Meeting in Music: Furtwangler W

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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.

1/17/2019

Der Ring des Nibelungen - Furtwängler 1953 - Pristine remastering

Richard Wagner

DER RING DES NIBELUNGEN

Martha Mödl, Ludwig Suthaus, Ferdinand Frantz
Wolfgang Windgassen, Gustav Niedlinger, Elisabeth Grümmer
Sena Jurinac, Julius Patzak, Gotlieb Frick, Josef Greidel
Rome Symphony Orchestra & Chorus of RAI
dir : Wilhelm Furtwängler

Pristine Classical remastering [P] 2011
Recorded Rome 1953
FLAC digital download files, scans, scores

READ MORE...

8/31/2017

Beethoven: FIDELIO - Four historic recordings

Ludwig van Beethoven (1770-1827)

FIDELIO (1805)

Christa Ludwig, Jon Vickers
Gottlob Frick, Walter Berry, Franz Crass
Ingeborg Hallstein, Gerhard Unger
Philharmonia Orchestra and Chorus
dir : Otto Klemperer

EMI CMS 769324-2 stereo (1962)
FLAC, logs, scans, booklet

Klemperer's studio Fidelio has been accorded classic status since it was issued in the early sixties... The pacing is inevitable and, to use an overused term for all things Klempererisch, monumental. Everything in the score, from the Overture (already in Klemperer's hands pregnant with the drama about to unfold, no mere opera buffa scene-setter) to Leonore's unveiling and the final uplifting chorus of triumph feels 'right'... The two main protagonists, Ludwig and Vickers, are the real stars: both are every inch the equal of Klemperer's interpretation and Beethoven's demands. Ludwig is inspirational in her Abschelicher! (the horn quartet playing as one here) and Vickers' aria which opens the second act finds him on top form. His initial cry of Gott! Welch' Dunkel hier! is heart-rending, his hallucination of Leonore as an angel completely convincing. The final scene is ideally paced by Klemperer so as to appear a truly fitting climax to the opera. The soloists pick up the elevated mood and deliver a quintet at O Gott! Welch' ein Augenblick! which is an oasis of peace and hope.
Colin Clark, for Music Web International.

READ MORE...

7/18/2017

Wagner: Götterdämmerung - La Scala - Furtwängler

Richard Wagner (1813-1883)

GÖTTERDÄMMERUNG (1848)

Orchestra del Teatro alla Scala di Milano
conductor Wilhelm Furtwängler

Pristine Classical PACO093 remastering
Published 2013
Recorded Teatro alla Scala, 4 April 1950

FLAC, cuesheets, artwork

"This is simply the greatest performance of the whole cycle I have ever heard" - Gramophone

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7/14/2017

Wagner: SIEGFRIED - La Scala - Furtwängler

Richard Wagner (1813-1883)

SIEGFRIED (1857)

Orchestra del Teatro alla Scala di Milano
conductor Wilhelm Furtwängler

Pristine Classical PACO092 remastering Published 2013 Recorded Teatro alla Scala, 22 March 1950

FLAC, cuesheets, artwork

"As an owner of the Murray Hill LPs that the Furtwängler Ring appeared on, let me say that I’m astonished at how good these CDs sound—this is some resuscitation!"
James Miller, Fanfare Magazine

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7/10/2017

Wagner: DIE WALKÜRE - La Scala - Furtwängler

Richard Wagner (1813-1883)

DIE WALKÜRE (1870)

Orchestra del Teatro alla Scala di Milano
conductor Wilhelm Furtwängler
Pristine Classical PACO091 remastering Published 2013 Recorded Teatro alla Scala, 9 March 1950
FLAC, cuesheets, artwork

"This is certainly not the first incarnation of this splendid performance..., but the sonic improvements make it the only one worthy of serious consideration. With this upholstering, one can properly hear Furtwängler’s intent, his integration of large and small scale".

Colin Clarke, Fanfare Magazine

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7/06/2017

Wagner: DAS RHEINGOLD - La Scala - Furtwangler

Richard Wagner (1813-1883)

DAS RHEINGOLD (1854)

Orchestra del Teatro alla Scala di Milano
conductor Wilhelm Furtwängler

Pristine Classical PACO089 remastering
Published 2013
Recorded Teatro alla Scala, 4 March 1950

FLAC, cuesheets, artwork

"Different restoration engineers keep improving the Furtwängler/Scala Ring cycle, and now that Andrew Rose of Pristine has gotten around to it, the result achieves a level that frankly I never thought possible... This is, in fact, a remarkably lifelike reproduction of a performance that when first heard decades ago on a poor LP transfer seemed like something one would never actually be able to take much pleasure in" Henry Fogel, Fanfare Magazine