℗ 2022 Profil Medien Gmbh/ Haenssler Classic
| Released | June 2, 2023 |
| Duration | 49m 53s |
| Record Label | haenssler CLASSIC |
| Catalogue No. | HC |
| Genre | Classical |
Guitar Intersections
Ivan Petričević
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
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1.1
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Danza Mora
Francisco Tárrega; Ivan Petričević |
1:42 | |||
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María
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1.2
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Maria
Francisco Tárrega; Ivan Petričević |
1:23 | |||
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Sonata
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1.3
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I. Allegro moderato
Antonio José; Ivan Petričević |
6:36 | |||
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1.4
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II. Minueto
Antonio José; Ivan Petričević |
2:46 | |||
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1.5
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III. Pavana Triste
Antonio José; Ivan Petričević |
4:46 | |||
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1.6
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IV. Final
Antonio José; Ivan Petričević |
4:27 | |||
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1.7
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Romance del pescador
Manuel de Falla; Ivan Petričević |
2:00 | |||
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1.8
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Cancion del fuego fatuo
Manuel de Falla; Ivan Petričević |
1:50 | |||
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Suite castellana
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1.9
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Fandanguillo
Federico Moreno Torroba; Ivan Petričević |
1:39 | |||
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1.10
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Arada
Federico Moreno Torroba; Ivan Petričević |
3:37 | |||
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1.11
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Danza
Federico Moreno Torroba; Ivan Petričević |
2:09 | |||
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1.12
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Seguidilla
Emilio Pujol; Ivan Petričević |
3:36 | |||
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1.13
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Guajira
Emilio Pujol; Ivan Petričević |
4:35 | |||
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1.14
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Estudio No. 3, Cancion Paramena
Efrain Silva; Ivan Petričević |
1:58 | |||
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1.15
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Estudio No. 15, Extudio con Pajarillo
Efrain Silva; Ivan Petričević |
2:52 | |||
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1.16
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Estudio No. 5, para Laura
Efrain Silva; Ivan Petričević |
3:57 | |||
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Digital Booklet
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The starting point for our attention here is the work of the Spanish composer, guitarist and guitar teacher Francisco Tarrega ( 1852-1909), whose "school" influenced numerous Spanish composers who, like Tarrega himself, saw the guitar as Spain's national instrument. The 19th century was a time when large concert halls were being constructed, something which, as the guitar began to enjoy increasing popularity, became rather problematic for guitarists, particularly as far as the acoustics were concerned. It was the Spanish guitar maker Antonio Torres ( 1817-1892) who, basing his designs on those of previous guitar makers, combined with the most up-to-date research into acoustics, developed larger instruments, something which Tarrega found vitally interesting, so much so that he developed a new playing technique. Through the evolution of his style of legato fretting and his own particular perception of the diverse timbral possibilities of the guitar, Tarrega created sounds that virtually made the in-strument sing.
96 kHz / 24-bit PCM – haenssler CLASSIC Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -1.40 -6.96 to -0.29 | -21.71 -25.59 to -18.62 | -18.74 -22.00 to -15.70 | 14 11 to 16 | |
| 1 | Danza Mora | -0.29 | -22.17 | -19.4 | 16 |
| 2 | Maria | -2.43 | -22.53 | -19.3 | 14 |
| 3 | I. Allegro moderato | -0.29 | -21.49 | -18.5 | 14 |
| 4 | II. Minueto | -1.30 | -21.26 | -18.5 | 14 |
| 5 | III. Pavana Triste | -0.61 | -22.44 | -19.2 | 14 |
| 6 | IV. Final | -0.29 | -18.62 | -15.7 | 12 |
| 7 | Romance del pescador | -4.86 | -25.59 | -22.0 | 13 |
| 8 | Cancion del fuego fatuo | -0.29 | -21.40 | -18.7 | 14 |
| 9 | Fandanguillo | -0.29 | -21.47 | -18.1 | 13 |
| 10 | Arada | -0.29 | -24.48 | -21.2 | 16 |
| 11 | Danza | -0.29 | -21.97 | -18.9 | 14 |
| 12 | Seguidilla | -0.29 | -20.40 | -17.7 | 15 |
| 13 | Guajira | -0.29 | -19.82 | -16.9 | 13 |
| 14 | Estudio No. 3, Cancion Paramena | -6.96 | -23.33 | -20.7 | 11 |
| 15 | Estudio No. 15, Extudio con Pajarillo | -0.31 | -18.98 | -16.2 | 12 |
| 16 | Estudio No. 5, para Laura | -3.32 | -21.43 | -18.9 | 12 |