Meeting in Music: Czech Philharmonic Orchestra

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Following the guide below you will be able to create the ultimate HQ rip and upload for sharing here at the Meeting in Music Internet Community or on your own blog if you have one.

RIPPING A CD USING EXACT AUDIO COPY (EAC)

1. Start Exact Audio Copy and load the clean and scratchless CD into you drive.
2. Pressing ALT+G will pull track and album info from the FreeDB database if this feature is set up properly.
3. If no info is found the CD is not registered in the database and you will have to type in the info manually.
4. Adjust the Drive Settings according to the model of your drive and enable the ”Create Log-file” option.
5. Adjust the Compression Settings to rip in Flac format at 768 kBit/s. Alternatively rip in the Ape fomat.
6. Rip the CD by pressing Action -> Test & Copy Image & Create CUE Sheet -> Compressed...
7. Check the log-file to see if any ripping errors or AccurateRip inaccuracies were registered.

SCANNING THE COVERS OF THE ALBUM

1. Scans of the front and back covers should be included if available as should the booklet. 300dpi is standard.

COMPRESSING THE FOLDER USING WINRAR

1. Wrap the audio files and images in a folder marked the composer and album name etc.
2. Set Compression method to ”Store” and the volume size to 200000000. Add a 3% recovery record.
3. Compress the folder using a not-too-obvious filename.

UPLOADING TO A FILEHOST AND SHARING WITH THE WORLD

Now all you need to do is to upload the rar-files to a filehost of your choice. Mega.nz is the standard and most stable option but there are many others and some services even feature upload to multiple filehosts. Finally the download links are ready to be presented on your blog.

THE MEDIEVAL ERA (600 - 1450)

At around 500 AD, western civilization began to emerge from the period known as “The Dark Ages”, the time when invading hordes of Vandals, Huns and Visigoths overran Europe and brought an end to the Roman Empire. For the next ten centuries, the newly emerging Christian Church would dominate Europe, administering justice, instigating “Holy” Crusades against the East, establishing universities, and generally dictating the destiny of music, art and literature

During this time, Pope Gregory I is generally believed to have collected and codified the music known as Gregorian Chant, which was the approved music of the Church. Much later, the University at Notre Dame in Paris saw the creation of a new kind of music called organum.

Secular music was sung all over Europe by the troubadours and trouvères of France, and it was during the Middle Ages that western culture saw the arrival of the first great name in music, Guilliame de Machaut.

THE RENAISSANCE ERA (1450 - 1600)

Generally considered to be from c.1420 to 1600, the Renaissance (which literally means “rebirth”) was a time of great cultural awakening and a flowering of the arts, letters, and sciences throughout Europe.

With the rise of humanism, sacred music began for the first time to break free of the confines of the Church, and a school of composers trained in the Netherlands mastered the art of polyphony in their settings of sacred music. One of the early masters of the Flemish style was Josquin des Prez. These polyphonic traditions reached their culmination in the unsurpassed works of Giovanni da Palestrina.

The late Renaissance also saw in England the flourishing of the English madrigal, the best known of which were composed by such masters as John Dowland, William Byrd, Thomas Morley and others.

THE BAROQUE ERA (1600 - 1750)

Named after the popular ornate architectural style of the time, the Baroque period (c.1600 to 1750) saw composers beginning to rebel against the styles that were prevalent during the High Renaissance. Many monarchs employed composers at their courts, where they were little more than servants expected to churn out music for any desired occasions. The greatest composer of the period, Johann Sebastian Bach, was such a servant. Yet the best composers of the time were able to break new musical ground, and in so doing succeeded in creating an entirely new style of music.

The instrumental concerto became a staple of the Baroque era, and found its strongest exponent in the works of the Venetian composer Antonio Vivaldi. Harpsichord music achieved new heights, due to the works of such masters as Domenico Scarlatti and others. But vocal and choral music still reigned supreme during this age, and culminated in the operas and oratorios of German-born composer George Frideric Handel.

THE CLASSICAL ERA (1750 - 1820)

From roughly 1750 to 1820, artists, architects, and musicians moved away from the heavily ornamented styles of the Baroque and the Rococo, and instead embraced a clean, uncluttered style they thought reminiscent of Classical Greece.

At this time the Austrian capital of Vienna became the musical centre of Europe, and works of the period are often referred to as being in the Viennese style. Composers came from all over Europe to train in and around Vienna, and gradually they developed and formalized the standard musical forms that were to dominate European musical culture for the next several decades. The Classical period reached its majestic culmination with the masterful symphonies, sonatas, and string quartets by the three great composers of the Viennese school: Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven.

During the same period, the first voice of the burgeoning Romantic musical ethic can be found in the music of Viennese composer Franz Schubert.

THE ROMANTIC ERA (1820 - 1910)

The earliest Romantic composers were all born within a few years of each other in the early years of the nineteenth century. These include the great German masters Felix Mendelssohn and Robert Schumann; the Polish poet of the piano Frédéric Chopin; the French genius Hector Berlioz; and the greatest pianistic showman in history, the Hungarian composer Franz Liszt. The field of Italian opera was dominated by Giuseppe Verdi, while German opera was virtually monopolized by Richard Wagner.

Composers like Antonin Dvorak began looking for ways in which they could express the musical soul of their homelands. Legends were therefore used as plots for operas, and folk melodies and dance rhythms were frequently used as inspiration for symphonies and instrumental music.

With the continued enhancement of instruments, plus the invention of new ones, the late Romantic composers of the second half of the nineteenth-century created richer and ever larger symphonies, ballets, and concertos. Two of the giants of this period are the German-born Johannes Brahms and the great Russian melodist Peter Ilyich Tchaikovsky.

THE EARLY 20TH CENTURY ERA (1910 - 1960)

In the early part of the twentieth century music became either outwardly expressive (as in the early symphonic poems of Richard Strauss, the huge symphonies of Gustav Mahler, or the operas of Giacomo Puccini), or more introverted (as in the so-called “impressionist” music of Claude Debussy). The previous century’s tide of Nationalism found a twentieth century advocate in the Hungarian Béla Bartók.

In a time of deepening psychological awareness, the expressionistic music of Arnold Schoenberg and his disciples germinated and flourished for a time.

Twentieth-century music has seen a great coming and going of various movements, among them post-romanticism, serialism and neo-classicism in the earlier years of the century, all of which were practiced at one time or another by Russian composer Igor Stravinsky.

Many of the greatest and best-known composers of the century, including Russian composers Sergei Rachmaninov, Sergei Prokofiev, and Dmitri Shostakovich along with British composers William Walton and Benjamin Britten were those who wrote music directly descended from the approved models of the past, while investing these forms with a style and modernistic tone of their own.

THE LATE 20TH CENTURY ERA (1940 - 2000)

Composers of this era sought to free music from its rigidity, placing the performance above the composition. Similarly, many composers sought to break from traditional performance rituals by incorporating theatre and multimedia into their compositions, going beyond sound itself to achieve their artistic goals. In some cases the line is difficult to draw between genres. Composers were quick to adopt developing electronic technology. As early as the 1940s, composers such as Olivier Messiaen incorporated electronic instruments into live performance. Recording technology was used to produce art music, as well.

The musique concrète of the late 1940s and ’50s was produced by editing together natural and industrial sounds. Steve Reich created music by manipulating tape recordings of people speaking, and later went on to compose process music for traditional instruments based on such recordings. Other notable pioneers of electronic music include Edgard Varèse, Karlheinz Stockhausen, Luigi Nono, and Krzysztof Penderecki.

As more electronic technology matured, so did the music. In the 1950s aleatoric music was first championed by American composer John Cage. Early minimalist compositions of the 1960s such as those by Terry Riley, Steve Reich, and Philip Glass stemmed from aleatoric and electronic music.

THE CONTEMPORARY ERA (from 1975)

In the broadest sense, contemporary music is any music being written in the present day. In the context of classical music the term has been applied to music written in the last quarter century or so, particularly works post-1975. Minimalism was practiced heavily throughout the latter half of the century and has carried over into the 21st century, with composers like Arvo Pärt, Henryk Górecki and John Tavener working in the more popular “mystic minimalism” variant.

Recently there has been increasing stylistic variety, with far too many schools of composition to name or label. However, in general, there are three broad trends. The first is the continuation of modern avant-garde traditions, including musical experimentalism. The second are schools which sought to revitalize a tonal style based on previous common practice. The third focuses on non-functional triadic harmony, exemplified by composers working in the minimalist and related traditions.

2/11/2019

Janacek - Kát'a Kabanová

Leos Janácek (1854-1928)

Gabriela Benacková, Peter Straka
Eva Randová, Dagmar Pecková
Chorus of the Prague National Theatre
Czech Philharmonic Orchestra
dir: Sir Charles Mackerras
Supraphon SU 3291-2 632 2 CD stereo DDD (1997)
Rec. at the Dvorák Hall of Rudolfinum, Prague, 21-27 March 1997
[flac&cue; logs;cover, inlays, disc&booklet scans]

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1/28/2019

Mahler - Symphonies nos. 6, 7, 9 (Six CDs)

Gustav Mahler (1860-1911)
Symphony no. 6 "Tragic"

Zdenek Macal, conductor
Czech Philharmonic Orchestra

Exton OVCL-00301 (2006)

[Flac & Scans]

https://mega.nz/#F!JihhnA7a!Jx17EtfNN3shh2mErnuG0g

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1/23/2019

Charles Mackerras: Josef Suk - Asrael

01. - 05. Josef Suk - Asrael. Symphony in C minor, op.27 [60'01]

Czech Philharmonic Orchestra conducted by Charles Mackerras

Supraphon SU4043-2 (recorded in concert 5-6 April 2007; CD issued January 2011)

(digital download - flacs, cover and inlay scans - no booklet)

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12/16/2016

Old Czech Marches

Old Czech Marches

Czech Philharmonic Orchestra
Vávlac Neumann
LP Rip - Supraphon (1987)
DOWNLOAD

[FLAC, Front Cover, Individual Tracks] READ MORE...

8/05/2016

J. S. Bach: Transcriptions for Orchestra

J. S. Bach
Toccata and Fugue in D minor
Prelude in E flat major
Geistliches Lied (Schemelli's Gesangbuch) Mein Jesu
Chorale Prelude; Wir Glauben All' An Einen Gott ('Giant Fugue')
Chorale from The Easter Cantata
Passacaglia and Fugue in C Minor

Czech Philharmonic
Leopold Stokowski
LP Rip - 1973
DOWNLOAD

[FLAC, Front Cover, Individual Tracks] READ MORE...

10/24/2011

Dvorak: Symphony No.6, The Golden Spinning-Wheel - Czech Philharmonic Orchestra, Mackerras

Antonin Dvorak
Symphony No.6, The Golden Spinning-Wheel
Czech Philharmonic Orchestra, Sir Charles Mackerras
Supraphon- SU 3771-2 031(CD)

Classics Today Rating: 10/10
In his equally laudatory review of this fantastic new release, my colleague Christophe Huss salutes Supraphon for managing to remain true to its dedication to Czech music while at the same time upholding the highest standards of performance quality. To this observation I can only add "Amen!" The label already has a couple of noteworthy versions of Dvorák's luminous Sixth Symphony with the incomparable (in this music anyway) Czech Philharmonic--a very good one by Neumann and a classic account by Ancerl. In fact, this symphony has been very well-served on disc, with excellent recordings by Kubelik, Rowicki, and Suitner, to name three of the best that come immediately to mind. Nevertheless, this newcomer bids fair to move right to the top of the available discography.

Recorded live, the rapport in evidence between Charles Mackerras and the orchestra really is the stuff of legends. There are so many outstanding moments that it's hard to settle on just a few, but consider the fortissimo counterstatement of the opening tune, just a touch "pesante" for added emphasis, or the gorgeously natural rubato between phrases of the same movement's second subject, and the way the coda really takes off and builds in energy straight through to the final climax. Then there's the usual gorgeous wind playing from the orchestra, so evident in the Adagio. Mackerras drives the scherzo with exhilarating abandon, and although he never bears down on the rhythm too heavily (always maintaining the lilt of the dance), the clarity of texture allows such characterful touches as the offbeat timpani in the reprise to register with full impact. I also love the extra punch he brings to the principal section's return after the trio.

Best of all, Mackerras treats us to what must be the most thrilling account of the finale yet captured on disc. It takes off like the wind and never looks back, simply accumulating energy as it goes. The great string fugato that initiates the coda flies by as if on mighty wings, and the grandiosity of the closing pages never loses that vital rhythmic impulse that gives the music its inner life. I wish that Supraphon had not included the applause at the end, but when you consider that all of this, and so much else besides, is happening in real time you will understand that anyone who believes that the era of "great" conductors is past simply hasn't been listening. If this sort of artistic communion between conductor and orchestra in the service of a brilliant interpretation isn't greatness, then we need to ask whether the term has any meaning at all.

The Golden Spinning Wheel (a studio recording this time) also receives what is arguably its finest performance on disc, even considering Harnoncourt's outstanding recent version. The opening, usually a blur of muddy rhythms in the lower strings and indifferently played percussion, here sounds as crisp and clean as a spring morning. I have never understood why some performances cut the central episode wherein the holy hermit gets back the heroine's various body parts (so he can patch her together again) in exchange for the components of the golden spinning wheel. The threefold musical repetition is not literal, and the orchestration is enchanting. The section is, in effect, the slow movement following the scherzo in which poor Dornicka gets hacked to bits in the first place, and it's a necessary four minutes of contrast. Finally, this is the moment where we encounter most of the "spinning wheel" music of the title. Mackerras rightly doesn't delete it, and hearing those deliciously chubby brass chorales and lovely wind solos alongside such characterful phrasing, you can't imagine why anyone would. The last few minutes offer as pure an expression of joy as you'll ever hear.

Supraphon's engineering is outstanding in both works, a touch warmer in the symphony (perhaps as a result of the presence of an audience), but in all respects as fine as any from this source. That audience, by the way, is absolutely silent, and with music-making of such spellbinding quality going on it's no wonder. Coming hard on the heels of his sensational Janácek double CD a few months ago, it's clear that Mackerras' Supraphon recordings will comprise a small but outstanding legacy worthy to stand beside the great recordings of such legends as Talich or Ancerl, and that the great Czech tradition is very much alive both in Prague and at Supraphon. Buy a few of these: they make terrific gifts for special occasions, and you can be sure to get a hearty "Thank you!" from the lucky objects of your affection. But first, treat yourself. [6/11/2004]

--David Hurwitz

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8/23/2011

Smetana: Ma Vlast - Czech Philharmonic Orchestra, Kubelik

Bedrich Smetana
Ma Vlast
Czech Philharmonic Orchestra
Rafael Kubelik
Supraphon 11 1208-2 031 CDC

.ape+.cue+.log

Some more Czech music.

Musicweb-International
As so often with live performances, the freedom of pulse and moments of pointed emphasis are hallmarks of a great occasion, and the sort of thing one seldom finds (or which seldom work) in studio recordings. Subtlety is the order of the day: there’s drama in plenty, but no bombast! So the weaker moments (and let’s not pretend that there aren’t any) often emerge with real strength, and the patriotic shouting (at the end of Blaník, say) is never marred by noisy over-statement.

As I commented in my review of the Ančerl recording (11 1925-2 011: same label, same orchestra), our familiarity with the timbre of the great ‘Western’ orchestras often leads us to question the sonorities of the great East European and Russian orchestras. And yet the extraordinarily distinctive colours of the Czech Philharmonic are precisely what Smetana would have heard and wanted. Their range of colour (from the moonlight scene of Vltava to the dark introduction to Tábor) is to be wondered at. And throughout, the playing is wonderfully secure and committed, with distinguished and characterful solos far too numerous to mention.

The recording is digital, but you may nevertheless find that it lacks the bloom, warmth and depth that this music of all music needs and deserves, and which Supraphon have commonly been able to deliver in other issues of similar vintage – such as the Mackerras recording of Má Vlast on Supraphon 3465-2 031. Regrettably, both audience and ambience are intrusive, sometimes when least welcome (such as in the delicate opening of Vltava, where coughing and shuffling mask all the musical detail), and applause – which is (unsurprisingly) rapturous! – is not edited out.

The booklet notes are unhelpfully brief, including as they do nothing about the music itself. Black marks here, I’m afraid.

At the end of the proverbial day, no recording of music so varied and so vital as this deserves to be singled out as a ‘winner’. So I hope no one’s wanting me to declare this the ‘best recording’, or not, as the case may be. But it is, literally, incomparable. Buy it, whether or not you have a Má Vlast already on your shelves!

Peter J Lawson READ MORE...

8/23/2011

Dvorak: Symphonies Nos. 7, 8, 9 - Neumann, Czech Philharmonic Orchestra

Antonin Dvorak
Symphonies Nos. 7, 8, 9
Czech Philharmonic Orchestra
Vaclav Neumann
Supraphon- SU 3705-2 032(CD)

.flac+.cue+.log

Filling and embarassing Dvorak vacuum here at MIMIC. Even Hurwitz agrees it's a goody! We can now safely aim for unanimity.

Classics Today Rating: 10/10
Václav Neumann concludes his remarkable Dvorák symphony cycle on a high note, turning in what is arguably the finest and most consistent set of the last three symphonies since George Szell. All of the competition in this area has problems: Kubelik's Seventh isn't fabulous, and neither is Kertesz's (who did a better "New World" in his earlier VPO rendition). Rowicki, also less good in the Seventh than in the later two works, like Kertesz has an LSO whose playing is no match for that of the Czech Philharmonic. Colin Davis and the Concertgebouw offer a stunning Seventh and a decent "New World", but an unremarkable Eighth. Järvi turns in fine accounts of Nos. 8 and 9, but makes heavy going of the Seventh, and he's cavernously recorded too. Neumann, by contrast, shines in the Seventh, perhaps Dvorák's greatest symphony. His attack on the first movement's climax remains unrivaled, and he milks the finale's tragic foreboding for all it's worth but never lets the music bog down (those marvelous Czech winds help a lot too).

The Eighth is noteworthy for its effortless sense of flow, and also for a finale that, in the Czech tradition of Talich, takes the scherzo variations in tempo yet still has sufficient rhythmic kick to provide an exciting conclusion. Neumann recorded the "New World" Symphony more times than I care to count, his last efforts revealing sadly diminished capacity. This is his best version, a "traditional" performance in the sense that it doesn't bring new revelations to this oft-played symphony, but it's also one whose feeling of "rightness" (note the beautifully relaxed yet seemingly self-propelled Largo and the trenchantly argued finale) married to superb playing places it among the handful of great accounts. Supraphon's first-rate sonics also distinguish this, the most consistently excellent of all complete Dvorák symphony cycles, from the rest of the pack. Supraphon's happy decision to offer the nine symphonies in sets of three also means that you don't have to commit to the whole production until you've had a chance to sample--but sample you certainly should. [3/22/2003]

--David Hurwitz

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