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Fidelis Records Audiophile Master Series!
Recorded Live, Direct-To-Master using Tube Equipment! Extraordinary Dynamic and Lifelike Sound!

The Fidelis Record Philosophy: 
It is Fidelis Records’ fervent belief that the life, the energy, the soul of the music and the magic that happens between musicians is unique to the live performance and is unattainable when individual performers record their tracks independently and are later joined together in a mix. So what you get from Fidelis Records are LIVE recorded performances.

What this means is that the music Fidelis Records records is always: 
• Played LIVE, start to finish, DIRECT-TO-MASTER, without over-dubbing or splicing together of notes.
• Recorded in acoustical spaces that allow the music to LIVE. The rooms that Fidelis uses are typically old church sanctuaries, art museums, or theatrical venues, chosen for their clean, balanced, and natural sound
• The signal path must be kept as short as possible and the typical electronic processing such as compressing, limiting and equalization are not used. Fidelis Records uses mostly custom tube recording equipment made by Tube Research Labs, Inc. In turn, the recording is extraordinarily dynamic and lifelike!
• Each disc is then made individually, burnt in «realtime» not stamped on a gold CD-R for dramatically increased fidelity and sound.

J.S. Bach understood to perfection not only the «possibilities» of all stringed instruments. He also profoundly understood the individual technical and musical character of each stringed instrument, as well as its limitations. Nowhere is Bach’s holistic understanding of a stringed instrument more evident than in his six works for violoncello solo. Bach writes completely in harmony with the natural pitch, tone quality, and pace of the violoncello.

Vivaldi was progressive musically. He established the concerto form as an instrumental standard, played with the idea that the soloist was at war with the larger orchestra and using the contrasts to dramatic effect, not only between players but in speed and volume levels as well, and he pushed the envelope on violin technique, something in which he probably remained untouched until Paganini. His usual writing style was antiphony, a simple style, which allowed him to experiment with instrument solos and maintain a light and innocent texture to the music.

• 16Bit/44.1kHz Stereo SACD
• Direct Stream Digital (DSD)
• Super Audio CD
• SACD Stereo SACD Layer
• This Hybrid SACD contains a ‘Red Book’ Stereo CD Layer which is playable on most conventional CD Players!
• Fidelis Records Audiophile Master Series
• Direct-To-Master Recording
• No Over-Dubbing or Splicing Together of Notes
• Recorded with Custom Tube Equipment from Tube Research Labs
• Recorded February 2001 at The Pumphouse Art Gallery, Niagara on the Lake, Ontario and at the Friedman Concert Hall, Kleinburg, Ontario.

Nata Belkin, cello
Ludovit Kanta, cello
Daniel Friedman, piano

Antonio Vivaldi (1678-1741)
Sonata for Violoncello and Piano in A minor:
1. Largo
2. Allegro
3. Largo
4. Allegro
Johann Sebastian Bach (1685-1750)
Suite No.2 in D minor for Violoncello Solo
5. Prelude
Suite No.5 in C minor for Violoncello Solo
6. Gigue
Zoltan Kodaly (1882-1967)
Sonata for Violoncello Solo Op.8
7. 2nd Movemnet – Adagio
8. 3rd Movement – Allegro vivace

Total Time: 44:48