Gliarchiensemble -- Il suono del '900

Domenico Marco - Violine
Salvatore Tuzzolino - Violine
Federico Brigantino - Violine
Domenico Pirrone - Violine
Vincenzo Cecere - Violine
Marco Badami - Violine
Vincenzo Schembri - Viola
Giuseppe Brunetto - Viola
Giorgio Gasbarro - Violoncello
Francesco Pusateri - Violoncello
Fabio Quaranta - Kontrabaa

"Gli Archi" - das bedeutet schlicht "die Streicher". Und die gleiche schlichte Eleganz, die der Name des Ensembles ankündigt, wohnt auch der Musik des "Gli Archi Ensemble" inne: das elfköpfige Streich-Orchester spielt auf dieser im Jahr 2012 aufgenommenen CD Peter Warlock "Kapriolen-Suite für Streichorchester", Edward Elgars berühmte Streicher-Serenade op. 20, und die Streicher-Serenade op. 6 von Josef Suk. Alle drei Werke stammen vom Beginn des 20. Jahrhunderts, und entstanden im Geist einer Rückbesinnung: weg vom opulenten spätromantischen 100-Mann-Orchester, hin zur puristischen Streicherbesetzung. Die hohe Kunst, für eine solch ökonomische Besetzung zu arrangieren, beherrschten die drei hier vertretenen Komponisten perfekt, und der kleine aber großartig austarierte Klangkörper des "Gli Archi Ensemble" lässt die Kompositionen wunderbar transparent und organisch klingen. Die nicht ohne Grund so oft auf Produktionen des Labels Fon zu findende Akustik des alten Theaters von Volterra kommt mit der absolut makellosen Klangquälität von Fons 24-K-Gold-CD-Reihe herrlich zum tragen.


In 1588 a dance treatise entitled “Trait Orchesographie was published by the Langres Cathedral canon Jehan Tabouret. In 1927 Peter Warlock, composer and esteemed musicologist and critic, took inspiration from it to compose his famous Capriol Suite in six movements/dances. This composition maintains a pleasant and typically Anglo-Saxon nostalgic- rustic character. The opening Basse-Danse is majestic and comprises three melodies, repeated, harmonised and orchestrated in a different way each time. Warlock composed the Pavane following the four vocal parts proposed in Tabourots treatise. He lightened each repetition in the Tordion so much so to almost make the music disappear. Bransles was a dance in a “round form, where Warlock used five pieces from the treatise leading up to a brilliant and rhythmical conclusion. In Pieds-en- lair we find the development of a marvellous phrase repeated each time with new harmonies and with the usual slow rhythmic coda, in the finale. The concluding dance Mattachins, starts as a variation of Tabourots Air des Bouffons and proceeds without melody with a series of discords and dissonances between the sections. This derives from the fact that it was a sword dance and therefore noisy. The influence of Bartk, whom Warlock knew and admired, is evident.
In 1892 Edward Elgar composed the Serenade Op 20, which originates from three pieces for strings composed in 1888, that were later lost or destroyed. The work, though juvenile, already shows characteristics of his later, more mature compositions. In fact it is obviously of a carefree and expressive nature alternating with introspective and melancholic moments. The Allegro piacevole is both luminous and rhythmical with nostalgic sections that give it a bittersweet quality. The Larghetto that follows possesses a melancholic vein, which will characterise the sec- ond movements of the symphonies and concertos to be subsequently composed.
Here we find a torrent of lyrical and meditative melodies that roll like gentle undulations of the English landscape where Elgar lived. The Alle- gretto finale starts in a subdued way and very soon returns to the theme of the first movement that is elaborated right up until the conclusion of the work. It seems difficult to believe that seven years after the comple- tion of the Serenade, a publisher refused the work with the words: “ We find that this type of music is practically unsellable. Today the Serenade is one of the best loved and most played of Elgars works.
Josef Suk composed the Serenade op. 6 in 1892, at the age of eighteen years, while he was studying at the Conservatory in Prague with Anton Dvorak, his future father-in-law. Even though the influence of Dvorak and his Serenade op. 22 is considerable, Suks talent and his musical personality were noteworthy. The Andante con moto is lyrical and at the same time flowing, recalling old Slavic themes. In the Allegro ma non troppo e quasi grazioso the dance rhythm is almost syncopated. An atmosphere of tranquility and calm prevail from the onset in the Adagio with the solo cello. This mood changes abruptly in the last movement Allegro giocoso, ma non troppo. The character of this movement is ef- fervescent but placated in the central part by sections of chordal writ- ing that move to the vivace finale. Though a youthful composition, the Serenade is certainly a beautiful example of Bohemian music, so much so that according to chronicles of the time, after hearing it Brahms ex- claimed: “God, how lovely!
- Marco Badami -

Club of the 496
Diese Gold-CD wurde nur insgesamt 496 mal produziert. Dies macht diese Gold-CD einzigartiger und exklusiver im Laufe der Zeit.


Titel:

Peter Warlock 1894 - 1930
Capriol Suite per orchestra darchi 1 Basse - Danse
2 Pavane
3 Tordion
4 Bransles
5 Pieds en lair
6 Mattachins

Edward Elgar 1857 - 1934
Serenata per archi op. 20
7 Allegro piacevole
8 Larghetto
9 Allegretto

Josef Suk 1874 - 1935
Serenata per archi op.6
10 Andante con moto
11 Allegro ma non troppo e grazioso
12 Adagio
13 Allegro giocoso ma non troppo presto

Notes on an audiophile CD

A truly audiophile CD, in our views, should:
a) posses the very best performance of the music of its kind
b) be manufactured by the most meticulous and advanced process so that the integrity of the original recording is maintained. The Fon compact discs in the “Reference Gold 24K series, have been produced following in the strictest way the below standards: the titles in the range have been selected from the Fon catalogue for their artistical and musical value and for the superior recording quality. And trying “to perfect the best, are now issued on a 24K Gold support. These are more in details some of the distinctive features of the “Reference Gold.

Gold metallization
Research has revealed that among all types of metallization (e.g. aluminium, su- per aluminium, anodized gold-colour aluminium) 24 Karat Gold bears the most impressive specifications in terms of uniformity of metal deposition, reflectivity and the least number of visible pin holes.

Zero Bler
The word “Bler is the short form of “Block Error Rate. According to the “Red Book specifications of Philips on the standard quality of production of a com- pact disc, a stamper that contains not more than 200 “Blers is still within toler- ance. In a ideal situation, zero Bler is the ultimate quality and can, in principle, be achievable by todays technology. In the Fon, “Reference Gold range we reject any stamper that has Blers higher than 50!

Reflectivity
Lab tests have confirmed that 24 karat Gold CD has the highest laser beam reflectivity rating. The high reflectivity allows the reading laser beam to be re- flected back to the photo-detector at nearly full power, virtually eliminating any laser photon scattering, absorption of distortion, hence, dramatically reducing data reading errors.