[TR24][OF] Romina Lischka and Marnix De Cat - John Coprario: Parrot or Ingenious Parodist? - 2022 (Classical)

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Стаж: 6 лет 11 месяцев

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ЯОR · 11-Окт-22 10:19 (2 года 6 месяцев назад)



Romina Lischka and Marnix De Cat

John Coprario: Parrot or Ingenious Parodist?



Формат записи | Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания релиза: 2022
Жанр: Classical
Лейбл: Ramée
Продолжительность:00:51:09
Источник: qobuz
WEB релиз: ссылка
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0
Наличие сканов: front (600*600)
Tracklist:
01 - Come dal ciel (00:02:22)
02 - Fantasia No. 6 (00:03:04)
03 - Io son ferito, ahi lasso (00:02:31)
04 - Fantasia No. 2 (00:02:55)
05 - Fantasia Cor mio (00:03:09)
06 - Fantasia Il vago (00:02:22)
07 - Il vago e lieto aspetto (00:01:49)
08 - La tra 'l sangue e le morti, SV 67 (00:02:01)
09 - Fantasia Latral- Parte seconda (00:02:22)
10 - O voi che sospirate a miglior note (00:03:06)
11 - Fantasia O voi che sospirate (00:02:35)
12 - Crudel, perche mi fuggi (00:01:46)
13 - Caggia fuoco dal cielo (00:00:55)
14 - Fantasia La caccia (00:01:34)
15 - Fuggi e sai fuggir (00:01:42)
16 - Gitene Ninfe (00:04:21)
17 - Fantasia Gitene Ninfe (00:02:35)
18 - Fantasia O che vezzosa (00:02:16)
19 - O che vezzosa Aurora (00:01:28)
20 - Udite, lagrimosi Spirti d'Averno (00:02:38)
21 - Fantasia Udite, lagrimosi spirti (00:03:29)


• Лог DRM •

foobar2000 1.4.2 / Dynamic Range Meter 1.1.1
log date: 2022-10-06 13:30:06
--------------------------------------------------------------------------------
Analyzed: Pluto-Ensemble / John Coprario: Parrot or Ingenious Parodist? (1-13)
Romina Lischka / John Coprario: Parrot or Ingenious Parodist? (14-21)
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -1.83 dB -18.01 dB 2:22 01-Come dal ciel
DR11 -1.82 dB -16.78 dB 2:31 03-Io son ferito, ahi lasso
DR11 -0.59 dB -17.29 dB 3:09 05-Fantasia "Cor mio"
DR12 -1.14 dB -18.19 dB 1:50 07-Il vago e lieto aspetto
DR12 -3.18 dB -20.86 dB 2:01 08-La tra ’l sangue e le morti, SV 67
DR12 -5.01 dB -20.95 dB 3:06 10-O voi che sospirate a miglior note
DR13 -1.89 dB -18.68 dB 1:46 12-Crudel, perchГ© mi fuggi
DR11 -4.40 dB -20.52 dB 0:56 13-Caggia fuoco dal cielo
DR12 -3.61 dB -20.61 dB 1:43 15-Fuggi e sai fuggir
DR12 -2.31 dB -19.03 dB 4:21 16-Gitene Ninfe
DR11 -5.60 dB -20.52 dB 1:29 19-O che vezzosa Aurora
DR11 -4.81 dB -20.92 dB 2:39 20-Udite, lagrimosi Spirti d’Averno
DR12 -2.04 dB -18.57 dB 3:29 21-Fantasia "Udite, lagrimosi spirti"
DR11 -5.84 dB -20.56 dB 3:05 02-Fantasia No. 6
DR11 -3.98 dB -20.42 dB 2:56 04-Fantasia No. 2
DR11 -7.66 dB -21.98 dB 2:22 06-Fantasia "Il vago"
DR11 -6.71 dB -21.83 dB 2:23 09-Fantasia Latral: Parte seconda
DR11 -6.24 dB -20.95 dB 2:36 11-Fantasia "O voi che sospirate"
DR11 -8.28 dB -23.48 dB 1:35 14-Fantasia "La caccia"
DR11 -6.49 dB -21.04 dB 2:36 17-Fantasia "Gitene Ninfe"
DR12 -5.49 dB -21.92 dB 2:16 18-Fantasia "O che vezzosa"
--------------------------------------------------------------------------------
Number of tracks: 21
Official DR value: DR12
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2687 kbps
Codec: FLAC
================================================================================

• Information •
Was John Coprario taking credit for someone else’s work when, under his own name, he made transcriptions of more than fifty Italian madrigals for a consort of viols? Such an accusation would be based on false premises, as anything resembling copyright was unknown at the beginning of the seventeenth century and for long afterwards; the use of musical material by someone else was rather considered as a respectful examination of ideas that were so promising that one wanted to think them through further. When transcribing these Italian madrigals, Coprario was not only extending an established tradition but also transcending it. He did not simply omit the text in his madrigal fantasias as had been customary in the 16th century, but also took the polyphonic setting even further, enriching it with instrumental possibilities that voices alone could not match. He also rearranged certain parts so that the original vocal work is not always immediately recognisable. Coprario, besides being one of the first to give ensemble music an instrumental identity, was no musical parrot, but an ingenious parodist. © Ramée

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