℗ 2024 Navona
| Released | July 26, 2024 |
| Duration | 45m 51s |
| Record Label | Navona |
| Catalogue No. | NV6609 |
| Genre | Classical (Chamber) |
Basso Profundo: Works for Double Bass
Edwin Barker
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
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Suite No. 5 in C minor, BWV 1011
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1.1
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I. Prelude
Johann Sebastian Bach; Edwin Barker; Edwin Barker |
6:28 | |||
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1.2
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II. Allemande
Johann Sebastian Bach; Edwin Barker; Edwin Barker |
5:19 | |||
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1.3
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III. Courante
Johann Sebastian Bach; Edwin Barker; Edwin Barker |
2:16 | |||
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1.4
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IV. Sarabande
Johann Sebastian Bach; Edwin Barker; Edwin Barker |
3:25 | |||
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1.5
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V. Gavotte I, II
Johann Sebastian Bach; Edwin Barker; Edwin Barker |
5:21 | |||
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1.6
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VI. Gigue
Johann Sebastian Bach; Edwin Barker; Edwin Barker |
2:36 | |||
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Sonata Op. 108 for solo double bass
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1.7
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I. Adagio
Mieczysław Weinberg; Edwin Barker |
4:05 | |||
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1.8
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II. Allegretto
Mieczysław Weinberg; Edwin Barker |
3:01 | |||
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1.9
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III. Moderato
Mieczysław Weinberg; Edwin Barker |
2:40 | |||
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1.10
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IV. Allegretto
Mieczysław Weinberg; Edwin Barker |
1:27 | |||
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1.11
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V. Lento
Mieczysław Weinberg; Edwin Barker |
3:55 | |||
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1.12
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VI. Allegro molto
Mieczysław Weinberg; Edwin Barker |
5:18 | |||
Edwin Barker’s playing is described as “timeless,” “vibrant,” and “compelling,” three descriptors that could not be better suited for his recording of J.S. Bach’s Cello Suite No.5 in C Minor and Mieczyslaw Weinberg’s Sonate Op.180 for Solo Double Bass. Elegantly capturing Bach’s suite in his arrangement for double bass, Barker navigates the challenging and unwieldy passages of the Prelude’s fugue with the same measured and tolerant musicality innate to the immortal tenderness of the Sarabande. Despite a grand leap in time and place, he inspires equal personality — and often spouts of well-placed capriciousness — in Weinberg’s Sonate, honoring the high technical demands of the work while carving out a unique appreciation for Weinberg’s stylistic traditions. Basso Profundo is a prime example of a master at work, a recording that will surely inspire another extensive list of descriptors risen in Barker’s praise.
96 kHz / 24-bit PCM – Navona Studio Masters
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -0.22 -0.22 to -0.22 | -17.19 -20.83 to -14.32 | -15.11 -18.70 to -12.20 | 10 7 to 12 | |
| 1 | I. Prelude | -0.22 | -15.90 | -14.2 | 9 |
| 2 | II. Allemande | -0.22 | -17.94 | -15.9 | 12 |
| 3 | III. Courante | -0.22 | -17.11 | -15.1 | 10 |
| 4 | IV. Sarabande | -0.22 | -20.83 | -18.7 | 11 |
| 5 | V. Gavotte I, II | -0.22 | -17.47 | -15.5 | 12 |
| 6 | VI. Gigue | -0.22 | -18.76 | -16.6 | 11 |
| 7 | I. Adagio | -0.22 | -15.70 | -13.9 | 8 |
| 8 | II. Allegretto | -0.22 | -17.16 | -15.2 | 10 |
| 9 | III. Moderato | -0.22 | -14.32 | -12.2 | 7 |
| 10 | IV. Allegretto | -0.22 | -17.07 | -14.8 | 10 |
| 11 | V. Lento | -0.22 | -16.66 | -14.7 | 9 |
| 12 | VI. Allegro molto | -0.22 | -17.35 | -14.5 | 10 |