# Composer: Jean-Philippe Rameau
# Orchestra: Les Arts Florissants
# Conductor: William Christie
# Vinyl (1982)
# Number of Discs: 1
# Format: Flac
# Label: Harmonia Mundi
# DR-Analysis: DR 15
# ASIN CD: B000027NZ8
# Size: 1.78 GB
# Scan: yes
# Server: FileFactory
William Christie was a pioneer in the performance of French baroque music, and this 1981 recording shows how even very early on, he had just the right touch. The orchestra is brilliant, and special kudos to the flutes who have some great moments that set a distinctive mood. The solo voices all excel, and the whole group make a delightful sound. Recommended.
The subject-matter is slight: poet Anacréon sings the dual praise of Bacchus (e.g. binge driking) and love, but the irate Maenads, the priestesses of Bacchus, turn up and scorn that dual allegience. Anacréon decides to relinquish Bacchus rather than love (don’t they all say that! “Serment d’ivrogne”, the French say, “Drunkard’s pledge”), falls asleep, is awakened (and maybe it is all a dream) by a violent storm that threatens the child Love, rescues him. In the scene between them (strangely – and one assumes, by mistake – the score jumps here to Scene IV, without any Scene III) it is revealed that Anacreon had forsaken his great love the fair Lycoris (is there here a Freudian association with “liquor”?), fearing that his own ageing would not suit her anymore, but that she is still madly in love with him and would not have traded “the Autumn of the Lover who has forsaken her, for the Spring of Adonis” – I wish Scarlett Johansson would say that of me! At the end Love offers an alliance to Bacchus, because love is always more efficient with the help of inebriation, and the Priestess of Bacchus accepts, because “Bacchus doesn’t forbid to love, and love allows drinking”.
By its very nature the music is lightweight, chamber-like, sounding like one of those “Serenatas” so common in contemporary Italy, with an orchestra reduced to basso continuo, strings and flutes, but it contains a few ramiste gems, like the short Ritornello serving as an Overture, the drinking song with its praise to binge drinking and f***ing (“No sorrows, let us drink without end, let us spend our days loving and getting drunk, let us drink always and love without end”, track 1), the combat of the Bacchaes in scene 2 with its piercing little flute (and piercing counter-tenor Dominique Visse) and their fugal song of triumph (track 2), the slumber music opening Scene 3 followed by a Vivaldi-like storm (introduced by violin pizzicatti notated “Pluye”, rain), the exquisite song of Love (not just the song’s topic, but also the character singing it) in the same scene (track 3) and the next one in Scene 5 (track 5) – exquisite also because their melismata pay no debt whatsoever to the traditions and style of contemporary Italian vocal music – and the dances at the end of Scene IV, the merry Gigue and the concluding Contredanse.
|Anacréon – Ballet En Un Acte – IIIème Entrée Ajoutée Aux “Surprises De L’Amour” En 1757|
|B1||Scène 3 (Suite) – Air De L’Amour “Avant Ce Jour C’Etait L’Amour”||5:49|
Analyzed folder: /192kRam_Ana/192k Rameau – Anacreon
DR Peak RMS Filename
DR16 -0.52 dB -21.13 dB A1 Scene 1.wav
DR15 -2.17 dB -22.09 dB A2 Scene 2.wav
DR15 -1.67 dB -22.64 dB A3 Scene 3.wav
DR16 -1.75 dB -22.32 dB B1 Scene 3 (Suite) – Air De L’Amour ‘Avant Ce Jour C’Etait L’Amour’.wav
DR16 -3.21 dB -24.59 dB B2 Scene 4.wav
DR15 -2.24 dB -22.61 dB B3 Scene 5.wav
DR13 -2.06 dB -19.96 dB B4 Gigue.wav
Number of files: 7
Official DR value: DR15
- Baritone Vocals [Anacréon] – René Schirrer
- Composed By – Jean-Philippe Rameau
- Conductor – William Christie
- Countertenor Vocals [Haute-contre – Agathocle] – Dominique Visse
- Edited By [Montage] – Bruno Niewdanski
- Ensemble – Les Arts Florissants
- Liner Notes – Jean-François Labie
- Recorded By [Prise De Son] – Claude Armand
- Soprano Vocals [L’amour] – Agnès Mellon
- Soprano Vocals [Prêtresse] – Jill Feldman
- Tenor Vocals [Convive] – Michel Laplénie
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
Cartridge: Audio Technica AT 33 E MC
- Phono amp: Pro-Ject Phono Box RS
- ADC/DAC: RME Fireface UC
- Pre Amp: Vintage (1979) Luxman L-55A
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music.
Enjoy the music, not the ticks & pops.
I tend more and more, in the last time, to de-click with an automatic setting between 0.7 and 1.2 so you can say, my rips are like half rough rips.
- Software: iZotope RX 4 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.9
- Very light de-clicking with iZotope, significant clicks manually removing, no de-noising
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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