[TR24][OF] Florilegium, Ashley Solomon - Bach, J S: Brandenburg Concertos Nos. 1-6 BWV 1046-1051 - 2014 (Classical • Concertos)

foobar2000 1.6.13 / Dynamic Range Meter 1.1.1
log date: 2023-02-06 17:25:00
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Analyzed: Florilegium, Ashley Solomon / Bach, J.S.: Brandenburg Concertos, BWV 1046-1051
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DR         Peak         RMS     Duration Track
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DR13       0.00 dB   -16.18 dB      6:09 01-Brandenburg Concerto No. 6 in B flat major, BWV 1051: I. Allegro
DR13      -2.06 dB   -19.66 dB      4:53 02-Brandenburg Concerto No. 6 in B flat major, BWV 1051: II. Allegro ma non troppo
DR13      -0.40 dB   -17.29 dB      5:57 03-Brandenburg Concerto No. 6 in B flat major, BWV 1051: III. Allegro
DR14      -0.54 dB   -19.85 dB      9:57 04-Brandenburg Concerto No. 5 in D major, BWV 1050: I. Allegro
DR13      -2.90 dB   -22.30 dB      5:43 05-Brandenburg Concerto No. 5 in D major, BWV 1050: II. Affettuoso
DR13      -1.28 dB   -18.67 dB      5:24 06-Brandenburg Concerto No. 5 in D major, BWV 1050: III. Allegro
DR13      -0.79 dB   -17.15 dB      6:41 07-Brandenburg Concerto No. 4 in G major, BWV 1049: I. Allegro
DR11      -1.47 dB   -17.21 dB      3:37 08-Brandenburg Concerto No. 4 in G major, BWV 1049: II. Andante
DR11      -1.54 dB   -16.38 dB      4:37 09-Brandenburg Concerto No. 4 in G major, BWV 1049: III. Presto
DR13      -0.68 dB   -17.20 dB      5:54 10-Brandenburg Concerto No. 3 in G major, BWV 1048: I. Allegro - Adagio
DR13      -1.91 dB   -18.47 dB      4:36 11-Brandenburg Concerto No. 3 in G major, BWV 1048: II. Adagio
DR13       0.00 dB   -16.78 dB      4:47 12-Brandenburg Concerto No. 2 in F major, BWV 1047: I. Allegro
DR11      -4.80 dB   -21.18 dB      3:35 13-Brandenburg Concerto No. 2 in F major, BWV 1047: II. Andante
DR12       0.00 dB   -16.42 dB      2:50 14-Brandenburg Concerto No. 2 in F major, BWV 1047: III. Allegro assai
DR13       0.00 dB   -16.89 dB      4:07 15-Brandenburg Concerto No. 1 in F major, BWV 1046: I. Allegro
DR12      -7.85 dB   -24.31 dB      3:29 16-Brandenburg Concerto No. 1 in F major, BWV 1046: II. Adagio
DR14       0.00 dB   -18.58 dB      4:17 17-Brandenburg Concerto No. 1 in F major, BWV 1046: III. Allegro
DR14       0.00 dB   -19.48 dB      7:13 18-Brandenburg Concerto No. 1 in F major, BWV 1046: IV. Menuet - Trio I - Menuet da capo - Polacca - Menuet da capo - Trio II - Menuet da capo
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Number of tracks:  18
Official DR value: DR13
Samplerate:        192000 Hz
Channels:          2
Bits per sample:   24
Bitrate:           4341 kbps
Codec:             FLAC
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Florilegium
The small ensemble Florilegium has gained a reputation as one of Britain's leading period instrument groups, performing in top venues worldwide. With a repertoire ranging from the High Baroque to the early Romantic period, Florilegium has an unusually deep catalogue of recordings. Florilegium was founded in 1991 by harpsichordist Neal Peres da Costa and flutist Ashley Solomon, now the group's director. With a core membership of five, they can expand to a much larger size for orchestral and choral performances. A breakthrough in their career was a three-year Ensemble in Residence stint at Wigmore Hall in London from 1998 to 2000. They have also performed at the Frick Collection in New York, the Beethovenhaus in Bonn, the Vienna Konzerthaus, the Concertgebouw in Amsterstam, the Teatro Colón in Buenos Aires, the Esplanade in Singapore, and the Sydney Opera House. Among their vocal collaborators have been Emma Kirkby and Elin Manahan Thomas. Florilegium has served as Ensemble in Association at the Royal College of Music, coaching players in 18th century Baroque repertoire.Their greatest renown, however, has come from their recording activities, which began in 1993 with an album of Telemann chamber music on the Dutch label Channel Classics. With few exceptions, they have continued to record for that label. Many of their albums have been reviewed enthusiastically in the Netherlands and beyond, and several have received or been nominated for major awards. An album of Bach cantatas featuring Dutch soprano Johannette Zomer received the Edison Award, the Netherlands' top classical music prize, in 2008. That same year, the group's album Baroque Music from Bolivian Missions was nominated for a BBC Music Magazine award. Their 2014 recording of Bach's complete Brandenburg Concertos, their 25th release, won a Luister 10 Award in the Netherlands. In 2018, among appearances in major cities of the U.K., they issued an album of Telemann's Essercizii Musici.
© James Manheim /TiVo

In a strange twist of fate, the Brandenburg Concertos have come to be named after a man whodidn’t especially want them, never heard them, and may not have liked them had he done so.Johann Sebastian Bach met Christian Ludwig, Margrave of Brandenburg in 1719 during his tenureas music director at the court of Leopold of Anhalt-Cöthen, who was the young prince responsiblefor signing up some of the musicians who were previously employed by Frederick William I. Bachworked at Anhalt-Cöthen from 1717 to 1723, and he and Leopold developed an excellent workingrelationship there. The Prince enjoyed travel, fine art and, above all, music, and he respected andencouraged Bach in his work, even occasionally participating in the court concerts as violinist,viola da gambist or harpsichordist. Provided by Leopold with an excellent set of instruments anda group of fine players (and the second-highest salary of any of his court employees), Bachenjoyed a fruitful period at Cöthen. Many of his greatest works for keyboard, chamber ensemblesand orchestra date from those years.Early in 1719 Leopold sent Bach to Berlin to finalise arrangements for the purchase of a newharpsichord, a large two-manual model made by Michael Mietke who was the instrument builderto the royal court. While in Berlin Bach played for Christian Ludwig, who was so taken with hismusic that he asked him to send some of his compositions for his library. Bach lost an infant sona few months later however, in 1720 his wife Maria Barbara died, and he rejected an offer tobecome organist at the Jacobkirche in Hamburg, so it was more than two years before he fulfilledBrandenburg’s request. By 1721, however, Leopold had become engaged to marry a woman who washorrified by the amount of money channelled to musical entertainment at the court. Bach seems to have realised that when she moved in, he would probably be moved out, so he began looking fora more secure position. He remembered the interest the Margrave Brandenburg had shown in hismusic, and thought it a good time to approach him again. He therefore picked six of the finestconcertos he had written, copied them out meticulously, had them bound into a sumptuousvolume (at considerable cost) and sent them to Christian Ludwig.