℗ 2024 Claves Records
| Released | June 7, 2024 |
| Duration | 1h 03m 53s |
| Record Label | Claves Records |
| Catalogue No. | CD-3080 |
| Genre | Classical (Concerto) |
Pierre Wissmer: The Violin Concertos
Oleg Kaskiv, Sinfonia Varsovia, Aleksandar Marković
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
|
Concerto No. 1 pour violon et orchestre
|
|||||
|
1.1
|
I. Allegro
Pierre Wissmer; Oleg Kaskiv; Sinfonia Varsovia; Aleksandar Marković |
8:18 | |||
|
1.2
|
II. Fugue
Pierre Wissmer; Oleg Kaskiv; Sinfonia Varsovia; Aleksandar Marković |
6:13 | |||
|
1.3
|
III. Finale. Vivace
Pierre Wissmer; Oleg Kaskiv; Sinfonia Varsovia; Aleksandar Marković |
6:02 | |||
|
Concerto No. 2 pour violon et orchestre
|
|||||
|
1.4
|
I. Allegro risoluto
Pierre Wissmer; Oleg Kaskiv; Sinfonia Varsovia; Aleksandar Marković |
9:32 | |||
|
1.5
|
II. Molto moderato
Pierre Wissmer; Oleg Kaskiv; Sinfonia Varsovia; Aleksandar Marković |
8:01 | |||
|
1.6
|
III. Allegro con spirito
Pierre Wissmer; Oleg Kaskiv; Sinfonia Varsovia; Aleksandar Marković |
8:28 | |||
|
Concerto No. 3 pour violon et orchestre
|
|||||
|
1.7
|
I. ♩ = 108
Pierre Wissmer; Oleg Kaskiv; Sinfonia Varsovia; Aleksandar Marković |
5:23 | |||
|
1.8
|
II. ♩ = 62
Pierre Wissmer; Oleg Kaskiv; Sinfonia Varsovia; Aleksandar Marković |
6:03 | |||
|
1.9
|
III. ♩ = 108
Pierre Wissmer; Oleg Kaskiv; Sinfonia Varsovia; Aleksandar Marković |
5:53 | |||
As a composer who developed an original language, Pierre Wissmer travelled through the 20th century with total independence. He composed an abundant body of work covering all musical genres: nine symphonies, several concertos, ballets, music for radio programmes, chamber music and vocal pieces. The three violin concertos bear witness to the composer’s aesthetic evolution. From the modal anchoring of the first concerto, composed in 1942 in the wake of the first symphony and the first piano concerto, he moved on to a writing style that sometimes borrows from the twelve-tone language in his second concerto, composed in 1954. Finally, the tonal suspension of the third concerto (1987) reflects a spirit of great freedom characteristic of the composer’s last works. Despite their differences, the three violin concertos reveal a profound stylistic unity shaped by an extreme taste for formal construction, the art of counterpoint and the science of orchestration.
96 kHz / 24-bit PCM – Claves Records Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -1.92 -6.49 to -0.30 | -27.18 -30.79 to -23.91 | -24.01 -27.70 to -20.70 | 16 15 to 18 | |
| 1 | I. Allegro | -0.58 | -23.91 | -20.7 | 15 |
| 2 | II. Fugue | -1.57 | -25.97 | -23.0 | 15 |
| 3 | III. Finale. Vivace | -0.30 | -25.30 | -22.2 | 17 |
| 4 | I. Allegro risoluto | -0.30 | -26.72 | -23.4 | 18 |
| 5 | II. Molto moderato | -4.18 | -30.75 | -27.7 | 17 |
| 6 | III. Allegro con spirito | -2.04 | -26.96 | -23.8 | 17 |
| 7 | I. ♩ = 108 | -1.55 | -26.14 | -23.2 | 16 |
| 8 | II. ♩ = 62 | -6.49 | -30.79 | -27.4 | 16 |
| 9 | III. ♩ = 108 | -0.30 | -28.11 | -24.7 | 17 |