Rameau, Jean-Philippe: Suites from Dardanus and Le Temple de la Gloire.Rameau, Jean-Philippe Rameau, Jean-Philippe (baptized Sept. 25, 1683, Dijon, France—died Sept. 12, 1764, Paris) French composer and music theorist. Son of an organist, he held organist posts until he was 49. His Treatise on Harmony (1722) established him as a major music theorist. : Suites from Dardanus and Le Temple de la Gloire Le temple de la Gloire (The Temple of Glory) is an opĂ©ra-ballet in five acts by Jean-Philippe Rameau. The work was first performed on 27 November, 1745 at the Grande Ecurie, Versailles, and is set to a libretto by Voltaire. . Tafelmusik Baroque Orchestra The Baroque orchestra is the earliest example of a true orchestra which came into existence in the mid-late 1600s. Its origins were in France where Jean-Baptiste Lully added the newly re-designed hautboy and transverse flutes to his vingt-quatre violons du Roy. . Recorded in 2001, at the George Weston George Weston (March 23, 1864 - April 6, 1924) was an American-born businessman in Canada and a municipal politician in the city of Toronto, Ontario. Born in Oswego, New York, he was a small boy when his family moved to Canada, settling in the city of Toronto. Recital Hall, Toronto Center for the Arts. Engineer: Doug Doctor. 67+ minutes. CBC (1) (Cell Broadcast Center) See cell broadcast. (2) (Cipher Block Chaining) In cryptography, a mode of operation that combines the ciphertext of one block with the plaintext of the next block. 5229. As the flyer that came with the recording states, "French Baroque opera was a grand theatrical spectacle with music, drama, ballet, and scenic effects all playing equally important roles. The scores include a wealth of instrumental music, in the form of ouvertures, dramatic symphonies, atmospheric preludes, and innumerable dances." What we have here are instrumental excerpts from two of Rameau's operas, and the result, as performed by this most excellent ensemble, is almost symphonic in texture. The sound is rich and full, with an excellent left-right spread and realistic imaging. The string sound is exceptionally clear, and reflects the kind of detail and transparency we find with period-instrument presentations. However, the full orchestral blend is considerably richer than what we typically have with such ensembles, and the result has a surprisingly modern sense of texture, space, and color. When I engaged the smaller hall simulations possible with the Yamaha DSP-A1 processor/ amp in my middle system the sound took on a peerless quality that easily would match anything I have heard on 5.1 multi-channel releases. (More on 5.1 channel audio up ahead.) The Dunlavy Cantatas worked to near perfection and the blend added by the four wide-dispersing Allison surround speakers was easily superior to straight stereo. (Two of these are refurbished Model Fours and two are Radio Shack See RadioShack. mini units that have Allison tweeters and crossovers.) In my main system's somewhat larger listening room, the Dolby Pro Logic See Dolby Surround. II and Classical/Opera processing available from the RX-Z1 receiver (reviewed by me in issue 93), plus my regular package of Allison speakers (two IC-20s, a custom center with Allison drivers, four Model Fours and two AV-1 minispeakers), was possibly a tad better. At least when listening from anywhere but the sweet spot. This is a superior-sounding recording that demands the best playback-system package possible. |
|
||||||||||||||||
Printer friendly
Cite/link
Email
Feedback
Reader Opinion