℗ 2023 MILANO DISCHI
Released | February 2, 2024 |
Duration | 42m 47s |
Record Label | Stradivarius |
Catalogue No. | STR37269 |
Genre | Classical (Baroque Era) |
The Sounds of Wood
Fulvio Fiorio, Gabriele Fiorio
Available in 88.2 kHz / 24-bit AIFF, FLAC high resolution audio formats
Flute Sonata in D Major (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio)
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1.1
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I. Adagio
Leonardo Vinci; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:31 | |||
1.2
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II. Allegro
Leonardo Vinci; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
3:02 | |||
1.3
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III. Largo
Leonardo Vinci; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:23 | |||
1.4
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IV. Pastorella
Leonardo Vinci; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:23 | |||
1.5
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V. Allegro
Leonardo Vinci; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:21 | |||
Flute Sonata in C Major, BWV 1033 (Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio)
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1.6
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I. Andante - Presto
Johann Sebastian Bach; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:39 | |||
1.7
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II. Allegro
Johann Sebastian Bach; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
2:31 | |||
1.8
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III. Adagio
Johann Sebastian Bach; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:52 | |||
1.9
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IV. Menuetto I-II
Johann Sebastian Bach; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
2:42 | |||
Fantasia in F-Sharp Minor, TWV 40:11
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1.10
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I. A tempo giusto
Georg Philipp Telemann; Fulvio Fiorio |
2:45 | |||
1.11
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II. Presto
Georg Philipp Telemann; Fulvio Fiorio |
0:59 | |||
1.12
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III. Moderato
Georg Philipp Telemann; Fulvio Fiorio |
1:15 | |||
1.13
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Invention No. 6 in E Major, BWV 777 (Arr. for Marimba by Gabriele Fiorio)
Johann Sebastian Bach; Gabriele Fiorio; Gabriele Fiorio |
3:18 | |||
Flute Sonata in C Major, Op. 13 No. 2 (Attrib. A. Vivaldi / Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio)
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1.14
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I. Preludio
Nicolas Chédeville; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:52 | |||
1.15
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II. Allegro assai
Nicolas Chédeville; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
3:30 | |||
1.16
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III. Sarabanda
Nicolas Chédeville; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
2:23 | |||
1.17
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IV. Allegro
Nicolas Chédeville; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:58 | |||
Flute Sonata in G Minor, Op. 13 No. 6 (Attrib. A. Vivaldi / Arr. for Flute & Marimba by Fulvio Fiorio & Gabriele Fiorio)
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1.18
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I. Vivace
Nicolas Chédeville; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:16 | |||
1.19
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II. Fuga da capella - Alla breve
Nicolas Chédeville; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:43 | |||
1.20
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III. Largo
Nicolas Chédeville; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
1:14 | |||
1.21
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IV. Allegro ma non presto
Nicolas Chédeville; Fulvio Fiorio; Gabriele Fiorio; Fulvio Fiorio; Gabriele Fiorio |
3:10 | |||
Digital Booklet
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"One hundred years of Romanticism, about sixty years of postromanticism and another sixty of filologic research and adhesion to "original versions" of past musical compositions got used to us badly.
Romanticism conditioned us to think that what was written by the hand of a composer has to be untouchable, a sacred document that's perfect like it is; postromanticism convinced us that this idea had to be applied to any artwork, even the ones that were written before the '800s; lastly, the meritorious and sacrosanct philologic enforcement to the research of the 'original text' have definitely forced us to believe that the only 'original version' of a composition is the one that reproduces exactly the text, recovered with all the tricks modern and performed with instruments as close as possible to the 'original' instruments of the time in which the composition was, in fact, composed.
These three elements, put together, even if they seem contradictory to each other, actually go to form a perfect storm, a kind of explosive mixture that makes people look askance artistic achievements such as the one proposed by the program of this album.
But fortunately, for some, very little indeed, time, we have awakened from these paths so tremendously binding, starting right from the end, from the last step. And so 'historically informed' executions, those in which, that is, the performers tell you “I know very well that I am playing with a modern instrument an ancient music, but I also know that…”.
Music has always been there, especially chamber music, which is done at home, among friends with the mere pleasure of playing together, is written for variable organics. And even if we find the name of one or more instruments on the title page of the critical edition, the author is actually giving the eventual executor only an 'executive suggestion', as if he was telling us: “check the range of your instrument, and if with it you can play the notes that are written, this song is for you”. Be it melodies or accompaniment chords. This has always been the meaning of chamber music. Making music together for someone to listen to, or just for the pleasure of making it."
- Maria Chiara Mazzi
88.2 kHz / 24-bit PCM – Stradivarius Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -2.48 -6.17 to -0.49 | -21.16 -24.63 to -18.75 | -18.09 -21.10 to -15.80 | 11 9 to 14 | |
1 | I. Adagio | -3.96 | -21.77 | -18.6 | 11 |
2 | II. Allegro | -1.70 | -20.26 | -17.3 | 12 |
3 | III. Largo | -4.31 | -23.13 | -20.1 | 10 |
4 | IV. Pastorella | -3.09 | -21.08 | -18.0 | 10 |
5 | V. Allegro | -0.70 | -21.51 | -18.2 | 12 |
6 | I. Andante - Presto | -1.27 | -21.07 | -18.0 | 11 |
7 | II. Allegro | -2.40 | -19.68 | -17.0 | 11 |
8 | III. Adagio | -4.81 | -22.26 | -19.2 | 10 |
9 | IV. Menuetto I-II | -1.03 | -20.04 | -17.1 | 13 |
10 | I. A tempo giusto | -2.03 | -22.85 | -19.4 | 13 |
11 | II. Presto | -3.85 | -24.44 | -21.1 | 12 |
12 | III. Moderato | -6.17 | -24.63 | -20.8 | 10 |
13 | Invention No. 6 in E Major, BWV 777 (Arr. for Marimba by Gabriele Fiorio) | -1.44 | -21.37 | -18.6 | 14 |
14 | I. Preludio | -3.17 | -21.10 | -18.3 | 11 |
15 | II. Allegro assai | -0.52 | -19.24 | -16.4 | 12 |
16 | III. Sarabanda | -3.23 | -20.74 | -17.6 | 9 |
17 | IV. Allegro | -0.94 | -19.29 | -16.2 | 12 |
18 | I. Vivace | -0.85 | -19.42 | -16.5 | 12 |
19 | II. Fuga da capella - Alla breve | -0.49 | -18.75 | -15.8 | 12 |
20 | III. Largo | -4.92 | -22.71 | -19.6 | 10 |
21 | IV. Allegro ma non presto | -1.26 | -19.06 | -16.0 | 12 |