Meeting in Music: Marais M

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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.

1/30/2018

Marais La Gamme

Marin Marais (1656-1728)
La Gamme
Sonate à la Marésienne

London Baroque
Charles Medlam

harmonia mundi HMA 1951105

READ MORE...

1/11/2018

French Baroque Music [7 CD's]

Marin Marais (1656-1728)

Harpsichord Pieces from Alcide (1693)

Marie van Rhijn - harpsichord

Anonymous builder; 1679

Label: Evidence EVCD019

Recorded August 2015

[Flac & scans]

Download

9/29/2017

Ferrabosco - Biber - Marais

Alfonso Ferrabosco I (1543-1588)
Alfonso Ferrabosco II (1578-1628)
Consort Music
Rose Consort of Viols
Recorded 1997, Published 2003
CD FLAC+CUE+LOG [75:36] 4 parts 381 MB

Heinrich Biber (1644-1704)
Sonatae tam aris, quam aulis servientes
(Twelve sonatas for trumpets, strings, timpani and continuo [1676])
The Parley of Instruments
Roy Goodman, Peter Holman, directors
Recorded 1983, Re-Published 2000
CD FLAC+CUE+LOG [59:34] 4 parts 287 MB

Marin Marais
Pièces de Viole du Cinquième Livre:
Suite in G minor
Suite in A minor
Wieland Kuijken - viola da gamba
Kaori Uemura - viola da gamba
Robert Kohnen - harpsichord
Recorded 1987 - Re-Published 2007
CD FLAC+CUE+LOG [65:24] 4 parts 287 MB

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10/04/2016

Music for Dancing at the Court and at the Opera

CD1 : At the Opera
Lully, Campra, Marais, Destouches and Bocan

Les Talens lyriques
cond. Christophe Rousset

CD2 : At the Court
Lully, Marais, Philidor, Campra, Colasse, Gervais, La Barre, Purcell, Desmarest, Lalande, Pécour

La Simphonie du Marais
cond. Hugo Reyne

Erato, 1995. Flac + Cue + Scans

EmbedUpload • Mega READ MORE...

7/25/2016

Sainte Colombe le Fils & Marin Marais

Monsieur de Sainte Colombe le fils (ca.1660-1720?)
Marin Marais (1656-1728)
Pièces de Viole
avec les Tombeaux de Mons. de Sainte Colombe le père
et de Mons. de Lully

Jordi Savall
Alia Vox AV9829 (2003)
[flac, cue, log, scans]

Includes two discs:
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4/21/2016

Marais - Les folies d'Espagne

Marin Marais (1656-1728)
Pièces en Trio in C major
Suite in D major
Pièces en Trio in E major
Les folies d'Espagne
William Hunt, The Purcell Quartet
(Period Instruments)
Hyperion CDA66310 (1989)

[Flac & Scans]

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3/14/2015

French Baroque Music # 4

Claude Balbastre - Pieces de clavecin
Jean-Patrice Brosse - harpsichord
Marin Marais - Viol Music for the Sun King
Ensemble Spectre de la Rose
Jacques-Martin Hotteterre - Flute Music
Philippe Allain-Dupré and others
Jean-Henry D'Anglebert - Harpsichord Suites
Brigitte Tramier - harpsichord

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10/10/2014

French Viole School sans Savall (ripped by Saoshya)

1.
Nicolas Hotman (c.1610-1663)

Pièces de viole, Pièces de théorbe, Airs à boire
Sophie Watillon, Pascal Monteilhet, et al.

Cypres CYP 3607, (P) 2000

EAC rip | flac image, cue, log | complete HQ scans 300dpi
343.78 mb | NicHot-PievioPiethe-WatMont.rar archive | 5% recovery

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4/25/2014

Before Nikolaus Harnoncourt conducted symphony concerts...

... he performed fine music with his Concentus Musicus, playing the cello or the viola, accomponied by his wife, Alice, on the violin. Here are two examples from these "good old days", recorded in 1970 resp. 1973:

Johann Joseph Fux (1660-1741):
Serenada a 8
Rondeau a 7
Sonata a Quattro
Concentus Musicus Wien, Nikolaus Harnoncourt, conductor
Recorded 1970
Total Time: 48:12

Marin Marais (1656-1728):
Sonnerie de Sainte-Geneviève Du Mont de Paris
Suite N°1 En Do Majeur
Suite N°4 En Ré Majeur
Nikolaus Harnoncourt, Viola
Alice Harnoncourt, Violin
Leopold Stasny, Flute
Herbert Tachezi, Cembalo
Recorded 1973
Total Time: 48:19

READ MORE...

2/02/2014

In memoriam of Gustav Leonhardt [Part two]

Johann Christian Bach

Four Master Works

Paul Sacher, Wiener Symphoniker

Gustav Leonhardt is the soloist in the Harpsichord Concerto op.7 no.5

LP Philips S 04003 L [1950(?)]

This could be the first LP recorded by Gustav Leonhardt, and can be listened here

Seems to me interesting to refer to what Richard Egarr said on the occasion of Leonhardt's death:

'I had the great privilege and pleasure to have studied with Gustav and to know him a little personally. Both he and his wife Marie were true pioneers in the field of historical performance. They clung to their ideals of thorough research coupled with (more importantly) a deeply musical and practical application of this knowledge. This is truly the ending of an era.

'He was an aristocratic man, in some ways demonstrating odd contradictions. His living environment was utterly eighteenth century - a CD player and fax machine were, I think, grudging additions to the household. At the same time he had a passion for fast cars. I remember going on a trip with him and Marie to see a couple of old organs in Holland; being carried there extremely fast along the Dutch motorway in his latest Alfa. After seeing the second organ somewhere in a small suburb it was late and dark and we were somewhat lost. No sat-nav of course. Gustav just looked up at the sky to get his bearings from the North Star...

And finally, is interesting the following interview that Leonhardt issued to Early Music World