Tags
Language
Tags
March 2024
Su Mo Tu We Th Fr Sa
25 26 27 28 29 1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30
31 1 2 3 4 5 6

Ivry Gitlis - The Art of Ivry Gitlis: Tchaikovsky, Bruch, Sibelius, Mendelssohn, Bartok (1992) 2CDs

Posted By: Designol
Ivry Gitlis - The Art of Ivry Gitlis: Tchaikovsky, Bruch, Sibelius, Mendelssohn, Bartok (1992) 2CDs

Ivry Gitlis - The Art of Ivry Gitlis (1992) 2CDs
Tchaikovsky - Bruch - Sibelius - Mendelssohn - Bartók

EAC | FLAC | Tracks (Cue&Log) ~ 529 Mb | Mp3 (CBR320) ~ 374 Mb | Scans included
Genre: Classical | Label: VoxBox | # CDX2 5505 | Time: 02:39:09

There are several reasons to own this Vox Box 2CD set. For the first, it includes five great violin concertos in some of the very best performances in their discography. For the second, Ivry Gitlis (born 1922) is a great living violinist and these recordings made in early 1950s show his art in the best way, when Ivry's violin sounded powerful and brilliant.

Anton Zimmerling "Sturla"

I'll limit my comments to Bartok's and Sibelius' Violin Concerto - reasons enough to treasure this set. Not many recordings have followed the trail blazed by premiere performers of Bartok's Violin Concerto in 1939, Zoltan Szekely and Willem Mengelberg conducting the Amsterdam Concertgebouw Orchestra (Violin Concerto 2), a trail scorched with white-heat intensity. Most have rather pursued a tradition established by Menuhin in his premiere recording from 1946 with Antal Dorati conducting the Dallas Symphony Orchestra (Violin Concerto 2) and continued by him in his three subsequent recordings, the famous one (but not the best) with Furtwängler in 1953 (Violin Concerto 2), and two more in stereo again with Dorati (1957 Minneapolis Violin Concerto 2 and 1965 Philharmonia Bartok: Violin Concertos, Viola Concerto, 6 Duo for 2 Violins, Violin Rhapsodies; Yehudi Menuhin): more gentle, taking more time, to the point of lingering almost, in the concerto's more lyrical passages (which doesn't preclude dashing motion in the faster sections). Just take the opening bars, the tolling harp chords leading to the violin's entry and statement of the lyrical theme. Most conductors start very deliberately, if not lazily, introducing a gentle, laid-back and lyrical unfolding of the violin's statement; the intensity comes (when it comes) later.

Gitlis and Horenstein, in one of the work's earliest recordings, remain to this day one of the most glowing exceptions. It was made in 1954 or 1955 (Vox' production info is imprecise here and I haven't been able to establish the exact year; it was reviewed in The Gramophone of November 1955) and, to the best of my knowledge, the fourth version to have been published on LP, after Rostal-Sargeant 1951 Bartok Beethoven Brahms: Concerto, Varga-Fricsay 1951 (Cd reissued in the early 1990s on DG's 11-CD Fricsay portrait but not listed here individually, you'll find it on the European sister companies under ASIN B000025EIG) and Menuhin-Furtwangler 1953. Sure, the mono sonics allow only for distant and mono-dimensional pickup of the orchestra, blurring a number of Bartok's finest filigree (although if you listen carefully over headphones, you still can get much of it); still, the brassy outbursts, under Horenstein's stewardship, retain a mighty and raw impact.

But Gitlis! Man, he's on fire. He hurls into it with unleashed energy and hardly ever relents. His finale is wild and unruly. It doesn't mean that this is a version lacking in lyricism. On the contrary, Gitlis' molding of those lyrical phrases that abound in the concerto is particularly intense, with subtle inflections of vocal nature and sometimes a tight vibrato that is evocative of the longing chant of some siren. But the forward thrust is never lost. Gitlis' lean tone and unsentimental approach is ideally suited to the second movement, where he also applies finely levelled dynamic shadings (just try the opening phrases, where the soloist first sounds like he is sitting in the middle of the orchestra, only to emerge from it with Bartok's crescendo marking) and displays the same kind of dazzling forward drive as in the outer movements in the "allegro scherzando" passage at 6:15 and even in the ensuing "commodo".

In many ways, Gitlis evoked what Heifetz might have done with the concerto, had he elected to play it, and made me rue that he never did, comforted only by the thought that Gitlis did it in his stead. This, alongside Szekely and Mengelberg's, is a recording that should be studied and pondered by every musician (fiddler or conductor) tackling Bartok's Concerto.

Something, I feel, has been lost with the development of music interpretation in the second half of the 20th century. The overriding trend has been for tempos to expand, every generation of interpretation digging deeper (or so they think) into the compositions' lyrical and expressive veins, as if to bring to light new ores of expression not tapped by their predecessors.

But what has been lost in the process is a sense of unrelenting and breathless forward thrust. That's a sense that old-generation stars like Toscanini or Heifetz (and still Isaac Stern) had. The forward motion was never checkered for sake of "expressivity" (which can verge on fussing), but it also never came at the expense of lyricism. On the contrary, the lyricism was all the more intense as it was expressed through subtle inflexions of phrasings (Heifetz was unique in that respect) within a given, fleeting tempo.

As evidenced again in his Sibelius Concerto (also recorded circa 1954, originally paired with Bruch), Gitlis also had that sense of the music's unquenchable forward motion. The Israeli violinist starts by phrasing the opening melody of Sibelius' Violin Concerto very sinuously and sensuously, making it sound like some languid oriental melisma. You'd think it were Szymanowski in his oriental style. But then, what ensues as early as the first 16th note scales (circa 1:20) is a performance of considerable drive, energy, vehemence and passion, sometimes almost rhapsodic (not to say Bartokian), one that at times (including the first movement cadenza) even "out-heifetzes" Heifetz in speed and fire - but with always a sense of searing lyricism. It sounds urgent, but never rushed. Gitlis plays with consummate technical mastery and fine if rather thin tone, luminous in the upper reaches, although in the fiendish double-stop scales followed by two-octave leaps of the finale he conveys slightly more of a sense of struggling and hanging by the skin of his teeth than Heifetz (and even Heifetz is far from perfect there, in 1935, Heifetz Plays Strauss (Violin Sonata op. 18), Sibelius (Violin Concerto), Prokofiev (Violin Concerto 2) and in 1959, Sibelius, Prokofiev, Glazunov: Violin Concertos [Hybrid SACD]; Hilary Hahn is perfect, but I ran out of authorized links: ASIN B0011WMWUW with Schoenberg's VC). He finds in Jasha Horenstein a like-minded partner, whipping up his orchestra to great power. The orchestra lacks clarity and definition, although some fine orchestral points can be heard and the explosive muscularity certainly comes through (and the searing passiong in the second movement).

There have been since Heifetz' 1935 premiere recording many outstanding versions of Sibelius' VC and this is one of them. A broader view first illustrated (not so convincingly I find) by Ginette Neveu in 1945 (Brahms, Sibelius: Violin Concertos) and (much better) by Camilla Wicks in 1951(Camilla Wicks (violin) plays Sibelius and Valen: Violin Concertos) and leading to Hilary Hahn has ultimately taken precedence. The more urgent approach illustrated by Heifetz, Stern and Gitlis retains my preference, and I think that its falling out of custom is a great loss to music.

Review by Discophage

Gitlis’s recordings readily appeal to the venturesome, and to the open-minded. This is partly a question of repertoire, as he has espoused a lot of twentieth century music, but it is also to do with his sound - his tone, his bowing, his vibrato usage - and to the very personalised approach he has adopted to standard concertos and sonatas. This has not always endeared him to the rectitudinous but it has granted him a degree of ‘maverick’ status amongst fellow musicians and admirers. I’ve heard him in concert, and the audience was duly represented by both such groups. I was struck on that occasion by his charm and, to be precise, his good manners in presenting his young piano accompanist with the opportunity to play more than one, extended, solo.

I’ve had a mixed experience over the years listening to him on disc. But these Vox recordings represent some of his best playing. The Tchaikovsky is with the Vienna Symphony and Heinrich Hollreiser. Gitlis predictably engages in some unusual changes of colour and inflexion and rubato. His tone is famously spiky, lacking the obvious sensual or magisterially broad range of more famous exponents. But his ‘post-Huberman’ resources are striking, as indeed are the exchanges with an outsize clarinet principal – or the outsize recording engineers’ intentions, more likely. The slow movement is plausibly Russian, very intense, not at all songful but vehemently warm-blooded. And like many Gitlis recordings, the finale has a fair degree of believable spontaneity about it – bold and masculine. The Bruch is good too after its fashion. The start is hardly stealthy, the violin entering very loudly; another recording miscalculation. The tenor here is upfront boldness with his accompanist Horenstein stretching out very elastically at a couple of points. Theirs is not the elegant and rich boned approach of other pairings, it need hardly be added but as usual Gitlis’s finale is purposeful, propulsive and very exciting.

I wondered, as I was listening to the Sibelius (again with Horenstein), whether Gitlis had listened to Ginette Neveu and decided on balance he probably had. He would certainly have had opportunities to hear her in concert, or on disc. But more than this, one notices Gitlis’s very individualistic approach all-round. In higher positions there’s a tense, oscillatory quality that gives the playing an edgy, uneasy quality – the opposite, for instance, of Anja Ignatius’s way with it. Gitlis is vehement but not strident. His playing has a bold sense of projection but it certainly stands at a remove from more central recommendations. His Mendelssohn is with Hans Swarowsky. It starts eagerly, pressing forward but in the slow movement Gitlis’s over-quick vibrato limits tone colours. He’s rather razory in the finale, which he takes quickly. He’s never dull, but he fails to convince.

From here on we discover works that I tend to think of as his natural metier, which is music from the second quarter of the twentieth century. His Bartók is really impressive. He joins with Horenstein once again for the Second Concerto and here he evinces a natural authority which, on its own terms, rivals that of Menuhin and Rostal, to cite two almost contemporaneous recordings. Gitlis has the febrile intensity for this work, and he has a command of its rhetoric and its narrative development. The sense of characterisation is finely etched, and the collaboration with Horenstein is solid – a conductor who really insists on some deep, dark bass tone from the Vienna Symphony. The solo sonata is played with colossal commitment and a sense of fiery abandon often characterised as ‘gypsy’ in Gitlis’ case. I think, rather, that he catches the folkloric spirit in such a way that it lives from the inside out; also that his intense vibrato promotes an ethos of incessant drama and motion. Heady stuff.

Review by Jonathan Woolf, MusicWeb-International.com

Ivry Gitlis - The Art of Ivry Gitlis: Tchaikovsky, Bruch, Sibelius, Mendelssohn, Bartok (1992) 2CDs



Performers:

Ivry Gitlis - violin

Vienna Symphony Orchestra (CD1, CD2 #1-6)
conductors:
Heinrich Hollreiser (CD1#1-3)
Jascha Horenstein (CD1#4-9, CD2#4-6),
Hans Swarowsky (CD2#1-3)

Tracklist:

CD1:

Pyotr Il'yich Tchaikovsky (1840-1893)

Violin Concerto in D Major, Op.35
01. I. Allegro moderato (16:03)
02. II. Canzonetta (6:06)
03. III. Finale: Allegro; Vivacissimo (7:39)

Max Bruch (1838-1920)

Violin Concerto in G Minor, Op.26
04. I. Allegro moderato (7:45)
05. II. Adagio (7:51)
06. III. Finale: Allegro energico (6:18)

Jean Sibelius (1865-1957)

Violin Concerto in D Minor, Op.47
07. I. Allegro moderato (14:03)
08. II. Adagio di molto (7:02)
09. III. Allegro ma non tanto (6:54)

CD2:

Felix Mendelssohn (1809-1847)

Violin Concerto in E Minor, Op.64
01. I. Allegro molto appassionato (11:02)
02. II. Andante (7:30)
03. III. Allegretto non troppo (5:36)

Béla Bartók (1981-1945)

Violin Concerto No.2 (1938)
04. I. Allegro non troppo (14:47)
05. II. Andante tranquillo (9:05)
06. III. Allegro molto (10:59)

07. Sonate for Solo Violin (1944) (20:27)


Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 13. March 2013, 13:55

Ivry Gitlis, Vienna Symphony Orchestra / The Art of Ivry Gitlis (Cd1)

Used drive : TSSTcorpCDDVDW SH-222BB Adapter: 2 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 192 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\FLAC\flac.exe
Additional command line options : -T "artist=%artist%" -T "title=%title%" -T "album=%albumtitle%" -T "date=%year%" -T "tracknumber=%tracknr%" -T "genre=%genre%" -T "comment=%comment%" -T "composer=%composer%" -8 %source%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.37 | 16:02.38 | 37 | 72224
2 | 16:03.00 | 6:06.35 | 72225 | 99709
3 | 22:09.35 | 7:39.30 | 99710 | 134164
4 | 29:48.65 | 7:45.37 | 134165 | 169076
5 | 37:34.27 | 7:50.63 | 169077 | 204389
6 | 45:25.15 | 6:18.15 | 204390 | 232754
7 | 51:43.30 | 14:03.12 | 232755 | 295991
8 | 65:46.42 | 7:01.60 | 295992 | 327626
9 | 72:48.27 | 6:54.08 | 327627 | 358684


Track 1

Filename H:\EAC NEW Rips\01 - Tchaikovsky, Violin Concerto D Major, Op. 35 - I. Allegro Moderato.wav

Pre-gap length 0:00:02.49

Peak level 90.9 %
Extraction speed 2.3 X
Track quality 100.0 %
Test CRC EA3F6463
Copy CRC EA3F6463
Accurately ripped (confidence 3) [EB6204D7] (AR v1)
Copy OK

Track 2

Filename H:\EAC NEW Rips\02 - Tchaikovsky, Violin Concerto D Major, Op. 35 - II. Canzonetta.wav

Peak level 51.7 %
Extraction speed 2.1 X
Track quality 100.0 %
Test CRC B109C11F
Copy CRC B109C11F
Accurately ripped (confidence 3) [E1EF2FC3] (AR v1)
Copy OK

Track 3

Filename H:\EAC NEW Rips\03 - Tchaikovsky, Violin Concerto D Major, Op. 35 - III. Finale. Allegro-Vivacissimo.wav

Peak level 76.7 %
Extraction speed 2.2 X
Track quality 100.0 %
Test CRC AD8B6165
Copy CRC AD8B6165
Accurately ripped (confidence 3) [1B937361] (AR v1)
Copy OK

Track 4

Filename H:\EAC NEW Rips\04 - Bruch, Violin Concerto in G Minor, Op. 26 - I. Allegro Moderato.wav

Pre-gap length 0:00:05.70

Peak level 87.3 %
Extraction speed 2.2 X
Track quality 100.0 %
Test CRC D4CE2678
Copy CRC D4CE2678
Accurately ripped (confidence 3) [E4B43A2B] (AR v1)
Copy OK

Track 5

Filename H:\EAC NEW Rips\05 - Bruch, Violin Concerto in G Minor, Op. 26 - II. Adagio.wav

Peak level 79.2 %
Extraction speed 2.2 X
Track quality 100.0 %
Test CRC 09120A73
Copy CRC 09120A73
Accurately ripped (confidence 3) [F7479DE1] (AR v1)
Copy OK

Track 6

Filename H:\EAC NEW Rips\06 - Bruch, Violin Concerto in G Minor, Op. 26 - III. Finale. Allegro energico.wav

Peak level 79.8 %
Extraction speed 2.1 X
Track quality 100.0 %
Test CRC 9D2FA08C
Copy CRC 9D2FA08C
Accurately ripped (confidence 3) [B48AD5CA] (AR v1)
Copy OK

Track 7

Filename H:\EAC NEW Rips\07 - Sibelius, Violin Concerto in D Minor Op. 47 - I. Allegro moderato.wav

Pre-gap length 0:00:05.06

Peak level 97.5 %
Extraction speed 2.2 X
Track quality 100.0 %
Test CRC 8AFCB519
Copy CRC 8AFCB519
Accurately ripped (confidence 3) [B684E520] (AR v1)
Copy OK

Track 8

Filename H:\EAC NEW Rips\08 - Sibelius, Violin Concerto in D Minor Op. 47 - II. Adagio di molto.wav

Peak level 79.9 %
Extraction speed 2.1 X
Track quality 100.0 %
Test CRC 9588B2C6
Copy CRC 9588B2C6
Accurately ripped (confidence 3) [91984AF5] (AR v1)
Copy OK

Track 9

Filename H:\EAC NEW Rips\09 - Sibelius, Violin Concerto in D Minor Op. 47 - III. Allegro ma non tanto.wav

Peak level 83.7 %
Extraction speed 2.1 X
Track quality 100.0 %
Test CRC A08CF59E
Copy CRC A08CF59E
Accurately ripped (confidence 3) [E154C3F4] (AR v1)
Copy OK


All tracks accurately ripped

No errors occurred

End of status report

==== Log checksum 78DEE73D9ACB4F903DE62582B373C499C23FFD6DE918A05458A445A89C5C3871 ====

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2015-09-16 14:48:50

––––––––––––––––––––––––––––––––––––––––
Analyzed: Ivry Gitlis / The Art of Ivry Gitlis CD1
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -0.82 dB -19.15 dB 16:03 01-Tchaikovsky: Violin Concerto in D Major, Op.35: I. Allegro moderato
DR13 -5.72 dB -23.65 dB 6:06 02-Tchaikovsky: Violin Concerto in D Major, Op.35: II. Canzonetta
DR13 -2.30 dB -20.72 dB 7:39 03-Tchaikovsky: Violin Concerto in D Major, Op.35: III. Finale: Allegro; Vivacissimo
DR11 -1.17 dB -17.84 dB 7:45 04-Bruch: Violin Concerto in G Minor, Op.26: I. Allegro moderato
DR14 -2.02 dB -21.14 dB 7:51 05-Bruch: Violin Concerto in G Minor, Op.26: II. Adagio
DR10 -1.96 dB -16.89 dB 6:18 06-Bruch: Violin Concerto in G Minor, Op.26: III. Finale: Allegro energico
DR14 -0.22 dB -21.37 dB 14:03 07-Sibelius: Violin Concerto in D Minor, Op.47: I. Allegro moderato
DR13 -1.94 dB -20.74 dB 7:02 08-Sibelius: Violin Concerto in D Minor, Op.47: II. Adagio di molto
DR13 -1.54 dB -19.06 dB 6:54 09-Sibelius: Violin Concerto in D Minor, Op.47: III. Allegro ma non tanto
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 9
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 500 kbps
Codec: FLAC
================================================================================


Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 13. March 2013, 15:18

Ivry Gitlis, Vienna Symphony Orchestra, Jascha Horenstein / The Art of Ivry Gitlis (Cd2)

Used drive : TSSTcorpCDDVDW SH-222BB Adapter: 2 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 192 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files (x86)\FLAC\flac.exe
Additional command line options : -T "artist=%artist%" -T "title=%title%" -T "album=%albumtitle%" -T "date=%year%" -T "tracknumber=%tracknr%" -T "genre=%genre%" -T "comment=%comment%" -T "composer=%composer%" -8 %source%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.45 | 11:02.25 | 45 | 49719
2 | 11:02.70 | 7:30.12 | 49720 | 83481
3 | 18:33.07 | 5:36.15 | 83482 | 108696
4 | 24:09.22 | 14:47.05 | 108697 | 175226
5 | 38:56.27 | 9:04.63 | 175227 | 216089
6 | 48:01.15 | 10:59.00 | 216090 | 265514
7 | 59:00.15 | 20:27.37 | 265515 | 357576


Track 1

Filename H:\EAC NEW Rips\01 - Mendelssohn, Violin Concerto in E minor, Op. 64 - I. Allegro molto appassionato.wav

Pre-gap length 0:00:02.60

Peak level 83.4 %
Extraction speed 2.1 X
Track quality 99.9 %
Test CRC AB56C186
Copy CRC AB56C186
Accurately ripped (confidence 3) [069E90C9] (AR v1)
Copy OK

Track 2

Filename H:\EAC NEW Rips\02 - Mendelssohn, Violin Concerto in E minor, Op. 64 - II. Andante.wav

Peak level 72.3 %
Extraction speed 2.0 X
Track quality 99.9 %
Test CRC D445ACAB
Copy CRC D445ACAB
Accurately ripped (confidence 3) [8D7AA01C] (AR v1)
Copy OK

Track 3

Filename H:\EAC NEW Rips\03 - Mendelssohn, Violin Concerto in E minor, Op. 64 - III. Allegretto non troppo.wav

Peak level 91.1 %
Extraction speed 2.1 X
Track quality 100.0 %
Test CRC 647D3944
Copy CRC 647D3944
Accurately ripped (confidence 3) [301E1F46] (AR v1)
Copy OK

Track 4

Filename H:\EAC NEW Rips\04 - Bartok, Violin Concerto Nr. 2 Sz 112 (1938) - I. Allegro non troppo.wav

Pre-gap length 0:00:07.40

Peak level 81.9 %
Extraction speed 2.2 X
Track quality 99.9 %
Test CRC 11DFA625
Copy CRC 11DFA625
Accurately ripped (confidence 3) [1239AE1A] (AR v1)
Copy OK

Track 5

Filename H:\EAC NEW Rips\05 - Bartok, Violin Concerto Nr. 2 Sz 112 (1938) - II. Andante tranquillo.wav

Peak level 59.8 %
Extraction speed 2.1 X
Track quality 99.9 %
Test CRC E855B3EC
Copy CRC E855B3EC
Accurately ripped (confidence 3) [7C3F5359] (AR v1)
Copy OK

Track 6

Filename H:\EAC NEW Rips\06 - Bartok, Violin Concerto Nr. 2 Sz 112 (1938) - III. Allegro molto.wav

Peak level 75.7 %
Extraction speed 2.1 X
Track quality 99.9 %
Test CRC 8B23A0F8
Copy CRC 8B23A0F8
Accurately ripped (confidence 3) [B2378E06] (AR v1)
Copy OK

Track 7

Filename H:\EAC NEW Rips\07 - Bartok, Sonate for Solo Violin Sz 117 (1944).wav

Pre-gap length 0:00:06.57

Peak level 45.8 %
Extraction speed 2.3 X
Track quality 100.0 %
Test CRC 8C61C777
Copy CRC 8C61C777
Accurately ripped (confidence 3) [35834D4C] (AR v1)
Copy OK


All tracks accurately ripped

No errors occurred

End of status report

==== Log checksum 039081D7E6F45BDC9A20334E3136CD422CE3379223F804EF093A6CF7B7F78A98 ====

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2015-09-16 14:49:11

––––––––––––––––––––––––––––––––––––––––
Analyzed: Ivry Gitlis / The Art of Ivry Gitlis CD2
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -1.57 dB -19.81 dB 11:02 01-Mendelssohn: Violin Concerto in E Minor, Op.64: I. Allegro molto appassionato
DR15 -2.81 dB -23.01 dB 7:30 02-Mendelssohn: Violin Concerto in E Minor, Op.64: II. Andante
DR13 -0.81 dB -19.46 dB 5:36 03-Mendelssohn: Violin Concerto in E Minor, Op.64: III. Allegretto non troppo
DR14 -1.73 dB -20.92 dB 14:47 04-Bartok: Violin Concerto No.2 (1938): I. Allegro non troppo
DR15 -4.45 dB -24.66 dB 9:05 05-Bartok: Violin Concerto No.2 (1938): II. Andante tranquillo
DR13 -2.41 dB -20.21 dB 10:59 06-Bartok: Violin Concerto No.2 (1938): III. Allegro molto
DR13 -6.77 dB -24.47 dB 20:27 07-Bartok: Sonate for Solo Violin (1944)
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 7
Official DR value: DR14

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 414 kbps
Codec: FLAC
================================================================================

Ivry Gitlis - The Art of Ivry Gitlis: Tchaikovsky, Bruch, Sibelius, Mendelssohn, Bartok (1992) 2CDs

All thanks to original releaser - PCzar

More interesting music in My Blog