Meeting in Music: Bonporti

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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.

5/05/2019

Vivaldi & Contemporaries [13 CDS]

Francesco Antonio Bonporti (1672-1749)
Concerti a quattro op. 11

Ensemble Aurora
Enrico Gatti
EMI Music Italy / CD Classica CDC126 (1999)
[flac, cue, log, scans] Download link

READ MORE...

2/25/2012

A little about Francesco Antonio Bonporti

To accompany Sankerib's Bonporti Week celebrations, you might like to read a little about this composer's life and career:

(b Trent, bap. 11 June 1672; d Padua, 19 Dec 1749). Italian composer. Of good family, he was educated in his native city and Innsbruck in philosophical and humanistic subjects appropriate to the clerical vocation he was to follow. While studying theology at the Collegio Germanico in Rome in 1691–5 Bonporti took music lessons (presumably not his first). Corelli is said to have instructed him in violin playing, and Pitoni in the composition of sacred vocal music, but there is only slender evidence of this. Bonporti returned to Trent ordained as a priest and obtained a minor office in the cathedral in 1697. His op.1, a set of ten trio sonatas (he consistently grouped his instrumental works in tens rather than twelves), had been published the year before. On the title-page the composer called himself ‘gentiluomo di Trento’, noting his non-professional status as a musician. 11 further sets followed, all except one (op.3) consisting of secular music with a bias towards da camera specifications; of these the majority appeared during the first decade of the 18th century, when there was an unprecedented boom in the publishing of Italian instrumental music both inside and outside Italy.

Bonporti regarded himself as primarily a priest rather than a composer, although, ironically, his clerical advancement was no more rapid than the spread of his musical renown. This explains the otherwise puzzlingly ‘secular’ nature of his musical output; for despite the care which he obviously lavished on even the least substantial of his compositions, music was for Bonporti a means towards a non-musical end: his appointment to a canonry at Trent or an equivalent clerical post elsewhere. Each new opus saw an increasingly desperate attempt to win the favour of a dignitary who might secure his advancement. Beginning modestly with dedications to local, mostly ecclesiastical potentates, he worked his way up the feudal and ecclesiastical hierarchy until in a letter of 1716 we hear of no less a person than George I of England being solicited. (In letters to the secretary of the Elector of Mainz written in 1715 Bonporti offered to forgo a year's salary if appointed chaplain to the emperor at Vienna.) Such gains as Bonporti made through these representations were merely titular. In 1721 he signed himself in a letter to Prince Schwarzenberg ‘maestro dei concerti di S. M[aes]tà Ces[are]a e Catt[oli]ca’, and in 1727 he was made an ‘aulic familiar’ by Charles VI. The canonry remained remote. It is known that rivalry between German and Italian speakers in the church hierarchy at Trent (where the former, associated by language and culture with the seat of the empire, enjoyed an advantage) prevented his appointment whenever vacancies arose. Embittered by this failure, Bonporti moved to Padua in 1740, lodging in the house of a fellow priest. A final appeal to Empress Maria Theresa in 1746, in which op.12 was enlisted, proved fruitless. He died three years later and was buried in Padua.

Bonporti's merits as a composer were first realized in modern times when it was announced in 1911 by Werner Wolffheim that four of his inventions for violin and continuo, op.10 nos.2, 5, 6 and 7, had been included by Alfred Dörffel in volume xlv of Bach's works following an incorrect attribution to Bach in a manuscript source. Not only may Bach have imitated Bonporti in his use of the unusual term ‘Invention’ as a title, but the third movement (‘Ecco’) of the tenth invention in Bonporti's op.10 may have provided Bach with a model for the corresponding movement, similar in conception, of his Ouverture in B minor for harpsichord (bwv831). The celebrated violinist F.M. Veracini is known to have included op.10 in his repertory on German tours in 1715. By then the work, which had originally appeared in 1712, was known as La pace, the composer having seized the opportunity afforded by the Peace of Utrecht in 1713 to add this ingratiating sobriquet to later editions. (The ‘Triumph of the Grand Alliance’, opp.8 and 9, dating from c1710, betrays similar motives.)

In common with other north Italian instrumental composers of his generation, Bonporti based his musical language on Corelli. But whereas the main concern of many of his contemporaries, such as Dall'Abaco, was the expansion and clarification of form, Bonporti seems to have concentrated on the enhancement of melodic detail. (A limited parallel with Bach can be drawn here.) In the Recitativo movement of the first work in op.10 Bonporti offers what is in effect a copiously graced Adagio, entirely instrumental in idiom. But the similarly titled movement in the fifth concerto of op.11 (a very impressive publication in the domain of the concerto) introduces inflections of unmistakably vocal origin, highly original and effective in their unexpected context. Beneath the ‘extravagance’ (as contemporary writers would have termed it) of Bonporti's technically highly evolved writing for the violin a solid musical intention can be discerned; this is expressed through cogent, if not always highly systematized, forms, imaginative harmony and lively part-writing.

The present-day neglect of Bonporti's music owes something to the scarcity of surviving source material, something to the undervaluing of works in the chamber idiom and something to his non-adherence to any regional school of acknowledged historical importance, such as the Venetian. It does scant justice to his stature as a composer.

M Talbot/E Careri from Grove Music (acc. 20022012) READ MORE...