Ying Quartet, Adam Neiman - Anton Arensky: String Quartets Nos. 1 & 2; Piano Quintet (2011)
Ying Quartet - Anton Arensky: String Quartets Nos. 1 & 2; Piano Quintet (2011)
EAC | FLAC | Tracks (Cue&Log) ~ 363 Mb | Mp3 (CBR320) ~ 177 Mb | Scans ~ 47 Mb
Classical | Label: Sono Luminus | # DSL-92143 | Time: 01:17:07
EAC | FLAC | Tracks (Cue&Log) ~ 363 Mb | Mp3 (CBR320) ~ 177 Mb | Scans ~ 47 Mb
Classical | Label: Sono Luminus | # DSL-92143 | Time: 01:17:07
Though a pupil of the great orchestrator Rimsky-Korsakov, and in turn a teacher to the likes of Rachmaninov, Glière, and Scriabin, Anton Arensky himself is a composer often forgotten when contemplating the Russian greats. Productive in many genres, it is perhaps in his chamber music that this unduly neglected composer truly shines. His writing has much of the same textural sophistication and melodic beauty as his close friend, Tchaikovsky. In fact, the theme on which the Second Quartet's Variations are based is drawn from a Tchaikovsky quartet. Performing Arensky's First and Second string quartets, along with the Piano Quintet, is the Ying Quartet. This ensemble's playing is characterized by a surprisingly precise, consistent uniformity of sound and exactness of articulation, making it seem as if a single instrument were playing as opposed to four independent parts. All aspects of their technical execution are polished and refined, which only enhances their equally enjoyable musical effusiveness, rich, deep tone, and understanding of Arensky's scores that casts them in the best possible light. This level of integrity continues when the quartet is joined by pianist Adam Neiman (whose name is criminally absent from the album's cover, and only mentioned in one fleeting passage in the liner notes). The same consistency of sound production and ensemble cohesiveness provides listeners with a highly enjoyable way to experience Arensky's chamber works.Review by Mike D. Brownell, Allmusic.com
Anton Arensky’s String Quartet No. 1 appeared in 1888, six years after he graduated from the Leningrad Conservatory, and immediately joined the Moscow Conservatory as professor of harmony and counterpoint. (The requirements were much lighter at the time, in a culture where classical music was essentially viewed as a new Russian art form, earlier isolated musicians such as Dmitri Bortniansky, Yevstigni Fomin, and Mikhail Glinka notwithstanding.) It reveals the pronounced influence of Tchaikovsky, who became a mentor and friend of his younger colleague. Not always to the good, either, as the first and third movements meander pleasantly with little of distinction to say and less energy to convey it, all much in Tchaikovsky’s worst manner. The andante sostenuto is better, a simple, lyrical song whose charm lies in its rich accompanying harmonies, while a central section nods perfunctorily at counterpoint. The finale is by far the best thing in the work, a theme and variations (a form that, like Glazunov, Arensky excelled at) of a very Russian cast. The variations reveal the art and unpredictability of which the composer was master.
The Second Quartet followed the first by 12 years, and exists as a complete work in two versions: one for the standard lineup of two violins, viola, and cello, and one for violin, viola, and two cellos. They are musically identical, and were presumably composed to prove a point—not for the first time, since Arensky was a contrarian who would go out of his way to do something when someone else said it couldn’t or shouldn’t be done. (Tchaikovsky once reproached him for his occasional employment of unusual meters, citing the 5/4 finale to his Piano Concerto. Arensky immediately responded by composing several further works with similar metrical irregularities.) It is a more striking and imaginative work than the previous quartet. The first movement attempts the same frequent shifts of effect, textures, and harmony as its predecessor, but with superior thematic material, if with no greater ability to weld its disparate parts together. It is followed by only one other movement, a large-scale (17:28, in this reading) theme and variations on a Tchaikovsky song. With a lengthier theme that supplied more elements to vary, Arensky achieves as much as he had in the first quartet, but on a more ambitious scale. If a couple of the variations, such as the fifth, are little more than ornamentation, the overall result is successful.
The Piano Quintet appeared in 1900. Schumann’s Florestan is prominent in its opening movement, while another group of variations makes its appearance immediately afterward. As such, it’s an andante set, a rarity in Russian music, and an unabashedly sentimental, Tchaikovsky-like set, too. The scherzo is perfunctory, but the finale is more Arensky contrarianism: a 3:31 movement of which the first 2:47 consists of a stern contrapuntal prelude, leading to a fast and otherwise undistinguished reprise of the Schumann-like theme that opened the quartet.
The Ying Quartet started life in 1988 with four Winnetka, Illinois, siblings who all studied at the Eastman School of Music. When first violinist Timothy left in 2009, Frank Huang took over the chair, and when he left the following year to become the Houston Symphony’s concertmaster, Ayano Ninomiya became first violinist. It’s this final lineup that recorded this Arensky album. Their most distinguishing characteristics are an emphasis on energy, a narrow, disciplined tone, chance-taking, and intense group practice. I enjoyed their silky and at times quixotic versions of the Tchaikovsky quartets and Souvenir de Florence (Telarc 80685), and wasn’t surprised to find much the same qualities exhibited on this release. The attempts at portamento aren’t especially convincing, given that their string tone lacks the kind of “plush” necessary to bring it off, but as the central section of the Piano Quintet demonstrates, they and pianist Adam Neiman are certainly capable of employing rubato and expressive dynamics as to the romantic manner born. These are, in short, worthy performances of all three pieces.
They aren’t without competition, however. The Lajtha Quartet with Nona Prunyi offered an identical lineup of music on Marco Polo 8.223911, though with slightly less technical virtuosity and a lot less theatricality. Among recorded performances that offer one of the works, the String Quartet No. 2 receives a vigorous, almost impatient reading from the Raphael Ensemble (Hyperion CDA 66648), while a more spacious account is offered by the Arienski Ensemble on Meridian 84211 (deleted, but still available from some sources). I’ve also enjoyed the warmly expressive live reading of the Piano Quintet on the three-disc set titled Martha Argerich and Friends , recorded at the 2008 Lugano Festival, though the Yings supply more finesse in the middle movement.
In short, while there’s no clear winner when it comes to a single version of the Second String Quartet, the Ying Quartet is my preference for all three works combined. With excellent sound, definitely recommended.Review by Barry Brenesal, Fanfare
Ying Quartet, Adam Neiman - Anton Arensky: String Quartets Nos. 1 & 2; Piano Quintet (2011)
Ying Quartet, Adam Neiman - Anton Arensky: String Quartets Nos. 1 & 2; Piano Quintet (2011)
Ying Quartet:
- Ayano Ninomiya, violin
- Janet Ying, violin
- Phillip Ying, viola
- David Ying, cello
Adam Neiman, piano (16-19)
Recorded at Sono Luminus, Boyce, Virginia, December 13-14, 2010; February 16-17, 2011; May 23, 2011
Tracklist:
String Quartet No.1 in G Major Op.11
01. I. Allegro — 7:44
02. II. Andante sostenuto — 5:18
03. III. Menuetto: Allegretto — 3:10
04. IV. Finale (Variations sur un theme russe): Allegro non troppo — 4:41
String Quartet No.2 in A minor Op.35
05. I. Moderato — 11:07
ii. Theme and Variations
06. Theme: Moderato — 1:10
07. Variation 1: Un poco piu mosso — 1:23
08. Variation 2: Allegro non troppo — 1:02
09. Variation 3: Andantino tranquillo — 1:10
10. Variation 4: Vivace — 1:27
11. Variation 5: Andante — 2:10
12. Variation 6: Allegro con spirito — 1:14
13. Variation 7: Andante con moto — 1:21
14. Coda: Moderato — 1:47
15. III. Finale: Andante sostenuto - Allegro moderato — 4:44
Piano Quintet in D Major Op.51
16. I. Allegro moderato — 7:33
17. II. Variations: Andante — 7:18
18. III. Scherzo: Allegro vivace — 8:46
19. IV. Finale (in modo antico): Allegro moderato — 3:51
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 21. September 2017, 12:24
Arensky, Anton / Quartets Nos. 1 & 2, Piano Quintet
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17 | 57:10.20 | 7:18.13 | 257270 | 290132
18 | 64:28.33 | 8:46.57 | 290133 | 329639
19 | 73:15.15 | 3:51.53 | 329640 | 347017
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–– CUETools DB Plugin V2.1.6
[CTDB TOCID: IyeigutO_NrNaOLTGUxteDfqmag-] found
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==== Log checksum 4C8E663396B62ACC820D4374E474FE28D3D9567B59A3B1AE31F2EE4DBA635197 ====
EAC extraction logfile from 21. September 2017, 12:24
Arensky, Anton / Quartets Nos. 1 & 2, Piano Quintet
Used drive : PLEXTOR CD-R PREMIUM2 Adapter: 5 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 30
Overread into Lead-In and Lead-Out : Yes
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Gap handling : Appended to previous track
Used output format : User Defined Encoder
Selected bitrate : 896 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Additional command line options : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "PERFORMER=%albuminterpret%" -T "TRACKNUMBER=%tracknr%" -T "TOTALTRACKS=%numtracks%" -T "GENRE=%genre%" -T "COMPOSER=%composer%" -T "ALBUMARTIST=%albumartist%" -T "ALBUM ARTIST=%albumartist%" -T "COMMENT=EAC V1.3, Secure Mode, Test & Copy, AccurateRip, FLAC 1.3.2 Level 6" %source%
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 7:44.33 | 0 | 34832
2 | 7:44.33 | 5:18.50 | 34833 | 58732
3 | 13:03.08 | 3:10.25 | 58733 | 73007
4 | 16:13.33 | 4:41.37 | 73008 | 94119
5 | 20:54.70 | 11:07.25 | 94120 | 144169
6 | 32:02.20 | 1:10.30 | 144170 | 149449
7 | 33:12.50 | 1:23.18 | 149450 | 155692
8 | 34:35.68 | 1:02.67 | 155693 | 160409
9 | 35:38.60 | 1:10.73 | 160410 | 165732
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12 | 40:27.50 | 1:14.18 | 182075 | 187642
13 | 41:41.68 | 1:21.67 | 187643 | 193784
14 | 43:03.60 | 1:47.70 | 193785 | 201879
15 | 44:51.55 | 4:44.45 | 201880 | 223224
16 | 49:36.25 | 7:33.70 | 223225 | 257269
17 | 57:10.20 | 7:18.13 | 257270 | 290132
18 | 64:28.33 | 8:46.57 | 290133 | 329639
19 | 73:15.15 | 3:51.53 | 329640 | 347017
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Accurately ripped (confidence 1) [68B50A02] (AR v2)
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End of status report
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[CTDB TOCID: IyeigutO_NrNaOLTGUxteDfqmag-] found
Submit result: IyeigutO_NrNaOLTGUxteDfqmag- has been confirmed
Track | CTDB Status
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2 | (3/3) Accurately ripped
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4 | (3/3) Accurately ripped
5 | (3/3) Accurately ripped
6 | (3/3) Accurately ripped
7 | (3/3) Accurately ripped
8 | (3/3) Accurately ripped
9 | (3/3) Accurately ripped
10 | (3/3) Accurately ripped
11 | (3/3) Accurately ripped
12 | (3/3) Accurately ripped
13 | (3/3) Accurately ripped
14 | (3/3) Accurately ripped
15 | (3/3) Accurately ripped
16 | (3/3) Accurately ripped
17 | (3/3) Accurately ripped
18 | (3/3) Accurately ripped
19 | (3/3) Accurately ripped
==== Log checksum 4C8E663396B62ACC820D4374E474FE28D3D9567B59A3B1AE31F2EE4DBA635197 ====
[CUETools log; Date: 05.10.2017 18:05:17; Version: 2.1.4]
[CTDB TOCID: IyeigutO_NrNaOLTGUxteDfqmag-] found.
Track | CTDB Status
1 | (4/4) Accurately ripped
2 | (4/4) Accurately ripped
3 | (4/4) Accurately ripped
4 | (4/4) Accurately ripped
5 | (4/4) Accurately ripped
6 | (4/4) Accurately ripped
7 | (4/4) Accurately ripped
8 | (4/4) Accurately ripped
9 | (4/4) Accurately ripped
10 | (4/4) Accurately ripped
11 | (4/4) Accurately ripped
12 | (4/4) Accurately ripped
13 | (4/4) Accurately ripped
14 | (4/4) Accurately ripped
15 | (4/4) Accurately ripped
16 | (4/4) Accurately ripped
17 | (4/4) Accurately ripped
18 | (4/4) Accurately ripped
19 | (4/4) Accurately ripped
[AccurateRip ID: 003433ba-02bc592e-36121213] found.
Track [ CRC | V2 ] Status
01 [eabb1f79|d3d96cfd] (0+1/1) Accurately ripped
02 [c60a7aa9|f0695553] (0+1/1) Accurately ripped
03 [09c47724|d39ea127] (0+1/1) Accurately ripped
04 [5c5e0a5d|8d8d34e4] (0+1/1) Accurately ripped
05 [c5d53847|1929536f] (0+1/1) Accurately ripped
06 [0ed9d56b|9073ddfb] (0+1/1) Accurately ripped
07 [8b4b63a4|bdc9b0bb] (0+1/1) Accurately ripped
08 [bf7a5634|2c4c7377] (0+1/1) Accurately ripped
09 [2ed34d39|b919d9bb] (0+1/1) Accurately ripped
10 [915de15c|1caab38b] (0+1/1) Accurately ripped
11 [a06885ad|8538b5ce] (0+1/1) Accurately ripped
12 [b46c5e23|5b1121db] (0+1/1) Accurately ripped
13 [73c91f76|bb4e9337] (0+1/1) Accurately ripped
14 [a62ff304|52f1c7b2] (0+1/1) Accurately ripped
15 [9f4add7f|68b50a02] (0+1/1) Accurately ripped
16 [3c307e1d|4ce4ba3c] (0+1/1) Accurately ripped
17 [cffe4d1c|1c3c14c9] (0+1/1) Accurately ripped
18 [7dc0b4b5|e5345cf7] (0+1/1) Accurately ripped
19 [fd6cf0d8|17966d74] (0+1/1) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 98,8 [4055CF3B] [20A076FF]
01 98,8 [85FDF1A6] [5C12C03E] CRC32
02 49,6 [8470E308] [4D6B042D] CRC32
03 73,8 [60157CFF] [E8843F3A] CRC32
04 98,8 [44093207] [6D775568] CRC32
05 98,8 [647C383E] [EB2EB8B7] CRC32
06 55,1 [ABFD76F2] [E610429D] CRC32
07 66,2 [0DAC3E7A] [71E8419D] CRC32
08 64,3 [6F3A71F5] [B73CB460] CRC32
09 60,4 [D97214E1] [6833684E] CRC32
10 98,8 [F8607B29] [8622DD56] CRC32
11 44,3 [8F136B3B] [AC95E673] CRC32
12 98,8 [870C03E8] [58BC7F73] CRC32
13 46,5 [3699DB6A] [72AFE77B] CRC32
14 38,0 [BBCB3EC7] [B234AEE6] CRC32
15 98,2 [56F07183] [351A5183] CRC32
16 98,8 [AD0FCBF1] [B39B64F5] CRC32
17 98,8 [C10AECD4] [7F8F8518] CRC32
18 98,8 [1E6FD935] [0F057FB2] CRC32
19 98,8 [83E8683A] [7A41C836] CRC32
[CTDB TOCID: IyeigutO_NrNaOLTGUxteDfqmag-] found.
Track | CTDB Status
1 | (4/4) Accurately ripped
2 | (4/4) Accurately ripped
3 | (4/4) Accurately ripped
4 | (4/4) Accurately ripped
5 | (4/4) Accurately ripped
6 | (4/4) Accurately ripped
7 | (4/4) Accurately ripped
8 | (4/4) Accurately ripped
9 | (4/4) Accurately ripped
10 | (4/4) Accurately ripped
11 | (4/4) Accurately ripped
12 | (4/4) Accurately ripped
13 | (4/4) Accurately ripped
14 | (4/4) Accurately ripped
15 | (4/4) Accurately ripped
16 | (4/4) Accurately ripped
17 | (4/4) Accurately ripped
18 | (4/4) Accurately ripped
19 | (4/4) Accurately ripped
[AccurateRip ID: 003433ba-02bc592e-36121213] found.
Track [ CRC | V2 ] Status
01 [eabb1f79|d3d96cfd] (0+1/1) Accurately ripped
02 [c60a7aa9|f0695553] (0+1/1) Accurately ripped
03 [09c47724|d39ea127] (0+1/1) Accurately ripped
04 [5c5e0a5d|8d8d34e4] (0+1/1) Accurately ripped
05 [c5d53847|1929536f] (0+1/1) Accurately ripped
06 [0ed9d56b|9073ddfb] (0+1/1) Accurately ripped
07 [8b4b63a4|bdc9b0bb] (0+1/1) Accurately ripped
08 [bf7a5634|2c4c7377] (0+1/1) Accurately ripped
09 [2ed34d39|b919d9bb] (0+1/1) Accurately ripped
10 [915de15c|1caab38b] (0+1/1) Accurately ripped
11 [a06885ad|8538b5ce] (0+1/1) Accurately ripped
12 [b46c5e23|5b1121db] (0+1/1) Accurately ripped
13 [73c91f76|bb4e9337] (0+1/1) Accurately ripped
14 [a62ff304|52f1c7b2] (0+1/1) Accurately ripped
15 [9f4add7f|68b50a02] (0+1/1) Accurately ripped
16 [3c307e1d|4ce4ba3c] (0+1/1) Accurately ripped
17 [cffe4d1c|1c3c14c9] (0+1/1) Accurately ripped
18 [7dc0b4b5|e5345cf7] (0+1/1) Accurately ripped
19 [fd6cf0d8|17966d74] (0+1/1) Accurately ripped
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 98,8 [4055CF3B] [20A076FF]
01 98,8 [85FDF1A6] [5C12C03E] CRC32
02 49,6 [8470E308] [4D6B042D] CRC32
03 73,8 [60157CFF] [E8843F3A] CRC32
04 98,8 [44093207] [6D775568] CRC32
05 98,8 [647C383E] [EB2EB8B7] CRC32
06 55,1 [ABFD76F2] [E610429D] CRC32
07 66,2 [0DAC3E7A] [71E8419D] CRC32
08 64,3 [6F3A71F5] [B73CB460] CRC32
09 60,4 [D97214E1] [6833684E] CRC32
10 98,8 [F8607B29] [8622DD56] CRC32
11 44,3 [8F136B3B] [AC95E673] CRC32
12 98,8 [870C03E8] [58BC7F73] CRC32
13 46,5 [3699DB6A] [72AFE77B] CRC32
14 38,0 [BBCB3EC7] [B234AEE6] CRC32
15 98,2 [56F07183] [351A5183] CRC32
16 98,8 [AD0FCBF1] [B39B64F5] CRC32
17 98,8 [C10AECD4] [7F8F8518] CRC32
18 98,8 [1E6FD935] [0F057FB2] CRC32
19 98,8 [83E8683A] [7A41C836] CRC32
foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2017-10-05 22:27:15
––––––––––––––––––––––––––––––––––––––––
Analyzed: Ying Quartet & Adam Neiman (piano) / Quartets Nos. 1 & 2 • Piano Quintet (1-4)
Ying Quartet / Quartets Nos. 1 & 2 • Piano Quintet (5-19)
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -0.10 dB -14.62 dB 7:34 16-Piano Quintet in D Major Op.51 - I. Allegro moderato
DR12 -0.10 dB -17.54 dB 7:18 17-II. Variations: Andante
DR13 -0.10 dB -17.52 dB 8:47 18-III. Scherzo: Allegro vivace
DR11 -0.10 dB -14.96 dB 3:52 19-IV. Finale: Allegro moderato
DR16 -0.10 dB -19.65 dB 7:44 01-String Quartet No.1 in G Major Op.11 - I. Allegro
DR12 -6.08 dB -24.04 dB 5:19 02-II. Andante sostenuto
DR13 -2.64 dB -21.64 dB 3:10 03-III. Menuetto: Allegretto
DR15 -0.10 dB -19.03 dB 4:41 04-IV. Finale: Allegro non troppo
DR15 -0.10 dB -19.35 dB 11:07 05-String Quartet No.2 in A minor Op.35 - I. Moderato
DR11 -5.18 dB -22.13 dB 1:10 06-II. Theme and Variations - Theme: Moderato
DR13 -3.57 dB -21.20 dB 1:23 07– Variation 1: Un poco più mosso
DR13 -3.84 dB -21.39 dB 1:03 08– Variation 2: Allegro non troppo
DR11 -4.38 dB -21.84 dB 1:11 09– Variation 3: Andantino tranquillo
DR16 -0.10 dB -20.74 dB 1:27 10– Variation 4: Vivace
DR11 -7.06 dB -22.34 dB 2:10 11– Variation 5: Andante
DR15 -0.10 dB -18.60 dB 1:14 12– Variation 6: Allegro con spirito
DR12 -6.65 dB -24.81 dB 1:22 13– Variation 7: Andante con moto
DR11 -8.40 dB -26.52 dB 1:48 14– Coda: Moderato
DR13 -0.15 dB -17.81 dB 4:45 15-III. Finale: Andante sostenuto - Allegro moderato
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 19
Official DR value: DR13
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 693 kbps
Codec: FLAC
================================================================================
log date: 2017-10-05 22:27:15
––––––––––––––––––––––––––––––––––––––––
Analyzed: Ying Quartet & Adam Neiman (piano) / Quartets Nos. 1 & 2 • Piano Quintet (1-4)
Ying Quartet / Quartets Nos. 1 & 2 • Piano Quintet (5-19)
––––––––––––––––––––––––––––––––––––––––
DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -0.10 dB -14.62 dB 7:34 16-Piano Quintet in D Major Op.51 - I. Allegro moderato
DR12 -0.10 dB -17.54 dB 7:18 17-II. Variations: Andante
DR13 -0.10 dB -17.52 dB 8:47 18-III. Scherzo: Allegro vivace
DR11 -0.10 dB -14.96 dB 3:52 19-IV. Finale: Allegro moderato
DR16 -0.10 dB -19.65 dB 7:44 01-String Quartet No.1 in G Major Op.11 - I. Allegro
DR12 -6.08 dB -24.04 dB 5:19 02-II. Andante sostenuto
DR13 -2.64 dB -21.64 dB 3:10 03-III. Menuetto: Allegretto
DR15 -0.10 dB -19.03 dB 4:41 04-IV. Finale: Allegro non troppo
DR15 -0.10 dB -19.35 dB 11:07 05-String Quartet No.2 in A minor Op.35 - I. Moderato
DR11 -5.18 dB -22.13 dB 1:10 06-II. Theme and Variations - Theme: Moderato
DR13 -3.57 dB -21.20 dB 1:23 07– Variation 1: Un poco più mosso
DR13 -3.84 dB -21.39 dB 1:03 08– Variation 2: Allegro non troppo
DR11 -4.38 dB -21.84 dB 1:11 09– Variation 3: Andantino tranquillo
DR16 -0.10 dB -20.74 dB 1:27 10– Variation 4: Vivace
DR11 -7.06 dB -22.34 dB 2:10 11– Variation 5: Andante
DR15 -0.10 dB -18.60 dB 1:14 12– Variation 6: Allegro con spirito
DR12 -6.65 dB -24.81 dB 1:22 13– Variation 7: Andante con moto
DR11 -8.40 dB -26.52 dB 1:48 14– Coda: Moderato
DR13 -0.15 dB -17.81 dB 4:45 15-III. Finale: Andante sostenuto - Allegro moderato
––––––––––––––––––––––––––––––––––––––––
Number of tracks: 19
Official DR value: DR13
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 693 kbps
Codec: FLAC
================================================================================
Ying Quartet, Adam Neiman - Anton Arensky: String Quartets Nos. 1 & 2; Piano Quintet (2011)
Ying Quartet, Adam Neiman - Anton Arensky: String Quartets Nos. 1 & 2; Piano Quintet (2011)
