Various Artists – Impulse! 6 Great Jazz – Super Audio CD Jazz Collection (2015) [DSF Stereo DSD64/2.82MHz]

Various Artists – Impulse! 6 Great Jazz – Super Audio CD Jazz Collection (2015)
DSF Stereo DSD64/2.82MHz  | Time – 03:29:23  minutes | 8,25 GB | Genre: Jazz
Source: ISO SACD | © Esoteric Company ESSI-90133/38 | Front Cover

Jazz Masterpiece Collection :: ESOTERIC proudly introduces a new series of re-master collcection – A great Jazz collection from impulse! label. The reissue of historical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. These new audio versions feature ESOTERIC’s proprietary re-mastering process to achieve the highest level of sound quality.
ESOTERIC equipment used for re-mastering :: The criterion of re-mastering is to faithfully capture the quality of the original master. ESOTERIC′s flag ship D/A converters, model D-01VU, Rubidium master clock generator model G-0Rb and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session. This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master.
Experience by yourself… :: Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the “soul” hidden within the notes, but never before found in previously released recordings in any format.


Johann Sebastian Bach – Mass in B minor, BWV 232 – Netherlands Bach Society, Jos Van Veldhoven (2007) [DSF Stereo DSD64/2.82MHz]

Johann Sebastian Bach – Mass in B minor, BWV 232 – Netherlands Bach Society, Jos Van Veldhoven (2007)
DSF Stereo DSD64/2.82MHz  | Time – 01:45:45 minutes | 4,18 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V. | Front Cover, Booklet
Recorded: Waalse Kerk, Amsterdam, the Netherlands, December 2006

From the moment that a decision was made to record Bach’s Mass in b minor, it was clear tome that the scoring would have to be small-scale. After our successful and highly-praised recording of the St.John Passion in 2004-in which a small group of singcrs performed both the solo parts and the chorus parts there was really no way back. We had come to know a new kind of collaboration between instrumentalists and singers, which gave us an ideal foundation for the interpretation of Bach’s music and led to deeply expressive performances. Together, we discovered a new definition for the word ‘choir’. But at the same time, the Mass in b minor is a large-scale score: Bach, in his last completed work, demanded every possible performing force available to him. For example, in this unique and incomparable score, he used nearly every imaginable combination of voices and virtually the entire spectrum of instrumentation of his day. The enormous wealth of genres and structures is dazzling for the listener: timeless polyphony, fugues, canrus-firmus techniques, polychoral work, vocal and instrumental concern, concern for groups of instruments, concern grossi, osninani, solo arias and duets – in scorings from three to seven voices and in remarkably varied combinations-and choruses ranging from four to eight parts. It is certain that Bach never performed his masterpiece in complete form, and it remains unclear for what purpose or occasion he composed it. The beautiful autograph score remains a closed book in many respects: it contains hardly any tempo indications or dynamic signs. The movements are simply called Kyrie, Gloria, or Agnus Dci. All of the parts of the enormous score indicate one-on-a-part settings for instrumentalists or singers. Nowhere does Bach give suggestions for how to score the continuo. Is it written for soloists, or is Bach writing for a ‘real’ chorus? How large should the string groups be, and is variable scoring another option?