DIESE BD25 DTS-HD MASTER AUDIO DISC BIETET EIN PHANTASTISCHES REELLES KLANGERLEBNIS, WENN SIE MIT DER PLAYSTATION 3 (LPCM-AUSGANG) ODER EINEM BLU-RAY-PLAYER MIT DTS-HD MASTER AUDIO-AUSGANG, DER MIT EINEM 1.3 HDMI-KABEL AN DEN DTS-HD MASTER AUDIO-RECEIVER ANGESCHLOSSEN IST, ABGESPIELT WIRD. WIR EMPFEHLEN DIE AUFSTELLUNG DER 7.1 (6.1;5.1 SURROUND-SOUND) FULL-RANGE-LAUTSPRECHER FÜR DIE VOLLE WAHRNEHMUNG DER REALITÄTSNAHEN WIEDERGABE UND DES TIEFTONKANALS, DER FÜR DIESE AUFNAHME SEHR WICHTIG IST. BITTE BEACHTEN SIE, DASS DIESE AUFNAHME URSPRÜNGLICH FÜR 5.1 SURROUND-SOUND PRODUZIERT WURDE UND NUN FÜR DIE 7.1 SURROUND-SOUND-WIEDERGABE VORLIEGT, UM IHNEN DIE EINZIGARTIGE REALISTISCHE KLANGQUALITÄT ZU BIETEN.
Dies ist eine Audio-Only Disc.
Alexander Jero has licensed the original Arts Music release and repurposed it for DTS-HD MA 7.1 with his usual attention to detail. This is such thrillingly multifaceted music that the surround medium seems made for it. Aside from the absolute clarity of the recording itself, the surround channels provide ample opportunity for discrete channeling of individual instruments, so that Bach's contrapuntal linear writing is delivered in a sonically clean environment. The range of frequencies is reproduced here with unerring accuracy, from the light feathery sounds of the flute to the boisterous low strings and natural horns. Likewise dynamics are rendered beautifully, with bombastic tutti sections contrasting nicely with the quieter solos of the harpsichord in the Tripelkonzert. The warmth of this recording is truly remarkable. Strings and flutes are especially full bodied, with a fulgent tone that is a joy to listen to. Il Barocchisti's performance is top notch all the way around, and this Surround Records 7.1 mix is brilliantly effective. These are gorgeously diverse and brilliantly evocative pieces, ranging from the famous (if misnamed, at least in this version) 'Air on a G String' from the Orchestral Suite No. 3 or No. 2's popular 'Badinerie' to lesser known, if equally enjoyable, fare like the Forlane from the First Suite. Bach is a composer of untold melodic invention, and these varying dance forms offered him rhythmic opportunities that some of his more staid and stolid vocal music just couldn't. Even with the propulsive nature of some of the faster movements in each of the Suites, Bach's contrapuntal genius is always fully on display, and this Surround Records 7.1 rendering presents a crystal clear window into Bach's vertical and horizontal musical thinking. Lines weave and dodge around each other and it's often fascinating to hear musical periods being handed off to various groups, with, for example, the oboes finishing an idea started by the flutes, or the brass and strings in a musical conversation with each other. Perhaps lesser known is the Triple Concerto (Tripelkonzert), BMV 1044, a Concerto for harpsichord, flute and violin in A minor comprised of three movements. Though perhaps incorrectly called a triple concerto, this piece is probably just as incorrectly sometimes termed a flute concerto when it's actually the harpsichord that has the most prominent role. This is a work which is undeniably culled from two prior Bach pieces. The first and third movements originally appeared, at least in some form, in the A minor concerto for (solo) harpsichord (BMV 894), while the middle movement comes from the D minor organ sonata (BMV 527). This is lovely and virtuosic writing, especially for the harpsichord, which has the same sort of incredible cadenzas that make the Fifth Brandenburg so incredible. The wonderful thing about the Bach purely instrumental music is that it is so malleable and easily adaptable to various times and events. While I myself may find it unusually 'Christmasy' someone else may find it more redolent of other liturgical seasons, or indeed of something completely secular and non religious. One way or the other, there's no denying the irrepressible spirit that surges through these pieces, and this wonderful Surround Records release offers that spirit in a stunningly clear and beautifully detailed rendering with magnificent playing and interpretation by Il Barocchisti. Blu-ray audio may never be the world beater that its proponents hope for, but I for one am becoming more and more of an acolyte, ready to sing the praises of the format to anyone who will listen (literally). Releases like this resplendent set of Bach pieces can only help to raise the appreciation level of the public at large for the glories of lossless Blu-ray audio. (Jeffrey Kauffman (Blu-ray.com))