℗ 2021 Stradivarius
| Released | November 19, 2021 |
| Duration | 1h 17m 18s |
| Record Label | Stradivarius |
| Catalogue No. | STR37206 |
| Genre | Classical (Piano) |
L'anima e la danza
Emanuele Torquati
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
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1.1
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Pavane pour une infante défunte, M. 19
Maurice Ravel; Emanuele Torquati |
7:25 | |||
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1.2
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In principio era la danza
Niccolò Castiglioni; Emanuele Torquati |
1:49 | |||
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Pieces de clavecin, Ordre No. 21
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1.3
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No. 3, La Couperin
François Couperin; Emanuele Torquati |
4:14 | |||
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Piano Figures
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1.4
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No. 1, Spell
George Benjamin; Emanuele Torquati |
0:51 | |||
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1.5
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No. 2, Knots
George Benjamin; Emanuele Torquati |
0:48 | |||
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1.6
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No. 3, In the Mirror
George Benjamin; Emanuele Torquati |
0:51 | |||
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1.7
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No. 4, Interruptions
George Benjamin; Emanuele Torquati |
1:24 | |||
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1.8
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No. 5, Song
George Benjamin; Emanuele Torquati |
1:55 | |||
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1.9
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No. 6, Hammers
George Benjamin; Emanuele Torquati |
1:20 | |||
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1.10
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No. 7, Alone
George Benjamin; Emanuele Torquati |
1:17 | |||
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1.11
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No. 8, Mosaic
George Benjamin; Emanuele Torquati |
1:28 | |||
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1.12
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No. 9, Around the Corner
George Benjamin; Emanuele Torquati |
2:08 | |||
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1.13
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No. 10, Whirling
George Benjamin; Emanuele Torquati |
0:55 | |||
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Pieces de clavecin, Ordre No. 6
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1.14
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No. 5, Les baricades mistérieuses
François Couperin; Emanuele Torquati |
1:58 | |||
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1.15
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Berceuse in D-Flat Major, Op. 57, B. 154
Frédéric Chopin; Emanuele Torquati |
4:34 | |||
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1.16
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Berceuse for Piano
Francesco Filidei; Emanuele Torquati |
6:52 | |||
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Elegien, BV 249
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1.17
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No. 7, Berceuse, BV 252
Ferruccio Busoni; Emanuele Torquati |
5:02 | |||
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Pieces de clavecin, Ordre No. 25
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1.18
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No. 5, Les ombres-errantes
François Couperin; Emanuele Torquati |
4:02 | |||
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1.19
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Nocturne No. 13 in B Minor, Op. 119
Gabriel Fauré; Emanuele Torquati |
7:24 | |||
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3 Petites études mélancoliques
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1.20
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No. 1, —
Gérard Pesson; Emanuele Torquati |
1:19 | |||
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1.21
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No. 2, —
Gérard Pesson; Emanuele Torquati |
1:52 | |||
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1.22
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No. 3, —
Gérard Pesson; Emanuele Torquati |
1:49 | |||
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Valses nobles et sentimentales, M. 61
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1.23
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No. 1, Modéré, très franc
Maurice Ravel; Emanuele Torquati |
1:34 | |||
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1.24
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No. 2, Assez lent, avec une expression intense
Maurice Ravel; Emanuele Torquati |
2:11 | |||
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1.25
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No. 3, Modéré
Maurice Ravel; Emanuele Torquati |
1:33 | |||
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1.26
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No. 4, Assez animé
Maurice Ravel; Emanuele Torquati |
1:17 | |||
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1.27
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No. 5, Presque lent, dans un sentiment intime
Maurice Ravel; Emanuele Torquati |
1:20 | |||
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1.28
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No. 6, Vif
Maurice Ravel; Emanuele Torquati |
0:43 | |||
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1.29
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No. 7, Moins vif
Maurice Ravel; Emanuele Torquati |
3:15 | |||
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1.30
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No. 8, Épilogue. Lent
Maurice Ravel; Emanuele Torquati |
4:08 | |||
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Digital Booklet
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“L’Ame et la Danse” (1921) is the title of a fictitious dialogue where the French poet Paul Valéry portrays Life as a dancing woman. Valéry, through an ethereal mixture of sound and sense, creates Music for a body in continuous vital transformation. The musical path presented in my latest recording aims at exploring a kaleidoscope of sounds that belongs to extremely diverse musical and poetic worlds. Some of the pieces interpreted do not have a close thematic connection with dance instead they have a relationship with the soul. After all, this essential component of the human being has an inner and silent rhythm, an inextinguishable movement. The Dialogue between Couperin’s musical personifications and their twofold essence at times is ironic and stylised as in Castiglioni, Benjamin, Filidei and Pesson and at times is oneiric, as in Chopin, Busoni and Faurè. This imaginary journey is framed by Ravel’s sublime reinterpretations of the Pavane and Waltz genres, summarized by Henri de Régnier’s epigraph: “Le plaisir délicieux et toujours nouveau d’une occupation inutile”.
96 kHz / 24-bit PCM – Stradivarius Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -5.61 -14.77 to -1.54 | -27.48 -45.60 to -18.34 | -23.47 -39.70 to -14.30 | 13 10 to 19 | |
| 1 | Pavane pour une infante défunte, M. 19 | -2.14 | -25.90 | -21.9 | 14 |
| 2 | In principio era la danza | -4.03 | -26.20 | -21.9 | 14 |
| 3 | No. 3, La Couperin | -8.55 | -27.77 | -25.1 | 12 |
| 4 | No. 1, Spell | -12.30 | -35.34 | -30.6 | 11 |
| 5 | No. 2, Knots | -4.02 | -27.63 | -24.1 | 13 |
| 6 | No. 3, In the Mirror | -2.39 | -20.54 | -17.2 | 10 |
| 7 | No. 4, Interruptions | -1.68 | -20.35 | -15.6 | 12 |
| 8 | No. 5, Song | -3.27 | -26.27 | -22.4 | 14 |
| 9 | No. 6, Hammers | -1.54 | -18.34 | -14.3 | 12 |
| 10 | No. 7, Alone | -12.94 | -33.76 | -30.0 | 11 |
| 11 | No. 8, Mosaic | -14.77 | -34.88 | -30.0 | 11 |
| 12 | No. 9, Around the Corner | -2.26 | -24.16 | -19.7 | 13 |
| 13 | No. 10, Whirling | -1.72 | -18.95 | -14.9 | 11 |
| 14 | No. 5, Les baricades mistérieuses | -9.34 | -26.41 | -23.8 | 11 |
| 15 | Berceuse in D-Flat Major, Op. 57, B. 154 | -9.31 | -28.38 | -25.4 | 12 |
| 16 | Berceuse for Piano | -4.24 | -29.99 | -25.5 | 16 |
| 17 | No. 7, Berceuse, BV 252 | -3.76 | -25.99 | -23.2 | 13 |
| 18 | No. 5, Les ombres-errantes | -10.75 | -29.15 | -26.5 | 12 |
| 19 | Nocturne No. 13 in B Minor, Op. 119 | -1.88 | -21.11 | -17.9 | 12 |
| 20 | No. 1, — | -3.54 | -37.85 | -29.0 | 17 |
| 21 | No. 2, — | -7.63 | -40.49 | -32.7 | 19 |
| 22 | No. 3, — | -13.67 | -45.60 | -39.7 | 15 |
| 23 | No. 1, Modéré, très franc | -1.81 | -18.62 | -15.3 | 10 |
| 24 | No. 2, Assez lent, avec une expression intense | -2.75 | -27.31 | -23.3 | 15 |
| 25 | No. 3, Modéré | -4.41 | -26.11 | -23.0 | 12 |
| 26 | No. 4, Assez animé | -4.20 | -23.87 | -21.2 | 11 |
| 27 | No. 5, Presque lent, dans un sentiment intime | -9.40 | -29.33 | -26.3 | 11 |
| 28 | No. 6, Vif | -4.19 | -25.35 | -22.4 | 10 |
| 29 | No. 7, Moins vif | -1.67 | -19.83 | -15.7 | 10 |
| 30 | No. 8, Épilogue. Lent | -4.05 | -28.83 | -25.4 | 15 |