Meeting in Music: Bohm G

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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.

6/21/2017

Baroque from Northern Germany [8 CD's]

Christian Flor (1626-1697)
Dietrich Becker (c1623-c1679)
Musicalische Frühlings-Früchte

Musica Poetica
Challenge Classics CC72332 (© 2009)
Recorded October 2008 [61'13"]
EAC rip; flacs, log, cue, scans (300dpi); 352 MB
Courtesy of Thomas Cadfael
Download

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11/08/2015

Dutch Organists #Part6

Organ Works of Scheidemann, Buxtehude et al
Von Holy Organ - Peter Westerbrink
Organ Works of Sweelinck, van Noordt et al
Bosch Organ - Wouter van den Broek
Organ Works of Max Reger
Sauer Organ - Cor van Wageningen
C.M. Widor - Symphonies No 5 & No 9
Marcussen Organ - Hayo Boerema

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2/27/2015

German Baroque Music # 3

Johann Rosenmüller - 12 Sonati

Ensemble Masques

Johann Sebastian Bach - Sonatas BWV 1014-1019

Gabriela Demeterova & Giedre Mrazkova

Johann Sebastian Bach - English Suites BWV 806-811

Peter Watchorn - harpsichord

Composers around Bach (Kauffmann, Kuhnau etc)

Bram Beekman & Eindhovens Vocaal Ensemble

[Flacs & scans]

1/16/2014

In memoriam of Gustav Leonhardt: 16.01.2012 - 16.01.2014

A concert by Gustav Leonhardt was not like any other. He approached his harpsichord with the air of a mortician, slightly flexing his long, delicate hands. As he played he sat bolt upright, gaunt and aquiline, unsmiling in his crisp, perfect suit, with his elbows held close to his sides. No unnecessary gesture, no hint of emotion: senza baldanza, as a composer might have marked it. He did not have the look of a man on a mission. But he was.

Mr Leonhardt's life-work was to persuade the world how beautiful the harpsichord was, and how the harpsichord repertoire should be played. When he first fell in love with it, in the shape of the fairly bad instrument his parents bought for their house at Graveland in the Netherlands, he recognized it as the king of keyboards. Organs were noble characters, and he played church organ for years. Virginals were pleasing; he wrote a book on Flemish examples. But fortepianos were awful, the sound muffling all over the place when the hammer hit the keys, which put him off playing his beloved Mozart; and modern grands were unspeakable. None had that direct pluck of plectrum on string for which he loved the harpsichord—though that mechanism was also fearsomely exacting, even “diabolical”, and that was why he did not smile as he played.

Leonhardt (on the left)

When he began to study harpsichord seriously, at Basel in 1950, the instrument had been neglected, or overlaid with Romantic sweetness, for decades. He intended to restore it to the simple, original sound, “salt rather than sugar”, that Johann Sebastian Bach had written for. If people found that sound too thin for modern halls, and the pitch disturbingly low, too bad; their ears would just have to get used to it. And after a while, they did.

When he was asked in the mid-1960s to play the part of his favourite composer in “The Chronicle of Anna Magdalena Bach”, and was filmed in a long periwig and a frock-coat forging elegantly through the fifth Brandenburg Concerto, many listeners may well have felt that this was as near the mind of Bach as any man could reasonably get.

[ from The Economist]

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6/23/2013

georg bohm - claviersuiten - meyerson

georg bohm [1661-1733]
die claviersuiten - hamburg & luneberg [ca. 1700]
recorded in berlin [siemensvilla], march 2003
mitzi meyerson - harpsichord
[keith hill, 1998; meantone temperament]
glossa - gcd 921801