[TR24][OF] Corbett, De Seixas, Scarlatti, Avison, Boccherini - A Portuguesa: Iberian Concertos & Sonatas - Orquestra Barocca Casa da Musica Porto, Andreas Staier - 2018 (Classical, chamber)

WILLIAM CORBETT (1680-1748)
Concerto No. 7 "Alla Portugesa" in B-Flat Major, Op. 7
1. I. Allegro
2. II. Largo e pia[no]
3. III. Allegro
JOSÉ ANTÓNIO CARLOS DE SEIXAS (1704-1742)
Harpsichord Concerto in G minor
4. I. Allegro
5. II. Adagio
6. III. Allegro assai
DOMENICO SCARLATTI (1685-1757)
7. Harpsichord Sonata in G Minor, K. 8: Allegro
8. Harpsichord Sonata in G Major, K. 13: Presto
9. Harpsichord Sonata in B Minor, K. 173: Allegro
JOSÉ ANTÓNIO CARLOS DE SEIXAS
Harpsichord Concerto in A major
10. I. Allegro
11. II. Adagio
12. III. Giga. Allegro
CHARLES AVISON (1709-1770)
Concerto grosso No. 5 in D Minor
13. I. Largo
14. II. Allegro
15. III. Andante moderato
16. IV. Allegro
LUIGI BOCCHERINI (1743-1805)
Quintet No. 60 in C Major, G. 324 "La Musica Notturna delle strade di Madrid" (transcription for String Orchestra and Harpsichords by Andreas Staier)
17. I. Ave Maria. Imitando il tocco dell'Ave Maria della Parrochia
18. II. Minuetto
19. III. Rosario. Largo assai
20. IV. Los manolos. Passa Calle. Allegro
21. V. Ritirata con variazioni. Tempo di Marcia

foobar2000 1.4 / Dynamic Range Meter 1.1.1
log date: 2018-12-16 01:03:20
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Analyzed: Andreas Staier & Orquestra barroca Casa da Música / À Portuguesa (1-20)
          Orquestra barroca Casa da Música / À Portuguesa (21)
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DR         Peak         RMS     Duration Track
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DR13      -5.14 dB   -21.45 dB      3:10 01-Concerto No. 7 'Alla Portugesa' in B-Flat Major, Op. 7 - I. Allegro
DR14      -3.80 dB   -23.73 dB      4:17 02-Concerto No. 7 'Alla Portugesa' in B-Flat Major, Op. 7 - II. Largo e pia[no]
DR14      -3.42 dB   -20.93 dB      2:04 03-Concerto No. 7 'Alla Portugesa' in B-Flat Major, Op. 7 - III. Allegro
DR15      -1.85 dB   -22.19 dB      5:25 04-Harpsichord Concerto in G minor - I. Allegro
DR12      -6.94 dB   -25.58 dB      2:40 05-Harpsichord Concerto in G minor - II. Adagio
DR17      -1.82 dB   -24.05 dB      6:16 06-Harpsichord Concerto in G minor - III. Allegro assai
DR12     -14.54 dB   -28.89 dB      2:34 07-Harpsichord Sonata in G Minor, K. 8-
DR12     -14.87 dB   -28.68 dB      4:10 08-Harpsichord Sonata in G Major, K. 13- Presto
DR12     -19.19 dB   -33.46 dB      4:44 09-Harpsichord Sonata in B Minor, K. 173- Allegro
DR13      -3.70 dB   -22.67 dB      1:53 10-Harpsichord Concerto in A major - I. Allegro
DR10     -11.75 dB   -28.43 dB      1:08 11-Harpsichord Concerto in A major - II. Adagio
DR13      -5.06 dB   -24.19 dB      2:17 12-Harpsichord Concerto in A major - III. Giga. Allegro
DR14      -1.73 dB   -20.54 dB      2:44 13-Concerto grosso No. 5 in D Minor - I. Largo
DR13      -3.82 dB   -20.36 dB      1:40 14-Concerto grosso No. 5 in D Minor - II. Allegro
DR12      -3.21 dB   -19.74 dB      1:40 15-Concerto grosso No. 5 in D Minor - III. Andante moderato
DR12      -4.20 dB   -20.70 dB      2:03 16-Concerto grosso No. 5 in D Minor - IV. Allegro
DR14      -0.32 dB   -16.55 dB      2:10 18-Quintet No. 60 in C Major, G. 324 - II. Minuetto
DR15      -0.71 dB   -23.12 dB      4:38 19-Quintet No. 60 in C Major, G. 324 - III. Rosario. Largo assai
DR13      -3.89 dB   -22.03 dB      2:00 20-Quintet No. 60 in C Major, G. 324 - IV. Los manolos. Passa Calle. Allegro
DR15      -0.30 dB   -21.49 dB      6:21 21-Quintet No. 60 in C Major, G. 324 - V. Ritirata con variazioni. Tempo di Marcia
DR13      -3.43 dB   -20.68 dB      1:02 17-Quintet No. 60 in C Major, G. 324 - I. Ave Maria. Imitando il tocco dell'Ave Maria della Parrochia
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Number of tracks:  21
Official DR value: DR13
Samplerate:        96000 Hz
Channels:          2
Bits per sample:   24
Bitrate:           2429 kbps
Codec:             FLAC
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Iberian exoticism with a difference.
This musical journey takes its title from one of William Corbett’s Bizzarie universali, a set of concertos which, in truth, owe much more to the Italian tradition than to the Iberian peninsula.
In the Age of Enlightenment, Portuguese music shared the favours of certain English publishers with its Spanish neighbour; drinking at the inexhaustible source of the Scarlatti sonatas, Charles Avison conceived sumptuous concertos that sound extraordinarily like their contemporary equivalents written at Coimbra by Seixas.
This constant exchange between Iberian chamber music and the eighteenth-century orchestra culminates in an orchestral arrangement of Boccherini’s famous Musica notturna, presented by Andreas Staier in total complicity with the Baroque orchestra of the Casa da Música de Porto.