Judith Hamann • Aunes . Judith Hamann [born]: 1983, Australia (Melbourne, VIC) Жанр альбома: Modern Classical Издатель: Shelter Press (France) Номер по каталогу: SP 154 Дата релиза: 14.03.2025 Аудиокодек: FLAC (*flac) Тип рипа: tracks Носитель: WEB Источник: Deezer . Треклист.[00:39:14] 01.By the Line.(05:05)
02.Casa di riposo, Gesu' Redentore.(03:00)
03.Seventeen Fabrics of Measure.(06:15)
04.Bruststärke (Lung Song).(01:24)
05.Schloss, Night.(07:30)
06.Neither From nor Towards.(16:00)
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auCDtect Task Manager
Cue Corrector v. 10.2.3 / b. 2109 (Feb. 07, 2024) ———————————————————————————————————————————————————————————————————————— --- / Aunes Folder: Judith Hamann - 2025 - Aunes (web) Audio files: 01. By the Line.flac [05:05.000; FLAC • 566 kbps • 16 bit \ 44100 Hz • stereo; 20.58 MB (21 582 475 B)] 02. Casa di riposo, Gesu' Redentore.flac [03:00.000; FLAC • 776 kbps • 16 bit \ 44100 Hz • stereo; 16.67 MB (17 477 344 B)] 03. Seventeen Fabrics of Measure.flac [06:15.000; FLAC • 650 kbps • 16 bit \ 44100 Hz • stereo; 29.09 MB (30 507 788 B)] 04. Bruststärke (Lung Song).flac [01:24.000; FLAC • 504 kbps • 16 bit \ 44100 Hz • stereo; 5.05 MB (5 298 575 B)] 05. Schloss, Night.flac [07:30.000; FLAC • 458 kbps • 16 bit \ 44100 Hz • stereo; 24.61 MB (25 810 115 B)] 06. Neither From nor Towards.flac [16:00.000; FLAC • 568 kbps • 16 bit \ 44100 Hz • stereo; 65.10 MB (68 261 417 B)] Accuracy: -m0 File 01. By the Line - 100% CDDA [05:05:00] File 02. Casa di riposo, Gesu' Redentore - 100% CDDA [03:00:00] File 03. Seventeen Fabrics of Measure - 99% CDDA [06:15:00] File 04. Bruststärke (Lung Song) - 93% MPEG [01:24:00] File 05. Schloss, Night - 100% CDDA [07:30:00] File 06. Neither From nor Towards - 99% CDDA [16:00:00] ————— Summary: ————— These tracks looks like CDDA with probability 100%. ———————————————————————————————————————————————————————————————————————— ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved. Time elapsed: 1 m 16 s Log created at May 10, 2025 00:13:50 === 391FF43AB043F68F2FF0529EC520393A7CA92BC64615BDA5A7F0198D77E3948B ===
official DR value
Cue Corrector v. 10.2.3 / b. 2109 (Feb. 07, 2024) log date: 2025-05-10 00:12:29 -------------------------------------------------------------------------------- Album : Aunes Year : 2025 -------------------------------------------------------------------------------- DR Peak RMS Duration Track -------------------------------------------------------------------------------- DR8 -0.22 dB -11.02 dB 5:05 01 - By the Line / Judith Hamann DR12 -0.28 dB -16.92 dB 3:00 02 - Casa di riposo, Gesu' Redentore / Judith Hamann DR8 -0.24 dB -12.56 dB 6:15 03 - Seventeen Fabrics of Measure / Judith Hamann DR16 -3.57 dB -22.99 dB 1:24 04 - Bruststärke (Lung Song) / Judith Hamann DR9 -4.68 dB -16.48 dB 7:30 05 - Schloss, Night / Judith Hamann DR9 -0.68 dB -14.23 dB 16:00 06 - Neither From nor Towards / Judith Hamann -------------------------------------------------------------------------------- Number of tracks : 6 Official DR Value: DR10 Samplerate : 44100 Hz Channels : 2 Bits per sample : 16 Average bitrate : 573 kbps Codec : FLAC ================================================================================
spectrogram
об альбоме
"Aunes" is a rare solo album from peripatetic Australian cellist-composer-performer Judith Hamann, presenting six pieces recorded across several years and countries. Developing the collage techniques and expanded sound palettes heard on their previous releases, Aunes makes use of synthesizers, organ, voice and location recordings alongside the dazzlingly pure, enveloping tones of Hamann's cello. The record takes its name from an old French unit of measurement for fabric, varying around the country and from material to material. Unlike the platinum metre bar deposited in the National Archives after the Revolution as an immovable standard, an aune of silk differed from an aune of linen: the measure could not be separated from the material. In much the same way, in these six pieces—which Hamann thinks of as "songs"—formal aspects such as tuning, pacing, melodic shape and timbre are not abstractions applied universally to musical material but are inextricable from the instruments and sounds used, even from the places and communities in which the music was made. Audible location sound embeds the music in its place of making, as in the delicate duet for church organ and wordless singing 'Schloss, Night', where shuffles and cluttering in the reverberant church space form a phantom accompaniment, gradually displaced by a uneasy shimmer of wavering tones from half-opened organ stops. 'Casa di riposo, Gesu' Redentore' documents a walk up a hill to an outdoor mass in Chiusure, layering voices near and far with footsteps, insects and other incidental sounds. Like in the work of Moniek Darge or Luc Ferrari, location recordings are folded on themselves in space and time, their documentary function dislocated to dreamlike effect. On other pieces, it is the emphatic presence of the performing body that grounds the music, whether in the intimate fragility of Hamann's softly sung and hummed vocal tones or the clothing that rustles across a microphone on the opening 'By the Line'. The idea of a music inextricable from its material conditions is perhaps most strikingly communicated on the album's briefest piece 'Bruststärke (Lung Song)', composed from layered whistling recorded while Hamann suffered through an asthma flare up, the results halfway between field recordings of an imaginary aviary and the audiopoems of Henri Chopin. More than any of Hamann's previous solo works, a strong melodic sensibility runs through "Aunes", even when, like on 'Seventeen Fabrics of Measure', the music hangs together by the merest thread. At other points, Hamann's love of pop music is more obvious: the rich synth harmonies of 'By the Line' could almost be a melting fragment of a backing track from "Hounds of Love". The expansive closing piece 'Neither From nor Toward' exemplifies the highly personal musical language that Hamann has developed in recent years through constant solo performance (and a rigorous discipline of instrumental practice), pairing two overdubbed voices with the boundless depth and harmonic richness of just-intoned cello notes, calling up Ockegham or Linda Caitlin Smith in its elegiac slow motion arcs. Hamann's most personal work yet, Aunes arrives in a striking sleeve reproducing a section of a painting made from sewn pieces of dyed wool by Wilder Alison, a friend and fellow resident at Akademie Schloss Solitude, one of the temporary homes where much of this music was recorded.
