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Samuele Telari

#Limes

 
 

This recording was done all the way from the beginning to the end, with no pauses during the execution of every piece, with no subsequent cuts throughout the editing nor interventions during the mixing process. As in a live concert, but it was recorded in a dedicated room. The studio working and the execution process, together with the performer's interior attitude, were those needed in a live recital, not for a studio recording session. This difference is drastic and, along with the other parameters, is aimed at creating a prototype, which also carries on a strategy of commercial remuneration, something particularly problematic for such products as CDs. Technology, art and market.

The choice of the pieces reflects the personality of this young performer. Telari is a total musician, a quiet, thoughtful and elegant artist, often absorbed in intangible listening practices. The album starts off with a magnificent version of Prelude and Fugue in B minor, BWV 544, one of Bach's few organ works not belonging to a cycle and of which the autograph has survived, the pedal part is written down below the staff, in red ink. An exuberant work, combining organ monumental sonority with intensity of expression, respecting the strictness of counterpoint. Harmonic support and melody, the two hemispheres in the Kantor's universe, emerge clearly here, thus emphasizing the affinity between the two instruments. “This is hardly a transcription for organ of the original. It is rather an adaptation. I just divided the voices between right and left”, Telari said. As hands slide over the two keyboards of the bayan, we can feel and see the solo instrument engaging a self-talk, questioning itself, multiplying into a polyphony of voices, dynamics, echoes upon echoes. The achieved balance between vertical architecture and linear narrative, between rhythmic pulses and contemplative pace, is performed with an exemplary limpidness of contours.

1. Johann Sebastian Bach (1685 – 1750)
Praeludium et Fuga BWV 544

2. Sofija Asgatovna Gubajdulina (1931)
Edita da Musikverlag Hans Sikorski
De Profundis

3. Franz Schubert (1797 – 1828)
Trascr. Domenico Turi - Edita da Edizioni Sconfinarte
Andante con moto, Quartetto n°14 D810

4. Volodymyr Runchak (1960)
Messa da Requiem

5. Domenico Turi (1986)
Edita da Edizioni Sconfinarte
Ombra, omaggio a Lorenzo Indrimi

6. Camille Saint-Saëns (1835 – 1921)
Trascr. Yuri Shishkin
Danse Macabre op.40

 

Credits

Recording date & location »

Rosso Fiorentino listening space il 27 Novembre 2016
Sound director & musical producer » Igor Fiorini
Sound engineer »
Francesco Rubenni & Daniele Zazza

Instrumentarium »

Fisarmonica Bayan
by Mengascini Accordions, Castelfidardo (AN),
year 2016.
Botton right keyboard 64 notes,
4 reeds (2 in cassotto), 7 chin switches.
Left keyboard 120 standard basses (16’ 8’ 8’ 4’),
58 free basses (8’ 8’), convertor system.

DPA Microphones
CharterOak Valve Microphone
Pyramix Recorder by Merging Technologies
Studer 816 & 810
Horus/Hapi Preamplifer & Converter
Crane Song Flamingo Preamplifier
Gyraf Audio Analog Strip NOS Valve
Nadac DAC for monitoring
Spectral Audio
Boulder Amplifiers
Rosso Fiorentino Siena
MIT Cables
VDM Design Cables

 

Bio recording Direct from live, a certified technique that VDM Records provides to guarantee a “genuine” product; music is made available to the listener without alterations, without any “make up” that normally embellishes musical and artistic productions.

 

VDM 038-55-031 | made in the E.U.

a VDM Records production - Super HD Music Support & Distribution