Meeting in Music: Caccini 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.

11/09/2018

Madrigal Settings of 'Cor mio, deh non languire' Rooley

'Cor mio, deh non languire'
21 settings of Guarini
Luzzaschi, Rossi, Caccini, d'India, Banchieri, Scarlatti et al
(The Monteverdi Circle)

The Consort of Musicke
Kirkby, Tubb, Nichols, King, Agnew, Ewing
Anthony Rooley

Musica Oscura/Columns Classics 070989

READ MORE...

6/02/2016

Caccini: Padre e Figlia

GIULlO CACCINI (c. 1545-1618):
Le Nuove Musiche, Firenze 1601
Nuove Musiche e Nuova Maniera de scriverle, Firenze 1614
Montserrat Figueras, vocal
Hopkinson Smith, lute, baroque guitar
Robert Clancy, baroque guitar & Chitarrone
Jordi Savall, Viola da gamba
Xenia Schindler, harp
Recorded 1983, TT 50:45

FRANCESCA CACCINI (1587 - ca.1641):
O VIVA ROSA
SHANNON MERCER, soprano
SYLVAIN BERGERON, guitar, theorbo
AMANDA KEESMAAT, violoncello
LUC BEAUSÉJOUR, harpsichord, organ
Recorded 2009, TT 61:52
READ MORE...

7/24/2009

Giulio Caccini: Le Nuove Musiche (1601 + 1614)

Giulio Caccini (c. 1545-1618) is undoubtedly the most controversial personality in one of the most interesting periods of music history. He was part of those circles, at the turn of the 16th to 17th century in Florence, in which the chordally accompanied solo song and the opera originated.

Also called "Giulio Romano", because of his birth in Rome around 1545, Caccini joined the court of the Medicis in Florence in his youth. He played an obscure role in several intrigues at court; in addition the jealous, egocentric strain in the prefaces of his printed music suggests that Caccini was not one of the Tuscan Grand Duke's most congenial musicians and that his descriptions of the development of the solo song should be approached with some circumspection. Caccini was, however, an outstanding singer and just as good a singing teacher. Among others he trained his entire family, his first and his second wife, his son and both of his daughters, Francesca and Settimia, the first of which not only became a famous singer but also a well-known composer. In 1604 Caccini went with his entire family to the Parisian court, but returned, although highly successful, to Florence in the following year. Less is known about the last years of his life. He died, about seventy years of age, in Florence in 1618.

Whether Caccini, as he himself expressly asseverates in his prefaces, was the inventor of the chordally accompanied solo song, or whether, as recent research has indicated, he was one of several composers who, in trying to forge a new path in the art of vocal music, came up with similar results, can hardly be decided today. Long before a new performance style, one modelled on antique music (or what one understood it to be) had begun to be created in the Florentine circles around Giovanni de' Bardi and Jacopo Corsi - which were later given the much too general name of the "Florentine Camerata" by music historians - one had also sung polyphonically composed madrigals and canzonettes as solos with instrumental accompaniment whereby the vocal part was elaborately ornamented according to standard diminution models as found documented in didactic treatises. In addition, long before Caccini's first collection of chordally accompanied solo songs appeared in print with the equally pugnacious as well as programmatic title of "New Music" (Le Nuove Musiche), one had composed and performed this type of song. The "newness" of the music primarily lay in the fact that the instrumental parts were not polyphonic but instead formed a chordal accompaniment, as well as in the fact, that one tolerated intervals forbidden by the rules of classical polyphony, such as dissonances or leaps above a chord that has been struck once in order to enhance the expression of the text-with "una certa nobile sprezzatura di canto", a certain noble nonchalance, as Caccini called it in the preface of Nuove Musiche.

Caccini's first collection appeared in 1602 (cleverly predated as 1601), the second in 1614, four years before his death. The disposition of both was based upon the same principle and both contain instructions concerning performance in the preface, which are among the most important sources for the performance practice of this time. Caccini was the first to notate his ornaments thereby constraining the performer to sing them accordingly; in the preface there are many explanations of vocal technique, and in the music itself there are also numerous suggestions. Both collections contain madrigals in the first section, in the second arias, and in between several compositions of various kinds which cannot be classified as either. Among the lattermost is Torna, deh torna, a virtuoso octave strophe above a ground bass, the Romanesca, which is repeated, almost exactly, four times, above which the melodic framework of the vocal part is filled out with ever different coloraturas.

"Madrigals" are, according to Caccini's definition, through-composed one-part pieces which are usually elaborately ornamented on non-strophic texts whose metric structure is irregular. The madrigal Amarilli mia bella, already world famous in Caccini's lifetime, represents an intermediate stage between the madrigal and the aria: although in one part, its last section is repeated, its melody has a simple tunefulness and its harmonic and periodic structure is so well-proportioned, that it seems to anticipate the aria form. Under "Aria" Caccini usually, in the 1614 collection exclusively, understands strophic lightfooted gay or elegiac veiled compositions in musical rhythms closely related to those of dance. The most frequent of these, one which is always notated differently, but still an unmistakeable, gay, alternating rhythm serves as a basis.

"Amarilli Mia Bella" (Montserrat Figueras, vocal):

The same song, interpreted by Andreas Scholl, at youtube.

"Torna, Deh Torna" (Montserrat Figueras, vocal):