Description
Since the early 18th century, fugue has been regarded as one of the great compositional forms. It requires skilful counterpoint allied to harmonic facility in order to create a satisfying whole from the fugues restrictive formal demands. Indeed, for many universities and conservatoires the writing of a fugue has long been regarded as the greatest test of contrapuntal and harmonic ability.
Even into the 20th century, the Paris Conservatoire locked students away individually with only a pen, paper and fugue subject for company in order to test their technical skill. Such revered status was not acquired overnight, however, and the roots of the fugue are to be found back in the 14th-century….
Additional information
Artists | |
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Microphones | Bruel & Kjaer, Schoeps |
Speakers | Audiolab, Holland |
Recording software | Pyramix bij Merging |
Recording location | Doopsgezinde Kerk, Deventer, The Netherlands October 2002 |
Recording engineer | Jared Sacks |
Producer | Jared Sacks |
Mixing board | Rens Heijnis custom design |
Mastering equipment | B&W 803 diamond series |
Composers | Anonymous, Bach, Brahms, Corelli, Handel, Jullien, Mendelssohn, Muttaf, Palestrina, Pohlit, Scheidt, Schubert, Schumann, Shostakovich |
Mastering engineer | Jared Sacks |
Digital converters | DCS A/D DSD / DCS DA |
Cables | van den Hul T3 series |
Type | DSD 64 fs, FLAC 192 kHz, FLAC 96 kHz, FLAC 44.1 kHz, MP3 44.1 kHz |
Format | Download (Stereo), Download (Multichannel), Download (Stereo + Multichannel) |
Label | |
Genre | |
Recording type bit rate | DSD64 |
Press reviews
Haarlems Dagblad
vaandeldragers van de internationale blokfluitscene () () In dit fraaie album demonstreren de musici hun speurwerk naar de fuga-vorm. De grondigheid daarvan is al voorbeeldig. Hun bewerkingen van Brahms is subliem en transcendent. Gurez van Stefan Pollit met schrapende ademtocht toont aan dat de fuga nog lang niet pass is.
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