Meeting in Music: Heifetz J

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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.

7/12/2014

Historical Recordings of Chamber Music

Jascha Heifetz: Beethoven / Brahms / Franck: Violin Sonatas
Beethoven: Violin Sonata No. 9 in A major, Op. 47 ("Kreutzer")
Brahms: Violin Sonata No. 3 in D minor, Op. 108
Franck: Violin Sonata in A major
Jascha Heifetz, with Benno Moiseiwitsch, William Kapell, Arthur Rubinstein
Recorded 1937-1951
Total Time 75:49

J. S. Bach: Art of Fugue
Gustav Leonhardt, harpsichord
Recorded 1953
2 CDs, Total Time 49:54 + 36:58

Fauré - Franck - Debussy - Ravel: Chamber Music
Fauré: Quartet for Piano and Strings No.1 in C minor, op.15
Franck: String Quartet in D major
Debussy: Quartet in G minor
Ravel: Quartet in F major
Ravel: Introduction et Allegro
Quator Pro Arte, Quator Calvet, with Robert Casadeus and others
Recorded 1931 - 1938
2 CDs, Total Time 76:21 + 63:43

Schubert: Chamber Music
Schubert: String Quartet in D minor, D. 810 'Death and the Maiden'
Schubert: String Quartet in B flat major, D. 112
Schubert: Trio for Piano, Violin and Violoncello in B flat major, D. 898
Schubert: Quintet for Piano, Violin, Viola, Violoncello and Contrabass in A major, D. 667 'Trout'
Quator Pro Arte, Quator Calvet, Busch-Quartett, Arthur Rubinstein, Jascha Heifetz, Emanuell Feuerstein, Artur Schnabel
Recorded 1935 - 1946
2 CDs, Total Time 61:13 + 65:08

READ MORE...

9/17/2010

Mozart: Concert No. 5 • Sonata • Quintet - Heifetz with Piatigorsky • Primrose

Jascha Heifetz was larger than life, but was he too big for Mozart? The stern patrician of the violin, with his intense, laser-beam intonation and diamond-hard tone, would seem ideally suited for the big romantic concertos for which he was famous, but any fears that he would be mismatched with Mozart will be allayed immediately upon hearing his serene entry in the first movement of the "Turkish" Concerto, not to mention the delicate interplay that follows, by turns witty and sensuous. For the only time in his career, Heifetz is both conductor and soloist, making this the most involving of his recordings of the work.
Unlike many virtuosos of his time, Heifetz had no qualms about appearing publicly in chamber ensembles. And, with violist William Primrose and cellist Gregor Piatigorsky, he formed a sort of permanent yet flexible supergroup that gave regular concerts in Los Angeles throughout the 1960s. These players, along with violist Virginia Majewski and legendary Hollywood session violinist Israel Baker, are heard in the G minor String Quintet, a work with intimations of the 19th century, here given a taut, urgent, almost Beethovenesque performance.

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7/20/2009

Featuring Jascha Heifetz as Pianist

The celebrated violinist Jascha Heifetz playing the piano? Yes, he could!

Jascha is joined by his accompanist Isidor Achron in a four-hand arrangement of the Spanish song Valencia. Jose Padilla (1889-1960) wrote a number of songs which were popular in the 1920s, and Valencia was often featured in revues at the famous Moulin Rouge in Paris. Several distinguished singers, including Tito Schipa and Mario Lanza, recorded the song, but the uncredited arrangement heard here was never intended for general release. Made at the end of a serious recording session, it includes a quotation of the "Toreador Song" from Bizet's Carmen, which was almost certainly improvised. Despite the daunting figure he presented to the general public, Heifetz had a dry sense of humor and gift of mimicry which he revealed only to a close circle of friends. This spontaneous performance offers a glimpse of an unbuttoned Heifetz playing for fun.

Recorded May 8, 1928, at RCA Studios, New York City
Matrix no. BVE-43973-1 READ MORE...