Back Before Bach: Musical Journeys
Piffaro
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
|
1.1
|
Christ ist erstanden (setting à 3, Glogauer Liederbuch, ca. 140)
Anonymous; Piffaro |
1:07 | |||
|
1.2
|
Christ ist erstanden (setting à 4)
Heinrich Isaac; Piffaro |
0:52 | |||
|
1.3
|
Christ ist erstanden (setting à 5)
Heinrich Finck; Piffaro |
1:28 | |||
|
1.4
|
Christ ist erstanden (setting à 5)
Stephan Mahu; Piffaro |
1:20 | |||
|
1.5
|
Christ ist erstanden "Auf Bergreihenweis" (setting à 3)
Johann Walther; Piffaro |
1:26 | |||
|
1.6
|
Christ ist erstanden "Ad aequales" (setting à 4)
Johann Walther; Piffaro |
1:22 | |||
|
1.7
|
Christ ist erstanden (Chorale à 4)
Michael Praetorius; Piffaro |
1:27 | |||
|
1.8
|
Christ ist erstanden, BWV 276 (arr. for Chamber Ensemble)
Anonymous; Johann Sebastian Bach; Piffaro |
1:57 | |||
|
1.9
|
Innsbruck, ich muess dich lassen "Instrumental Fantasy" (arr. by J. Kimball for Chamber Ensemble)
Anonymous; Joan Kimball; Piffaro |
2:53 | |||
|
1.10
|
Innsbruck, ich muess dich lassen "Canon in Tenor" (arr. by R. Wiemken for Chamber Ensemble)
Anonymous; Robert Wiemken; Piffaro |
0:34 | |||
|
1.11
|
Innsbruck, ich muess dich lassen "Insprugk ick muss dich lassen" (arr. for Chamber Ensemble)
Anonymous; Heinrich Isaac; Piffaro |
0:38 | |||
|
1.12
|
Innsbruck, ich muess dich lassen "Bruder Conrads Tantzmass und nachtan"
Anonymous; Piffaro |
1:38 | |||
|
1.13
|
A solis ortus cardine
Caelius Sedulius; Piffaro |
0:32 | |||
|
1.14
|
A solis ortus cardine
Anonymous; Piffaro |
1:29 | |||
|
1.15
|
Christum wir sollen loben schon (Motet)
Johann Gottfried Walther; Piffaro |
1:04 | |||
|
1.16
|
Christum wir sollen loben schon (Hymnus)
Johann Gottfried Walther; Piffaro |
1:28 | |||
|
1.17
|
A solis ortus (Chorale)
Michael Praetorius; Piffaro |
2:10 | |||
|
1.18
|
A solis ortus (Motet)
Michael Praetorius; Piffaro |
1:46 | |||
|
1.19
|
A solis ortus (Canzona)
Samuel Scheidt; Piffaro |
2:28 | |||
|
1.20
|
Christum wir sollen loben schon, BWV 121 (arr. for Chamber Ensemble)
Anonymous; Johann Sebastian Bach; Piffaro |
0:57 | |||
|
1.21
|
Intrada
Johann Ghro; Piffaro |
1:30 | |||
|
Terpsichore
|
|||||
|
1.22
|
No. 283. Passameze in C Major
Michael Praetorius; Piffaro |
1:36 | |||
|
1.23
|
Allemande
Samuel Scheidt; Piffaro |
1:12 | |||
|
1.24
|
No. 210. Volte in G Major
Michael Praetorius; Piffaro |
1:00 | |||
|
1.25
|
Musica Dei donum optimi (arr. for Chamber Ensemble)
Anonymous; Orlande de Lassus; Piffaro |
2:30 | |||
|
Prophetiae sibyllarum "Carmina chromatico"
|
|||||
|
1.26
|
Prologue (arr. for Chamber Ensemble)
Anonymous; Orlande de Lassus; Piffaro |
1:16 | |||
|
1.27
|
Mirabile mysterium (arr. for Chamber Ensemble)
Anonymous; Jacobus Handl; Piffaro |
2:18 | |||
|
1.28
|
No. 6. Sibylla Samia (arr. for Chamber Ensemble)
Anonymous; Orlande de Lassus; Piffaro |
1:27 | |||
|
1.29
|
Da pacem, Domine (arr. for Chamber Ensemble)
Melchior Franck; Piffaro |
2:21 | |||
|
1.30
|
Melody "A Song from Andernach Along the Rhine" (arr. by J. Kimball for Chamber Ensemble)
Anonymous; Joan Kimball; Piffaro |
1:09 | |||
|
1.31
|
Tanndernac
Antoine Brumel; Piffaro |
2:26 | |||
|
1.32
|
Tandernaken op den Rijn (à 5)
Anonymous; Pierre Alamire; Piffaro |
2:28 | |||
|
Harmonice musices odhecaton, Canti A
|
|||||
|
1.33
|
Nos. 75 & 76. Tandernaken (arr. for Chamber Ensemble)
Jacob Obrecht; Piffaro |
2:15 | |||
|
1.34
|
Tandernack quinque (à 4)
Ludwig Senfl; Piffaro |
2:34 | |||
|
1.35
|
Ballet des Aveugles, TMA 281 (arr. byJ. Kimball for Chamber Ensemble)
Michael Praetorius; Joan Kimball; Piffaro |
2:34 | |||
|
Banchetto musicale
|
|||||
|
1.36
|
No. 22. Padouana à 4
Johann Hermann Schein; Piffaro |
2:10 | |||
|
Terpsichore
|
|||||
|
1.37
|
No. 109. La rosette
Michael Praetorius; Piffaro |
0:50 | |||
|
1.38
|
No. 2. Bransle simple de novelle, TMA 2
Michael Praetorius; Piffaro |
1:09 | |||
|
Digital Booklet
|
|||||
Piffaro is a so-called "Renaissance band" from Philadelphia who specialize in bringing to life the rich musical traditions of late Medieval and Renaissance Europe. With Back Before Bach they focus on composers from German and Franco-Flemish areas that preceded J.S. Bach (though that famous composer also gets a look in), presenting numerous arrangements of individual works and thereby offering numerous ways to experience these beautiful early secular and sacred pieces.
96 kHz / 24-bit PCM – Navona Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -4.80 -12.99 to -0.99 | -21.47 -27.18 to -19.02 | -18.31 -23.50 to -15.40 | 10 8 to 13 | |
| 1 | Christ ist erstanden (setting à 3, Glogauer Liederbuch, ca. 140) | -3.52 | -19.77 | -16.1 | 11 |
| 2 | Christ ist erstanden (setting à 4) | -2.02 | -19.03 | -15.4 | 10 |
| 3 | Christ ist erstanden (setting à 5) | -4.65 | -20.65 | -17.0 | 11 |
| 4 | Christ ist erstanden (setting à 5) | -3.37 | -19.16 | -16.3 | 10 |
| 5 | Christ ist erstanden "Auf Bergreihenweis" (setting à 3) | -3.85 | -19.20 | -16.1 | 9 |
| 6 | Christ ist erstanden "Ad aequales" (setting à 4) | -4.29 | -19.71 | -17.1 | 10 |
| 7 | Christ ist erstanden (Chorale à 4) | -1.80 | -19.02 | -15.6 | 11 |
| 8 | Christ ist erstanden, BWV 276 (arr. for Chamber Ensemble) | -2.81 | -20.81 | -17.5 | 11 |
| 9 | Innsbruck, ich muess dich lassen "Instrumental Fantasy" (arr. by J. Kimball for Chamber Ensemble) | -5.78 | -25.06 | -21.6 | 11 |
| 10 | Innsbruck, ich muess dich lassen "Canon in Tenor" (arr. by R. Wiemken for Chamber Ensemble) | -12.99 | -27.18 | -23.5 | 9 |
| 11 | Innsbruck, ich muess dich lassen "Insprugk ick muss dich lassen" (arr. for Chamber Ensemble) | -10.00 | -26.03 | -21.7 | 10 |
| 12 | Innsbruck, ich muess dich lassen "Bruder Conrads Tantzmass und nachtan" | -4.75 | -23.66 | -19.8 | 13 |
| 13 | A solis ortus cardine | -6.45 | -21.67 | -18.7 | 8 |
| 14 | A solis ortus cardine | -4.84 | -19.91 | -17.4 | 8 |
| 15 | Christum wir sollen loben schon (Motet) | -5.09 | -19.24 | -16.6 | 8 |
| 16 | Christum wir sollen loben schon (Hymnus) | -4.31 | -20.03 | -17.4 | 10 |
| 17 | A solis ortus (Chorale) | -3.26 | -19.60 | -16.7 | 10 |
| 18 | A solis ortus (Motet) | -4.41 | -21.69 | -19.2 | 10 |
| 19 | A solis ortus (Canzona) | -4.91 | -21.74 | -19.3 | 10 |
| 20 | Christum wir sollen loben schon, BWV 121 (arr. for Chamber Ensemble) | -8.02 | -22.71 | -19.7 | 9 |
| 21 | Intrada | -2.98 | -19.33 | -15.6 | 11 |
| 22 | No. 283. Passameze in C Major | -3.62 | -19.49 | -16.1 | 11 |
| 23 | Allemande | -5.10 | -20.58 | -17.8 | 11 |
| 24 | No. 210. Volte in G Major | -0.99 | -20.87 | -17.3 | 13 |
| 25 | Musica Dei donum optimi (arr. for Chamber Ensemble) | -1.92 | -22.10 | -18.9 | 11 |
| 26 | Prologue (arr. for Chamber Ensemble) | -4.46 | -22.88 | -20.2 | 11 |
| 27 | Mirabile mysterium (arr. for Chamber Ensemble) | -2.04 | -20.96 | -18.3 | 11 |
| 28 | No. 6. Sibylla Samia (arr. for Chamber Ensemble) | -3.79 | -21.35 | -18.6 | 10 |
| 29 | Da pacem, Domine (arr. for Chamber Ensemble) | -1.96 | -19.84 | -16.6 | 11 |
| 30 | Melody "A Song from Andernach Along the Rhine" (arr. by J. Kimball for Chamber Ensemble) | -9.96 | -26.45 | -23.4 | 9 |
| 31 | Tanndernac | -6.03 | -22.19 | -19.5 | 10 |
| 32 | Tandernaken op den Rijn (à 5) | -9.41 | -24.13 | -21.6 | 9 |
| 33 | Nos. 75 & 76. Tandernaken (arr. for Chamber Ensemble) | -7.79 | -23.30 | -20.6 | 10 |
| 34 | Tandernack quinque (à 4) | -4.85 | -21.49 | -18.8 | 10 |
| 35 | Ballet des Aveugles, TMA 281 (arr. byJ. Kimball for Chamber Ensemble) | -3.83 | -21.68 | -17.3 | 12 |
| 36 | No. 22. Padouana à 4 | -4.36 | -22.02 | -19.2 | 11 |
| 37 | No. 109. La rosette | -4.55 | -20.74 | -17.0 | 10 |
| 38 | No. 2. Bransle simple de novelle, TMA 2 | -3.62 | -20.63 | -16.3 | 11 |