[DSD][OF] Florilegium – Handel German Arias & Trio Sonatas - 2017 (Classical/Chamber/Vocal)

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foobar2000 1.6.2 / Dynamic Range Meter 1.1.1
log date: 2021-02-23 23:45:42
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Analyzed: Florilegium / Handel German Arias and Trio Sonatas
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DR           Peak          RMS     Duration      Track
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DR13  -16.17 dB   -33.54 dB   2:17   01-Trio Sonata in e minor Op.5 No.3-Andante larghetto
DR13  -16.84 dB   -33.51 dB   1:57   02-Trio Sonata in e minor Op.5 No.3- Allegro
DR13  -16.98 dB   -34.21 dB   2:32   03-Trio Sonata in e minor Op.5 No.3-Sarabande
DR13  -15.99 dB   -33.24 dB   1:31   04-Trio Sonata in e minor Op.5 No.3-Allemande
DR12  -18.21 dB   -33.34 dB   1:05   05-Trio Sonata in e minor Op.5 No.3-Rondeau
DR12  -20.22 dB   -36.14 dB   1:28   06-Trio Sonata in e minor Op.5 No.3-Gavotte
DR15  -16.36 dB   -35.17 dB   6:04   07-Zeiten eitler Kummer - HWV202
DR17    -8.14 dB   -31.18 dB   5:12   08-Das zitternde Glanzen hwv203
DR16  -10.86 dB   -32.06 dB   6:56   09-Susser Blumen Ambraflocken HWV204
DR13  -17.50 dB   -33.89 dB   3:52   10-Trio Sonata in b minor Op.2 No.1 - Andante
DR12  -17.26 dB   -32.08 dB   2:42   11-Trio Sonata in b minor Op.2 No.1 - Allegro
DR12  -18.66 dB   -34.90 dB   2:46   12-Trio Sonata in b minor Op.2 No.1 - Largo
DR12  -17.82 dB   -33.54 dB   2:11   13-Trio Sonata in b minor Op.2 No.1 - Untitled
DR14  -11.71 dB   -31.78 dB   5:03   14-Susser Stille, sanfte Quelle hwv205
DR15    -8.05 dB   -30.46 dB   4:46   15-Singe, Seele, Gott zum Preise - HWV206
DR16    -9.99 dB   -31.39 dB   5:40   16-Meine Seele hört im Sehen HWV207
DR12  -14.21 dB   -34.00 dB   2:17   17-Concerto a Quattro in d minor - Adagio
DR14  -14.78 dB   -33.54 dB   1:28   18-Concerto a Quattro in d minor - Allegro
DR11  -20.22 dB   -35.09 dB   1:09   19-Concerto a Quattro in d minor - Largo
DR12  -16.56 dB   -33.26 dB   2:59   20-Concerto a Quattro in d minor - Allegro
DR16    -8.74 dB   -30.67 dB   5:24   21-Die ihr aus dunkeln Gru?ften HWV208
DR16    -8.98 dB   -30.82 dB   3:20   22-In den angenehmen Buuschen HWV209
DR16    -9.64 dB   -31.39 dB   5:22   23-Flammende Rose, Zierde der Erden HWV210
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Number of tracks: 23
Official DR value: DR14
Samplerate: 5644800 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 11290 kbps
Codec: DSD128
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Ashley Solomon & his Florilegium ensemble ring the changes between flute & violin, interspersing groups of arias with chamber instrumental pieces by Händel played with their customary refinement & expressive intimacy.
Both in his own time & after his death, George Frideric Handel’s outstanding reputation as a composer has rested mainly on the grandly stirring gestures of his most public works: the operas & oratorios he composed for the theatres of Georgian London. Nevertheless, Handel’s oeuvre includes a substantial body of chamber music, including some of the most satisfying & beautiful secular music of the period. Handel’s considerable collection of vocal works reveals a preference for texts in Italian & English, with very few works in his native German. Indeed Handel virtually abandoned German texts after 1708, with 2 notable exceptions: a Passion setting & a set of 9 songs, both on texts by his friend, the enlightened poet & town Councillor Barthold Heinrich Brockes (1680- 1747). Not only did the 2 men share a Hamburg connection, but Brockes had studied at the University of Halle between 1702 & 1704, coinciding with Handel’s registered period of study there. Brockes held weekly concerts in his apartment at Halle, & perhaps these were the catalyst for his cultivating a lasting friendship with Handel. Around 1716 Handel composed a setting of Brockes’s Passion oratorio Der für die Sünde der Welt gemarterte und sterbende Jesus. In 1721, Brockes’s collection of poems Irdisches Vergnügen in Gott, bestehend in Physicalisch- und Moralischen Gedichten was published at Hamburg. They follow the main theme of God’s abundant goodness as evident from the joy & beauty to be found in nature. Arranged into ariosos, arias, duets, & with introductory or linking texts ideal for recitative, Brockes clearly wished to encourage musical settings of his poetry. The publication was popular, & successively revised & enlarged.
The recording was originally digitized using the Grimm AD1, which operates at DSD64. The original session tracks were edited & rebalanced (which meant going through the mixer) in the only available format for that purpose; the Pyramix 352.8KHz/24bit PCM (DXD). Prior to the advent of direct digital delivery, the next step in the production process from 352.8KHz/24bit PCM would be the DSD64 edited master for SACD production. What we have done now is also make a direct conversion to DSD128 & DSD256 from that original DXD edited master, without going through any interim processing steps.
Those DXD to DSD conversions are not up-samplings, as they would be going from one PCM sampling rate to another, for they are different encoding systems. PCM is a digital value sample based system, & DSD is a digital bit density modulated system. Conversion from any PCM sample rate to any DSD bit rate system is a remodulation, not an up-sampling.
We feel there is an audio advantage to this process in using the original files so we give you the choice & you can decide.