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Johannes Moesus - Antonio Rosetti: Jesus in Gethsemane; Halleluja; Salve Regina (2008) 2 CDs

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Johannes Moesus - Antonio Rosetti: Jesus in Gethsemane; Halleluja; Salve Regina (2008) 2 CDs

Antonio Rosetti: Jesus in Gethsemane; Halleluja; Salve Regina (2008) 2 CDs
Gabriele Hierdeis, soprano; Ruth Sandhoff, contralto; Jan Kobow, tenor; Thomas E. Bauer, bass
NDR Chor & Mecklenburgisches Barockorchester, conducted by Johannes Moesus

EAC | FLAC | Image (Cue&Log) ~ 475 Mb | Mp3 (CBR320) ~ 270 Mb | Scans included
Classical, Sacred, Choral | Label: cpo | # CPO 777 254-2 | Time: 01:45:57

Antonio Rosetti, who was almost always mentioned in the same breath as Mozart and Haydn by his contemporaries, composed over 40 symphonies, about six dozen solo concertos and chamber music and a considerable number of sacred vocal works. Ranked amongst his greatest achievements in the latter genre are the large-scale passion oratorio "Jesus in Gethsemane" and the "Hallelujah" cantata. Both show the virtuoso mastery of a whole array of musical techniques. Thanks to their melodic ingenuity, sophisticated harmony, a distinctive sense of proportion and the, as always, accomplished manipulation of orchestral tones, both of these late works are counted among Rosetti's most meaningful creations. There is no better conductor for this disc of Rosseti masterpieces than Johannes Moesus who is president of the International Rosetti Society.

Over the last five years or so CPO has paid special attention to the German oratorio of the late 18th and the early 19th centuries. Compositions of this kind by Johann Gottlieb Naumann (Betulia Liberata; La Passione, Zeit und Ewigkeit), Ferdinand Ries (Die Könige in Israel), Andreas Romberg (Der Messias) and Johann Nepomuk Hummel have been recorded, mostly by Hermann Max with his choir Die Rheinische Kantorei and his orchestra Das Kleine Konzert. Most of them have been reviewed here. The latest addition to the growing catalogue is the Passion-Oratorio Jesus in Gethsemane by the Bohemian-born composer Antonio Rosetti, which is coupled with a cantata and four settings of the Ave Regina.

In Germany - and in particular in the Lutheran part of it - the Passion was an important musical genre. Until the first decades of the 18th century most Passions were so-called Oratorio-Passions. The core of these oratorios, which were meant to be performed in a liturgical setting, was the text of the Gospels. The objective was to make the congregation 're-experience' the Passion of Jesus Christ, as it were, and to take part in the unfolding of the events as reported in the Gospels. They were composed in the spirit of Luther's theology of the Cross, which emphasized that the Passion of Jesus for the sins of mankind was an absolute precondition to receiving the grace of God. In the 18th century this kind of Passion was gradually replaced by the Passion-Oratorio with a lyrical and more meditative character. Not the story itself but the emotional reaction to it was the tenor of this kind of Passion, and the composer wanted the audience to feel sympathy with the suffering Jesus. This kind of oratorio was not liturgical and was mostly performed at public concerts. The arias were often of a rather operatic nature and sometimes very virtuosic.

Rosetti's oratorio Jesus in Gethsemane is one of this kind. The text was written by the Lutheran minister Heinrich Julius Tode (1733-1797) and was used before, for instance by Johann Wilhelm Hertel in 1780. Rosetti's setting was performed in 1790 in Ludwigslust, which since 1767 was the residence of the court of Mecklenburg-Schwerin. Here Rosetti was appointed music director in 1789. In a way this was a surprising move: the court was Protestant and Rosetti was Roman Catholic, like the court of Kraft Ernst, Prince of Oettingen-Wallerstein, near Augsburg, where he had worked until that time. There he mainly wrote instrumental music, in particular symphonies, since the Prince's orchestra was of excellent quality. These works brought him fame: they were even performed at the 'Concert Spirituel' in Paris. And Charles Burney mentioned him in the same breath as Haydn and Mozart.

The court of Mecklenburg-Schwerin had a tradition of performances of sacred music. Duke Friedrich, who ruled from 1756 to 1785 and was nicknamed 'the Pious', didn't like opera. He organised concerts for members of the middle class, modelled after the 'Concert Spirituel' in Paris. Hertel, who was court composer from 1754 to 1767, wrote sacred music for these concerts, but other composers, like Homilius, Naumann and Reichardt, were also invited to contribute. When Rosetti was appointed music director, Duke Friedrich was succeeded by his nephew Friedrich Franz I. He liberalized the musical climate which meant that operas were allowed, but that didn't break the dominance of sacred music. This goes to explain why Rosetti composed this Passion-Oratorio.

The work belongs to the meditative tendency but there are some links to the tradition of the Passion-Oratorio. There are several quotations from the Bible (for instance Psalm 40) and Rosetti also makes use of traditional Lutheran chorale melodies. In comparison to other oratorios from the second half of the 18th century the arias in Rosetti's work are rather modest in size and complexity. The one exception is the soprano aria 'Erhabenster Triumph der Liebe' which has a wide tessitura. The alto has an aria which is almost as long as this but is less virtuosic, and is called an 'arietta'. The tenor also has an arietta and an arioso, whereas the bass has little to do and mainly contributes some recitatives. He also participates in the quartet and a chorus with solo passages. The orchestra has an important role to play in that it has to realise the effects Rosetti uses to express the content. Trumpets and timpani come in when the soprano aria talks about "Sturm und Donnerschlägen" (storm and blasts of thunder). When the alto recitative 'Wen seh ich dort' ends with the description of how Jesus dies the orchestra falls away after the words "sein Odem weicht" (his breath fails him).

The second disc contains one large work, Halleluja, described as a cantata. But the difference in character between this piece and the oratorio is minimal. 'Jesus in Gethsemane' isn't even called an oratorio in the manuscript, and might easily be described as a Passion cantata. As the title suggests the cantata 'Halleluja' is mainly a piece in praise of God. It begins with a chorus on the text "Holy, holy, holy is the Lord of hosts" (Isaiah 6,3) and ends with a chorus on verses from Psalm 150. In between are arias, ariosos, recitatives and choral passages, including chorales. This piece again contains a brilliant soprano aria, with coloraturas to match the operatic fancy of the times.

The disc ends with four arias on the same text, the Salve Regina. They are written in different keys, but all are set for soprano with two violins, viola and bc, with two additional flutes in the setting in G (track 19). These are pieces which Rosetti must have written rather early in his career. They are comparable to settings of this text by Italian composers from the middle of the 18th century.

Rosetti is mainly known for his symphonies and solo concertos, especially for wind. These are virtually the only works which are recorded – and then only now and again. As far as recordings on period instruments are concerned I would mention the two discs with symphonies, recorded by the German ensemble Concerto Köln on Teldec. I had never heard any vocal works by Rosetti, and this introduction is a most pleasant one. Rosetti knows how to write for the voice, and on this disc the soprano arias in the two large-scale works as well as the four Salve Regina settings are most impressive. But the other voices also have fine arias to sing, and Rosetti writes good recitatives, mostly in accompanied form. The choral and orchestral parts are of the same standard. They reflect the quality of the vocal ensemble and the orchestra Rosetti had at his disposal in Ludwigslust.

The court's vocal ensemble was used to sing large-scale sacred music. The same is true for the choir of North-German Radio in Hamburg, but it does not specialise in early music. And that is noticeable, especially in that its sound is less transparent and the text is less clearly audible than in the recordings by the Rheinische Kantorei of Hermann Max. I also think that the orchestral effects and the dynamic contrasts could be stronger now and then. But these are only minor comments about an important and enjoyable production and a performance that attains a high standard. I was especially pleased by the contributions of the soloists. Gabriele Hierdeis gives marvellous performances. She is very impressive in the two adventurous soprano arias; only in the aria in Jesus in Gethsemane did I notice slight insecurities in the sometimes large leaps. In the aria in the cantata she sings impeccably. Ruth Sandhoff has a very pleasant voice, and I was especially pleased with her excellent declamation of the recitatives. Jan Kobow is an experienced singer in this kind of repertoire and fully lives up to his reputation. Thomas Bauer doesn’t have that much to do, but he sings his part also very well. In short, Johannes Moesus has brought together a fine team of singers which show a unanimity of approach to these compositions.

This is another winner from the CPO catalogue which right now is one of the most adventurous labels in the realm of early music. This production, which also excels in the quality of the programme notes, shows again that there is still a lot to discover in the second half of the 18th century. There so many composers were overshadowed - at least in our own times - by Haydn and Mozart.

Review by Johan van Veen, MusicWeb-International.com

When Antonio Rosetti, a native of Catholic Bohemia, relocated in 1789 from Wallerstein to Ludwigslust, he traded the Catholic milieu of southern Germany for a Protestant one in northern Germany. After an extended career composing music for the Catholic liturgy of the Oettingen-Wallerstein court he now was confronted with the preference of Duke Friedrich Franz I (1717-1786) and his successors for cantatas and oratorios. Having at his disposal not only a good orchestra but also a capable vocal ensemble the Ludwigslust court was accustomed to performing larger and demanding choral works. Some of these have been recorded for this double disc.

The passion cantata for soloists, chorus and orchestra, Jesus in Gethsemane, does not follow the dramatic narrative of Johann Sebastian Bach's passions. Instead, in keeping with the new literary trend of the Empfindsamkeit of the late eighteenth century, Rosetti's lyrical, meditative text stresses the emotional character of the action. The solo voices do not represent specific dramatic personae but rather are meant to be links for the pious listener to direct emotional relation to the text. The same applies to the Hallelujah cantata for soloists, chorus and orchestra which praises God's glory.

The exuberant emotions embedded in the structure of these two compositions are beautifully expressed by the combined forces of the musicians Johannes Moesus has assembled for these recordings. And, surprisingly, both works contain some demanding, virtuoso arias. The listener will also delight in the riches of harmonic color and lyric melody in the four settings of the Marian antiphon, Salve Regina, which complete the program of Rosetti's vocal compositions on this recording.

Review by Diether Steppuhn, Classical.Net

Johannes Moesus - Antonio Rosetti: Jesus in Gethsemane; Halleluja; Salve Regina (2008) 2 CDs



Gabriele Hierdeis (soprano); Ruth Sandhoff (contralto);
Jan Kobow (tenor); Thomas E. Bauer (bass);
NDR Chor
Mecklenburgisches Barockorchester 'Herzogliche HofKapelle'
Johannes Moesus, conductor

rec. 4–7 September 2006, St. Nikolai in Hamburg, Germany.

Tracklist:

Antonio ROSETTI (1750-1792)

CD1:

Jesus in Gethsemane, oratorio (Murray G2) [49:20]

01. Chor: Nehmet wahr des Hohenpriesters (4:52)
02. Arioso & Rezitativ (Tenor): Steht auf und lasset uns von hinnen gehn! (2:01)
03. Cavatina (Bass): Siehe, ich komme! (1:57)
04. Choral: Da gehst du hin! mein Schmerz erwacht! (1:35)
05. Rezitativ (Soprano): So geht die Sonne froh zum Wohltum auf (1:17)
06. Arie (Soprano): Erhabenster Triumph der Liebe (4:34)
07. Rezitativ (Alt): Wen seh ich dort an jenem Berge liegen? (3:08)
08. Chor: Sei ihm nicht schrecklich (1:58)
09. Rezitativ (Alt): Denn, ach, wer soll mit Qualen (1:05)
10. Arietta (Alt): Schone! Weltenrichter, schone! (4:22)
11. Quartett: Er ist um unserer Missetat willen verwundet (2:22)
12. Rezitativ (Tenor): Und ihr, von ihm gewählt als Augenzeugen jener Not (1:30)
13. Ariette (Tenor): Schlag an dei Herz, Christus Jünger (3:44)
14. Choral: O Fleisch, wie bist du mir verhasst (1:08)
15. Rezitativ (Bass): Doch was verschlummert ihr, ihr Trägen! (1:54)
16. Cavate (Soprano): Dein Wille! lass das hohe Wort (2:01)
17. Rezitativ (Soprano): So standthaft nimmt der Weltensündiger den Kelch (1:25)
18. Chor mit Soli: Ihr sied kommen zu dem Mittler (4:51)
19. Chor: Finale. Preis dir! Ihn, der von dir verlassen (3:38)

CD2:

Halleluja - cantata (Murray G7) [39:12]

01. Chor: Heilig, heilig, heilig ist der Herr Zebaoth! (2:36)
02. Rezitativ (Alt): Da steh ich! (3:06)
03. Choral: Himmel, Erd und ihre Heere (0:45)
04. Rezitativ (Soprano): Und wie? nur ich allein, dein Abdruck (0:50)
05. Arie (Soprano): Schüttle Geist, von deinen Schwingen (5:37)
06. Rezitativ (Soprano): Doch darf ich wohl, ich Sterblicher (1:24)
07. Duett (Soprano, Alt): Töne? Worte? ha, die Liebe (4:14)
08. Chor: Vater unser, der Du bist im Himmel! (1:35)
09. Rezitativ (Tenor): Das ist dein Zug (2:13)
10. Arie (Tenor): Schon in den Staub vor dir gebeuget (3:59)
11. Choral: Ich rief zum Herrn in meiner Not (1:15)
12. Arioso (Alt, Bass): Geheiligt, hoch erhoben (1:34)
13. Chor: Amen, Amen! (0:49)
14. Arioso (Soprano, Alt, Tenor): Stets werd erbarmend unser Flehn vernommen (1:52)
15. Chor: Amen, Amen! (2:26)
16. Choral: Sollt ich meinem Gott nicht singen? (1:40)
17. Chor: Finale. Lobet den Herrn in seinem Heiligtum! (3:16)


Salve Regina - four arias for soprano and instruments (Murray F86-89) [17:26]

18. Salve Regina in A major (3:52)
19. Salve Regina in G major (6:36)
20. Salve Regina in B flat major (3:20)
21. Salve Regina in E flat major (3:38)


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Soli, NDR Chor, Mecklenburgisches Barockorchester, Johannes Moesus / Rosetti - Jesus in Gethsemane

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foobar2000 1.2 / Dynamic Range Meter 1.1.1
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––––––––––––––––––––––––––––––––––––––––
Analyzed: Soli, NDR Chor, Mecklenburgisches Barockorchester, Johannes Moesus / Rosetti - Jesus in Gethsemane
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR14 -1.22 dB -22.21 dB 4:52 01-Chor: Nehmet wahr des Hohenpriesters
DR14 -11.29 dB -29.83 dB 2:01 02-Arioso & Rezitativ (Tenor): Steht auf und lasset uns von hinnen gehn!
DR13 -12.45 dB -30.93 dB 1:57 03-Cavatina (Bass): Siehe, ich komme!
DR12 -6.21 dB -23.53 dB 1:35 04-Choral: Da gehst du hin! mein Schmerz erwacht!
DR12 -8.56 dB -27.61 dB 1:17 05-Rezitativ (Soprano): So geht die Sonne froh zum Wohltum auf
DR14 -4.72 dB -23.15 dB 4:34 06-Arie (Soprano): Erhabenster Triumph der Liebe
DR14 -9.73 dB -28.98 dB 3:08 07-Rezitativ (Alt): Wen seh ich dort an jenem Berge liegen?
DR13 -4.40 dB -23.59 dB 1:58 08-Chor: Sei ihm nicht schrecklich
DR12 -11.12 dB -27.86 dB 1:05 09-Rezitativ (Alt): Denn, ach, wer soll mit Qualen
DR15 -6.97 dB -26.99 dB 4:22 10-Arietta (Alt): Schone! Weltenrichter, schone!
DR14 -8.89 dB -30.88 dB 2:22 11-Quartett: Er ist um unserer Missetat willen verwundet
DR12 -15.74 dB -32.41 dB 1:30 12-Rezitativ (Tenor): Und ihr, von ihm gewählt als Augenzeugen jener Not
DR13 -14.14 dB -31.55 dB 3:44 13-Ariette (Tenor): Schlag an dei Herz, Christus Jünger
DR13 -2.55 dB -20.79 dB 1:08 14-Choral: O Fleisch, wie bist du mir verhasst
DR14 -12.18 dB -31.41 dB 1:54 15-Rezitativ (Bass): Doch was verschlummert ihr, ihr Trägen!
DR13 -5.20 dB -25.23 dB 2:01 16-Cavate (Soprano): Dein Wille! lass das hohe Wort
DR13 -11.95 dB -30.35 dB 1:25 17-Rezitativ (Soprano): So standthaft nimmt der Weltensündiger den Kelch
DR14 -4.83 dB -25.08 dB 4:51 18-Chor mit Soli: Ihr sied kommen zu dem Mittler
DR12 -2.66 dB -20.07 dB 3:38 19-Chor: Finale. Preis dir! Ihn, der von dir verlassen
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 19
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 586 kbps
Codec: FLAC
================================================================================


Exact Audio Copy V1.1 from 23. June 2015

EAC extraction logfile from 20. January 2017, 1:48

Soli, NDR Chor, Mecklenburgisches Barockorchester, Johannes Moesus / Rosetti - Halleluja; Salve Regina

Used drive : HL-DT-STDVDRAM GU70N Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
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Read offset correction : 48
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Add ID3 tag : No
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16 | 34:15.19 | 1:40.06 | 154144 | 161649
17 | 35:55.25 | 3:16.37 | 161650 | 176386
18 | 39:11.62 | 3:51.39 | 176387 | 193750
19 | 43:03.26 | 6:36.19 | 193751 | 223469
20 | 49:39.45 | 3:20.12 | 223470 | 238481
21 | 52:59.57 | 3:37.71 | 238482 | 254827


Range status and errors

Selected range

Filename C:\temp\cpo777254-2_Rosetti - Jesus in Gethsemane\CD2\Rosetti - Halleluja; Salve Regina.wav

Peak level 88.6 %
Extraction speed 2.0 X
Range quality 99.9 %
Test CRC 2BB0D9FE
Copy CRC 2BB0D9FE
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 6) [1F5F9048] (AR v2)
Track 2 accurately ripped (confidence 6) [9EFF478E] (AR v2)
Track 3 accurately ripped (confidence 6) [69CA3A86] (AR v2)
Track 4 accurately ripped (confidence 6) [3E141EF2] (AR v2)
Track 5 accurately ripped (confidence 6) [EAC08EF4] (AR v2)
Track 6 accurately ripped (confidence 6) [5244B9CC] (AR v2)
Track 7 accurately ripped (confidence 6) [C9DE8E28] (AR v2)
Track 8 accurately ripped (confidence 6) [1F9A48DE] (AR v2)
Track 9 accurately ripped (confidence 6) [A18FCF05] (AR v2)
Track 10 accurately ripped (confidence 6) [0337744A] (AR v2)
Track 11 accurately ripped (confidence 6) [B2184654] (AR v2)
Track 12 accurately ripped (confidence 6) [6A44C285] (AR v2)
Track 13 accurately ripped (confidence 6) [6EB683E4] (AR v2)
Track 14 accurately ripped (confidence 6) [607421D2] (AR v2)
Track 15 accurately ripped (confidence 6) [A5E5C035] (AR v2)
Track 16 accurately ripped (confidence 6) [E07A65FD] (AR v2)
Track 17 accurately ripped (confidence 6) [07C42B2A] (AR v2)
Track 18 accurately ripped (confidence 6) [50E21552] (AR v2)
Track 19 accurately ripped (confidence 6) [9099D8E5] (AR v2)
Track 20 accurately ripped (confidence 6) [430BD7FA] (AR v2)
Track 21 accurately ripped (confidence 6) [ECB31979] (AR v2)

All tracks accurately ripped

End of status report

==== Log checksum E082E9A778FA992F81B0541569F4DF697861FD3A6DCEC30AC657EA42904190C8 ====

[CUETools log; Date: 16.05.2018 22:51:03; Version: 2.1.4]
[CTDB TOCID: szEQL6fdmgqAKBmLQm0jcH22OwQ-] found.
Track | CTDB Status
1 | (6/6) Accurately ripped
2 | (6/6) Accurately ripped
3 | (6/6) Accurately ripped
4 | (6/6) Accurately ripped
5 | (6/6) Accurately ripped
6 | (6/6) Accurately ripped
7 | (6/6) Accurately ripped
8 | (6/6) Accurately ripped
9 | (6/6) Accurately ripped
10 | (6/6) Accurately ripped
11 | (6/6) Accurately ripped
12 | (6/6) Accurately ripped
13 | (6/6) Accurately ripped
14 | (6/6) Accurately ripped
15 | (6/6) Accurately ripped
16 | (6/6) Accurately ripped
17 | (6/6) Accurately ripped
18 | (6/6) Accurately ripped
19 | (6/6) Accurately ripped
20 | (6/6) Accurately ripped
21 | (6/6) Accurately ripped
[AccurateRip ID: 0026e901-0258678d-3a0d4515] found.
Track [ CRC | V2 ] Status
01 [f1cbe202|1f5f9048] (2+6/8) Accurately ripped
02 [73ab84e5|9eff478e] (2+6/8) Accurately ripped
03 [dcba12d3|69ca3a86] (2+6/8) Accurately ripped
04 [4ee0935f|3e141ef2] (2+6/8) Accurately ripped
05 [01842150|eac08ef4] (2+6/8) Accurately ripped
06 [633ff206|5244b9cc] (2+6/8) Accurately ripped
07 [e4983164|c9de8e28] (2+6/8) Accurately ripped
08 [88ce06c0|1f9a48de] (2+6/8) Accurately ripped
09 [9ed75da8|a18fcf05] (2+6/8) Accurately ripped
10 [a2daed4e|0337744a] (2+6/8) Accurately ripped
11 [2c320fa7|b2184654] (2+6/8) Accurately ripped
12 [c42fb3f3|6a44c285] (2+6/8) Accurately ripped
13 [96d6e601|6eb683e4] (2+6/8) Accurately ripped
14 [5aa0ccc4|607421d2] (2+6/8) Accurately ripped
15 [3ce93be5|a5e5c035] (2+6/8) Accurately ripped
16 [ea4fae55|e07a65fd] (2+6/8) Accurately ripped
17 [63bb8991|07c42b2a] (2+6/8) Accurately ripped
18 [99fa11ba|50e21552] (2+6/8) Accurately ripped
19 [5c32c1d5|9099d8e5] (2+6/8) Accurately ripped
20 [16623c03|430bd7fa] (2+6/8) Accurately ripped
21 [5235d855|ecb31979] (2+6/8) Accurately ripped

Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 88,6 [2BB0D9FE] [25C32C0B] CRC32
01 71,3 [37217F03] [B8C3FF8D]
02 43,3 [D8F6F8D3] [42206465]
03 53,8 [2A57823C] [ECD33E8B]
04 21,8 [621290B4] [A3420837]
05 55,4 [0DA73751] [E2AA2D82]
06 32,1 [501E92CE] [17FAA3E0]
07 57,5 [6C7E2C62] [7244D521]
08 13,8 [9D2CD286] [8B883672]
09 34,5 [3346683E] [372912C7]
10 35,7 [AA9E21F7] [902D15F4]
11 57,1 [23EE26DC] [D2EB3C1F]
12 51,5 [BEB0F2A2] [3321D6C0]
13 46,4 [3B999F0E] [E391F7DA]
14 24,8 [1408E77B] [FBA3F3F6]
15 61,9 [44369FF3] [2DC6F5D6]
16 57,2 [FA2F7759] [52A17B96]
17 88,6 [3C15191B] [1A843F2E]
18 51,3 [543FE411] [DA2914AC]
19 46,8 [A8EAAD6C] [7479C0C3]
20 45,5 [710D36FD] [2C5CB785]
21 54,7 [680E485B] [A57CF413]

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2018-05-16 22:40:30

––––––––––––––––––––––––––––––––––––––––
Analyzed: Gabriele Hierdeis, Mecklenburgisches Barockorchester, Johannes Moesus / Rosetti - Halleluja; Salve Regina
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR15 -5.79 dB -27.84 dB 3:52 18-Salve Regina in A major
DR14 -6.59 dB -27.80 dB 6:36 19-Salve Regina in G major
DR14 -6.83 dB -27.55 dB 3:20 20-Salve Regina in B flat major
DR14 -5.23 dB -27.42 dB 3:38 21-Salve Regina in E flat major
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 4
Official DR value: DR14

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 594 kbps
Codec: FLAC
================================================================================

––––––––––––––––––––––––––––––––––––––––
Analyzed: Soli, NDR Chor, Mecklenburgisches Barockorchester, Johannes Moesus / Rosetti - Halleluja; Salve Regina
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR11 -2.93 dB -22.72 dB 2:36 01-Halleluja - Chor: Heilig, heilig, heilig ist der Herr Zebaoth!
DR15 -7.26 dB -28.26 dB 3:06 02-Halleluja - Rezitativ (Alt): Da steh ich!
DR11 -5.37 dB -21.68 dB 0:45 03-Halleluja - Choral: Himmel, Erd und ihre Heere
DR12 -13.23 dB -32.29 dB 0:50 04-Halleluja - Rezitativ (Soprano): Und wie? nur ich allein, dein Abdruck
DR14 -5.13 dB -24.63 dB 5:37 05-Halleluja - Arie (Soprano): Schüttle Geist, von deinen Schwingen
DR14 -9.85 dB -30.37 dB 1:24 06-Halleluja - Rezitativ (Soprano): Doch darf ich wohl, ich Sterblicher
DR16 -4.80 dB -26.83 dB 4:14 07-Halleluja - Duett (Soprano, Alt): Töne? Worte? ha, die Liebe
DR9 -17.16 dB -30.23 dB 1:35 08-Halleluja - Chor: Vater unser, der Du bist im Himmel!
DR13 -9.24 dB -29.23 dB 2:13 09-Halleluja - Rezitativ (Tenor): Das ist dein Zug
DR15 -8.93 dB -28.00 dB 3:59 10-Halleluja - Arie (Tenor): Schon in den Staub vor dir gebeuget
DR13 -4.87 dB -22.04 dB 1:15 11-Halleluja - Choral: Ich rief zum Herrn in meiner Not
DR12 -5.75 dB -25.51 dB 1:34 12-Halleluja - Arioso (Alt, Bass): Geheiligt, hoch erhoben
DR11 -6.66 dB -24.11 dB 0:49 13-Halleluja - Chor: Amen, Amen!
DR12 -12.11 dB -30.52 dB 1:52 14-Halleluja - Arioso (Soprano, Alt, Tenor): Stets werd erbarmend unser Flehn ve…
DR12 -4.17 dB -22.08 dB 2:26 15-Halleluja - Chor: Amen, Amen!
DR13 -4.84 dB -23.62 dB 1:40 16-Halleluja - Choral: Sollt ich meinem Gott nicht singen?
DR12 -1.04 dB -18.52 dB 3:16 17-Halleluja - Chor: Finale. Lobet den Herrn in seinem Heiligtum!
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 17
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 594 kbps
Codec: FLAC
================================================================================

Johannes Moesus - Antonio Rosetti: Jesus in Gethsemane; Halleluja; Salve Regina (2008) 2 CDs

All thanks to original releaser - A-Z

More interesting music in My Blog