{"title":"Chiara Bertoglio","description":"\u003cp\u003eBrowse albums and recordings associated with Chiara Bertoglio in the Reference Music Store catalogue. Available editions and details on each product page.\u003c\/p\u003e","products":[{"product_id":"mors-vita-bertoglio","title":"Mors \u0026 Vita | Chiara Bertoglio","description":"\u003cp\u003eChiara Bertoglio plays Mussorgsky and Messiaen: A Night on the Bare Mountain, three Regards and Pictures at an Exhibition.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD231CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD231\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eChiara Bertoglio — piano.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eComposition credits: M. P. Mussorgskij \/ N. A. Rimskij-Korsakov; O. Messiaen.\u003c\/p\u003e\u003cp\u003eOriginal digital recording: 88.2 kHz · 24 bit; Velut Luna Studio, Preganziol; 2012-08-05\/06.\u003c\/p\u003e\u003cp\u003eRecorded live in the studio.\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003e01 - A night on the Bare Mountain\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e02 - Vingt Regards sur L'Enfant-Jésus: Regard du Père\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e03 - Vingt Regards sur L'Enfant-Jésus: Regard de l'étoile\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e04 - Vingt Regards sur L'Enfant-Jésus: Première Communion de la Vierge\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e05 - Pictures at an Exhibition: Promenade\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e06 - Pictures at an Exhibition: Gnomus\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e07 - Pictures at an Exhibition: Promenade\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e08 - Pictures at an Exhibition: Il vecchio castello\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e09 - Pictures at an Exhibition: Promenade\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e10 - Pictures at an Exhibition: Tuileries (Dispute d'enfants après jeux)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e11 - Pictures at an Exhibition: Bydło\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e12 - Pictures at an Exhibition: Promenade\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e13 - Pictures at an Exhibition: Ballet of the unhatched chicks\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e14 - Pictures at an Exhibition: Samuel Goldenberg and Schmuÿle\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e15 - Pictures at an Exhibition: Promenade\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e16 - Pictures at an Exhibition: Limoges - Le marché\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e17 - Pictures at an Exhibition: Catacombae (Sepulcrum romanum)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e18 - Pictures at an Exhibition: Cum mortuis in lingua mortua\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e19 - Pictures at an Exhibition: The Hut on Fowl's Legs (Baba Yaga)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e20 - Pictures at an Exhibition: The Great Gate of Kiev\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003eMessiaen and Mussorgsky: two personalities, two styles, two completely different approaches to life, faith, and music. The first: a French composer of the twentieth century, with a musical language that blends modes of pitch and rhythm, bird songs, Indian rhythms, cryptographies and symbolism, and even rare serial passages. The second: one of the \"Mighty Five\" who promoted authentically Russian music at the end of the nineteenth century; one whose extraordinary talent was not confined by the academic schemes of professionalism, and maintained the sovereign creative freedom of the \"dilettante,\" in the best sense of the word. The first: a fervent Catholic who never made a secret of his faith and how it inspired his entire musical production. The second: always in search of the infinite, perpetually tormented by doubts, constantly under the terrifying shadow of death, his true and only muse. However, as we shall see (and hear), these two opposing personalities have much in common, much more than one would expect.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is true that Messiaen greatly admired Mussorgsky, and that his own language is indebted to that of the Russian composer. The Vingt Regards sur l’Enfant Jésus are twenty musical contemplations of the child Jesus. These are not, as one might imagine, sugary holy cards; on the contrary, they are pieces of great theological and conceptual complexity, transmitted above all through the precise symbolism of their leading motifs. Among these, we should mention the \"God theme\" (a series of chords that evokes His \"Trinity\"), which entirely informs number 1, Regard du Père, and frequently recurs in Première Communion de la Vierge; and the \"Star and Cross theme,\" which connects the mystery of Christ's incarnation with that of His Passion (no. 2). In Première Communion, Messiaen explores the relationship between the Virgin Mary and her child during the nine months of pregnancy, assimilating the supernatural (yet also so natural) communion between mother and child with that brought to the believer by the Eucharist.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe contrast between this intimate and holy scene and the infernal Night on Bald Mountain could not be stronger. Mussorgsky's famous piece, a symphonic poem performed here in Konstantin Černov's fascinating piano transcription, portrays a witches' Sabbath in honor of Chernobog, the \"black god\" of Slavic mythology. It is actually a pagan cult of darkness and evil, rather than a simple magical feast: for Mussorgsky, there is a strong link between witchcraft, paganism, hell, and evil. The Sabbath concludes at the first chime of matins bells, on the feast of St. John; however, this conclusion does not appear as a clear triumph of good over evil, but rather as a truce between two equally strong armies.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIt is therefore significant that a similar starting point leads Mussorgsky to a very different conclusion in Pictures at an Exhibition, a cycle composed in memory of Viktor Hartmann, Mussorgsky's painter friend. As mentioned earlier, the theme of death is a constant in Mussorgsky's life and work, and, naturally, it becomes particularly central here. The Pictures of the first part, interspersed with the Promenades (a musical symbol of Mussorgsky himself and his emotional reactions to the paintings) are delightful and sometimes very profound images: a terrifying gnome, the impossible serenades of the village idiot to the most beautiful girl (The Old Castle), the children's quarrel after playing (Tuileries), the heavy burden and arduous advance of Poland towards independence, symbolized by that of an oxcart in the mud (Bydło), the ballet of unhatched chicks, and the caricature of two Jews, a rich man and a beggar (Samuel Goldenberg and Schmuÿle). In the second part, however, Mussorgsky draws an astonishing journey through humanity's greatest questions. Limoges represents a market, with its thousand sounds, colors, smells: a symbol of life, vitality, encounters, upon which, like an axe, death falls in Catacombae (think of Hartmann's sudden death). Mussorgsky's musical alter ego, the Promenade theme, resounds under spectral tremolos, almost signifying the composer's own death. Baba-Yaga, a horrible witch, is also here a symbol of evil, hell, and man's ancestral fears. Her apparent triumph, however, is swept away by the Great Gate of Kiev, beneath which a religious procession unfolds: we hear the sound of bells, the organ, the choirs of priests; the Promenade theme, portrayed as \"dead\" in Catacombae, is found here \"resurrected.\" It is life beyond death, the possibility of maintaining our relationships with those we loved through death, beyond death, and forever.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eChiara Bertoglio\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe style=\"border-radius: 20px; border-color: white;\" width=\"100%\" src=\"https:\/\/velutluna.lnk.to\/Mors-AND-Vita\" height=\"370\" border=\"0\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50002915983707,"sku":"CVLD231CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49872076013915,"sku":"CVLD231","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/231-cover.jpg?v=1736554808"},{"product_id":"impromptus-bertoglio","title":"Schubert: Impromptus | Chiara Bertoglio","description":"\u003cp\u003eChiara Bertoglio plays Schubert’s eight Impromptus op. 90 and op. 142, alongside Liszt’s two reworkings S.565b.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cul\u003e\u003cli\u003eCD — CVLD233CD\u003c\/li\u003e\u003cli\u003eHi-Res WAV file 88.2kHz · 24bit — CVLD233\u003c\/li\u003e\u003c\/ul\u003e\u003ch3\u003eMusicians\u003c\/h3\u003e\u003cp\u003eChiara Bertoglio — piano.\u003c\/p\u003e\u003ch3\u003eRecording and production\u003c\/h3\u003e\u003cp\u003eOriginal digital recording: 88.2 kHz · 24 bit; Velut Luna Studio, Preganziol; 2012-08-07.\u003c\/p\u003e\u003cp\u003eRecorded live in the studio.\u003c\/p\u003e\u003cp\u003e\u003cem\u003e\u003cspan\u003eProduction: Velut Luna \u0026amp; Chiara Bertoglio\u003cbr\u003eExecutive \u0026amp; Recording Producer: Marco Lincetto\u003cbr\u003eRecording, Mix \u0026amp; Mastering Engineer: Marco Lincetto\u003cbr\u003eEditing: Mattia Zanatta\u003cbr\u003ePhotos: Marco Lincetto\u003cbr\u003eDesign: l’image\u003cbr\u003eMarketing: Francesco Pesavento\u003cbr\u003eSales Managers: Moreno Danieli \u0026amp; Patrizia Pagiaro\u003cbr\u003ePress Agent: Emanuela Dalla Valle\u003cbr\u003eWorld Wide Contacts: Cristiana Dalla Valle\u003c\/span\u003e\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eTrack listing\u003c\/h3\u003e\u003cp\u003e\u003cspan\u003e01 - F. Schubert: Vier Impromptus op.90 D.899 - n.1 in do minore\u003cbr\u003e02 - F. Schubert: Vier Impromptus op.90 D.899 - n.2 in mi bemolle maggiore\u003cbr\u003e03 - F. Schubert: Vier Impromptus op.90 D.899 - n.3 in sol bemolle maggiore\u003cbr\u003e04 - F. Schubert: Vier Impromptus op.90 D.899 - n.4 in la bemolle maggiore\u003cbr\u003e05 - F. Schubert \/ F. Liszt: Impromptu S.565b - n.1 in mi bemolle maggiore\u003cbr\u003e06 - F. Schubert \/ F. Liszt: Impromptu S.565b - n.2 in sol maggiore\u003cbr\u003e07 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.1 in fa minore\u003cbr\u003e08 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.2 in la bemolle maggiore\u003cbr\u003e09 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.3 in si bemolle maggiore\u003cbr\u003e10 - F. Schubert: Vier Impromptus op.posth.142 D.935 - n.4 in fa minore\u003c\/span\u003e\u003c\/p\u003e\u003ch3\u003eProgramme notes\u003c\/h3\u003e\u003cp\u003e \u003cspan\u003eAmong Franz Schubert's piano works, the eight Impromptus, Op. 90 and Op. 142, are perhaps among the best-known and most frequently performed, and are certainly performed and listened to far more often than many of the enchanting Sonatas. It therefore seems pointless to reiterate here, in the inevitable brevity imposed by the size of a booklet, the analyses and studies that have been conducted on them; perhaps it is more useful to limit myself to offering the reader a \"presentation\" of these pieces, a guide that integrates with the key to understanding them that I propose with my interpretation.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eI've had a very long relationship with the Improvvisi, some of whom have been around for over twenty years; and I can say they are true musical \"friends,\" whose discreet and constant presence has shaped my journey as a musician and as a person.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eThose of Op. 90 have more defined characteristics and clearer, more limpid structures. Schubert's extraordinary imagination and emotional richness are still channeled into \"clean\" forms, with the alternation and juxtaposition of different levels of compositional articulation. No. 1 plays entirely on the contrast between the martial rhythm of the incipit and the softness of a melody accompanied by a murmur of triplets. No. 2 is simple only in its macrostructure, which alternates sections of uninterrupted scales, almost waves of notes, with a Trio and a Coda of almost barbaric aggression; however, the dance rhythm that runs through it is the same in both sections, with the accent falling askew on the second beat of the measure.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eNo. 3 is justly celebrated, a sort of wordless Lied that would be reductive to define as a simple accompanied melody. The richness of its pervasive and omnipresent harmonic texture makes it much more akin to a polyphonic piece, in which the fluidity of the harmony allows its contrapuntal richness to emerge, veiled by the enchantment of melodic contemplation. No. 4 weaves together a series of garlands of arpeggios that alternate with the absorbed stasis of the chords and an ascending progression on the left hand's voice that admirably builds to the climax that concludes both the first part and the entire impromptu. Nestled between the final sections is a Trio of infinite beauty, almost a prayer in which, once again, the inner voices of the chorale are made vibrant by repetitions and repetitions.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eOp. 142, on the other hand, is more compact, so much so that Schumann hypothesized a sonata-like conception of it (an approach I personally share), but on the other hand, more indecipherable. Each of its four Impromptus (which were renamed as such by the first editor) displays a kaleidoscope richer in emotion and more difficult to interpret than those of Op. 90.\u003c\/span\u003e\u003cbr\u003e \u003cspan\u003eNo. 1, in particular, presents a highly complex series of unforgettable moments: the solemn and tragic opening, which inaugurates not only this piece but the entire series; the changing reverberations of a subject hidden among the tremolos; the “duet” in which the left hand responds to itself, continually overriding the circular and hypnotic movement of the right.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eThe stylistic signature of No. 2 is more homogeneous, unique in its reconciliation of choral, Lied, and dance forms: it is perhaps the mystical pinnacle of the Impromptus, with a serene, composed, and absorbed beauty. No. 3, composed of variations on a theme from Rosamunde, leads us on a journey that revisits, in miniature, all the great themes of Schubert's Romanticism: the circular rhythm of the first variation, the joy of life of the second, the hopeless darkness of the third, which opens to dance in the fourth and dissolves into a shower of scales in the last.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eThe cycle concludes with No. 4, rich in Hungarian folk movements, with a theme brimming with energy and vivacity, once again not without deliberate barbarism. And once again, Schubert demonstrates the melodic and narrative potential of scales, which here are presented in an almost obsessive manner and colored by the harmonies of the left hand, becoming a musical resource of unimaginable charm.\u003c\/span\u003e \u003cbr\u003e\u003cspan\u003eCompleting the CD are Franz Liszt's versions of the Impromptus, Op. 90, Nos. 2 and 3. In Liszt's interpretation, No. 2 increases its virtuosic connotation (for example, with the addition of \"filler\" notes) and accentuates the \"Hungarian\" character of the Trio and Coda. Liszt instead transposes No. 3 into the more comfortable and – above all – less problematic, mysterious, and obscure key of G major (from the original in G flat); in the reprise of the main theme, Liszt offers a highly personal rewriting, reminiscent of the atmosphere of the celebrated Liebestraum.\u003c\/span\u003e\u003cbr\u003e \u003cem\u003eChiara Bertoglio\u003c\/em\u003e\u003c\/p\u003e\u003ch3\u003eListen\u003c\/h3\u003e\u003ciframe border=\"0\" height=\"370\" src=\"https:\/\/velutluna.lnk.to\/Schubert-Impromptus\" width=\"100%\" style=\"border-radius: 20px; border-color: white;\"\u003e\u003c\/iframe\u003e\u003cp\u003e\u003ca href=\"\/en\/collections\/velut-luna\"\u003eVelut Luna\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"CD","offer_id":50002901696859,"sku":"CVLD233CD","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49872085385563,"sku":"CVLD233","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/233-cover.jpg?v=1736555111"},{"product_id":"audiophile-musical-journey","title":"Audiophile Musical Journey","description":"\u003cp\u003e17 tracks spanning classical music, jazz and song in the Velut Luna sampler. CD and 88.2 kHz · 24bit file; programme and performers.\u003c\/p\u003e\u003ch3\u003eFormats and editions\u003c\/h3\u003e\u003cp\u003eCD and Hi-Res WAV file, 88.2 kHz · 24bit. Velut Luna CVLD306.\u003c\/p\u003e\u003ch3\u003eProgramme\u003c\/h3\u003e\u003cp\u003eBenjamin Britten \u003cbr\u003eSimple Symphony op.4\u003cbr\u003e01 - Boisterous Bouree, 3:10\u003cbr\u003e02 - Playful Pizzicato, 3:11\u003cbr\u003eI Solisti dell'Olimpico, Giovanni Battista Rigon, conductor\u003cbr\u003eLive recording: Teatro Olimpico, Vicenza, June 7th, 2003\u003cbr\u003eVelut Luna CVLD090 - ITW310409002  -03\u003c\/p\u003e\u003cp\u003eFelix Mendelssohn-Bartholdy\u003cbr\u003e03 - A Midsummer Night’s Dream, Op.21, Overture, finale, 3:15\u003cbr\u003eOrchestra di Padova e del Veneto, Zsolt Hamar, conductor\u003cbr\u003eLive recording: Auditorium Pollini, Padova, April 19th, 2007\u003cbr\u003eITW311799901\u003c\/p\u003e\u003cp\u003eWolfgang Amadeus Mozart\u003cbr\u003eConcert in A Major K622 for Clarinet and Orchestra\u003cbr\u003e04 - Allegro [fragment], 4:08\u003cbr\u003eLuca Lucchetta, clarinet, Orchestra di Padova e del Veneto, Zsolt Hamar, conductor\u003cbr\u003eLive recording: Teatro Verdi, Padova, October 4th, 2004\u003cbr\u003eVelut Luna CVLD292 - ITW311729201  \u003c\/p\u003e\u003cp\u003e05 - Era de' Maggio (M.Costa - S.Di Giacomo) 5:30\u003cbr\u003eRosella Caporale, voice\u003cbr\u003eOrchestra C.Pollini del Conservatorio di Padova, Giuliano Medeossi, conductor\u003cbr\u003eStudio recording: Auditorium Pollini, Padova, May, 2015\u003cbr\u003eVelut Luna CVLD265 - ITW311526508\u003c\/p\u003e\u003cp\u003eFranz Schubert\u003cbr\u003e06 - Sonata in A major D959: Andantino, 8:05\u003cbr\u003eChiara Bertoglio, grand piano\u003cbr\u003eLive-in-studio recording: Spazio d'Arte, San Giacomo, November 29th, 2014\u003cbr\u003eITW311526407\u003c\/p\u003e\u003cp\u003e07 - Albori (S.Tasca) 5:44\u003cbr\u003eSaverio Tasca \u0026amp; AlterArco\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, July, 2015\u003cbr\u003eVelut Luna CVLD269 - ITW311526901\u003c\/p\u003e\u003cp\u003e08 - At The Jazz Band Ball (L.Shields) 3:38\u003cbr\u003eStoryville Jazz Band\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, July, 26th, 2006\u003cbr\u003eVelut Luna CVLD145 - ITW310614501\u003c\/p\u003e\u003cp\u003e09 - Vertigo (M.Salvagnini) 4:34\u003cbr\u003eMassimo Salvagnini Quartet\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, November, 11th, 2006\u003cbr\u003eVelut Luna CVLD153 - ITW310715305\u003c\/p\u003e\u003cp\u003e10 - Birdland (J.Zawinul) 5:19\u003cbr\u003eArt Percussion Ensemble, Massimo Pastore conductor\u003cbr\u003eStudio recording: Auditorium Pollini, Padova, October 2010\u003cbr\u003eVelut Luna CVLD196 - ITW311119604\u003c\/p\u003e\u003cp\u003e11 - Toni Nokia (D.B.Soto Chero) 6:31\u003cbr\u003eDavid Beltran Soto Chero Ensemble\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, March, 19th, 2013\u003cbr\u003eITW311323908\u003c\/p\u003e\u003cp\u003e12 - Tears (M.Strano - P.Casula) 5:17\u003cbr\u003ePaola Casula\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, March, 16th, 2006\u003cbr\u003eVelut Luna CVLD139 - ITW310613910\u003c\/p\u003e\u003cp\u003e13 - So in love (C.Porter) 4:06\u003cbr\u003eLucia Minetti, Pietro Ballestrero \u0026amp; Stefano Profeta\u003cbr\u003eLive-in-studio recording: MagisterArea Studios, Preganziol, September, 23rd, 2017\u003cbr\u003eVelut Luna CVLD294 - ITW311729404\u003c\/p\u003e\u003cp\u003e14 - Contigo en la distancia (Cesar Portillo de la Luz) 3:57\u003cbr\u003eAlejandro Martinez y Nina y Villa el Salvador\u003cbr\u003eStudio recording: Studio A, Padova, June 2015\u003cbr\u003eVelut Luna CVLD266 - ITW311526601\u003c\/p\u003e\u003cp\u003e15 - Vedrai, Vedrai (L.Tenco) 4:36\u003cbr\u003eNinni Arini\u003cbr\u003eStudio recording: Cantina Martinez, Marsala, January 27th, 2017\u003cbr\u003eVelut Luna CVLD286 - ITW311728604\u003c\/p\u003e\u003cp\u003e16 - Nia, nia, nia \/ Rodrigo Martines (Anonymous XVI sec.) 4:34\u003cbr\u003eEnsemble Terra d'Otranto\u003cbr\u003eStudio recording: Masseria Torcito, Lecce, october, 3rd, 2003\u003cbr\u003eITW311799902\u003c\/p\u003e\u003cp\u003e17 - Reso (D.B.Soto Chero) 3:08\u003cbr\u003eDavid Beltran Soto Chero Ensemble\u003cbr\u003eStudio recording: MagisterArea Studios, Preganziol, March, 19th, 2013\u003cbr\u003eITW311323913\u003cbr\u003eTotal time: 78:55\u003c\/p\u003e\u003ch3\u003eListening notes\u003c\/h3\u003e\u003cp\u003eThe sampler compares genres, ensembles and recording spaces. The edition’s listening guide describes the reference used in production: differences heard at home do not by themselves amount to a negative judgement on a system. These observations offer a comparison that remains subject to the listener’s own preferences.\u003c\/p\u003e\u003ch3\u003eReference system\u003c\/h3\u003e\u003cp\u003eNORTH STAR DESIGN Meccanica 192 + DAC SUPREMO; NORMA SC-2; GENELEC 1037C (L\/R) + GENELEC 7070; WHITE GOLD I2S (Meccanica → DAC); VELUT LUNA WIRE (DAC → pre → speakers), balanced cables built to Velut Luna specifications.\u003c\/p\u003e\u003cp\u003e\u003ca href=\"\/collections\/velut-luna\"\u003eExplore the Velut Luna catalogue\u003c\/a\u003e\u003c\/p\u003e","brand":"Velut Luna","offers":[{"title":"File Hi-Res 88.2kHz · 24bit WAV","offer_id":49923124658523,"sku":"CVLD306","price":18.0,"currency_code":"EUR","in_stock":true},{"title":"CD","offer_id":49995392450907,"sku":"CVLD306CD","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0575\/1016\/6580\/files\/folder_d664fb59-e487-4c9d-a58c-c42d66b4203d.jpg?v=1737330742"}],"url":"https:\/\/www.referencemusicstore.com\/collections\/chiara-bertoglio.oembed","provider":"Reference Music Store","version":"1.0","type":"link"}