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████ · ▄▓███▓ OPEN MUSiC ASSOCiATiON ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ .···. P R E S E N T S .···. ▓ │▀▀▀█▓▄▄ █████
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█████▀ Emerson String Quartet - Bach: The Art of Fugue ▀█████
████▀ ▀████
███▀ ▀███
█▓▓▓▓ ARTiST..[ Emerson String Quartet ▓▓▓▓█
█▓▓▓▓ TiTLE...[ Bach: The Art of Fugue ▓▓▓▓█
████ GENRE...[ Classical GRABBER.[ EAC ████
████ LABEL...[ Deutsche Grammophon ENCODER.[ Lame 3.97 ████
████ YEAR....[ 2003 QUALiTY.[ vbr 187kbps ████
████ SOURCE..[ CDDA MODE....[ Joint-Stereo ████
████ PLAYTIME[ 80:07 min REL.DATE[ 02.06.2010 ████
████ TRACKS..[ 22 RiPPER..[ TEAM OMA ████
████ SiZE....[ 107,6 MB SUPPLiER[ TEAM OMA ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. T R A C K L i S T .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
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████▀ ▀████
███▀ NR. TRACK. TiME. ▀███
█▓▓▓▓ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ ▓▓▓▓█
█▓▓▓▓ ▓▓▓▓█
████ 01 Contrapunctus I 03:04 ████
████ 02 Contrapunctus II 02:44 ████
████ 03 Contrapunctus III 02:31 ████
████ 04 Contrapunctus IV 03:30 ████
████ 05 Contrapunctus V 02:33 ████
████ 06 Contrapunctus VI, a 4, in Stylo Francese 04:10 ████
████ 07 Contrapunctus VII, a 4, per Augmentationem et 03:07 ████
████ Diminutionem ████
████ 08 Contrapunctus VIII, a 3 04:54 ████
████ 09 Contrapunctus IX, a 4, alla Duodecima 02:14 ████
████ 10 Contrapunctus X, a 4, alla Decima 03:02 ████
████ 11 Contrapunctus XI, a 4 04:43 ████
████ 12 Canon per Augmentationem in Contrario Motu 05:18 ████
████ 13 Contrapunctus XII, a 4 - Rectus 01:50 ████
████ 14 Contrapunctus XII, a 4 - Inversus 01:53 ████
████ 15 Canon alla Ottava 04:03 ████
████ 16 Canon alla Decima in Contrapuncto alla Terza 03:42 ████
████ 17 Canon alla Duodecima in Contrapuncto alla Quinta 04:13 ████
████ 18 Contrapunctus XIII, a 3 - Rectus 02:06 ████
████ 19 Contrapunctus XIII, a 3 - Inversus 02:09 ████
████ 20 Canon per Augmentationem in Contrario Motu 06:53 ████
████ 21 Contrapunctus XIV (Fragment of quadruple fugue) 08:12 ████
████ 22 Chorale- 'Vor deinen Thron tret ich hiermit', 03:16 ████
████ BWV 668a ████
████ ∙∙∙∙∙∙∙∙∙∙∙∙ ████
████ TOTAL: 80:07 ████
████ ████
████ ████
████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████
████ ■ ███▓█ .···. R E L E A S E N O T E S .···. █▓███ ■ ████
████ · ▄▓███▓ ▓███▓▄ · ████
█████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████
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████ In his essay in praise of Napoleon the ████
████ adventurer Ralph Waldo Emerson approvingly ████
████ quotes the French leader thus: "The desire of ████
████ perfection is the worst disease that ever ████
████ afflicted the human mind." The members of the ████
████ eponymous Emerson Quartet would propably take ████
████ issue with him to judge from their ████
████ three-concert Wigmore Hall residency. Not only ████
████ do they desire a form a perfection, they ████
████ attain it. And I'm not talking about the kind ████
████ of empty, technical perfection laid accusingly ████
████ at the door of many young musicians. No, every ████
████ note, every phrase, every movement has a ████
████ purpose and a sense of its own standing within ████
████ the given work as a whole. (Peter Quantrill, ████
████ The Strad (Harrow, UK) / 01. June 2004) ████
████ ████
████ The Emerson Quartet bring out all the varied ████
████ characters, but the most impressive thing ████
████ about them ist their concentration. Sometimes ████
████ this can be overwhelming. (Ivan Hewett, The ████
████ Times (London) / 08. November 2003) ████
████ ████
████ . . . I found myself very soon immersed in the ████
████ work because of the unforced intensitiy of the ████
████ Emerson Quartet's playing here. (Nigel ████
████ Simeone, International Record Review (London) ████
████ / 01. December 2003) ████
████ ████
████ This is playing of real character, every ████
████ instrument an equal partner in the climb to ████
████ the mountaintop, ultimately conveying the ████
████ exhilarating purity sought by Bach. (Dan ████
████ Davis, Absolute Sound (Tijaeras, NM) / 01. ████
████ December 2003) ████
████ ████
████ The Emerson's enormous warmth and intelligence ████
████ benefit Bach's great fugal testimony . . . I ████
████ still admire their Classical exegesis, the ████
████ liveliness and urgency of their phrasing and ████
████ the warm glow of their tone. Theirs is an ████
████ eminently satisfying performance. (Rob Cowan, ████
████ Gramophone (London) / 01. January 2004) ████
████ ████
████ The Emerson has some splendidly imaginative ████
████ ideas -- not least, reversing its conventional ████
████ seating positions for the inverted fugues. ████
████ Bach's parts work equally well individually ████
████ inverted and migrating, top to bottom. The ████
████ altered soundscape is surprisingly telling. ████
████ (George Pratt, BBC Music Magazine (London) / ████
████ 01. January 2004) ████
████ ████
████ Almost immediately, and indeed almost from the ████
████ first jaunty statement of the theme by violist ████
████ Lawrence Dutton, this has become one of my ████
████ favorite recordings of Bach's daunting "Art of ████
████ Fugue" . . . What distinguishes this recording ████
████ is its rhythmic life, as well as the buoyant ████
████ clarity of the individual lines. One hears ████
████ that liveliness in Dutton's first notes, but ████
████ also in the dotted rhythms of the second ████
████ fugue, and, of course, throughout the piece. ████
████ There is also variety here, as in the ████
████ tiptoeing approch to the eighth fugue. The ████
████ tension rises towards the climax of the piece: ████
████ the Emersons play the eight-minute "fragment" ████
████ of the 14th fugue, and follow that with the ████
████ grand serenity of the Chorale, "Vor deinen ████
████ Thron tret ich hiermit". The performance is ████
████ sublime. This is a recording that will ████
████ fascinate even those new to this work. ████
████ (Michael Ullman, Fanfare (Tenafly, NJ) / 01. ████
████ January 2004) ████
████ ████
████ The Art iof Fugue is certainly an album that ████
████ will appeal to spiritual seekers everywhere. ████
████ (Sign of the Times-Aquarius (Roswell, GA) / ████
████ 01. January 2004) ████
████ ████
████ The Emerson's enormous warmth and intelligence ████
████ benefit Bach's great fugal testimony. [...] ████
████ One of the leading virtues of this performance ████
████ is the way each player colours and ████
████ characterises individual voices. A good place ████
████ to sample is the Seventh Contrapunctus, where ████
████ Bach 'juggles [the theme] in three different ████
████ tempos' (to quote Paul Epstein's exhaustive ████
████ analysis), a nightmare to get right, I would ████
████ imagine: and yet because the blending lines ████
████ remain distinct, they are projected with total ████
████ clarity. A secure sense of pulse also helps. ████
████ [...] +Another novelty on this new release ████
████ concerns instrumental positioning: in order to ████
████ highlight acoustical differences between the ████
████ straight and inverted fugues of Contrapuncti ████
████ Nos 12 and 13, the Emersons reverse their ████
████ seating for the inverted versions. Here, as at ████
████ other key points in the score, a forthright ████
████ playing style helps focus the sublime ████
████ ingenuity of the writing. [...] Having ████
████ revisited the Emersons three or four times, I ████
████ still admire their classical exegesis, the ████
████ liveliness and urgency of their phrasing and ████
████ the warm glow of their tone. Theirs is an ████
████ eminently satisfying performance. (Rob Cowan, ████
████ Gramophone (London) / 02. January 2004) ████
████ ████
████ ████
████ URL: n/a ████
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████ ■ ███▓█ .···. G R O U P .···. █▓███ ■ ████
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█████ ▄▄▓█▀▀▀│ ▓ MAiL: oma@never-ever.com ▓ │▀▀▀█▓▄▄ █████
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████▀ The only thing that really matters is music!!! ▀████
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.▀ │ ▀▀██▄▓▄ .···. G R E E T S .···. ▄▓▄██▀▀ │ ▀
. ▄▓▓▄ │ ▀▀▀█▄▄ ▄▄█▀▀▀ │ ▄▓▓▄ .
▀▀ ▀▀▄ FRiENDS / SiTEOPS / NUKENET ▄▀▀ ▀▀
▀ . ▄ ▄▓▓▄ ▀▄ RIP kHz ▄▀ ▄▓▓▄ ▄ . ▀
▀ ▀▓▀ ▀▀ ▀ . ▄.···. !kb^faa 08.MARCH 2009 .···.▄ . ▀ ▀▀ ▀▓▀ ▀ .