Many many thanks to Mats for another rare audiophile swedish gem
In the 17th century the German-born Düben family played a key role in Swedish music life. Gustav (c1628-1690) put together a large collection of music from all over Europe. It is ironic that he did not include a single piece by a Swedish composer. The reason seems to have been that at that time there were no Swedish composers. In the first half of the 17th century German composers dominated the music scene, later French and Italian musicians played their part. Johan Helmich Roman, the composer of the sonatas which are the subject of the present disc, is the first composer of Swedish birth in history. He played a major role in the development of music life.
Audiophile factor: VERY HIGH!
You think, you have read somewhere the name PROPRIUS? Oh yeah….think of the Carissimi Oratorium Jefta, Cantate Domino or Händel’s Messiah, only to name some of the most known rips, here at boxset.
Composer: Johan Helmich Roman
Performer: Flute – Penelope Evison, Cello – Olof Larsson, Harpsichord – Eva Nordenfelt
Number of Discs: 1
DR-Analysis: DR 12
Size: 1.75 GB
Johan Helmich Roman commonly is regarded as Sweden’s first important home-grown composer. He was born in Stockholm in 1694, and by the time that he was seven he was performing for the court of King Charles XII. In his twenties, he was sent to London to continue his musical education, and there he met Handel – Handel’s influence stayed with him for the rest of his life – and studied with John Christopher Pepusch, co-composer of The Beggar’s Opera.
When he returned to Stockholm in 1721, he was named Assistant Kapellmeister to the court, and then, six years later, Kapellmeister. In the latter role, he set out to improve the standards of the court orchestra, and he also composed. His most famous work is what is known as the Drottningholm Music, a suite of orchestral movements composed for the 1744 wedding of Princess Lovisa Ulrika and Adolphus Frederik. Despite its fame, it was not published in Roman’s lifetime, however. Roman’s only works to be so favored are the twelve flute sonatas recorded here.
Published in 1827, and dedicated to Queen Ulrica Eleonora, these sonatas were intended neither for beginners nor for very advanced players. In other words, what Roman was doing for the Swedish court orchestra he also was doing for everyday Swedes: building on a foundation to raise their general level of technical skill.
Each sonata is in between four and six movements; many of these are in the style of dances. Like Handel (and Baroque composers in general), Roman reused his music, so movements from these sonatas reappear in altered form in later works. Other composers appropriated this music also – again, very much in the spirit of the times. In these multiple ways, Roman’s music diffused into the Swedish culture.
Handel would not have been ashamed to write these sonatas, which are remarkable for their variety and for the high level of inventiveness that Roman showed in their composition. They are not in a “learned” style but emphasize tunefulness, grace, and what a good amateur flutist could make sound attractive on his or her instrument. Neither the flutist nor the listener is likely to be bored. (The continuo players play a more subsidiary role, of course.) This is perfect music to enjoy on a Sunday morning with your feet up and a cup of coffee by your side.
Analyzed folder: /192k Romans – Flute Sonatas (Proprius)
DR Peak RMS Filename
DR12 -3.86 dB -19.89 dB A1 Sonata No. 4 In G-Major – 1, Largo.aif
DR12 -0.67 dB -17.20 dB A2 Sonata No. 4 In G-Major – 2, Allegro.aif
DR11 -8.44 dB -21.94 dB A3 Sonata No. 4 In G-Major – 3, Larghetto.aif
DR10 -8.00 dB -21.61 dB A4 Sonata No. 4 In G-Major – 4, Vivace.aif
DR12 -2.97 dB -19.82 dB A5 Sonata No. 4 In G-Major – 5, Allegro – Non Presto.aif
DR11 -3.58 dB -20.41 dB A6 Sonata No. 11 In G-Minor – 1, Largo.aif
DR15 -1.02 dB -20.02 dB A7 Sonata No. 11 In G-Minor – 2, Allegro.aif
DR11 -6.65 dB -21.46 dB A8 Sonata No. 11 In G-Minor – 3, Larghetto.aif
DR12 -4.93 dB -21.54 dB A9 Sonata No. 11 In G-Minor – 4, Allegro.aif
DR10 -5.02 dB -18.79 dB B1 Sonata No. 3 In C-Minor – 1, Largo.aif
DR13 -2.74 dB -19.07 dB B2 Sonata No. 3 In C-Minor – 2, Allegro.aif
DR11 -6.33 dB -20.48 dB B3 Sonata No. 3 In C-Minor – 3, Adagio.aif
DR12 -1.60 dB -18.31 dB B4 Sonata No. 3 In C-Minor – 4, Vivace.aif
DR11 -3.95 dB -18.91 dB B5 Sonata No. 3 In C-Minor – 5, Alla Francese.aif
DR12 -4.87 dB -20.07 dB B6 Sonata No. 8 In A-Major – 1, Largo.aif
DR13 -0.77 dB -17.93 dB B7 Sonata No. 8 In A-Major – 2, Allegro.aif
DR10 -1.85 dB -17.56 dB B8 Sonata No. 8 In A-Major – 3, Andante.aif
DR14 -2.93 dB -21.09 dB B9 Sonata No. 8 In A-Major – 4, Adagio – Allegro.aif
Number of files: 18
Official DR value: DR12
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
Cartridge: ZYX 50R Bloom
- Phono amp: Pro-Ject Phono Box RS
- ADC/DAC: RME Fireface UC
- Pre Amp: Große Vorstufe, Erste Frankfurter Röhrenmanufaktur (Tube)
- 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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