[TR24][OF] Dmitry Sinkovsky, La Voce Strumentale - Bach in Black (BWV 1052R, 244, 1056R, 245, 1041, 232) - 2017 (Classical)

foobar2000 1.3.7 / Dynamic Range Meter 1.1.1
log date: 2017-10-15 14:29:28
--------------------------------------------------------------------------------
Analyzed: - La Voce Strumentale, Dmitry Sinkovsky / Bach in Black (1-2)
          La Voce Strumentale, Dmitry Sinkovsky / Bach in Black (3-12)
--------------------------------------------------------------------------------
DR         Peak         RMS     Duration Track
--------------------------------------------------------------------------------
DR12      -0.50 dB   -15.86 dB      3:36 05-Violin Concerto in G Minor, BWV 1056R: I.
DR12      -1.82 dB   -16.69 dB      3:58 09-Violin Concerto in A Minor, BWV 1041: I.
DR12      -0.50 dB   -15.88 dB      7:28 01-Violin Concerto in D Minor, BWV 1052R: I. Allegro
DR12      -3.56 dB   -20.28 dB      6:33 02-Violin Concerto in D Minor, BWV 1052R: II. Adagio
DR13      -0.78 dB   -16.55 dB      7:50 03-Violin Concerto in D Minor, BWV 1052R: III. Allegro
DR11      -2.24 dB   -17.84 dB      6:19 04-Matthäuspassion, BWV 244: No. 47, Erbarme Dich
DR13      -6.00 dB   -23.41 dB      3:07 06-Violin Concerto in G Minor, BWV 1056R: II. Largo
DR14      -0.50 dB   -16.41 dB      3:23 07-Violin Concerto in G Minor, BWV 1056R: III. Presto
DR13      -0.80 dB   -20.63 dB      4:49 08-Johannespassion, BWV 245: No. 30, Es ist vollbracht! (Aria)
DR13      -0.50 dB   -19.77 dB      6:16 10-Violin Concerto in A Minor, BWV 1041: II. Andante
DR12      -0.91 dB   -15.40 dB      3:31 11-Violin Concerto in A Minor, BWV 1041: III. Allegro assai
DR12      -4.00 dB   -20.92 dB      4:37 12-Mass in B Minor, BWV 232: No. 26, Agnus Dei. Largo
--------------------------------------------------------------------------------
Number of tracks:  12
Official DR value: DR12
Samplerate:        44100 Hz
Channels:          2
Bits per sample:   24
Bitrate:           1228 kbps
Codec:             FLAC
================================================================================

Dmitry Sinkovsky, La Voce Strumentale, Maria Krestinskaia, Elena Davyova, Svetlana Ramazanova, Evgeny Sviridov, Anna Dmitrieva, Polina Babinkova, Igor Bobovich, Gregory Krotenko, Alexandra Koreneva, Pavel Serbin

Dmitri Sinkovsky appears in this Bach album wearing three hats: as a violinist, (so far, so normal) but also as a counter-tenor. As he starts to perform as a counter-tenor as well as an instrumentalist, the overall impression at first is that this is nothing more than a charming curiosity or a typically "baroque" extravagance, especially when he moves from violin to vocals in the same piece. But as his talent as a singer unfurls - and it is some talent - he proves himself more than capable of winning over the most demanding audiences. His desire to play the two roles simultaneously speaks to one of the key concepts of the baroque era: the idea that one should treat an instrument like a singer's voice, and, conversely, that the human voice should be treated like an instrument. Sinkovsky sings without any of these rather precious affectations, in a sharp style, with fiendishly precise vocal attacks, no easy-option glissando or poor taste: in short, an example that many star counter-tenors would do well to follow. As for his skills as a violinist, for some time he has left his audiences in little doubt. Note that for the heart-rending aria "Erbarme dich" from the Passion According to St Matthew, he sings the alto part, and also plays: the two lines, each as important to the whole as the other, intertwine to form an immense ribbon from start to finish: a little nod to modernity, as the whole thing is achieved by means of overdubbing in the studio!

The melancholy genius of Bach, as told by the voice and violin of Dmitry Sinkovsky.
The charismatic and atypical musician, Dmitry Sinkovsky, expresses his artistry through three different musical means: as violinist, conductor and countertenor. A rare combination that Sinkovsky presents at the highest musical level on musical stages across the globe.
In his playing of multiple musical roles, Sinkovsky neatly reflects one of the main ide-as of the Baroque era: using the instrument as a singer’s voice, and, conversely, the human voice as the perfect instrument.
After virtuosic contributions as a violinist to the Vivaldi Edition, as well as a 2015 recording dedicated to the Prete rosso himself – with everything from the passion of the Four Seasons to opera arias and sacred music - Dmitry Sinkovsky now turns his hand to the ultimate musical reference: Bach.
The programme is carved around the spiritual, melancholic, oratorical and sometimes sombre force of the music of the master of Leipzig. Interspersed between the three concertos for violin and their famous adagios (in which the expressiveness of Sinkovsky’s playing is nothing short of a miracle), Sinkov-sky as countertenor sheds a new and very personal light on three of the purest jewels in the whole of music: ‘Erbarme Dich’ (St. Matthew Passion), ‘Es Ist Volbracht’ (Saint John Passion) and ‘Agnus Dei’ (Mass in B Minor).