Antonio Vivaldi: Harmonic Inspirations (1999)
Antonio Vivaldi: Harmonic Inspirations (1999)
Classical | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 342 MB. & 152 MB.
500dpi. Complete Scans (JPG) - 14 MB. | WinRar, 3% recovery
Audio CD (1999) | Label: Weton-Wesgram | Catalog# MM-2046 | 64:43 min.
Classical | EAC Rip | FLAC (tracks)+CUE+LOG | mp3@320 | 342 MB. & 152 MB.
500dpi. Complete Scans (JPG) - 14 MB. | WinRar, 3% recovery
Audio CD (1999) | Label: Weton-Wesgram | Catalog# MM-2046 | 64:43 min.
~wikipedia
Antonio Lucio Vivaldi (4 March 1678 – 28 July 1741), nicknamed il Prete Rosso ("The Red Priest") because of his red hair, was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice. Vivaldi is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over 40 operas. His best known work is a series of violin concertos known as The Four Seasons.
Antonio Vivaldi: Harmonic Inspirations (1999)
Tracklist:
01. Concerto in A minor, Op.3/8 - Allegro (4:00)
02. Concerto in A minor, Op.3/8 - Larghetto (4:20)
03. Concerto in A minor, Op.3/8 - Allegro (3:49)
04. Concerto in B minor, Op. 3/10 - Allegro (4:15)
05. Concerto in B minor, Op. 3/10 - Largo - Larghetto (3:20)
06. Concerto in B minor, Op. 3/10 - Allegro (3:33)
07. Concerto for Strings and Harpsichord, in G Major - Presto (2:35)
08. Concerto for Strings and Harpsichord, in G Major - Adagio (1:45)
09. Concerto for Strings and Harpsichord, in G Major - Allegro (2:25)
10. Concerto for Strings and Harpsichord, in C Major - Allegro (2:43)
11. Concerto for Strings and Harpsichord, in C Major - Andante (1:28)
12. Concerto for Strings and Harpsichord, in C Major - Allegro (2:01)
13. Concerto for 4 Violins and Orchestra, in D Major, Op. 3/1 - Allegro (3:29)
14. Concerto for 4 Violins and Orchestra, in D Major, Op. 3/1 - Largo e spiccato (2:09)
15. Concerto for 4 Violins and Orchestra, in D Major, Op. 3/1 - Allegro (2:36)
16. Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3/2 - Adagio e spiccato (1:45)
17. Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3/2 - Allegro (2:46)
18. Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3/2 - Larghetto (5:21)
19. Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3/2 - Allegro (3:03)
20. Concerto for Violin and Orchestra, in G Major, Op. 3/3 - Allegro (2:26)
21. Concerto for Violin and Orchestra, in G Major, Op. 3/3 - Largo (2:36)
22. Concerto for Violin and Orchestra, in G Major, Op. 3/3 - Allegro (2:16)
Antonio Vivaldi: Harmonic Inspirations (1999)
Personnel:
Solisti di Zagreb (#1-9)
Musici di San Marco, Cond.: Alberto Lizzio (#10-12)
Camerata Romana, Cond.: Eugen Duvier (#13-22)
~www.baroquemusic.org
Antonio Vivaldi was born in Venice on March 4th, 1678. Though ordained a priest in 1703, according to his own account, within a year of being ordained Vivaldi no longer wished to celebrate mass because of physical complaints ("tightness of the chest") which pointed to angina pectoris, asthmatic bronchitis, or a nervous disorder. It is also possible that Vivaldi was simulating illness - there is a story that he sometimes left the altar in order to quickly jot down a musical idea in the sacristy…. In any event he had become a priest against his own will, perhaps because in his day training for the priesthood was often the only possible way for a poor family to obtain free schooling.
Though he wrote many fine and memorable concertos, such as the Four Seasons and the Opus 3 for example, he also wrote many works which sound like five-finger exercises for students. And this is precisely what they were.
The reputation of baroque Venice as a musical centre was one of the highest in Europe, due largely to its four conservatories of music. Beginning as charitable foundations they developed gradually as seats of musical learning, and by the early 1700s their excellence was unrivalled. This was confirmed by Charles de Brosses, French Magistrate and President of the Parlement de Dijon, who visited Italy in 1739, reporting in his Lettres familières écrites d'Italie and published posthumously in 1799, that "the Ospedali have the best music here. There are four of them, all for illegitimate or orphaned girls whose parents cannot support them. These are brought up at the State's expense and trained exclusively in music. Indeed they sing like angels, play the violin, flute, organ, oboe, cello, bassoon… The performances are entirely their own and each concert is composed of about forty girls."
However, while often referred to as "orphanages", these Ospedali were in fact homes for the female offspring of noblemen and their numerous dalliances with their mistresses. They were thus well endowed by the "anonymous" fathers (see illustration), their furnishings bordered on the opulent, the young ladies were well looked-after, and the musical standards among the highest in Venice.
Vivaldi was employed for most of his working life by the Ospedale della Pietà, generally accepted as being the best of the four Ospedali, and many of his concerti were indeed exercises which he would play with his many talented pupils. The brilliance of some solo writing in his "student exercise" concertos testifies to the extremely high standard attained by "his" ladies.
Vivaldi's relationship with the Ospedale began right after his ordination in 1703, when he was named as violin teacher there. Until 1709, Vivaldi's appointment was renewed every year and again after 1711. Between 1709 and 1711 Vivaldi was not attached to the Ospedale. Perhaps in this period he was already working for the Teatro Sant' Angelo, an opera theater. He also remained active as a composer - in 1711 twelve concertos he had written were published in Amsterdam by the music publisher Estienne Roger under the title l'Estro armonico (Harmonic Inspiration).
In 1713, Vivaldi was given a month's leave from the Ospedale della Pietà in order to stage his first opera, Ottone in villa, in Vicenza. In the 1713-4 season he was once again attached to the Teatro Sant' Angelo, where he produced an opera by the composer Giovanni Alberto Rostori (1692-1753).
As far as his theatrical activities were concerned, the end of 1716 was a high point for Vivaldi. In November, he managed to have the Ospedale della Pietà perform his first great oratorio, Juditha Triumphans devicta Holofernis barbaric. This work was an allegorical description of the victory of the Venetians (the Christians) over the Turks (the barbarians) in August 1716.
At the end of 1717 Vivaldi moved to Mantua for two years in order to take up his post as Chamber Capellmeister at the court of Landgrave Philips van Hessen-Darmstadt. His task there was to provide operas, cantatas, and perhaps concert music, too. His opera Armida had already been performed earlier in Mantua and in 1719 Teuzzone and Tito Manlio followed. On the score of the latter are the words: "music by Vivaldi, made in 5 days." Furthermore, in 1720 La Conduce o siano Li veri amici was performed.
In 172O Vivaldi returned to Venice where he again staged new operas written by himself in the Teatro Sant' Angelo. In Mantua he had made the acquaintance of the singer Anna Giraud (or Giro), and she had moved in to live with him. Vivaldi maintained that she was no more than a housekeeper and good friend, just like Anna's sister, Paolina, who also shared his house.
In his Memoires, the Italian playwright Carlo Goldoni gave the following portrait of Vivaldi and Giraud: "This priest, an excellent violinist but a mediocre composer, has trained Miss Giraud to be a singer. She was young, born in Venice, but the daughter of a French wigmaker. She was not beautiful, though she was elegant, small in stature, with beautiful eyes and a fascinating mouth. She had a small voice, but many languages in which to harangue." Vivaldi stayed together with her until his death.
Vivaldi also wrote works on commission from foreign rulers, such as the French king, Louis XV - the serenade La Sena festeggiante (Festival on the Seine), for example. This work cannot be dated precisely, but it was certainly written after 1720.
In Rome Vivaldi found a patron in the person of Cardinal Pietro Ottoboni, a great music lover, who earlier had been the patron of Arcangelo Corelli. And if we can believe Vivaldi himself, the Pope asked him to come and play the violin for him at a private audience.
Earlier, in the 1660's, musical life in Rome had been enormously stimulated by the presence of Christina of Sweden in the city. The "Pallas of the North," as she was called, abdicated from the Swedish throne in 1654. A few years later she moved to Rome and took up residence in the Palazzo Riario. There she organized musical events that were attended by composers such as Corelli and Scarlatti. Other composers, too, such as Geminiani and Handel worked in Rome for periods of time. Like them, Vivaldi profited from the favorable cultural climate in the city.
Despite his stay in Rome and other cities, Vivaldi remained in the service of the Ospedale della Pietà, which nominated him "Maestro di concerti." He was required only to send two concertos per month to Venice (transport costs were to the account of the client) for which he received a ducat per concerto. His presence was never required. He also remained director of the Teatro Sant' Angelo, as he did in the 1726, 7 and 8 seasons.
Between 1725 and 1728 some eight operas were premiered in Venice and Florence. Abbot Conti wrote of his contemporary, Vivaldi: "In less than three months Vivaldi has composed three operas, two for Venice and a third for Florence; the last has given something of a boost to the name of the theater of that city and he has earned a great deal of money."
During these years Vivaldi was also extremely active in the field of concertos. In 1725 the publication Il cimento dell'armonia e dell'inventione (The trial of harmony and invention), opus 8, appeared in Amsterdam. This consisted of twelve concertos, seven of which were descriptive: The Four Seasons, Storm at Sea, Pleasure and The Hunt. Vivaldi transformed the tradition of descriptive music into a typically Italian musical style with its unmistakable timbre in which the strings play a major role.
These concertos were enormously successful, particularly in France. In the second half of the 18th century there even appeared some remarkable adaptations of the Spring concerto: Michel Corrette (1709-1795) based his motet Laudate Dominum de coelis of 1765 on this concerto and, in 1775, Jean-Jacques Rousseau reworked it into a version for solo flute. "Spring" was also a firm favorite of King Louis XV, who would order it to be performed at the most unexpected moments, and Vivaldi received various commissions for further compositions from the court at Versailles.
In 1730 Vivaldi, his father, and Anna Giraud traveled to Prague. In this music-loving city (half a century later Mozart would celebrate his first operatic triumphs there) Vivaldi met a Venetian opera company which between 1724 and 1734 staged some sixty operas in the theater of Count Franz Anton von Sporck (for whom incidentally, Bach produced his Four Shorter Masses). In the 1730-1731 season, two new operas by Vivaldi were premiered there after the previous season had closed with his opera Farnace, a work the composer often used as his showpiece.
At the end of 1731 Vivaldi returned to Venice, but at the beginning of 1732 he left again for Mantua and Verona. In Mantua, Vivaldi's opera Semimmide was performed and in Verona, on the occasion of the opening of the new Teatro Filarmonico, La fida Ninfa, with a libretto by the Veronese poet and man of letters, Scipione Maffei, was staged.
After his stay in Prague, Vivaldi concentrated mainly on operas. No further collections of instrumental music were published. However Vivaldi continued to write instrumental music, although it was only to sell the manuscripts to private persons or to the Ospedale della Pietà, which after 1735 paid him a fixed honorarium of 100 ducats a year. In 1733 he met the English traveler, Edward Holdsworth, who had been commissioned to purchase a few of Vivaldi's compositions for the man of letters, Charles Jennens, author of texts for oratorios by Handel. Holdsworth wrote to Jennens: "I spoke with your friend Vivaldi today. He told me that he had decided to publish no more concertos because otherwise he can no longer sell his handwritten compositions. He earns more with these, he said, and since he charges one guinea per piece, that must be true if he finds a goodly number of buyers."
In 1738 Vivaldi was in Amsterdam where he conducted a festive opening concert for the 100th Anniversary of the Schouwburg Theater. Returning to Venice, which was at that time suffering a severe economic downturn, he resigned from the Ospedale in 1740, planning to move to Vienna under the patronage of his admirer Charles VI. His stay in Vienna was to be shortlived however, for he died on July 28th 1741 "of internal fire" (probably the asthmatic bronchitis from which he suffered all his life) and, like Mozart fifty years later, received a modest burial. Anna Giraud returned to Venice, where she died in 1750.
Antonio Vivaldi was born in Venice on March 4th, 1678. Though ordained a priest in 1703, according to his own account, within a year of being ordained Vivaldi no longer wished to celebrate mass because of physical complaints ("tightness of the chest") which pointed to angina pectoris, asthmatic bronchitis, or a nervous disorder. It is also possible that Vivaldi was simulating illness - there is a story that he sometimes left the altar in order to quickly jot down a musical idea in the sacristy…. In any event he had become a priest against his own will, perhaps because in his day training for the priesthood was often the only possible way for a poor family to obtain free schooling.
Though he wrote many fine and memorable concertos, such as the Four Seasons and the Opus 3 for example, he also wrote many works which sound like five-finger exercises for students. And this is precisely what they were.
The reputation of baroque Venice as a musical centre was one of the highest in Europe, due largely to its four conservatories of music. Beginning as charitable foundations they developed gradually as seats of musical learning, and by the early 1700s their excellence was unrivalled. This was confirmed by Charles de Brosses, French Magistrate and President of the Parlement de Dijon, who visited Italy in 1739, reporting in his Lettres familières écrites d'Italie and published posthumously in 1799, that "the Ospedali have the best music here. There are four of them, all for illegitimate or orphaned girls whose parents cannot support them. These are brought up at the State's expense and trained exclusively in music. Indeed they sing like angels, play the violin, flute, organ, oboe, cello, bassoon… The performances are entirely their own and each concert is composed of about forty girls."
However, while often referred to as "orphanages", these Ospedali were in fact homes for the female offspring of noblemen and their numerous dalliances with their mistresses. They were thus well endowed by the "anonymous" fathers (see illustration), their furnishings bordered on the opulent, the young ladies were well looked-after, and the musical standards among the highest in Venice.
Vivaldi was employed for most of his working life by the Ospedale della Pietà, generally accepted as being the best of the four Ospedali, and many of his concerti were indeed exercises which he would play with his many talented pupils. The brilliance of some solo writing in his "student exercise" concertos testifies to the extremely high standard attained by "his" ladies.
Vivaldi's relationship with the Ospedale began right after his ordination in 1703, when he was named as violin teacher there. Until 1709, Vivaldi's appointment was renewed every year and again after 1711. Between 1709 and 1711 Vivaldi was not attached to the Ospedale. Perhaps in this period he was already working for the Teatro Sant' Angelo, an opera theater. He also remained active as a composer - in 1711 twelve concertos he had written were published in Amsterdam by the music publisher Estienne Roger under the title l'Estro armonico (Harmonic Inspiration).
In 1713, Vivaldi was given a month's leave from the Ospedale della Pietà in order to stage his first opera, Ottone in villa, in Vicenza. In the 1713-4 season he was once again attached to the Teatro Sant' Angelo, where he produced an opera by the composer Giovanni Alberto Rostori (1692-1753).
As far as his theatrical activities were concerned, the end of 1716 was a high point for Vivaldi. In November, he managed to have the Ospedale della Pietà perform his first great oratorio, Juditha Triumphans devicta Holofernis barbaric. This work was an allegorical description of the victory of the Venetians (the Christians) over the Turks (the barbarians) in August 1716.
At the end of 1717 Vivaldi moved to Mantua for two years in order to take up his post as Chamber Capellmeister at the court of Landgrave Philips van Hessen-Darmstadt. His task there was to provide operas, cantatas, and perhaps concert music, too. His opera Armida had already been performed earlier in Mantua and in 1719 Teuzzone and Tito Manlio followed. On the score of the latter are the words: "music by Vivaldi, made in 5 days." Furthermore, in 1720 La Conduce o siano Li veri amici was performed.
In 172O Vivaldi returned to Venice where he again staged new operas written by himself in the Teatro Sant' Angelo. In Mantua he had made the acquaintance of the singer Anna Giraud (or Giro), and she had moved in to live with him. Vivaldi maintained that she was no more than a housekeeper and good friend, just like Anna's sister, Paolina, who also shared his house.
In his Memoires, the Italian playwright Carlo Goldoni gave the following portrait of Vivaldi and Giraud: "This priest, an excellent violinist but a mediocre composer, has trained Miss Giraud to be a singer. She was young, born in Venice, but the daughter of a French wigmaker. She was not beautiful, though she was elegant, small in stature, with beautiful eyes and a fascinating mouth. She had a small voice, but many languages in which to harangue." Vivaldi stayed together with her until his death.
Vivaldi also wrote works on commission from foreign rulers, such as the French king, Louis XV - the serenade La Sena festeggiante (Festival on the Seine), for example. This work cannot be dated precisely, but it was certainly written after 1720.
In Rome Vivaldi found a patron in the person of Cardinal Pietro Ottoboni, a great music lover, who earlier had been the patron of Arcangelo Corelli. And if we can believe Vivaldi himself, the Pope asked him to come and play the violin for him at a private audience.
Earlier, in the 1660's, musical life in Rome had been enormously stimulated by the presence of Christina of Sweden in the city. The "Pallas of the North," as she was called, abdicated from the Swedish throne in 1654. A few years later she moved to Rome and took up residence in the Palazzo Riario. There she organized musical events that were attended by composers such as Corelli and Scarlatti. Other composers, too, such as Geminiani and Handel worked in Rome for periods of time. Like them, Vivaldi profited from the favorable cultural climate in the city.
Despite his stay in Rome and other cities, Vivaldi remained in the service of the Ospedale della Pietà, which nominated him "Maestro di concerti." He was required only to send two concertos per month to Venice (transport costs were to the account of the client) for which he received a ducat per concerto. His presence was never required. He also remained director of the Teatro Sant' Angelo, as he did in the 1726, 7 and 8 seasons.
Between 1725 and 1728 some eight operas were premiered in Venice and Florence. Abbot Conti wrote of his contemporary, Vivaldi: "In less than three months Vivaldi has composed three operas, two for Venice and a third for Florence; the last has given something of a boost to the name of the theater of that city and he has earned a great deal of money."
During these years Vivaldi was also extremely active in the field of concertos. In 1725 the publication Il cimento dell'armonia e dell'inventione (The trial of harmony and invention), opus 8, appeared in Amsterdam. This consisted of twelve concertos, seven of which were descriptive: The Four Seasons, Storm at Sea, Pleasure and The Hunt. Vivaldi transformed the tradition of descriptive music into a typically Italian musical style with its unmistakable timbre in which the strings play a major role.
These concertos were enormously successful, particularly in France. In the second half of the 18th century there even appeared some remarkable adaptations of the Spring concerto: Michel Corrette (1709-1795) based his motet Laudate Dominum de coelis of 1765 on this concerto and, in 1775, Jean-Jacques Rousseau reworked it into a version for solo flute. "Spring" was also a firm favorite of King Louis XV, who would order it to be performed at the most unexpected moments, and Vivaldi received various commissions for further compositions from the court at Versailles.
In 1730 Vivaldi, his father, and Anna Giraud traveled to Prague. In this music-loving city (half a century later Mozart would celebrate his first operatic triumphs there) Vivaldi met a Venetian opera company which between 1724 and 1734 staged some sixty operas in the theater of Count Franz Anton von Sporck (for whom incidentally, Bach produced his Four Shorter Masses). In the 1730-1731 season, two new operas by Vivaldi were premiered there after the previous season had closed with his opera Farnace, a work the composer often used as his showpiece.
At the end of 1731 Vivaldi returned to Venice, but at the beginning of 1732 he left again for Mantua and Verona. In Mantua, Vivaldi's opera Semimmide was performed and in Verona, on the occasion of the opening of the new Teatro Filarmonico, La fida Ninfa, with a libretto by the Veronese poet and man of letters, Scipione Maffei, was staged.
After his stay in Prague, Vivaldi concentrated mainly on operas. No further collections of instrumental music were published. However Vivaldi continued to write instrumental music, although it was only to sell the manuscripts to private persons or to the Ospedale della Pietà, which after 1735 paid him a fixed honorarium of 100 ducats a year. In 1733 he met the English traveler, Edward Holdsworth, who had been commissioned to purchase a few of Vivaldi's compositions for the man of letters, Charles Jennens, author of texts for oratorios by Handel. Holdsworth wrote to Jennens: "I spoke with your friend Vivaldi today. He told me that he had decided to publish no more concertos because otherwise he can no longer sell his handwritten compositions. He earns more with these, he said, and since he charges one guinea per piece, that must be true if he finds a goodly number of buyers."
In 1738 Vivaldi was in Amsterdam where he conducted a festive opening concert for the 100th Anniversary of the Schouwburg Theater. Returning to Venice, which was at that time suffering a severe economic downturn, he resigned from the Ospedale in 1740, planning to move to Vienna under the patronage of his admirer Charles VI. His stay in Vienna was to be shortlived however, for he died on July 28th 1741 "of internal fire" (probably the asthmatic bronchitis from which he suffered all his life) and, like Mozart fifty years later, received a modest burial. Anna Giraud returned to Venice, where she died in 1750.
Antonio Vivaldi: Harmonic Inspirations (1999)
Antonio Vivaldi (1678 – 1741)
Licenced from Point Classics UK Ltd., London
A product from Holland
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Marketed and distributed by Weton-Wesgram B.V. Oud-Beijerland, the Netherlands
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Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 19. December 2011, 18:19
Antonio Vivaldi / Harmonic Inspirations {Masters of the Millennium MM-2046}
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Accurately ripped (confidence 2) [4E0B3F7A]
Copy OK
Track 11
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\11 - Concerto for Strings and Harpsichord, in C Major - Andante.wav
Peak level 67.0 %
Extraction speed 5.8 X
Track quality 100.0 %
Test CRC EA449EE2
Copy CRC EA449EE2
Accurately ripped (confidence 2) [9C3679C7]
Copy OK
Track 12
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\12 - Concerto for Strings and Harpsichord, in C Major - Allegro.wav
Peak level 67.9 %
Extraction speed 6.3 X
Track quality 100.0 %
Test CRC FC97FA63
Copy CRC FC97FA63
Accurately ripped (confidence 2) [FA46C676]
Copy OK
Track 13
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\13 - Concerto for 4 Violins and Orchestra, in D Major, Op. 3,1 - Allegro.wav
Pre-gap length 0:00:05.18
Peak level 89.5 %
Extraction speed 7.4 X
Track quality 100.0 %
Test CRC 9D5B6508
Copy CRC 9D5B6508
Accurately ripped (confidence 2) [3034F88B]
Copy OK
Track 14
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\14 - Concerto for 4 Violins and Orchestra, in D Major, Op. 3,1 - Largo e spiccato.wav
Peak level 90.7 %
Extraction speed 6.8 X
Track quality 100.0 %
Test CRC C1DF29EE
Copy CRC C1DF29EE
Accurately ripped (confidence 2) [A41EB477]
Copy OK
Track 15
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\15 - Concerto for 4 Violins and Orchestra, in D Major, Op. 3,1 - Allegro.wav
Peak level 67.9 %
Extraction speed 7.2 X
Track quality 100.0 %
Test CRC 815EBBEA
Copy CRC 815EBBEA
Accurately ripped (confidence 2) [364C8290]
Copy OK
Track 16
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\16 - Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3,2 - Adagio e spiccato.wav
Pre-gap length 0:00:03.41
Peak level 91.2 %
Extraction speed 6.6 X
Track quality 100.0 %
Test CRC 213BEEA0
Copy CRC 213BEEA0
Accurately ripped (confidence 2) [93D86148]
Copy OK
Track 17
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\17 - Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3,2 - Allegro.wav
Peak level 73.6 %
Extraction speed 7.6 X
Track quality 100.0 %
Test CRC D5F7D889
Copy CRC D5F7D889
Accurately ripped (confidence 2) [3A8C09BF]
Copy OK
Track 18
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\18 - Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3,2 - Larghetto.wav
Peak level 75.7 %
Extraction speed 8.6 X
Track quality 100.0 %
Test CRC 0C41A08D
Copy CRC 0C41A08D
Accurately ripped (confidence 2) [1B1B1477]
Copy OK
Track 19
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\19 - Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3,2 - Allegro.wav
Peak level 83.1 %
Extraction speed 6.9 X
Track quality 99.9 %
Test CRC E7966325
Copy CRC E7966325
Accurately ripped (confidence 2) [E5145590]
Copy OK
Track 20
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\20 - Concerto for Violin and Orchestra, in G Major, Op. 3,3 - Allegro.wav
Pre-gap length 0:00:05.03
Peak level 74.5 %
Extraction speed 7.9 X
Track quality 100.0 %
Test CRC E6393757
Copy CRC E6393757
Accurately ripped (confidence 2) [8CAA6B07]
Copy OK
Track 21
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\21 - Concerto for Violin and Orchestra, in G Major, Op. 3,3 - Largo.wav
Peak level 55.6 %
Extraction speed 8.0 X
Track quality 100.0 %
Test CRC 1047EF18
Copy CRC 1047EF18
Accurately ripped (confidence 2) [488CD255]
Copy OK
Track 22
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\22 - Concerto for Violin and Orchestra, in G Major, Op. 3,3 - Allegro.wav
Peak level 64.2 %
Extraction speed 8.0 X
Track quality 100.0 %
Test CRC 53E973BA
Copy CRC 53E973BA
Accurately ripped (confidence 2) [BEC498C4]
Copy OK
All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum 783CCE479C24003EABB727B1A75B99F50312C413AAA2B62ACF50EAD0392C6919 ====
EAC extraction logfile from 19. December 2011, 18:19
Antonio Vivaldi / Harmonic Inspirations {Masters of the Millennium MM-2046}
Used drive : ASUS DRW-1608P3S Adapter: 0 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Read offset correction : 48
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track
Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:00.12 | 0 | 18011
2 | 4:00.12 | 4:19.70 | 18012 | 37506
3 | 8:20.07 | 3:49.08 | 37507 | 54689
4 | 12:09.15 | 4:14.70 | 54690 | 73809
5 | 16:24.10 | 3:19.57 | 73810 | 88791
6 | 19:43.67 | 3:33.25 | 88792 | 104791
7 | 23:17.17 | 2:34.73 | 104792 | 116414
8 | 25:52.15 | 1:45.17 | 116415 | 124306
9 | 27:37.32 | 2:24.60 | 124307 | 135166
10 | 30:02.17 | 2:43.05 | 135167 | 147396
11 | 32:45.22 | 1:28.18 | 147397 | 154014
12 | 34:13.40 | 2:00.67 | 154015 | 163081
13 | 36:14.32 | 3:29.33 | 163082 | 178789
14 | 39:43.65 | 2:09.05 | 178790 | 188469
15 | 41:52.70 | 2:35.42 | 188470 | 200136
16 | 44:28.37 | 1:45.30 | 200137 | 208041
17 | 46:13.67 | 2:46.15 | 208042 | 220506
18 | 49:00.07 | 5:20.70 | 220507 | 244576
19 | 54:21.02 | 3:02.73 | 244577 | 258299
20 | 57:24.00 | 2:26.30 | 258300 | 269279
21 | 59:50.30 | 2:36.15 | 269280 | 280994
22 | 62:26.45 | 2:16.20 | 280995 | 291214
Track 1
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\01 - Concerto in A minor, Op.3,8 - Allegro.wav
Pre-gap length 0:00:02.00
Peak level 75.5 %
Extraction speed 4.5 X
Track quality 100.0 %
Test CRC 31FE105E
Copy CRC 31FE105E
Accurately ripped (confidence 2) [B4ABAAF8]
Copy OK
Track 2
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\02 - Concerto in A minor, Op.3,8 - Larghetto.wav
Peak level 40.6 %
Extraction speed 5.0 X
Track quality 100.0 %
Test CRC 80170950
Copy CRC 80170950
Accurately ripped (confidence 2) [AA811FF7]
Copy OK
Track 3
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\03 - Concerto in A minor, Op.3,8 - Allegro.wav
Peak level 80.5 %
Extraction speed 4.8 X
Track quality 99.9 %
Test CRC 6C73CA52
Copy CRC 6C73CA52
Accurately ripped (confidence 2) [8B849595]
Copy OK
Track 4
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\04 - Concerto in B minor, Op. 3,10 - Allegro.wav
Pre-gap length 0:00:04.23
Peak level 83.5 %
Extraction speed 5.9 X
Track quality 100.0 %
Test CRC 8A3CC223
Copy CRC 8A3CC223
Accurately ripped (confidence 2) [8CA0757C]
Copy OK
Track 5
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\05 - Concerto in B minor, Op. 3,10 - Largo - Larghetto.wav
Peak level 52.4 %
Extraction speed 5.9 X
Track quality 100.0 %
Test CRC 1F24F7BF
Copy CRC 1F24F7BF
Accurately ripped (confidence 2) [FDBA9599]
Copy OK
Track 6
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\06 - Concerto in B minor, Op. 3,10 - Allegro.wav
Peak level 82.0 %
Extraction speed 6.3 X
Track quality 100.0 %
Test CRC 59E72862
Copy CRC 59E72862
Accurately ripped (confidence 2) [8F2CB41C]
Copy OK
Track 7
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\07 - Concerto for Strings and Harpsichord, in G Major - Presto.wav
Pre-gap length 0:00:05.31
Peak level 76.2 %
Extraction speed 6.1 X
Track quality 100.0 %
Test CRC A8C349A0
Copy CRC A8C349A0
Accurately ripped (confidence 2) [4BCFC155]
Copy OK
Track 8
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\08 - Concerto for Strings and Harpsichord, in G Major - Adagio.wav
Peak level 60.3 %
Extraction speed 4.5 X
Track quality 99.8 %
Test CRC 1B517F06
Copy CRC 1B517F06
Accurately ripped (confidence 2) [4237339F]
Copy OK
Track 9
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\09 - Concerto for Strings and Harpsichord, in G Major - Allegro.wav
Peak level 82.1 %
Extraction speed 5.2 X
Track quality 99.9 %
Test CRC BA44F493
Copy CRC BA44F493
Accurately ripped (confidence 2) [2AA0C6D9]
Copy OK
Track 10
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\10 - Concerto for Strings and Harpsichord, in C Major - Allegro.wav
Pre-gap length 0:00:04.36
Peak level 64.6 %
Extraction speed 6.6 X
Track quality 100.0 %
Test CRC 608B4BD0
Copy CRC 608B4BD0
Accurately ripped (confidence 2) [4E0B3F7A]
Copy OK
Track 11
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\11 - Concerto for Strings and Harpsichord, in C Major - Andante.wav
Peak level 67.0 %
Extraction speed 5.8 X
Track quality 100.0 %
Test CRC EA449EE2
Copy CRC EA449EE2
Accurately ripped (confidence 2) [9C3679C7]
Copy OK
Track 12
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\12 - Concerto for Strings and Harpsichord, in C Major - Allegro.wav
Peak level 67.9 %
Extraction speed 6.3 X
Track quality 100.0 %
Test CRC FC97FA63
Copy CRC FC97FA63
Accurately ripped (confidence 2) [FA46C676]
Copy OK
Track 13
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\13 - Concerto for 4 Violins and Orchestra, in D Major, Op. 3,1 - Allegro.wav
Pre-gap length 0:00:05.18
Peak level 89.5 %
Extraction speed 7.4 X
Track quality 100.0 %
Test CRC 9D5B6508
Copy CRC 9D5B6508
Accurately ripped (confidence 2) [3034F88B]
Copy OK
Track 14
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\14 - Concerto for 4 Violins and Orchestra, in D Major, Op. 3,1 - Largo e spiccato.wav
Peak level 90.7 %
Extraction speed 6.8 X
Track quality 100.0 %
Test CRC C1DF29EE
Copy CRC C1DF29EE
Accurately ripped (confidence 2) [A41EB477]
Copy OK
Track 15
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\15 - Concerto for 4 Violins and Orchestra, in D Major, Op. 3,1 - Allegro.wav
Peak level 67.9 %
Extraction speed 7.2 X
Track quality 100.0 %
Test CRC 815EBBEA
Copy CRC 815EBBEA
Accurately ripped (confidence 2) [364C8290]
Copy OK
Track 16
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\16 - Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3,2 - Adagio e spiccato.wav
Pre-gap length 0:00:03.41
Peak level 91.2 %
Extraction speed 6.6 X
Track quality 100.0 %
Test CRC 213BEEA0
Copy CRC 213BEEA0
Accurately ripped (confidence 2) [93D86148]
Copy OK
Track 17
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\17 - Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3,2 - Allegro.wav
Peak level 73.6 %
Extraction speed 7.6 X
Track quality 100.0 %
Test CRC D5F7D889
Copy CRC D5F7D889
Accurately ripped (confidence 2) [3A8C09BF]
Copy OK
Track 18
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\18 - Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3,2 - Larghetto.wav
Peak level 75.7 %
Extraction speed 8.6 X
Track quality 100.0 %
Test CRC 0C41A08D
Copy CRC 0C41A08D
Accurately ripped (confidence 2) [1B1B1477]
Copy OK
Track 19
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\19 - Concerto for 2 Violins, Violoncello and Orchestra, in G minor, Op. 3,2 - Allegro.wav
Peak level 83.1 %
Extraction speed 6.9 X
Track quality 99.9 %
Test CRC E7966325
Copy CRC E7966325
Accurately ripped (confidence 2) [E5145590]
Copy OK
Track 20
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\20 - Concerto for Violin and Orchestra, in G Major, Op. 3,3 - Allegro.wav
Pre-gap length 0:00:05.03
Peak level 74.5 %
Extraction speed 7.9 X
Track quality 100.0 %
Test CRC E6393757
Copy CRC E6393757
Accurately ripped (confidence 2) [8CAA6B07]
Copy OK
Track 21
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\21 - Concerto for Violin and Orchestra, in G Major, Op. 3,3 - Largo.wav
Peak level 55.6 %
Extraction speed 8.0 X
Track quality 100.0 %
Test CRC 1047EF18
Copy CRC 1047EF18
Accurately ripped (confidence 2) [488CD255]
Copy OK
Track 22
Filename H:\EAC@Oceandrop rips\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium}\22 - Concerto for Violin and Orchestra, in G Major, Op. 3,3 - Allegro.wav
Peak level 64.2 %
Extraction speed 8.0 X
Track quality 100.0 %
Test CRC 53E973BA
Copy CRC 53E973BA
Accurately ripped (confidence 2) [BEC498C4]
Copy OK
All tracks accurately ripped
No errors occurred
End of status report
==== Log checksum 783CCE479C24003EABB727B1A75B99F50312C413AAA2B62ACF50EAD0392C6919 ====
[CUETools log; Date: 19.12.2011 19:51:59; Version: 2.0.9]
[CTDB TOCID: aWcuDnVqR8HafZGRLpEVuGdkCHI-] found.
[ CTDBID ] Status
[bcb480ea] (8/8) Accurately ripped
[AccurateRip ID: 00364b9b-034d077e-580f2a16] found.
Track [ CRC ] Status
01 [b4abaaf8] (2/9) Accurately ripped
02 [aa811ff7] (2/9) Accurately ripped
03 [8b849595] (2/9) Accurately ripped
04 [8ca0757c] (2/9) Accurately ripped
05 [fdba9599] (2/9) Accurately ripped
06 [8f2cb41c] (2/9) Accurately ripped
07 [4bcfc155] (2/9) Accurately ripped
08 [4237339f] (2/9) Accurately ripped
09 [2aa0c6d9] (2/9) Accurately ripped
10 [4e0b3f7a] (2/9) Accurately ripped
11 [9c3679c7] (2/9) Accurately ripped
12 [fa46c676] (2/9) Accurately ripped
13 [3034f88b] (2/9) Accurately ripped
14 [a41eb477] (2/9) Accurately ripped
15 [364c8290] (2/9) Accurately ripped
16 [93d86148] (2/9) Accurately ripped
17 [3a8c09bf] (2/9) Accurately ripped
18 [1b1b1477] (2/9) Accurately ripped
19 [e5145590] (2/9) Accurately ripped
20 [8caa6b07] (2/9) Accurately ripped
21 [488cd255] (2/9) Accurately ripped
22 [bec498c4] (2/9) Accurately ripped
Offsetted by 956:
01 [43c9fd88] (3/9) Accurately ripped
02 [d1f3e4bf] (3/9) Accurately ripped
03 [78e0b885] (3/9) Accurately ripped
04 [88c36e80] (3/9) Accurately ripped
05 [8bd86b75] (3/9) Accurately ripped
06 [48c97a9c] (3/9) Accurately ripped
07 [ca8430b9] (3/9) Accurately ripped
08 [68e7c2cf] (3/9) Accurately ripped
09 [87d8819d] (3/9) Accurately ripped
10 [1efff1b8] (3/9) Accurately ripped
11 [0a5a7df2] (3/9) Accurately ripped
12 [01a9bf89] (3/9) Accurately ripped
13 [d1689e57] (3/9) Accurately ripped
14 [13d10908] (3/9) Accurately ripped
15 [7409b56b] (3/9) Accurately ripped
16 [1a84dc8e] (3/9) Accurately ripped
17 [268b2aac] (3/9) Accurately ripped
18 [6c50a943] (3/9) Accurately ripped
19 [b351258d] (3/9) Accurately ripped
20 [d233ecb7] (3/9) Accurately ripped
21 [98f7b699] (3/9) Accurately ripped
22 [63ebd134] (3/9) No match but offset
Offsetted by 1583:
01 [2522b29c] (4/9) Accurately ripped
02 [e00af2a9] (4/9) Accurately ripped
03 [43257351] (4/9) Accurately ripped
04 [d982327d] (4/9) Accurately ripped
05 [ec49e650] (4/9) Accurately ripped
06 [85bbddbc] (4/9) Accurately ripped
07 [50c35dee] (4/9) Accurately ripped
08 [d9d8586b] (4/9) Accurately ripped
09 [2b22684a] (4/9) Accurately ripped
10 [6d95120b] (4/9) Accurately ripped
11 [08c7cd44] (4/9) Accurately ripped
12 [b850914d] (4/9) Accurately ripped
13 [25935c90] (4/9) Accurately ripped
14 [8108c472] (4/9) Accurately ripped
15 [4c6ea5dd] (4/9) Accurately ripped
16 [11ae6e53] (4/9) Accurately ripped
17 [60feb6b0] (4/9) Accurately ripped
18 [6b4569c8] (4/9) Accurately ripped
19 [557361a9] (4/9) Accurately ripped
20 [8f8d4bde] (4/9) Accurately ripped
21 [c0e25dfa] (4/9) Accurately ripped
22 [f1716906] (4/9) No match but offset
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 91,2 [EB440BBA] [AD5A49CB]
01 75,5 [31FE105E] [9885FFAE] CRC32
02 40,6 [80170950] [989931FA] CRC32
03 80,5 [6C73CA52] [13741DAD] CRC32
04 83,5 [8A3CC223] [DE886EB1] CRC32
05 52,4 [1F24F7BF] [FEA2EB24] CRC32
06 81,9 [59E72862] [068EF965] CRC32
07 76,2 [A8C349A0] [0A027E3C] CRC32
08 60,3 [1B517F06] [1B55ACBE] CRC32
09 82,1 [BA44F493] [C369C7C7] CRC32
10 64,6 [608B4BD0] [264C87B2] CRC32
11 67,0 [EA449EE2] [088F6306] CRC32
12 67,9 [FC97FA63] [58043962] CRC32
13 89,5 [9D5B6508] [642AD86C] CRC32
14 90,7 [C1DF29EE] [1CE08444] CRC32
15 67,9 [815EBBEA] [DAE8D6E8] CRC32
16 91,2 [213BEEA0] [36502A47] CRC32
17 73,6 [D5F7D889] [6C2F2B7C] CRC32
18 75,7 [0C41A08D] [75FE702C] CRC32
19 83,1 [E7966325] [3911865B] CRC32
20 74,5 [E6393757] [0941F3BA] CRC32
21 55,6 [1047EF18] [67EE0877] CRC32
22 64,2 [53E973BA] [B347C4A9] CRC32
[CTDB TOCID: aWcuDnVqR8HafZGRLpEVuGdkCHI-] found.
[ CTDBID ] Status
[bcb480ea] (8/8) Accurately ripped
[AccurateRip ID: 00364b9b-034d077e-580f2a16] found.
Track [ CRC ] Status
01 [b4abaaf8] (2/9) Accurately ripped
02 [aa811ff7] (2/9) Accurately ripped
03 [8b849595] (2/9) Accurately ripped
04 [8ca0757c] (2/9) Accurately ripped
05 [fdba9599] (2/9) Accurately ripped
06 [8f2cb41c] (2/9) Accurately ripped
07 [4bcfc155] (2/9) Accurately ripped
08 [4237339f] (2/9) Accurately ripped
09 [2aa0c6d9] (2/9) Accurately ripped
10 [4e0b3f7a] (2/9) Accurately ripped
11 [9c3679c7] (2/9) Accurately ripped
12 [fa46c676] (2/9) Accurately ripped
13 [3034f88b] (2/9) Accurately ripped
14 [a41eb477] (2/9) Accurately ripped
15 [364c8290] (2/9) Accurately ripped
16 [93d86148] (2/9) Accurately ripped
17 [3a8c09bf] (2/9) Accurately ripped
18 [1b1b1477] (2/9) Accurately ripped
19 [e5145590] (2/9) Accurately ripped
20 [8caa6b07] (2/9) Accurately ripped
21 [488cd255] (2/9) Accurately ripped
22 [bec498c4] (2/9) Accurately ripped
Offsetted by 956:
01 [43c9fd88] (3/9) Accurately ripped
02 [d1f3e4bf] (3/9) Accurately ripped
03 [78e0b885] (3/9) Accurately ripped
04 [88c36e80] (3/9) Accurately ripped
05 [8bd86b75] (3/9) Accurately ripped
06 [48c97a9c] (3/9) Accurately ripped
07 [ca8430b9] (3/9) Accurately ripped
08 [68e7c2cf] (3/9) Accurately ripped
09 [87d8819d] (3/9) Accurately ripped
10 [1efff1b8] (3/9) Accurately ripped
11 [0a5a7df2] (3/9) Accurately ripped
12 [01a9bf89] (3/9) Accurately ripped
13 [d1689e57] (3/9) Accurately ripped
14 [13d10908] (3/9) Accurately ripped
15 [7409b56b] (3/9) Accurately ripped
16 [1a84dc8e] (3/9) Accurately ripped
17 [268b2aac] (3/9) Accurately ripped
18 [6c50a943] (3/9) Accurately ripped
19 [b351258d] (3/9) Accurately ripped
20 [d233ecb7] (3/9) Accurately ripped
21 [98f7b699] (3/9) Accurately ripped
22 [63ebd134] (3/9) No match but offset
Offsetted by 1583:
01 [2522b29c] (4/9) Accurately ripped
02 [e00af2a9] (4/9) Accurately ripped
03 [43257351] (4/9) Accurately ripped
04 [d982327d] (4/9) Accurately ripped
05 [ec49e650] (4/9) Accurately ripped
06 [85bbddbc] (4/9) Accurately ripped
07 [50c35dee] (4/9) Accurately ripped
08 [d9d8586b] (4/9) Accurately ripped
09 [2b22684a] (4/9) Accurately ripped
10 [6d95120b] (4/9) Accurately ripped
11 [08c7cd44] (4/9) Accurately ripped
12 [b850914d] (4/9) Accurately ripped
13 [25935c90] (4/9) Accurately ripped
14 [8108c472] (4/9) Accurately ripped
15 [4c6ea5dd] (4/9) Accurately ripped
16 [11ae6e53] (4/9) Accurately ripped
17 [60feb6b0] (4/9) Accurately ripped
18 [6b4569c8] (4/9) Accurately ripped
19 [557361a9] (4/9) Accurately ripped
20 [8f8d4bde] (4/9) Accurately ripped
21 [c0e25dfa] (4/9) Accurately ripped
22 [f1716906] (4/9) No match but offset
Track Peak [ CRC32 ] [W/O NULL] [ LOG ]
– 91,2 [EB440BBA] [AD5A49CB]
01 75,5 [31FE105E] [9885FFAE] CRC32
02 40,6 [80170950] [989931FA] CRC32
03 80,5 [6C73CA52] [13741DAD] CRC32
04 83,5 [8A3CC223] [DE886EB1] CRC32
05 52,4 [1F24F7BF] [FEA2EB24] CRC32
06 81,9 [59E72862] [068EF965] CRC32
07 76,2 [A8C349A0] [0A027E3C] CRC32
08 60,3 [1B517F06] [1B55ACBE] CRC32
09 82,1 [BA44F493] [C369C7C7] CRC32
10 64,6 [608B4BD0] [264C87B2] CRC32
11 67,0 [EA449EE2] [088F6306] CRC32
12 67,9 [FC97FA63] [58043962] CRC32
13 89,5 [9D5B6508] [642AD86C] CRC32
14 90,7 [C1DF29EE] [1CE08444] CRC32
15 67,9 [815EBBEA] [DAE8D6E8] CRC32
16 91,2 [213BEEA0] [36502A47] CRC32
17 73,6 [D5F7D889] [6C2F2B7C] CRC32
18 75,7 [0C41A08D] [75FE702C] CRC32
19 83,1 [E7966325] [3911865B] CRC32
20 74,5 [E6393757] [0941F3BA] CRC32
21 55,6 [1047EF18] [67EE0877] CRC32
22 64,2 [53E973BA] [B347C4A9] CRC32
c:\Program Files\Exact Audio Copy>CheckLog.EXE "R:\Antonio Vivaldi - Harmonic Inspirations {Masters of the Millennium MM-2046}.LOG"
Log Integrity Checker (C) 2010 by Andre Wiethoff
1. Log entry is fine!
c:\Program Files\Exact Audio Copy>
Log Integrity Checker (C) 2010 by Andre Wiethoff
1. Log entry is fine!
c:\Program Files\Exact Audio Copy>
Antonio Vivaldi: Harmonic Inspirations (1999)
(flac & mp3@320 links are interchangeable, artwork = single link)