℗ 2024 Challenge Classics
| Released | October 18, 2024 |
| Duration | 53m 38s |
| Record Label | Challenge Classics |
| Catalogue No. | CC72991 |
| Genre | Classical |
Sonatas for Violoncello
Octavie Dostaler-Lalonde
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
|
Sonata for Cello and Basso Continuo, Op. 5 No. 2
|
|||||
|
1.1
|
I. Andante
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
2:05 | |||
|
1.2
|
II. Presto
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
4:30 | |||
|
1.3
|
III. Adagio
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
3:02 | |||
|
1.4
|
IV. Allegro
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
1:40 | |||
|
The Art of Playing the Guitar or Cittra (Arranged for Cello Piccolo and b.c.)
|
|||||
|
1.5
|
Canon
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
4:26 | |||
|
Sonata for Cello and Basso Continuo, Op. 5 No. 3
|
|||||
|
1.6
|
I. Andante
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
2:50 | |||
|
1.7
|
II. Allegro
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
3:04 | |||
|
1.8
|
III. Affettuoso
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
2:05 | |||
|
1.9
|
IV. Allegro
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
2:32 | |||
|
Sonata for two Violins and Continuo, Op. 1 No. 2 (Arranged for two Cello Piccolos)
|
|||||
|
1.10
|
I. Grave
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
2:33 | |||
|
1.11
|
II. Allegro - Adagio
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
0:46 | |||
|
1.12
|
III. Allegro
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
3:20 | |||
|
The Art of Playing the Guitar or Cittra (Arranged for Cello Piccolo and b.c.)
|
|||||
|
1.13
|
Affettuoso
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
2:20 | |||
|
Sonata for Cello and Basso Continuo, Op. 5 No. 1
|
|||||
|
1.14
|
I. Andante
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
1:35 | |||
|
1.15
|
II. Allegro
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
3:37 | |||
|
1.16
|
III. Andante
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
0:45 | |||
|
1.17
|
IV. Allegro
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
4:02 | |||
|
Sonata for Cello and Basso Continuo, Op. 5 No. 6
|
|||||
|
1.18
|
I. Adagio
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
0:38 | |||
|
1.19
|
II. Allegro assai - Grave
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
3:37 | |||
|
1.20
|
III. Allegro - Non tanto
Francesco Geminiani; Octavie Dostaler-Lalonde; Postscript |
4:11 | |||
What first intrigued me about Geminiani as a musical figure was his propensity for unpredictable, asymmetrical and improvisatory style—both as a composer and as a performer. If his tempo rubato was apparently too wild for the Neapolitan musicians, his performances were greatly admired for their elegance and taste in England. My everlasting fascination with tempo rubato and the art of “reading between the lines” in terms of tempo, flexibility and rhythmic variations have led me to approach Geminiani’s music with this angle in mind. Moreover, during the recording sessions, many musical aspects—such as ornamentation, continuo realization, and dynamics—were intentionally left to the musicians’ extemporaneous decisions. We used the diversity of colors found in the various instruments forming the continuo group (harpsichord, cello, cello piccolo, violone, theorbo) to create different textures for each movement. Almost like in jazz, each instrument is given its moment to come to the foreground and emerge from the sound of the group.
96 kHz / 24-bit PCM – Challenge Classics Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -3.62 -9.66 to -1.01 | -23.64 -27.02 to -21.96 | -20.70 -24.00 to -18.90 | 13 10 to 14 | |
| 1 | I. Andante | -3.23 | -22.08 | -19.4 | 11 |
| 2 | II. Presto | -2.88 | -22.62 | -20.0 | 14 |
| 3 | III. Adagio | -2.03 | -22.11 | -19.4 | 13 |
| 4 | IV. Allegro | -4.69 | -24.36 | -21.5 | 12 |
| 5 | Canon | -1.82 | -22.56 | -19.9 | 14 |
| 6 | I. Andante | -1.84 | -24.80 | -21.6 | 14 |
| 7 | II. Allegro | -5.09 | -23.61 | -20.3 | 12 |
| 8 | III. Affettuoso | -2.79 | -21.96 | -18.9 | 12 |
| 9 | IV. Allegro | -2.63 | -23.10 | -20.0 | 13 |
| 10 | I. Grave | -3.19 | -22.65 | -19.8 | 12 |
| 11 | II. Allegro - Adagio | -7.27 | -26.92 | -24.0 | 12 |
| 12 | III. Allegro | -3.04 | -23.25 | -20.4 | 13 |
| 13 | Affettuoso | -4.14 | -23.54 | -20.3 | 12 |
| 14 | I. Andante | -3.99 | -23.98 | -21.0 | 11 |
| 15 | II. Allegro | -2.78 | -22.58 | -19.9 | 13 |
| 16 | III. Andante | -1.93 | -22.43 | -19.1 | 13 |
| 17 | IV. Allegro | -2.64 | -23.02 | -20.3 | 14 |
| 18 | I. Adagio | -9.66 | -26.83 | -23.5 | 10 |
| 19 | II. Allegro assai - Grave | -1.01 | -23.36 | -20.7 | 14 |
| 20 | III. Allegro - Non tanto | -5.76 | -27.02 | -23.9 | 14 |