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Shostakovich - Gürzenich-Orchester Köln / Kitajenko - Symphonies Vol. 8 (2005) {Hybrid-SACD // ISO & HiRes FLAC}

Posted By: luckburz
Shostakovich - Gürzenich-Orchester Köln / Kitajenko - Symphonies Vol. 8 (2005) {Hybrid-SACD // ISO & HiRes FLAC}

Dmitri Shostakovich - The Symphonies: Symphony 11
Gürzenich-Orchester Köln / Dmitrij Kitajenko
SACD ISO (2.0/MCH): 3,62 GB | 24B/88,2kHz Stereo FLAC: 1,07 GB | Full Artwork
Label/Cat#: Capriccio # SACD71-036 | Country/Year: Germany 2005 | 5% Recovery Info
Genre: Classical | Style: Early 20th Century, Contemporary

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Shostakovich - Gürzenich-Orchester Köln / Kitajenko - Symphonies Vol. 8 (2005) {Hybrid-SACD // ISO & HiRes FLAC}


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16908420[0x1020084]: Disc Version: 01.20
16908420[0x1020084]: config: 00 00 00 0c 00 00 00 10 ff 41 01 04 00 00 00 00
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16908420[0x1020084]: succeeded. raw_spu number is 0
16908420[0x1020084]: succeeded. entry d0
16908420[0x1020084]: Establishing the interrupt tag on the interrupt PPU thread.
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16908420[0x1020084]: Queuing raw: /dev_usb003/DMITRI SHOSTAKOVICH.iso, start_lsn: 0, length_lsn: 1897736

–- 5:29:44.13 subdir "2DMITRI SHOSTAKOVICH", 2Chan. Script ver.: 2013.08.01
–- DR Metering of EM.dff in foobar started at 5:29:44.59
–- DR Metering of EM.dff in foobar finished at 5:36:14.61
–- Found among Tracks: HighestTrNo="2", HighTrNo="4", HighestPeak="575",HighPeak="586".
–- Threshold compared: HighestTrNo="2", HighTrNo="4", BiggestNo="4"; TrNo="4".
–- Ready to find Gain from .dff tracks
–- Retained .dff tracks numbers: {02}, {04} because of HighestTrNo:{2}, HighTrNo:{4}.
–- Ready to Convert .dff to .caf with Gain={-6.0}
–- Conversion to .caf with GAIN={-6.0} started at 5:36:15.22
–– "02 - Symphony No.11 in G minor, Op.103 - II. Allegro . January 9.dff" to .caf finished at 5:44:44.68
–– "04 - Symphony No.11 in G minor, Op.103 - IV. Allegro non troppo.dff" to .caf finished at 5:51:08.26
–- Conversion to .caf with GAIN={-6.0} finished at 5:51:08.26
–- Searching *.caf for the max Peak started at 5:51:08.27
–- Searching *.caf for the max Peak finished at 5:51:18.98
–- max Peak {with Gain -6.0} found: {1190}
–- Gain {5.89} found from .dff tracks
–- Ready to Convert .dff to .caf with Gain={5.89}
–- Conversion to .caf with GAIN={5.89} started at 5:51:19.10
–– "01 - Symphony No.11 in G minor, Op.103 - I. Adagio . The Palace.dff" to .caf finished at 5:58:38.51
–– "02 - Symphony No.11 in G minor, Op.103 - II. Allegro . January 9.dff" to .caf finished at 6:07:06.42
–– "03 - Symphony No.11 in G minor, Op.103 - III. Adagio . Eternal M.dff" to .caf finished at 6:12:45.89
–– "04 - Symphony No.11 in G minor, Op.103 - IV. Allegro non troppo.dff" to .caf finished at 6:19:07.95
–- Conversion to .caf with GAIN={5.89} finished at 6:19:07.96
–- Searching *.caf for the max Peak started at 6:19:07.96
–- Searching *.caf for the max Peak finished at 6:19:27.54
–- max Peak {with Gain 5.89} found: {001}
–- Converting .caf to flac started at 6:19:27.63
–- Converting .caf to flac finished at 6:24:44.70
–- Writing tags started at 6:24:44.70
–- Writing tags finished at 6:24:48.92
–- 6:24:48.92 subdirectory processing finished

foobar2000 1.1.14a / Dynamic Range Meter 1.1.1
log date: 2014-06-27 07:00:21

––––––––––––––––––––––––––––––––––––––––
Analyzed: DMITRI SHOSTAKOVICH / ?
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR18 -0.61 dB -25.96 dB 16:59 01-Symphony No.11 in G minor, Op.103 - I. Adagio . The Palace Square
DR10 -0.05 dB -14.79 dB 20:01 02-Symphony No.11 in G minor, Op.103 - II. Allegro . January 9th
DR10 -0.10 dB -16.86 dB 13:18 03-Symphony No.11 in G minor, Op.103 - III. Adagio . Eternal Memory
DR10 -0.01 dB -14.44 dB 15:05 04-Symphony No.11 in G minor, Op.103 - IV. Allegro non troppo . The Tocsin
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 4
Official DR value: DR12

Samplerate: 88200 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2478 kbps
Codec: FLAC
================================================================================



SACD Info:

Dmitri Shostakovich - The Symphonies: Symphony 11 [SACD Box Volume 8]

Gürzenich-Orchester Köln / Dmitrij Kitajenko

Label: Capriccio
Catalog#: SACD71-036
Format: Hybrid-SACD, Album, Box Set
Country: Germany
Released: 2005
Genre: Classical
Style: Early 20th Century, Contemporary

Tracklist:

1 Symphony No.11 in G minor, Op.103 - I. Adagio . The Palace Square 16:59
2 Symphony No.11 in G minor, Op.103 - II. Allegro . January 9th 20:01
3 Symphony No.11 in G minor, Op.103 - III. Adagio . Eternal Memory 13:18
4 Symphony No.11 in G minor, Op.103 - IV. Allegro non troppo . The Tocsin 15:05

Review by James Leonard

When this cycle of the symphonies of Shostakovich with Dmitri Kitajenko conducting the Gürzenich-Orchester Köln was released in 2005, Shostakovich cycles were no longer the novelties they had been in the latter years of the twentieth century. There were already several superlative cycles in circulation – the monumental Kondrashin, the modernist Rozhdestvensky, the anguished Barshai – and a pair of superlative cycles nearing completion – the commanding Jansons and the compelling Gergiev – when the Kitajenko – Köln cycle was issued on Capriccio in superaudio sound. Listeners who knew Kitajenko only from his recordings made before the collapse of Communism for Melodiya were caught off guard by his complete mastery of the music, of his grasp of its every nuance of heroism and subtlety of irony, of his understanding of its gradations between pathos and bathos, of his control over its most desiccated melody and its most crushing sonority. Listeners who knew the Gürzenich-Orchester Köln from its tremendous recordings with Wand and Conlon were not so much surprised as pleased to hear the orchestra sound so splendid here. The power of its tone, the brilliance of its colors, the strength of the rhythms, and the depth of its commitment proved no less than the finest orchestras of the former USSR. While longtime Shostakovich listeners were amazed, they found that in the Kitajenko/Köln cycle they had a cycle in the same league as the best that had heretofore been released. Made during the early days of superaudio sound, Capriccio's sound is incredibly lifelike; when it was released, listeners were stunned by the delicacy of the bells and staggered by the immediacy of the tympani. allmusicguide

This complete set of Shostakovich's symphonies features, in general, terrific multichannel SA-CD sound, a top-flight orchestra, and persuasive conducting. These recordings were made in concert and studio settings between 2002-2004. Given the varied venues, the sound is remarkably consistent. The strings sound full and rich, particularly the lower strings, which are captured on these recordings as well as I've heard. The balance favors the strings a bit, giving the impression that the listener is just a few rows back from the stage, but with plenty of hall ambience. Other instruments are well-placed on the soundstage. This orchestra's woodwinds have a lot of character, captured well. The brass instruments have impressive weight when the music requires. The percussion instruments register clearly, powerful or delicate by turns. Some of the soft percussion effects, such as in 10.iii, are fantastic. Putting all of this together, one could play these recordings to demonstrate just how well multichannel SA-CD can reproduce orchestral sound. Comparing to other sets of Shostakovich's symphonies (Mravinsky, Kondrashin, Rostropovich, Rozhdestvensky, Jarvi, Haitink, Barshai, Ashkenazy's nearly complete set), this one has the best sound by far.

The only major exception to this sonic excellence is the 14th Symphony. Unfortunately, when the soprano hits some of her loud high notes throughout the work, there is brief noise/distortion in the left front channel (in multichannel, SA-CD stereo, and CD stereo). There is a similar, transient noise at one moment in the 12th Symphony's first movement with a piccolo shriek. I cannot tell if these problems are in the recordings or the masterings, which are at a louder level throughout this set than most other orchestral recordings. The problems in the 14th (both sonically and in terms of performance) are a pity; that masterpiece doesn't get recorded too often, and it may be a while before we get another SA-CD recording of it. One might hope that Capriccio would release a repaired 14th, but overall, the positives of the sonics elsewhere in the set for outweigh these negatives. There are occasional sonic quirks, such as overly centered timpani in 11 and factory siren in 2. There are a few minor production flaws, with a few blank or transposed liner note pages.

The conducting is very good. Kitajenko may not generate the red-hot intensity of Mravinsky or Kondrashin, but is expert at sustaining tension even with some slower tempo choices. For instance, 6.i clocks in at about 19 minutes, but is gripping throughout. 10.ii takes a relatively broad 4'30", but never sounds sluggish, like Kofman's dreadful DVD-Audio recording. 9.ii is conducted as a Moderato, as marked, rather than a dirge like in so many performances. None of the tempo choices is far out of the mainstream. The orchestra is clearly inspired by Kitajenko's leadership, and generates a large but realistic dynamic range.

Symphonies 1, 2, 3, 6, 9 and 11 are as good as any I've heard, and sound far better than the competition. Symphonies 4, 7, 8, 10, 12, 13 and 15 are all very good; though I may prefer other performances of these, the combination of sound and performance will keep me coming back. Symphony 5 is very good, but a little generic, and there's a lot of competition – about 10 recordings on SA-CD already. In addition to the 14th Symphony's sonic problems, the performance is good, but not as devastating an experience as it can and should be.

In all, this is a fantastic achievement. I will be enjoying this set for many years. Here are some of my observations on the individual recordings:

1: Excellent performance and sound. Powerful trombone pedal tones in ii; piano sounds very naturally placed on the stage. Excellent timpani solo in iii. Coda of iv very exciting. Better than Fedoseev's performance/recording; I haven't heard Masur's yet.

2: Amazing to hear this much detail in this densely polyphonic work. Factory siren overly centered but otherwise excellent sound. The orchestra holds back a little dynamically for the choral passages.

3: Excellent - the varied orchestral effects are heard in all their glory, like the creepy string glissandi. Clarinet solo at the beginning is very good.

4: Rapidly shifting moods in i are captured well, and with great power when needed. II is great; the central fugue has never been this clear before, and the percussion at the end is appropriately chilling. III is powerful, and eerie at the end, better than Gergiev's.

5: Full rich strings in i; at 7 minutes in they fill the room with sound. Low brass have tremendous weight at 10'20". Celesta at the end is perfect. III is beautiful but lacks the last bit of despair. IV starts off very well, and the central section is also excellent. Coda is fast, like Bernstein's – this is not the way I prefer it. On SA-CD, I prefer Rostropovich (in excellent sound and with phenomenal playing by the LSO), Ashkenazy (stereo only but excellent sound), Mackerras.

6: Amazing dark, deep, rich string sound. Virtuosic wind playing throughout. Opening Largo slower than usual but intense all the way through. Soft gong strokes toward the end of i are superbly recorded. In all, the best I've heard, easily better than Fedoseev.

7: Opening movement very good. There are a few moments which could be better – for instance, can barely hear the flutter-tongue trumpets toward the end of the invasion sequency. The tragedy at the end of the invasion sequence is not as well captured as in some recording. II and III are excellent; the climax in III is overwhelming. IV is very good; toward the end some of the brass lines are not brought out as well as they could be. Overall a very good performance; I like it as much as Gergiev's, better than Yablonsky and Fedoseev.

8: Icy cold I. II and III are powerful. Rostropovich's recording also has great sound, and perhaps a little more character. Sanderling's stereo SA-CD is a very good performance but no competition sonically.

9: Great sound throughout. II is faster than usual – as it should be. III blazes with virtuosity. IV has great heft, and a very good bassoon soloist. V is a little slower than usual, which has the benefit of making the slow section before the conclusion sound very sarcastic. Very effective conducting. I like this much better than Fedoseev and Gergiev; Bernstein's 1965 performance is hard to find on SA-CD but very well-recorded as well.

10: Beautiful, full rich string sound, and great sound overall. I is fantastic. II is slightly slower than I prefer (about 4'30"), but Kitajenko does very well with it, sustaining tension throughout. III is terrific; you can hear and feel the soft percussion toward the end. IV again has a slightly slower basic tempo than usual, but tension is sustained throughout, and the playing responsive.

11: Excellent performance throughout. Massacre sequence in ii is on the faster side, but very powerful. III is the best I've heard. IV is excellent, chimes let ring at the end. Timpani are a overly centered, but they are used so frequently in this work that I don't mind; one can even make out the various mallets used. Having this, Lazarev, and Rostropovich on SA-CD is a wealth of riches, all excellent performances and recordings.

12: Full and rich start. Slight transient noise from left front in first movement, about 3 minutes in. Horns at start of IV lack a little nobility, but otherwise performance is excellent throughout; timpani in IV, starting about 6'20", are thunderous.

13: Moving, intelligent, and sometimes powerful singing by the bass soloist throughout. Good chorus. Chimes are chillingly reproduced, as are some of the other percussion effects (for instance the woodblock in "In the Store"). Excellent tuba playing in "Fears".

14: In addition to the sonic problems noted above, the whipcrack sound (so frightening, for instance, in Rostropovich's RBCD), is weak. Other percussion is very effective. "Malaguena" is a little slow and lacks menace. "Reply to the Sultan" is also a little slow and underpowered, though some of the string effects are appropriately creepy. The bass soloist sings intelligently, and the best moments are the quiet bass passages, like "Sante prison". Overall the intensity is not as high as in other performances in the set.

15: Very good performance. A lot of character in I, darkness in II. III is devilish. IV is very powerful, with chilling final percussion chatterings. Sanderling's stereo SA-CD is very good, but the sound isn't as good; Fedoseev's SA-CD has character, but Kitajenko has better sound and performance. sa-cd.net

With kind permission by ManWhoCan. Thanks a lot!

This edition originally posted by ManWhoCan contains 12 SACDS which i will bring up here within the next weeks as an addition to my own Shostakovich MDG SACD cycle. Have fun!



Shostakovich - Gürzenich-Orchester Köln / Kitajenko - Symphonies Vol. 8 (2005) {Hybrid-SACD // ISO & HiRes FLAC}


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