation: Solo flute, violin I/II, viola, basso continuo The badinerie has become a show-piece for solo flautists, due to its quick pace and difficulty, and it is also often heard as a mobile phone ringtone. It was sampled by rapper Busdriver for his 2002 song Imaginary Places.
Ouverture No. 3 in D major, BWV 1068
3. Gavotte I/II
Instrumentation: Trumpet I/II/III, timpani, oboe I/II, violin I/II, viola, basso continuo The Air is one of the most famous pieces of classical music. An arrangement of the piece has come to be known as Air on the G String.
Concerto for harpsichord, flute, and violin in A minor, BWV 1044
2. Adagio ma non tanto e dolce
3. Alla breve
Scoring: harpsichord solo, violin solo, flute solo, violin I/II, viola, continuo (cello, violone) Though this a concerto for three instruments, the harpsichord has the most prominent role and greatest quantity of material; there are several cadenzas and virtuosic passages for the instrument; the scoring is identical to that of Brandenburg concerto no.5, BWV 1050, though the character is quite different. The first and third movements are adapted from the prelude and fugue in A minor for solo harpsichord, BWV 894, which have been developed with added tutti sections. The middle movement is from the trio sonata for organ in D minor, BWV 527, which has been expanded to four voices; only the solo instruments play, and the flute and violin share the melody and accompaniment, switching roles on the repeat of each half.
Duilio Galfetti, violin, viola
Giovanni De Rosa, viola
Thomas Muller, natural horns
Raul Diaz, natural horns
Maurice Steger, recorder
Stefano Bet, flute, recorder
Emiliano Rodolfi, oboe Gabriele
Cassone, natural trumpet Francesco Cera, harpsichord
Diego Fasolis, harpsichord, conductor
Audio Presentation: 24bit / 96K 7.1 DTS-HD Master Audio --Editor
Alexander Jero has licensed the original Arts Music release and repurposed it for DTS-HD MA 7.1 with his usual attention to detail. This is such thrillingly multifaceted music that the surround medium seems made for it. Aside from the absolute clarity of the recording itself, the surround channels provide ample opportunity for discrete channeling of individual instruments, so that Bach's contrapuntal linear writing is delivered in a sonically clean environment. The range of frequencies is reproduced here with unerring accuracy, from the light feathery sounds of the flute to the boisterous low strings and natural horns. Likewise dynamics are rendered beautifully, with bombastic tutti sections contrasting nicely with the quieter solos of the harpsichord in the Tripelkonzert. The warmth of this recording is truly remarkable. Strings and flutes are especially full bodied, with a fulgent tone that is a joy to listen to. Il Barocchisti's performance is top notch all the way around, and this Surround Records 7.1 mix is brilliantly effective. These are gorgeously diverse and brilliantly evocative pieces, ranging from the famous (if misnamed, at least in this version) 'Air on a G String' from the Orchestral Suite No. 3 or No. 2's popular 'Badinerie' to lesser known, if equally enjoyable, fare like the Forlane from the First Suite. Bach is a composer of untold melodic invention, and these varying dance forms offered him rhythmic opportunities that some of his more staid and stolid vocal music just couldn't. Even with the propulsive nature of some of the faster movements in each of the Suites, Bach's contrapuntal genius is always fully on display, and this Surround Records 7.1 rendering presents a crystal clear window into Bach's vertical and horizontal musical thinking. Lines weave and dodge around each other and it's often fascinating to hear musical periods being handed off to various groups, with, for example, the oboes finishing an idea started by the flutes, or the brass and strings in a musical conversation with each other. Perhaps lesser known is the Triple Concerto (Tripelkonzert), BMV 1044, a Concerto for harpsichord, flute and violin in A minor comprised of three movements. Though perhaps incorrectly called a triple concerto, this piece is probably just as incorrectly sometimes termed a flute concerto when it's actually the harpsichord that has the most prominent role. This is a work which is undeniably culled from two prior Bach pieces. The first and third movements originally appeared, at least in some form, in the A minor concerto for (solo) harpsichord (BMV 894), while the middle movement comes from the D minor organ sonata (BMV 527). This is lovely and virtuosic writing, especially for the harpsichord, which has the same sort of incredible cadenzas that make the Fifth Brandenburg so incredible. The wonderful thing about the Bach purely instrumental music is that it is so malleable and easily adaptable to various times and events. While I myself may find it unusually 'Christmasy' someone else may find it more redolent of other liturgical seasons, or indeed of something completely secular and non religious. One way or the other, there's no denying the irrepressible spirit that surges through these pieces, and this wonderful Surround Records release offers that spirit in a stunningly clear and beautifully detailed rendering with magnificent playing and interpretation by Il Barocchisti. Blu-ray audio may never be the world beater that its proponents hope for, but I for one am becoming more and more of an acolyte, ready to sing the praises of the format to anyone who will listen (literally). Releases like this resplendent set of Bach pieces can only help to raise the appreciation level of the public at large for the glories of lossless Blu-ray audio. --Jeffrey Kauffman (Blu-ray.com)
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