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Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)

Posted By: luckburz
Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)

Musicalische Compagney - Lamenti & Concerti: Liebe und Klage in der Musik von Heinrich Schütz (1585-1672)
EAC+LOG+CUE | FLAC: 231 MB | Full Artwork | 5% Recovery Info
Label/Cat#: MDG "Gold" # 310 0230 | Country/Year: Germany 1996
Genre: Classical | Style: Baroque

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Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)


Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 24. June 2012, 11:57

Musicalische Compagney / Schütz: Lamenti Et Concerti

Used drive : PIONEER BD-RW BDR-206 Adapter: 2 ID: 3

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 667
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

Used output format : User Defined Encoder
Selected bitrate : 896 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Program Files\FLAC\flac.exe
Additional command line options : -5 -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Genre=%genre%" %source% -o %dest%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 4:28.40 | 0 | 20139
2 | 4:28.40 | 4:40.30 | 20140 | 41169
3 | 9:08.70 | 9:50.65 | 41170 | 85484
4 | 18:59.60 | 7:41.00 | 85485 | 120059
5 | 26:40.60 | 7:15.42 | 120060 | 152726
6 | 33:56.27 | 7:32.15 | 152727 | 186641
7 | 41:28.42 | 5:45.38 | 186642 | 212554
8 | 47:14.05 | 3:58.20 | 212555 | 230424


Range status and errors

Selected range

Filename I:\=== VINYL RIPS ===\=== EAC===\X FRESH RIP\Schütz- Musicalische Compagney - Lamenti Et Concerti.wav

Peak level 95.7 %
Extraction speed 1.1 X
Range quality 99.9 %
Test CRC FE39477F
Copy CRC FE39477F
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 1) [434780D5] (AR v1)
Track 2 accurately ripped (confidence 1) [54D937A8] (AR v1)
Track 3 accurately ripped (confidence 1) [A04145FD] (AR v1)
Track 4 accurately ripped (confidence 1) [7D231503] (AR v1)
Track 5 accurately ripped (confidence 1) [16CFF65D] (AR v1)
Track 6 accurately ripped (confidence 1) [21E2C260] (AR v1)
Track 7 accurately ripped (confidence 1) [7BD445E8] (AR v1)
Track 8 accurately ripped (confidence 1) [E7EA1508] (AR v1)

All tracks accurately ripped

End of status report

–– CUETools DB Plugin V2.1.3

[CTDB TOCID: DXmz59VqB1dZM.lPHq5WUAu2pxs-] disk not present in database, Submit result: DXmz59VqB1dZM.lPHq5WUAu2pxs- has been uploaded


==== Log checksum 6303BC63E1685A3E2230C62078971622C102A4C87A8B12DF95A19A686365BF25 ====

foobar2000 1.1.7 / Dynamic Range Meter 1.1.1
log date: 2012-06-25 11:24:49

––––––––––––––––––––––––––––––––––––––––
Analyzed: Musicalische Compagney / Schütz: Lamenti Et Concerti
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR13 -1.38 dB -18.28 dB 4:29 01-Freue dich des Weibes deiner Jugend, SWV 453
DR13 -0.44 dB -21.73 dB 4:40 02-Weib, was weinest du, SWV 443
DR15 -0.53 dB -20.54 dB 9:51 03-In lectulo per noctes (prima pars), SWV 272-273
DR13 -3.99 dB -21.50 dB 7:41 04-Anima mea liquefacta est (prima pars), SWV 263-264
DR13 -0.54 dB -18.66 dB 7:16 05-Wohl dem der ein tugendsam Weib hat, SWV 20
DR14 -2.44 dB -20.92 dB 7:32 06-Ich beschwöre euch, ihr Töchter Jerusalem, SWV 339
DR14 -0.38 dB -20.87 dB 5:46 07-Veni dilecte mi, SWV 274
DR13 -0.57 dB -19.09 dB 3:58 08-Haus und Güter erbt man von Eltern, SWV 21
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 8
Official DR value: DR14

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 632 kbps
Codec: FLAC
================================================================================



CD Info:

Heinrich Schütz (1585-1672) - Musicalische Compagney - Lamenti & Concerti: Liebe und Klage in der Musik von Heinrich Schütz

Label: MDG
Series: Gold
Catalog#: 310 0230
Format: CD, Album
Country: Germany
Released: 1996, recorded 1986
Genre: Classical
Style: Baroque

Tracklist:

Contents:

1 Freue dich des Weiges deiner Jugend a9, SWV 435
2 Weib, was weinest du (Dialogo per la Pascua) a4, SWV 443
3 In lectulo per noctes (prima pars) a5, SWV 272
4 Invenerunt me custodes civitatis (secunda pars), SWV 273
5 Anima mea liquefacta est (prima pars) a4, SWV 263
6 Adiuro vos, Filiae Hierusalem (secunda pars), SWV 264
7 Wohl dem, der ein tugendsam Weib hat a8, SWV 20
8 Ich beschwöre euch, ihr Töchter zu Jerusalem (Dialogo) a7, SWV 339
9 Veni dilecte mi a6, SWV 174
10 Haus und Güter erbet man von seinen Eltern a11, SWV 21

Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)


"Die klare motivische und textliche Artikulation und große Ausdruckskraft der fünf Top-Sänger der Alte-Musik-Szene sowie das akzentuierte Spiel des Ensembles Musicalische Compagney beleuchten treffend die expressiv-individuellen Züge der Musik Schützens." E. Pinter in FonoForum 10 / 96

Heinrich Schütz (8 October (JC), 1585 – 6 November 1672) was a German composer and organist, generally regarded as the most important German composer before Johann Sebastian Bach and often considered to be one of the most important composers of the 17th century along with Claudio Monteverdi. He wrote what is traditionally considered to be the first German opera, Dafne (Opitz-Schütz), performed at Torgau in 1627, of which the music has since been lost. He is commemorated as a musician in the Calendar of Saints of the Lutheran Church on 28 July with Johann Sebastian Bach and George Frideric Handel. He was buried in the Dresden Frauenkirche but his tomb has been destroyed.

Schütz's compositions show the influence of his teacher Gabrieli (displayed most notably with Schütz's use of resplendent polychoral and concertato styles) and of Monteverdi. Additionally, the influence of the Netherlandish composers of the 16th century is prominent in his work. His best known works are in the field of sacred music, ranging from solo voice with instrumental accompaniment to a cappella choral music. Representative works include his three books of Symphoniae sacrae, the Psalms of David (Psalmen Davids), the Sieben Worte Jesu Christi am Kreuz (the Seven Last Words on the Cross) and his three Passion settings. Schütz's music, while starting off in the most progressive styles early in his career, eventually grew into a style that is simple and almost austere, culminating with his late Passion settings. Practical considerations were certainly responsible for part of this change: the Thirty Years' War had devastated the musical infrastructure of Germany, and it was no longer practical or even possible to put on the gigantic works in the Venetian style which marked his earlier period.

The unique composition "Es steh Gott auf" (SWV 356) is in many respects comparable to Monteverdi.[4]

Schütz was one of the last composers to write in a modal style. His harmonies often result from the contrapuntal alignment of voices rather than from any sense of "harmonic motion"; contrastingly, much of his music shows a strong tonal pull when approaching cadences. His music includes a great deal of imitation, but structured in such a way that the successive voices do not necessarily enter after the same number of beats or at predictable intervallic distances. Schütz's writing often includes intense dissonances caused by the contrapuntal motion of voices moving in correct individual linear motion, but resulting in startling harmonic tension. Above all, his music displays extreme sensitivity to the accents and meaning of the text, which is often conveyed using special technical figures drawn from musica poetica, themselves drawn from or created in analogy to the verbal figures of classical rhetoric.

Almost no secular music by Schütz has survived, save for a few domestic songs (arien) and no purely instrumental music at all (unless one counts the short instrumental movement entitled "sinfonia" that encloses the dialogue of Die sieben Worte), even though he had a reputation as one of the finest organists in Germany.

Schütz was of great importance in bringing new musical ideas to Germany from Italy, and as such had a large influence on the German music which was to follow. The style of the North German organ school derives largely from Schütz (as well as from the Dutchman Jan Pieterszoon Sweelinck); a century later this music was to culminate in the work of J.S. Bach. After Bach, the most important composer to be influenced by Schütz was Brahms, who is known to have studied his works. wikipedia

”The Musicalische Compagney tackle this imaginative selection with enthusiasm. "… The recording is clean and efficient, and the accoustic, which is richly but not overpoweringly vibrant, is appropriate." Gramophone

Schütz- Musicalische Compagney - Lamenti Et Concerti (1996)

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