℗ 2022 Tactus
Released | May 6, 2022 |
Duration | 1h 23m 48s |
Record Label | Tactus |
Catalogue No. | TC920290 |
Genre | Classical (Orchestral) |
Maderna: Hyperion
Annette Meriweather, Angelo Persichilli, Orchestra Sinfonica di Milano della RAI, Marcello Panni, Augusto Loppi, Carmelo Bene, Coro della Rai di Milano
Available in 48 kHz / 24-bit AIFF, FLAC audio formats
Hyperion
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1.1
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Aria (1 / Live)
Bruno Maderna; Friedrich Hölderlin; Annette Meriweather; Angelo Persichilli; Orchestra Sinfonica di Milano della RAI; Marcello Panni |
15:01 | |||
1.2
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Message (Live)
Bruno Maderna; Friedrich Hölderlin; Carmelo Bene; Angelo Persichilli; Augusto Loppi; Carmelo Bene; Orchestra Sinfonica di Milano della RAI; Marcello Panni |
17:41 | |||
1.3
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Solo (Live)
Bruno Maderna; Friedrich Hölderlin; Carmelo Bene; Augusto Loppi; Carmelo Bene; Orchestra Sinfonica di Milano della RAI; Marcello Panni |
5:42 | |||
1.4
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Psalm (Live)
Federico García Lorca; Wystan Hugh Auden; Bruno Maderna; Friedrich Hölderlin; Carmelo Bene; Carmelo Bene; Coro della Rai di Milano; Orchestra Sinfonica di Milano della RAI; Marcello Panni |
14:02 | |||
2.1
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Klage (Live)
Bruno Maderna; Friedrich Hölderlin; Carmelo Bene; Augusto Loppi; Carmelo Bene |
5:36 | |||
2.2
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Battaglia (Live)
Bruno Maderna; Friedrich Hölderlin; Carmelo Bene; Angelo Persichilli; Augusto Loppi; Carmelo Bene; Orchestra Sinfonica di Milano della RAI; Marcello Panni |
5:13 | |||
2.3
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Schicksalslied (Live)
Bruno Maderna; Friedrich Hölderlin; Carmelo Bene; Augusto Loppi; Carmelo Bene; Orchestra Sinfonica di Milano della RAI; Coro della Rai di Milano |
12:21 | |||
2.4
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Aria (2 / Live)
Bruno Maderna; Friedrich Hölderlin; Carmelo Bene; Angelo Persichilli; Carmelo Bene; Orchestra Sinfonica di Milano della RAI; Marcello Panni |
8:12 | |||
Digital Booklet
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Bruno Maderna always ascribed great importance to insight and imagination, even during the period in which he followed the most rigorous serial procedures. Maderna’s preference for concreteness in sound images, his practical approach to composition problems, and his receptiveness to language diversity explain the extraordinary ascendancy he had over the Italian composers who visited Darmstadt in the Fifties and Sixties, including Nono, Berio, Donatoni, and Clementi. But they also explain his gradual withdrawal from the most radical experiments of the avantgarde, and his tendency, during the last decade, to pursue a constant osmosis between different styles and materials (also through frequent overflows between his own compositions), often ending up in theatrical forms. The Hyperion has been described as a “Lyric in the form of a show”. It was presented in its first version as a mobile cycle of vocal, orchestral and electronic pieces based on fragments of Friedrich Hoelderlin’s novel "Hyperion, oder der Heremit in Griechenland" (“Hyperion, or the Hermit in Greece”), the only novel written by the German poet. This book, an epistolary novel, was published in various versions, so it somehow could be regarded as a “work in progress” too. This recording represents an important document of the live version, reduced and adapted by the great actor Carmelo Bene, flanked by the RAI Symphony Orchestra from Milan, directed by Maestro Marcello Panni.
48 kHz / 24-bit PCM – Tactus Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -5.44 -7.61 to -2.11 | -31.20 -33.16 to -28.94 | -25.55 -28.10 to -22.90 | 16 13 to 19 | |
1.1 | Aria (1 / Live) | -7.04 | -30.29 | -24.7 | 13 |
1.2 | Message (Live) | -4.47 | -32.16 | -25.4 | 16 |
1.3 | Solo (Live) | -5.72 | -30.39 | -26.0 | 16 |
1.4 | Psalm (Live) | -2.11 | -28.94 | -22.9 | 17 |
2.1 | Klage (Live) | -5.16 | -33.16 | -28.1 | 19 |
2.2 | Battaglia (Live) | -7.61 | -31.00 | -23.8 | 14 |
2.3 | Schicksalslied (Live) | -4.81 | -31.53 | -27.5 | 15 |
2.4 | Aria (2 / Live) | -6.58 | -32.13 | -26.0 | 16 |