Nathaniel Bartlett - Precipice: Modern Marimba (2006) MCH SACD ISO + DSD64 + Hi-Res FLAC
Nathaniel Bartlett - Precipice: Modern Marimba (2006)
SACD Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 51:29 minutes | Scans included | 2,95 GB
or DSD64 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Full Scans included | 1,42 GB
or FLAC 2.0 (carefully converted & encoded to tracks) 24bit/48 kHz | Full Scans included | 465 MB
Features Stereo and Multichannel Surround Sound
The orchestral marimba is one of the most expressive instruments in the percussion battery, and enterprising performers such as Nathaniel Bartlett have the goal of expanding its repertoire by commissioning new pieces and arrangements of works originally written for other instruments. Bartlett has a special interest in creating multidimensional sound environments using computers and other electronics, and two of these pieces commissioned by Bartlett employ electronics. In purely musical terms, both Allan Schindler's Precipice and Greg Wilder's Interlude are attractive additions to the repertoire of music for marimba and electronics. Schindler's work in particular creates a vivid and mysterious soundscape that seamlessly integrates the acoustic and electronic worlds.
The performance of Philip Glass' Opening, originally written for piano, is a pure pleasure. Bartlett's attention to Glass' nuanced dynamics and his subtle use of rubato make the piece shimmer, and the less percussive attack on the marimba suits this piece even better than the piano. Steve Reich's Vermont Counterpoint was originally scored for amplified flute, doubling piccolo and alto flute, and tape. In this arrangement by Bartlett, the character of the work is inevitably altered by lowering the stratospheric range of the original to accommodate the marimba. The timbral variety of the high, middle, and low registers of the marimba, however, corresponds to the qualities of the piccolo, flute, and alto flute, and in Bartlett's precise performance, each contrapuntal line emerges with clarity and retains its identity and integrity. The result is earthier, woodier, but no less kinetic and satisfying than the original. The sound quality on this SACD is superb and approximates the experience of hearing the works with the spatial separation critical to Bartlett's live performances.
Tracklist:
01. Opening
02. Precipice- for marimba and computer generated sounds
03. Interlude- for marimba and computer generated sounds
04. Silhouettes: I. Like Toru Takemitsu crossed with Bill Evans
05. Silhouettes: II. Like Igor Stravinsky crossed with Thelonious Monk
06. Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
07. Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
08. Vermont Counterpoint
foobar2000 1.6.13 / Dynamic Range Meter 1.1.1
––––––––––––––––––––––––––––––––––––––––
Analyzed: Nathaniel Bartlett, Modern Marimba / Precipice
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DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -10.08 dB -26.19 dB 6:31 01-Opening
DR17 -4.17 dB -29.43 dB 17:44 02-Precipice- for marimba and computer generated sounds
DR15 -5.07 dB -28.77 dB 5:41 03-Interlude- for marimba and computer generated sounds
DR13 -9.01 dB -29.70 dB 1:57 04-Silhouettes: I. Like Toru Takemitsu crossed with Bill Evans
DR12 -9.07 dB -26.87 dB 1:52 05-Silhouettes: II. Like Igor Stravinsky crossed with Thelonious Monk
DR15 -7.32 dB -29.41 dB 3:44 06-Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
DR14 -4.26 dB -23.76 dB 2:37 07-Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
DR12 -4.48 dB -22.58 dB 11:23 08-Vermont Counterpoint
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 8
Official DR value: DR14
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 5
Bits per sample: 1
Bitrate: 14112 kbps
Codec: DST64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Nathaniel Bartlett, Modern Marimba / Precipice
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -9.76 dB -23.23 dB 6:31 01-Opening
DR16 -4.02 dB -26.51 dB 17:44 02-Precipice- for marimba and computer generated sounds
DR13 -4.80 dB -24.27 dB 5:41 03-Interlude- for marimba and computer generated sounds
DR11 -7.20 dB -26.33 dB 1:57 04-Silhouettes: I. Like Toru Takemitsu crossed with Bill Evans
DR12 -9.22 dB -23.81 dB 1:52 05-Silhouettes: II. Like Igor Stravinsky crossed with Thelonious Monk
DR14 -8.75 dB -27.09 dB 3:44 06-Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
DR12 -4.64 dB -20.50 dB 2:37 07-Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
DR12 -4.02 dB -19.50 dB 11:23 08-Vermont Counterpoint
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 8
Official DR value: DR13
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DST64
––––––––––––––––––––––––––––––––––––––––
Analyzed: Nathaniel Bartlett, Modern Marimba / Precipice
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -10.08 dB -26.19 dB 6:31 01-Opening
DR17 -4.17 dB -29.43 dB 17:44 02-Precipice- for marimba and computer generated sounds
DR15 -5.07 dB -28.77 dB 5:41 03-Interlude- for marimba and computer generated sounds
DR13 -9.01 dB -29.70 dB 1:57 04-Silhouettes: I. Like Toru Takemitsu crossed with Bill Evans
DR12 -9.07 dB -26.87 dB 1:52 05-Silhouettes: II. Like Igor Stravinsky crossed with Thelonious Monk
DR15 -7.32 dB -29.41 dB 3:44 06-Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
DR14 -4.26 dB -23.76 dB 2:37 07-Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
DR12 -4.48 dB -22.58 dB 11:23 08-Vermont Counterpoint
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 8
Official DR value: DR14
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 5
Bits per sample: 1
Bitrate: 14112 kbps
Codec: DST64
================================================================================
––––––––––––––––––––––––––––––––––––––––
Analyzed: Nathaniel Bartlett, Modern Marimba / Precipice
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR10 -9.76 dB -23.23 dB 6:31 01-Opening
DR16 -4.02 dB -26.51 dB 17:44 02-Precipice- for marimba and computer generated sounds
DR13 -4.80 dB -24.27 dB 5:41 03-Interlude- for marimba and computer generated sounds
DR11 -7.20 dB -26.33 dB 1:57 04-Silhouettes: I. Like Toru Takemitsu crossed with Bill Evans
DR12 -9.22 dB -23.81 dB 1:52 05-Silhouettes: II. Like Igor Stravinsky crossed with Thelonious Monk
DR14 -8.75 dB -27.09 dB 3:44 06-Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
DR12 -4.64 dB -20.50 dB 2:37 07-Silhouettes: III. Like Pierre Boulez crossed with Oscar Peterson
DR12 -4.02 dB -19.50 dB 11:23 08-Vermont Counterpoint
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 8
Official DR value: DR13
Samplerate: 2822400 Hz / PCM Samplerate: 176400 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DST64
Thanks to grillbrill!
Uncompressed SACD ISO size > 2,81 GB
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